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CERAMICS MONTHLY CERAMICS

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Editorial [email protected] telephone: (614) 895-4213 fax: (614) 891-8960 editor Sherman Hall assistant editor Renée Fairchild assistant editor Jennifer Poellot technical editor Dave Finkelnburg publisher Charles Spahr Advertising/Classifieds [email protected] (614) 794-5809 fax: (614) 891-8960 classiﬁ[email protected] (614) 794-5866 advertising manager Steve Hecker advertising services Debbie Plummer Subscriptions/Circulation customer service: (800) 342-3594 [email protected] Design/Production design Paula John production Jami Flannelly Editorial and advertising ofﬁces 735 Ceramic Place, Suite 100 Westerville, Ohio 43081 USA Editorial Advisory Board Linda Arbuckle; Professor, Ceramics, Univ. of Florida Tom Coleman; Studio Potter, Nevada Dick Lehman; Studio Potter, Indiana Meira Mathison; Director, Metchosin Art School, Canada Don Pilcher; Potter and Author, Illinois Bernard Pucker; Director, Pucker Gallery, Boston Phil Rogers; Potter and Author, Wales Jan Schachter; Potter, California Mark Shapiro; Worthington, Massachusetts Susan York; Santa Fe, New Mexico

Ceramics Monthly (ISSN 0009-0328) is published monthly, except July and September, by The American Ceramic Society, 735 Ceramic Pl., Suite 100, Westerville, Ohio 43081; www.ceramics.org. Periodicals postage paid at Westerville, Ohio, and additional mailing ofﬁces. Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The American Ceramic Society. subscription rates: One year $34.95, two years $59.95. Canada: One year $40, two years $75. International: One year $60, two years $99. back issues: When available, back issues are $7.50 each, plus $3 shipping/handling; $8 for expedited shipping (UPS 2-day air); and $6 for shipping outside North America. Allow 4–6 weeks for delivery. change of address: Please give us four weeks advance notice. Send the magazine address label as well as your new address to: Ceramics Monthly, Circulation Depart- ment, P.O. Box 2107, Marion, OH 43306-8207. contributors: Writing and photographic guidelines are available online at www.ceramicsmonthly.org. indexing: An index of each year’s feature articles appears in the December issue. You may also visit the Ceramics Monthly website at www.ceramicsmonthly.org to search an index of article titles and artists’ names. Feature articles are also indexed in the Art Index, daai (design and applied arts index). copies: Authorization to photocopy items for internal or personal use beyond the limits of Sections 107 or 108 of the U.S. Copyright Law is granted by The American Ceramic Society, ISSN 0009-0328, provided that the appropriate fee is paid directly to Copyright Clearance Center, Inc., 222 Rose- wood Dr., Danvers, MA 01923, USA; (978) 750-8400; www.copyright.com. Prior to photocopying items for classroom use, please contact Copyright Clearance Center, Inc. This consent does not extend to copying items for general distribution, or for advertising or promotional purposes, or to republishing items in whole or in part in any work in any format. Please direct republication or special copying permission re- quests to the Publisher, The American Ceramic Society, 735 Ceramic Pl., Suite 100, Westerville, Ohio 43081, USA. postmaster: Please send address changes to Ceramics Monthly, P.O. Box 2107, Marion, OH 43306-8207. Form 3579 requested.

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Ceramics Monthly June/July 2006 2 Seth Rainville Don Ridley [email protected] [email protected] At the Phoenix Center for the Arts Ceramics Department, Resident Artist Seth Rainville and Instructor Don Ridley teach over 100 students each 14-week session. “Our students have high expectations and our Geil DLB 30 delivers. We fire to Cone 10 about once a week with over 20 different glazes on various clay bodies, and our kiln consistently produces great results time and time again. “When you’re firing everything from paper-thin porcelain to thick sculptural work, with copper reds and carbon trap shinos all in the same load, it’s great not to have to worry about even reduction or top to bottom temperature difference. And the durability and ease of operation are two additional reasons why this 10-year-old Geil is still the work horse that it has always been, and why we wouldn’t use any other brand.”

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Ceramics Monthly June/July 2006 3 How long does your kiln last? Easy-Fire kilns are durable, easy to use, easy to service & come with a Three Year Warranty. Hard Ceramic Element Holders Make the Difference!

Call - 877.HOTKILN L&L Kiln Mfg., Inc. PO Box 1898, 8 Creek Parkway, Boothwyn PA 19061 PHONE: 610.485.1789 or TOLL FREE: 877.468.5456 FAX: 610.485.4665 EMAIL: [email protected] WEB: www.hotkilns.com Ceramics Month ly June/July 2006 4 JUNE/JULY 2006 / Volume 54 Number 6

MONTHLY focus innovation

30 Lattice Structures by Jesse Hull with Orchestrating Aesthetics: Balancing Form and G laze by John Tilton, Seeding Precedence: The Basics by Fara Shimbo and Re-envisioning Traditional and Modern V iews by Jo Yi-Hyun Crystalline-glaze gurus and enthusiasts gather in K ansas City, Missouri, to discuss technical and artistic concerns. 34 Hai Kaburi Creating Consistent Crusty Wood-Fire Results by Lee Middleman

38 Glaze Forward by Diana Pancioli A lending library of test tiles allows hands-on exploration of Cone 6 reduction glaze surfaces. recipes Cone 6 Reduction

41 A Hybrid Kiln for Hybrid Surfaces by Dave Zdrazil Students and teachers build a gas- and wood-fueled salt kiln that produces a wide variety of surfaces. features 44 Heads and Horses The Ceramic Work of Jean-Pierre Larocque by Andy Nasisse 48 Amy Lemaire G lass as G laze by Elizabeth Reichert monthly methods Mastering Clay and G lass Fusion

52 Horsehair Raku by Bob Hasselle A post-firing reduction process helps a potter develop an aged patina to match his neolithic imagery. monthly methods The Horsehair Process recipe Riggs Terra Sigillata 54 The Dark Side of Athanasius by Brian Fiorentino 30 Perserverance and detective work eventually pay off in an artist’s attempt to restore a cathedral’s eighty-year-old custom tile floor. monthly methods Custom Tile Cutters recipes Tile and Saggar Bodies

cover: Untitled, 99 cm (39 in.) in height, slab-, coil- and handbuilt, with thin, textured slabs thrown onto the surface, glaze, 2006, by Jean-Pierre Larocque, Montréal, Québec, Canada; XX48 34 XXXX 38 page 44. Photo: Bertrand Carrière.

Ceramics Monthly June/July 2006 5 departments 10 from the editor

12 letters from readers

14 answers from the CM technical staff

18 suggestions from readers 18 Tip of the Month: Make a Name for Yourself

20 upfront reviews, news and exhibitions 58 call for entries 58 International E xhibitions 58 United States E xhibitions 60 Regional E xhibitions 60 Fairs and Festivals 62 new books 70 calendar 70 Conferences 70 Solo E xhibitions 74 G roup Ceramics E xhibitions 75 Ceramics in Multimedia E xhibitions 78 Fairs, Festivals and Sales 79 Workshops 84 International E vents 93 classiﬁed advertising 95 index to advertisers 96 comment Super Iga by W. Lowell Baker

online www.ceramicsmonthly.org current features, expanded features, archive articles, calendar, call for entries and classifieds XX special listings 24 G allery G uide Where to see ceramics in the U.S. and abroad Residencies and Fellowships Full listing of professional-development opportunities Summer Workshops 2006 E verything you need to plan an educational getaway

26 22 24

Ceramics Monthly June/July 2006 6 Ceramics Monthly June/July 2006 7 You name it, we’ve got it! Best prices. Best service. Best Selection. www.baileypottery.com is your source!

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Ceramics Monthly June/July 2006 9 from the editor

You may have noticed that you are read- though it is arguably one of the oldest project. The CM readership has widely ing the June/July issue of CM, rather creative human endeavors, is to this day varying areas of specific interest, but we than the usual June/July/August issue. rife with artistic and technical innovation. all share an excitement for clay as a cre- We’re doing this, along with an August/ Whether the topic is glazes, kiln design, ative endeavor, and that requires constant September issue, in order to shorten the use of materials, or forming methods and innovation. We all must come up with “summer CM drought” you are no doubt techniques, ceramics begs us to innovate. better ways of doing things, continually begrudgingly accustomed to enduring. Certainly, there is proof of innovation improving what we do and how we do it. This is just one of CM’s innovative new beyond the scope of the articles presented Sometimes it’s a matter of survival; some- ideas; it is only fitting, therefore, that it is in this issue, and just because it is already times ambition, restlessness, boredom, launched in conjunction with an issue in your hands doesn’t mean you can’t compulsion—you get the idea. So let me focused on innovation. Ceramics, even send me your innovative process, idea or know what you are up to. Go to www.ceramicsmonthly.org and click on “Letter to the Editor,” or send an e-mail to [email protected]. In addition to inviting input from the entire CM readership (and at the risk of overloading my Inbox), I would particu- larly like to invite students to contribute to Ceramics Monthly. We’re all involved in education in one way or another, and I’m interested in hearing about the all- too-often overlooked perspective of the ceramics student. One can be a student in any number of capacities, at a multitude of academic and nonacademic institutions, experienc- ing real learning and growth through a wide variety of educational models. Be- cause of this, I don’t want to get too narrow in what I’m asking for, so I’ll start with what I don’t want: I don’t want your artist statement. That is to say, if your artist statement is anything like mine was as a student, leave it on your hard drive. Write a student statement and send it to me. Explore your current education not in terms of where you want to end up but where you are. As students, we are required to reach beyond our boundaries, stretch our minds and expand our potential. This is as it should be; it’s part of what a good education is about. But being a student is, in and of itself, a sin- gular experience. This is the perspective I am looking for. Think about this as an opportunity to be the instructor. You are an expert on the topic of students, and you are fully qualified to teach on the subject.

Sherman Hall, Editor

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Ceramics Monthly June/July 2006 11 letters

Marketing Pots Of course, each person’s experience is Carol B. Eder’s thoughts on food and pots different, and no doubt there are plenty of [ April Letters] made me think of interesting glazes that will end up looking the same, ways two rogue colleagues and I show our especially a commercial gloss. I felt obliged pots at sales events. We set the table with a to share my results, because I am sure they velvet tablecloth and napkins, silver cutlery, are not unique. fresh fl owers and, of course, ceramic place David Ross, Sonoma, CA settings, serving pots and platters. The soup bowl holds clay buttons, which we call stone soup. We find that the pots walk away What Do You Think? as soon as you paint pictures, use humor • What discovery have you made through ex- and have fun. perimentation that disproves a “rule” you were My card states “Great art won’t match taught? E-mail comments (with your full name the couch,” but an amazing casserole will and address) to [email protected]. speak to the roasted asparagus! It gets the attention that I want for sales. Lynda F.R. James, Sudbury, ON , Canada Bronze and Clay In response to the May Letters question about other materials infl uencing claywork: What Do You Think? My excursion into bronze has been • What is the most humorous sale you ever exceedingly beneficial to my clay pieces. made? E-mail comments (with your full name While creating clay figures in various poses, and address) to [email protected]. I was always making a standing person with lots of cloth to support the lower half but Firing Foible wanted to explore an alternative to this I would be remiss not to challenge some- bulky solution. I chose the medium of thing in the Comment by N ils Lou (“the bronze, which had the strength to support Slippery Slope,” F ebruary CM). He states the weight of the body with bare ankles. that there is no reason not to fire your kiln After this bronze experience, I had a as fast as possible, adding a longer soaking compelling need to try standing figures in period at the end if necessary. Although this clay and chose a slim body to reduce the was my own logic for many years, experi- weight of the medium on the legs. With a ence and contrary advice from another successful initial firing, I have gradually person finally set me straight. increased the volume of the forms with- I fire a variety of matt and gloss glazes to out incident. Cone 8 – 9 and was having particular prob- Each of my early works had a different lems getting consistently smooth, fl awless, color, which evolved from adding oxides to rich surfaces with the matts. I extended the the clay. This method also caused the color time for the last couple cones by hours, yet of individual pieces to be uniform. was still plagued with dry areas and some When interesting hues developed from pinholes. N o amount of glaze formula the application of chemicals to the finished manipulation seemed to make a difference. bronzes, I decided to casually apply oxides F inally, I consulted with someone. I to the fired clay, and enjoyed the variety of resisted his advice because it seemed counter colors and values that came from the ran- intuitive. He told me that a slow rise in domness of the process. temperature from bisque to Cone 8 would Norman Holen, Minneapolis, MN provide a far superior glaze melt than slow- ing down at the end, or even extended Correction soaking at the top cone. He recommended On page 4 3 of the April issue [ “Jan taking about six hours to get from Cone 0 6 Schachter: P otter,” by Linda Mau] , the to Cone 8 . recipe for Black Oak Wood Ash Glaze All I can tell you is that, after years of included an addition of Bentonite listed at frustration with less-than-ideal results, this 2 0 % . That amount is actually 2 % . We new schedule solved all my problems. N ow, apologize for this typographical error. I only deal with questions of application and formula alterations, knowing that each Read more Letters online at www.ceramicsmonthly.org/letters. firing will be excellent. The glazes are abso- Submit letters by e-mailing [email protected]. In- clude your full name and address. Editing for clarity or brevity may lutely affected by the firing speed long take place. Letters also can be mailed to Ceramics Monthly, 735 before they actually look like glaze. Ceramic Pl., Suite 100, Westerville, OH 43081. Ceramics Monthly June/July 2006 12 Ceramics Monthly June/July 2006 13 2006 CERAMIC answers From the CM Technical Staff

WORKSHOPS Q How can I produce a high shine on the careful drying to the leather-hard stage is impor- surfaces of pots that I’m pit firing, similar to tant in preventing smudging and smearing of the Fire & Smoke those produced in the American Southwest? I decoration. It is important, however, that you Tim Scull have tried wax and polish, but I am worried that apply the slips at a soft leather-hard stage to ensure $ Tuition: 285 those won’t be permanent.—L.T. that they will fully adhere to the clay body. June 17, 18 The shine on the surface of the pots found in P ottery that has a combination of matt and Unload: June 19am many parts of the world, including the American glossy areas on the same piece is produced by Southwest, is simply a result of burnishing the burnishing the entire piece, then painting a thin Crystalline Glazes surface of the work during the leather-hard stage. layer of slip on the portions of the work you want Tim Scull Burnishing is a rather simple technique. There to be matt. Tuition: $225+clay are only a few basic requirements of the object and You will find that burnishing is much more July 29, August 26 clay to make the technique work for you. The first noticeable at temperatures below Cone 0 4 . The is simplicity of form. You can burnish almost any clay surface tends to look denser (even vitrified) at Wood/Salt Firing clay surface, but delicate, highly undulating, or higher temperatures. This generally does not show Tim Scull textured surfaces will not respond well to burnish- off burnishing as well as lower temperatures. Tuition: $385 ing. The second requirement is a clay body that has W. Lowell Baker June 22, 23, 24 a high percentage of fines (small clay particles) and Professor of Ceramics Unload June 25am a low percentage of grog, sand, or larger clay University of Alabama particles. If you choose to use a coarse clay body, Functional then you can coat the surface with a fine-grained Q Could you give an estimate of the amount of Altered Pots slip or terra sigillata [ see Word of the Month on propane gas used in a sprung-arch updraft kiln Sarah Gross page 1 6 ] . Terra sigillatas and slips also offer you the with the approximate interior dimensions of Tuition: $225+clay opportunity to alter the color of your clay surface, 36x36x42 inches, one course of K23 insulation July 8, 9 as in the case of many of the Southwestern pieces brick, with 2 inches of fiber blanket backing? you may have seen. The kiln is fired to Cone 10. I would be using four Fearless Electric As the clay is drying, it will change from the venturi burners rated at 77,400 Btus, each at 11 Firings plastic state to a soft leather-hard stage. At this inches WC (water column) pressure.—J.F. Tim Scull & the Bailey point, you will want to begin smoothing the sur- Your question cannot be answered definitively Pottery Equipment face of your work in preparation for burnishing. I because many variables affect the possible ranges. Company like to use a hard plastic or steel rib to compress the The short answer is that your kiln could be fired to $ Tuition: 110, July 16 surface. D rag the rib across the surface at an angle Cone 1 0 with as little as 1 9 gallons of LP G or as Throwing & that compresses the clay rather than scrapes or much as 1 0 0 . Here’s why: Individualizing planes the surface. The weight of the kiln load (not the dimensions Large Functional Let the work dry to a point where no soft of the kiln) will determine the amount of Btus Forms clay sticks to your dry finger when you rub it across required. This weight includes kiln furniture, bag Bob Crystal the clay. I prefer to dry my work in a tightly sealed walls and any hardbrick interior, as well as the ware plastic bag for two days to a week. This slow drying Tuition: $225 itself. Your firing protocol will also dictate gas July 22, 23 ensures that the clay is evenly dried to a hard leather- usage. And finally, combustion efficiency will af- hard consistency. Once the work is sufficiently dry, fect everything. F or example, if you start with a Five Days of Fire you can start the burnishing process. candling overnight, that will use a lot of fuel, not to Wood, Salt, Gas, Saggar There are several tools that work well for bur- mention time. Saturating the kiln with heat will Tim Scull & Staff nishing; try a stainless steel spoon, a highly polished diminish the K -factor of the insulating walls so you Tuition: $485 rock or a hard plastic bag pulled tightly over your will use more fuel to get to temperature than if you August 7-11 finger. (Choice of plastic bag is an art in itself; some heated rapidly. work and some don’t.) Simply rub the stone, etc. To fire efficiently, fire rapidly. As long as you Form & on the surface of the clay. You will note that the are firing work that has already been bisqued, start Contrast mark left by the stone is slightly glossier than the and continue with the burners on full. Set the Tom O’Malley surrounding clay. You simply try to cover the damper open until Cone 0 1 0 , then adjust for a $ Tuition: 225+clay entire object with these glossy marks. To achieve slight reduction atmosphere (assuming you want a August 19, 20 a higher luster, you can then change the direc- body/glaze reduction). A slight fl ame at the ports tion of your rubbing and cover the object again. will begin at around 1 8 0 0 °F (9 8 2 °C). You want to For detailed info and to register: The burnished finish is best achieved using the avoid carbon and smoke. www.cantonclayworks.com plastic bag. To set your burners for efficient combustion, Through trial and error, you will learn the best turn the burners on to full pressure and, with the Canton Clay Works llc, stage of dryness at which to burnish your work. If door open, observe the fl ame while someone ad- Canton, Connecticut you are adding slip or terra sigillata decoration, justs the primary air disk on your atmospheric (860)693-1000 Ceramics Monthly June/July 2006 14 Ceramics Monthly June/July 2006 15 answers burners. When each burner has a predominantly F or a detailed discussion on combustion, burn- faster, resulting in a drop in pressure at the constric- blue fl ame with a minimum of yellow, and all four ers and Btus, refer to chapters three and four in my tion. This effect is known as Bernoulli’s P rinciple, are the same, tighten the locknut on the disk. Your book The Art of Firing. based upon the mathematical description by the burners will now be set for neutral combustion. Nils Lou eighteenth-century Swiss scientist D aniel Bernoulli. Changing the atmosphere can then be done with Willamina, OR The type of gas burner known as a V enturi the damper, as it affects the introduction of second- burner (also called an inspiriting or atmospheric ary air for the desired degree of reduction. Q W hat is the V enturi effect that is referred to burner) is designed with a constriction or “neck” in In summary, don’t candle bisqueware, don’t in descriptions of gas burners and in discussions the burner tube that causes the gas entering the ramp up slowly, fire with burners set for neutral of fuel- burning kilns? — P . S . back end of the burner to speed up as it passes combustion (don’t over-reduce), and stack loosely A V enturi is a constriction in a tube or pipe that through the neck. This results in lower pressure so the heat can move through the kiln. causes liquid or gas fl owing through the pipe to fl ow(suction) that draws in air from outside of the burner through the adjustable air ports or gap near the back end of the burner. This air (known as “primary” air) mixes with the gas in the burner and provides for combustion at the burner outlet. This same principle was used for years in the automobile carburetor. Air drawn in through the carburetor passed down through a constriction (the carburetor throat) where the resulting lower ³,KDGDOZD\VXVHGP\RZQJOD]HUHFLSHVEXW pressure drew in gasoline that mixed with the air 6SHFWUXP¶V5DNX*OD]HVJDYHP\ZRUNVRPH and passed to the cylinders. H[FLWLQJQHZGLPHQVLRQVDQGWKH\DUHVR The term Venturi effect has also been used to describe certain design features in fuel-burning FRQYHQLHQW´,DQ&KXQJ kilns, such as constrictions in the exhaust fl ues, which are claimed to create localized regions of lower pressure and improved fl ow or mixing. In many cases, this is an overgeneralization or misuse of the term, and the effects claimed are not actually due to the V enturi effect. Phil Berneburg Bethesda, MD

Word of the Month

Terra Sigillata Terra sigillata (Latin for “sealed earth”) is a very dilute slip or suspension of extremely fine clay particles in water generally applied as a coating on leather-hard pottery in order to change the color, and provide a smooth surface that can be burnished and polished to a high shine. It was used on the ancient Greek red-and-black pottery and R oman redware, as well as in pre-Columbian Central and South America. It is prepared by allowing a defl occulated (dispersed) clay suspension to stand in a container until the coarse particles have settled to the bottom, leaving only the finest clay particles remaining above in sus- )RU'HWDLOVRQKRZ,DQPDGHWKHSRWVJRWRRXUZHEVLWH pension. Typically, a layer of clear water will KWWSZZZVSHFWUXPJOD]HVFRP also appear at the top; this is removed before siphoning off the cloudy middle layer (the 2XU1HZ$GGUHVV)HQPDU'U3KRQH terra sigillata layer) for use. 7RURQWR21 If you have a question about this or any other ceramics topic, ask &DQDGD )D[ the CM experts at [email protected]. You also 0/0 (PDLOLQIR#VSHFWUXPJOD]HVFRP can mail questions to Ceramics Monthly, 735 Ceramic Pl., Suite 100, Westerville, OH 43081; or fax to (614) 891-8960.

Ceramics Monthly June/July 2006 16 Ceramics Monthly June/July 2006 17 suggestions

Getting to the Point ’ ’ fi fi fi “ ” —Rick Erickson, Green Bay, VA fi Tip of the Month Make a Name for Yourself fl fl

’ Congratulations to Gini James of Silver Spring, Maryland. Your subscription has been extended by one year! Share your ideas with others. Previously unpublished sugges- ﬁ tions are welcome. Ceramics Monthly will pay $10 for each one ﬁ published. Include a drawing or photograph to illustrate your idea and we will add another $10 to the payment. E-mail to [email protected]; mail to Ceramics Monthly, 735 Ceramic Pl., Suite 100, Westerville, OH 43081; or fax to (614) 891-8960.

Ceramics Monthly June/July 2006 18 S HIMPO ’ S NRA–04/04S

POTTER’S WHEELS

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Ceramics Monthly June/July 2006 19 upfront reviews, news and exhibitions

20 Poetic Expressions of Mortality: Figurative Ceramics from the Porter-Price Collection by Dorothy Joiner Mobile Museum of Art, Mobile, Alabama; Montgomery Museum of Fine Arts, Montgomery, Alabama 22 Feats of Clay XIX G ladding, McBean Factory, Lincoln, California 24 For the Garden Maine Potters Market, Portland, Maine 24 Under the Influence X iem Clay Center G allery, Pasadena, California 24 Decade: Potters of the Hikarigama G lenn and V iola Walters Cultural Arts Center, Hillsboro, Oregon 26 Connecting the Dots Mark Woolley G allery, Portland, Oregon 26 Carole Hanson Epp Dashwood G alleries, Calgary, Alberta, Canada 26 Blair Meerfeld Margo’s Pottery and Fine Crafts, Buffalo, Wyoming 28 Colorado Clay Foothills Art Center, G olden, Colorado 28 Mary E. Nyburg, 1918–2006

Top: Michaelene Walsh’s “After Balthus,” 16 in. (41 cm) in height, clay with glazes, acrylics, rubber, metal and wood, 1996. Middle left: Doug Jeck’s “Figurine,” 14 in. (36 cm) in height, porcelain, 1998. Middle right: Wesley Anderegg’s “Yanked Head Goblet,” 7¹⁄₄ in. (18 cm) in height, earthenware with stains and glazes, 2000. Bottom left: Keith Wallace Smith’s “Incarceration,” 34 in. (86 cm) in height, terra cotta, matt glaze and iron. Bottom right: Frank Fleming’s “Watermelon Seed Spitting Queen (from the Debutante Series),” 21 in. (53 cm) in height, porcelain, 1992.

Ceramics Monthly June/July 2006 20 Ronna Neuenschwander’s “Kungo Kono Sogo (Animal in the Bush),” 12 in. (30 cm) in height, earthenware, with terra sigillata and recycled ceramic mosaic; at Mobile Museum of Art, Mobile, Alabama and Montgomery Museum of Fine Arts, Montgomery, Alabama. review: Poetic Expressions of Mortality: Figurative Ceramics from the Porter-Price Collection by Dorothy Joiner

U nder the sway of the ancient Greeks, Western art has typically Mobile, Alabama, and at the Montgomery Museum of F ine Arts sought the ideal and the beautiful. Establishing a repertory of (www.fineartsmuseum.com) in Montgomery, Alabama, from Au- “perfect” shapes, Greek potters made vessels embellished with gust 1 2 to September 2 4 . classically proportioned figures—gods, goddesses, as well as men D epictions of physical abnormalities abound in P orter’s and women. Eschewing this penchant for the fl awless, however, collection, revealing a physician’s predilection for the atypical. some artists, especially since the seventeenth In “F igurine,” D oug Jeck’s pudgy little century, have signaled man’s foibles and de- boy sits on a low seat, lifting his head up fectiveness; in a word, human mortality. at an angle, eyes as though sightless rolled Caravaggio’s “D eath of the V irgin,” for ex- back in his head. One hand bent awk- ample, shows Mary as a veritable cadaver, wardly back, toes splayed, the child her belly distended with the bloat of death, projects the pitiable strain of a neuro- her unshod feet protruding over the edge logical disease. Almost too large for some- of the bier. And R embrandt’s terrified one his age, the prominent virile member Ganymede releases a stream of urine as the seems to identify the little boy as already eagle (Z eus) wafts him up to Mount bearing the weight of human sexuality. Olympus. Cupbearer of the gods, indeed! Even for those without bodily anoma- F ollowing Caravaggio’s nod to the ordi- lies, life contains pain, as shown in other nary and the repugnant, contemporary art- works. The bust of a deeply troubled ists reveal a growing tendency to male, Curt LaCross’ “The Gates of Self,” acknowledge the underside of life. As evi- is startlingly naturalistic: domed, bald dence of this waxing trend, the P orter-P rice head; stooped shoulders; uneven, droop- Collection of figurative ceramics is a veri- ing brows; prominent, strained tendons table celebration of the misshapen. Calling in the neck; skin ruddy with age and himself an “equal-opportunity collector,” pe- sun; piercing eyes laden with dejection. diatrician R on P orter chooses art not be- Though “normal,” LaCross’ man seems Curt LaCross’ “The Gates of Self,” cause of its maker’s renown but rather for “a 26³⁄₄ in. (68 cm) in height, stoneware weighted with emotional burdens. fl utter of the heart,” the affinity he feels for with acrylic paint and glass, 2004. Trapped within an iron cage, the black the work. “It is,” he says, “as if the artist and male head of K eith Wallace Smith’s “In- the collector share some hidden common past that allows both to carceration” projects at once stoic resignation and sullen defiance. experience something almost spiritual with each new work.” Hav- Bars pierce his cheeks, yet he thrusts chin and neck beyond the ing purchased over 4 0 0 pieces from 6 3 artists, P orter now has enclosure, a powerful image of resistance to societal constraints. difficulty finding space in his modest home for new acquisitions. R onna N euenschwander’s “K ungo K ono Sogo (Animal in the The burgeoning collection includes life-sized sculptures, smaller Bush),” joins a human head, arms and legs to a crouching animal figures and figurative groups, wall pieces, vessels, plates and plat- body, the back arched as though about to spring. Inlaid with ters, as well as folk-art works. Selecting 9 8 pieces by 6 1 artists from colored ceramic shards, the creature represents the hybrid identity the P orter-P rice Collection, curator Martha Connell has assembled fundamental to a mythopoeic sensibility. a masterful exhibition, which is on display through July 2 3 at The collection, nonetheless, is not without more playful inter- the Mobile Museum of Art (www.mobilemuseumofart.com) in pretations of the weird. Michaelene Walsh drapes a funkily clad

Ceramics Monthly June/July 2006 21 upfront young woman on a kind of couch. Calling her narrative “After Balthus” (1996), the artist alludes to the enigmatic Swiss painter’s kinky representations of adolescent sexuality. Wesley Anderegg’s two “yanked” pieces, moreover, revel in the artist’s characteristic mock horror. His mouth open in quizzical dismay, the mottled, rusty figure of “Yanked Man Teapot” (not shown) holds in each hand the halves of a “man” ripped in two at the waist. And brandishing aloft the scooped-out head dismembered from its own torso, the figure of “Yanked Head Goblet” (page 20) rounds his mouth as if to howl. Belying the ghastliness, however, is the cup’s luscious indigo hue, touched with a lively aqua. A simian creature without legs, dressed in a short skirt, Frank Fleming’s “Watermelon Seed Spitting Queen,” (page 20) balances a watermelon slice on her head. Understated in its overall bisque color as well as in its subtle irony, Fleming’s “queen” is from the “Debutante” series. In a country of picture-perfect, manicured chem-lawns, straight- ened teeth, and shiny, waxed apples—the American avatar of the Greeks’ love of perfection—not everyone has a “flutter of the heart” in the presence of the monstrous. But the combination of Porter’s affinity for the grotesque and Connell’s curatorial expertise has resulted in an exhibition displaying what William Butler Yeats characterized as “a terrible beauty,” a welcome counterweight to the national tendency to distance from the community whatever is unpleasant or overtly painful.

Feats of Clay XIX The nineteenth annual “Feats of Clay” exhibition, sponsored by Lincoln Arts, (www.lincolnarts.org) is on display in a beehive kiln

Skuja Braden’s “Double Artists Portraits,” 12¹₂ in. (32 cm) in height, slab-built porcelain, with painted and inscribed design, with stains, glazes, lusters and gold, ﬁred to Cone 6, $810; at Gladding, McBean, Lincoln, California. rejected.” Duff added that she wished that she had more than four awards to bestow. First place went to La Mesa, California, artist Gregg Jabs for his sculpture “Each Day is a Gift.” Second place was awarded to Julie Crosby of Trumansburg, New York, for her untitled wood-ﬁred bowl. Suzanne Kane of Las Cruces, New Mexico, received the third place award for her sculpture “Tasks of Learning” (not shown). The Tile

Julie Crosby’s bowl, 9¹⁄₂ in. (24 cm) in diameter, thrown and altered stoneware, wood fred, $500. at the historical Gladding, McBean Factory in Lincoln, California, through June 30. This year’s juror, Brevard, North Carolina, potter Judith Duff, had the difficult job of choosing 75 pieces from more than 1600 entries. “It was an overwhelming task and every slide was seriously considered,” said Duff. “The strength of the show made Gregg Jabs’ “Each Day is a Gift,” 32 in. (81 cm) in width, handbuilt stoneware and low- selection very difficult and many excellent works were regretfully fire clay with underglazes and glaze, steel frame and wire mesh, $2000.

Ceramics Monthly June/July 2006 22 Ceramics Monthly June/July 2006 23 upfront

Heritage award was given to “D ouble Artists P ortraits” (page 2 2 ) by nia. Since 1 9 9 9 , the production and ﬁring of many of Soldner’s pieces Skuja Braden. (“Skuja Braden” is the name of a collaborative effort by has been facilitated with the assistance of Coquia, Soldner’s junior by Meadow V ista, California, artists Inguna Skuja and Melissa Braden.) 5 1 years. Coquia cites his involvement with Soldner as sparking new conceptual and technical initiatives in his own creative development. For the Garden The title of the exhibition, conceived by K irk D elman, curator of the “F unctional and Sculptural P ottery for the Garden,” an exhibition of Marer Collection at Scripps College and close friend of both artists, works designed to enhance the garden, will be on display through June salutes and satirizes the relationship of Soldner and Coquia. 3 0 at the Maine P otters Market (www.mainepottersmarket.com), a cooperative gallery in P ortland, Maine. All of the works in the show Decade: Potters of the Hikarigama were created by the Market’s ﬁfteen members. “D ecade: P otters of the Hikarigama, 1 9 9 5 – 2 0 0 5 ” was on display recently at the Glenn and V iola Walters Cultural Arts Center (www.ci.hillsboro.or.us/WCAC) in Hillsboro, Oregon. The exhibition

Jennifer Everett’s hanging planters, 9 in. (23 cm) in diameter, thrown stoneware with stamped decoration and multiple glazes, ﬁred to Cone 10 in reduction; at the Maine Potters Market, Portland, Maine.

Maine P otters Market manager Anne Samson commented, “It’s always exciting to see what each potter will make for one of our group shows because they often stretch beyond their regular work and create pieces that they never knew were inside them.”

Under the Inﬂuence “U nder the Inﬂ uence,” an exhibition of new works by P aul Soldner and James Coquia, is being exhibited through June 2 4 at the X iem Clay Center Gallery (www.xiemclaycenter.com) in P asadena, Califor-

Natalie Warrens’ Untitled, 26 in. (66 cm) in height, thrown stoneware, wood ﬁred in Hikarigama with alder, ﬁr and oak, $3500; at Glenn and Viola Walters Cultural Arts Center, Hillsboro, Oregon.

Left: Paul Soldner’s vessel, 16 in. (40 cm) in height, thrown and assembled featured more than thirty artists from the P acific N orthwest and other low-fire clay, salt fired. Right: James Coquia’s “Dicephalopod,” 17¹⁄₂ in. (44 cm) in height, handbuilt earthenware with copper oxide and terra regions of the country who have fired work in the Hikarigama over the sigillata; at Xiem Clay Center, Pasadena, California. past ten years. Continued

Ceramics Monthly June/July 2006 24 "Amaco/Excel kilns allow me to move through ideas quickly, and experiment more."

Jim Kemp Recipient of "Creative Renewal Grant" Indiana Arts Commission

"It's a lot easier to fire the EX-399 electric kiln than "All the materials I use in my studio are Amaco®: a gas kiln. I had to attend to my gas kiln for Velvet Underglazes, 67-M Indian Red Clay, ware 12 hours. Now firing is usually 6 hours and the carts, Brent® wheels and now kiln shuts off automatically. The Creative Renewal EX-399 kilns." Fellowship Arts Grant paid for the electrical To buy a "Play With It" T-shirt wiring and an equipment purchase of two like Jim's from the Amaco Retro Amaco/Excel EX-399 models". Collection, visit www.amaco.com. American Art Clay Co., Inc. • (800) 374-1600 • www.amaco.com • Email: [email protected] Ceramics Monthly June/July 2006 25 upfront

“Each artist has a different vision and Hikarigama has offered each like to think of my work as human stories with a playful twist that adds artist different things,” said Hiroshi Ogawa, who built the Hikarigama an ironic edge in which titles, mediums and concepts can all play a part.” with Howard K iefer in 1 9 9 4 – 1 9 9 5 . “At the same time it is collaboration that built the kiln; collaboration that feeds its fires, linking all of Carole Hanson Epp the friends who have helped, all the artists, all the pieces—a community.” “A Collection of Small Miseries,” the latest body of work by Canadian artist Carole Hanson Epp, is on display through June 3 0 at D ashwood Connecting the Dots Galleries (www.dashwoodgalleries.com) in Calgary, Alberta, Canada. “Connecting the D ots: Ceramics from P ortland, Tucson and N ew The exhibition is part of D ashwood’s Emerging Artists series. York,” was recently on display at the Mark Woolley Gallery “I chose to work from within my personal context as a consumer,” (www.markwoolley.com) in P ortland, Oregon. The exhibition, which explained Hanson Epp. “This allowed for the presentation of the was held in conjunction with the 2 0 0 6 N ational Council on Education for the Ceramic Arts (N CECA) conference, included works by Tim D iggles, Thomas Orr, K athy R uttenberg, K athleen Stephenson and Ted V ogel. “If my intention is successful, the viewer will be filled with something optimistic even if the core of the piece has been inspired by darkness or personal tragedy,” said Bearsville, N ew York, artist K athy R uttenberg about her figurative sculptures. “I feel that my pieces have many levels on which to be viewed. Besides the importance of visual beauty and strong narrative, the work should portray some personal illumination. Life fills each day with rich subject matter for me and I

Carole Hanson Epp’s “Such Things Brought Tears to Her Eyes,” 14 cm (5 in.) in height, slip-cast and handbuilt mid-range clay, multiﬁred with stains, engobes and china paints, 2005; at Dashwood Galleries, Calgary, Alberta, Canada.

subject matter to include the impact that one has upon it through simple daily actions. By bringing the overwhelming and devastating nature of war, terrorism, poverty, starvation, genetic technology and environmental degradation back to a dialog about the individual consumer, I felt that I could offer more positive outlooks for proactive change in regard to the issues.”

Blair Meerfeld The salt-glazed stoneware work of Saguache, Colorado, artist Blair Kathy Ruttenberg’s “Worlds Apart,” 36 in. (91 cm) in height, handbuilt stoneware with slips and glazes, ﬁred multiple times Meerfeld is on view through July 1 5 at Margo’s P ottery and F ine Crafts to Cone 6; at Mark Woolley Gallery, Portland, Oregon. (www.margospottery.com) in Buffalo, Wyoming. Continued

Ceramics Monthly June/July 2006 26 800-848-9565 Tony Sarempa at NCECA 2006 www.ThomasStuart.com Ceramics Monthly June/July 2006 27 upfront

”

Mary E. Nyburg, 1918–2006 ﬁ ﬁ

Submissions to the Upfront column are welcome. We would be pleased to consider press releases, artists’ Blair Meerf eld’s ov al pitcher, 11 in. (28 cm) in height, stoneware, statements and images in conjunction with exhibitions or other events of interest for publication. Images salt glazed; at Margo’s Pottery and F ine Craf ts, Buf f alo, Wyoming. should be high-resolution digital on CD, or original (not duplicate) slides or transparencies. Mail to Ceramics Monthly, 735 Ceramic Pl., Suite 100, Westerville, OH 43081. “ fi ” “ galleries in this issue ’ American Museum of Ceramic Art, Pomona, California www.ceramicmuseum.org fl ”Dashwood Galleries, Calgary, Alberta, Canada www.dashwoodgalleries.com Colorado Clay Foothills Art Center, Golden, Colorado “ ”www.foothillsartcenter.org Glenn and Viola Walters Cultural Arts Center, Hillsboro, Oregon www.ci.hillsboro.or.us/WCAC Greater Denton Arts Council, Meadows Gallery, Denton, Texas www.dentonarts.com Lincoln Arts, Lincoln, ’ California www.lincolnarts.org Maine Potters Market, Portland, Maine www.mainepottersmarket.com fiMargo’s Pottery and Fine Crafts, Buffalo, Wyoming www.margospottery.com “ Mark Woolley Gallery, Portland, Oregon www.markwoolley.com Mobile Museum of Art, Mobile, Alabama www.mobilemuseumofart.com Montgomery Museum of Fine Arts, Montgomery, Alabama www.fineartsmuseum.com Pottery Northwest, Seattle, Washington www.potterynorthwest.org ” Smithsonian “ Institution, ’ Washington, D.C. www.si.edu Xiem Clay Center Gallery, Pasadena, California Paul F . Morris’ “Dusky Phenomenon Ewer,” 38 in. (97 cm) in height, handbuilt www.xiemclaycenter.com earthenware with slips, ox ides and glazes; fi at F oothills Art Center, Golden, Colorado.

Ceramics Monthly June/July 2006 28 Ceramics Monthly June/July 2006 29 L A T T I C E S T R U C T U R ES by Jesse Hull

Platter, 17 ¹⁄₂ in. (44 cm) in diameter, thrown porcelain, with multilayered crystalline glazes, f ired to Cone 10 in ox idation in a gas kiln, 2006, by Bill Campbell, Cambridge Springs, Pennsylv ania.

When I first began studying crystalline glazes, I found few local sources willing to share their experience, so exploring written research by the likes of D iane Creber, P eter Ilsley and D erek Clarkson seemed a better process for learning. Years later, I joked with Clarkson about my dented walls and the matching bumps on my forehead, but I had found my way. Also working within the realms of wood firing, soda/salt firing and raku, I recognized the incomparable network crystalline artists in particular had formed within the ceramics world. When Steven and Susan Hill asked me to curate a show, I had already been in communication with many artists who seemed like family. I was compelled to strengthen those ties, offer others a source from which to learn and prepare the gathering that was deserved. A lattice structure defines the intricate array forming a crystal, and “LatticeStructures” was established to survey the most deliber- Detail of an ov oid v ase, with silv er nitrate-colored crystalline glaze, ate form of its progression in art: macrocrystalline glazes. The multif ired, by William Melstrom, Austin, Tex as.

Ceramics Monthly June/July 2006 30 focus innovation

Orchestrating Aesthetics: Balancing Form and Glaze by John Tilton, Alachua, Florida I’m interested in the way things grow: the way that people grow physically and spiritually, the way that animals and plants grow in nature, and the way that the universe grows in space. In constructing my pots, I want them to be consistent with natural growth processes. My goal is for each piece to present itself as if it evolved naturally without my interference. In the making of pots, it’s important to keep in mind that the spirit of the piece is the most signiﬁcant element. The pot must be alive; it must seem to breathe on its own. Somehow the form and the glaze must unify to produce this effect, transcending both. How that happens is a mysterious process. F orm is more important than glaze because form sets the structure of a piece’s statement; without an honest structure, a good glaze is just pretty clothing. Successful forms have a tension from within, which respects the way things grow on the physical plane. Glazes combine with form to produce the statement of the piece. Each pot seems to have a des- tiny that can be uncovered by the right glaze. Since my pots are about natural growth processes, crystalline glazes are a good match for the forms. The glazes appear organic and complex, and the growth of the crystals in the glass matrix of the glaze echoes the growth process of making the forms, as well as natural growth processes in general. I do quite a bit of glaze testing/tinkering. Here are several general criteria that I use for glazes: 1 . Character of glaze: Above all, the glaze has to ﬁt the character of the pots. 2 . Good crystal/ground combination: I’m interested in showing universes on my pots, so I’m aiming for a crystal/ground relationship that is mostly ground with a few crystals. I like for the ground to be active and for there to be a lot of depth in the surface. 3 . Special effects: I like to keep an eye out for interesting special effects that turn up in the course of glaze testing. These effects might include a glaze surface with a three-dimensional appearance or fractal effects that add visual interest. 4 . Color and value: There are times that a pot seems to call out for a certain color. The glaze must “Wiggle J ar,” 11¹⁄₂ in. (29 cm) in height, thrown porcelain, also have a good range of value and contrast. multilayered crystalline glazes, f ired to Cone 10 ox idation in an electric kiln, 2005, $ 7 90, by J ohn Tilton.

Ceramics Monthly June/July 2006 31 LatticeStructures exhibition opened at R ed Star Studios Ceramic Center on September 2 , 2 0 0 5 , and included work by 2 5 artists from around the world. With the help of four leading companies in the ceramics industry as sponsors, it evolved to include an offsite two-day symposium of four- teen artists, teachers and researchers presenting to an audience of over 1 0 0 people. The exhibition/symposium became an extensive, yet intimate setting for individuals to communicate from the pedestal and stage, and more importantly, through personal interaction. Attendees were offered experience and insight on history, aesthetics and personal processes from pacesetters in ceramics. On a defensive note, I do admit that crystalline glazes live up to the term, “technique-based,” although I fail to see many areas in ceramics falling short of this description. It amazes me how some, after making zinc-silicates simply “appear” on clay objects without any regard for form or crystal-to-background ratios, claim mastery and “Blue and Red F av rile Bowl,” 4 in. (10 cm) in diameter, thrown porcelain, now denounce it as a recurring fad. To press this, I offer f ired to Cone 10, electric drip reduction, 2003, $ 150, by F ara Shimbo. that anyone believing that any art genre ebbs in and out of style needs to have their thought process stripped from Seeding Precedence: The Basics the wheel head and rewedged. Crystallines represent a by Fara Shimbo, Hygiene, Colorado tediously tasking endeavor and, when precision and art- While crystalline glazes often give amazing and spectacular results, their istry are balanced, convey unparalleled brilliance. actual chemical makeup is remarkably simple: Two parts high sodium F or the symposium, I encouraged a focus on the rela- frit/feldspar, one part zinc and one part silica are all that are needed to tionship between all ceramics artists and the industry pro- make a highly serviceable base glaze. Manipulating the proportions, or viding for them. F or this symposium, the goal became adding others will allow the potter to affect changes to crystal size, shape, melding experience from the research/industrial level with color and number. Sodium frits such as F erro 3 1 1 0 and GF 1 0 6 are the artistic, in order to provide the most informative experi- commonly used by “crystallieri” in the U nited States. I use K ona F -4 in ence possible. With fast ramps, high temperatures, and raw glazes and clay bodies for crystalline firing. The effect soda frits and tortuous holds pushing equipment and the need for accu- spars have on the glaze is lowering the melting point of the glaze as to give racy to extremes, one might suggest that if a kiln can handle other ingredients optimal mixing and fl ow during maturation. repeated crystalline firings, it can endure most anything. Much has been written about the necessity of calcining whatever zinc Among the presenting artists, D ave Bartlett, of Bartlett oxide one uses. Z inc oxide is extremely hydroscopic and may have variable Instruments, offered information on their redesigned amounts of water chemically bonded to it. In my experience, calcining motherboard used in many kiln computers today. L& L makes no difference in glaze performance/adherence to the ware. If a glaze K ilns’ Steve Lewicki shared information concerning vents, peels away as it dries, it is almost always because a layer was applied to a thermocouples and electric elements. Jon P acini, from La- previous layer that had not dried completely between coats. The amount of guna Clay Company, spoke on his research with crystallines silica in these glazes might seem a bit high to someone used to formulating on various clay bodies. a “normal” glaze. It must be remembered, though, that the crystal we’re A major topic posed during and following Lattice- trying to grow is zinc silicate, Z n2 SiO4 , and for every two molecules of zinc Structures involved the hurdle of reducing crystalline glazes oxide in the glaze, a molecule of silica is needed just to grow a crystal. This to achieve colors unavailable in oxidation. A reduction is over and above what silica is needed to form the glaze itself without the atmosphere on the way to peak temperature means dam- crystal, and accounts for the apparent excess. age to elements and the volatizing of the necessary zinc in Alumina is widely believed to stiffen the glaze so that crystals cannot the glaze. Some participating artists, including Ilsley and form. I have added up to 1 0 % alumina hydrate or 8 % alumina (as clay) William Melstrom, achieve reduction anyway by modify- to crystallines. The only change in performance was a yellowing of the ing their electric kilns with burner/drip systems, or by overall color of the glaze. Other glaze ingredients will effect crystal growth refiring in a fuel kiln. Others, such as Bill Campbell, use in different ways. Tin oxide, strontium oxide and chrome oxide (or both electric and gas, using computers to simplify Cone chrome-tin stains) will cause the look of the crystals to change from, say, 1 0 oxidation in the latter. A presentation by K ris F riedrich that of a geranium to that of a dandelion—more “petals” per “fl ower.” and P aul Geil illustrated the benefits obtained from a gas Barium and antimony tend to make crystals grow long and straight. kiln with an automatic damper system using a micropro- cessor to control the atmosphere as well as the tempera-

Ceramics Monthly June/July 2006 32 focus innovation

ture. As amazing as the results are, as with many innovations, the cost is more than what most artists can consider. Re-envisioning Traditional and Modern Views by Jo Yi-Hyun, Kyungn ki-do, South Korea F riedrich and Geil understand that crystalline artists comprise one of the smallest, Crystalline pottery was born in the East, developed in the West and then yet fastest growing areas in ceramics, so after reintroduced to the East. The seductive power of its bright colors and fantastic collaborating with them concerning an over- shapes is unique. There are people here who take pride in traditional K orean looked demographic and an extension of the pottery, which has a long history and ranks among the ﬁnest in the world. idea they had brought to fruition, I can say U nfortunately, these same people often reject crystalline pottery as being too that a new kiln design is currently passing technique-based or nontra- the ﬁnal phases of testing. After researching ditional. I am well-skilled many companies supplying superb products, in all areas of pottery mak- and the market as it stands, there is no ing—traditional and non- argument that an affordable, low-mainte- traditional—but I devote nance, automated oxidation/reduction kiln most of my time to crys- is long overdue. talline pottery. The lure of What occurred at LatticeStructures is now its beauty and the challenge spreading as a basis for understanding, and is more than I imagined. invoking a continued inspiration toward en- The beauty of tradi- gineering. I hope it will help many more to tional K orean pottery is value an art form that is is technical, beauti- found in the overall shape, ful and thoroughly rewarding. harmony of color with that F uture events are already being sched- shape and the subtlety of uled, and I sincerely appreciate all the par- each. The most important ticipants who made LatticeStructures the aspect is the color. In fact, success that it is. F or more information on K orean pottery is often cat- participants, visit www.latticestructures.com. egorized by color, whether it is jade celadon, gray-blue celadon or white porcelain. This may be why some people are overwhelmed by the colors of crystalline

pottery and why I feel a Bottle, 10 in. (25 cm) in height, thrown porcelain, certain restraint in choos- wood f ired to Cone 11, 2005, $ 3000, by J o Y i-Hyun. ing the right colors for my work. In the East, the word oh-bang-sek describes the colors that can be mixed to represent space, time and meaning. They are black, white, and the primary colors; blue, yellow and red. I try to use the concept of oh-bang-sek to make colors that can be appreciated by everyone. In a traditional K orean painting the artist’s use of space is very important. This is true for pottery as well. It is very difficult to control the placement and size of the jewel-like crystals in a piece of crystalline pottery. However, when everything comes together, the result is a piece so beautiful that it cannot be denied. To this end, I have tried countless types of glazes, tested various firing processes and used different kinds of kilns. Although many potters may prefer to use an electric kiln, from my experience, much better results can be had from firing in a gas or wood-burning kiln. F or me, making a beautiful piece of crystalline pottery using a wood-burning kiln is like bringing the traditional and the modern together in a harmony that I find irresistible. It’s true that some people, due to personal prejudice or a misunderstanding of the art, may underestimate the value of crystalline pottery. I “Amethyst F lower,” 30 in. (7 6 cm) in height, thrown feel that true beauty speaks for itself and the beauty in a work of art is not porcelain, rutile-colored crystalline glaze, f ired to Cone 10, strike reduction, 2005, by Kris F riedrich, diminished by people who, for whatever reason, choose not to see it. Rancho Mirage, Calif ornia.

Ceramics Monthly June/July 2006 33 Hai Kaburi Creating Consistent Crusty Wood-Fire Results by Lee Middleman

fi fi fi fi “ ” fifi fi ’ fl fi ° ° ¾×

Sake bottle, 15 cm (6 in.) in height, thrown stoneware (a blend of local Kanayama clay and Shigaraki clay), unglazed, wood f ired, by Matsumiya Ryoj i.

Ceramics Monthly June/July 2006 34 focus innovation

The kiln door in the center front of the kiln is bricked up for firing. A square in the middle of the kiln door becomes a top stokehole later in the firing (see diagram below). The before-and-after pictures above show the ware stacked under removable brick hobs (left) and the bed of coals (right), produced by top stoking, which covers the ware later in the firing.

top stokeholes angle iron arch supports

draft holes for top stoking

concrete wall for draft holes for side stoking added support

side stokehole (one on each side)

Ceramics Monthly June/July 2006 35 Top View

The central row of brick hobs are removable to allow for stacking ware below the grate.

The top firebox Side View runs the entire length of the ware chamber.

The ware stacking area is directly beneath brick grates, and becomes buried in coals as the firing progresses.

As the firing nears completion, Matsumiya adjusts the draft hole in the front of the Hai Kaburi kiln before continuing to side stoke.

Ceramics Monthly June/July 2006 36 focus innovation

complete when Matsumiya is satisfied with the coverage of final ash. The graph below illustrates a typical firing schedule. As a result, the ware develops melted glaze at the upper surfaces, different colors (gray, brown, black and some blushes), and a crusty finish below. He prefers ash glaze melted on the top third to half of the ware, leaving a rough, crusty and eroded appearance on the remaining lower portion. Constructed of hardbrick, the kiln takes four days to cool. The larger ware is soaked in hot water when unloaded to prevent cracking. Surfaces of some ware, such as sake bottles, are lightly sanded with fine sandpaper to make them easier to use. Matsumiya now bisque fires most pieces to minimize breakage. The interior dimensions refl ect practical considerations. The lumber company scrap is just less than 6 feet (2 m) long and six hardbricks are 4 feet (1 .4 m) wide, allowing for mortar. The kiln produces consistent results, but Matsumiya will continue to adjust the firing process to improve the look he prefers.

For more information on Kusakabe Masakazu’s bourry box kiln, see Japanese Wood-ﬁred Ceramics, by Kusakabe and Marc Lancet (kp books, 2005). the author Lee Middleman is a full-time ceramics artist living in the San Francisco Bay Area. He participates in wood ﬁring in Japan, Korea and China. His website is www.leemiddleman.com.

Firing Schedule

The kiln is fired with oil for the first 24 hours in order to get V ase, 30 cm (12 in.) in height, thrown stoneware (a blend of local the temperature up to about 450°C (850°F), after which the Kanayama clay and Shigaraki clay), unglazed, wood f ired on its side kiln is side stoked for the remainder of the firing. Once the with ash drips, by Matsumiya Ryoj i, Aomori, J apan. temperature reaches 1250°C (2282°F ), top stoking begins in order to bury the ware in embers from above.

Ceramics Monthly June/July 2006 37 GG L L A A Z Z E E FF O O R R W W A A R R D D by Diana Pancioli

Ceramics Monthly June/July 2006 38 focus innovation

The “Glaze F orward” project was developed to promote reduction- fired glazes at Cone 6 . It works somewhat like library loan; for a small fee, test tiles are sent upon request along with a booklet of MONTHLY methods recipes and analyses. The tiles can be kept and studied for one week before they are forwarded along to the next name on the list. The booklet is yours to keep. Reduction Firing F iring to Cone 6 reduction has some obvious advantages over firing to Cone 1 0 reduction. F irst, the most important part of the to Cone 6 firing—from body reduction to finish—fits nicely into a working I fire these glazes in a softbrick Geil kiln. I load it in the day when candled overnight. In a school setting, this schedule allows morning and begin to candle the load on pilot at about 3 students the opportunity to learn to fire with confidence. Secondly, P .M. After warming for 2 – 3 hours, I turn four burners on low firing to Cone 6 reduction reduces fuel costs significantly, some say and add two more burners every few hours. I leave the kiln by at least a third. Considering the recent increases in the price of on all eight burners (on low) overnight. The kiln is usually fuel, this project is timely. between 7 0 0 – 9 0 0 °F when I leave it in the evening. I designed Glaze F orward with its “real tile” component because I set the damper overnight so that it is open enough to I believe that potters need tangible proof that Cone 6 reduction can maintain a neutral atmosphere, but closed enough so that it produce comparable glazes to Cone 1 0 reduction. I was never satisfied will build heat to 1 1 0 0 – 1 3 0 0 °F by morning. All kilns will using photographs or descriptions to disseminate information about require different damper settings to achieve this. I then turn glazes, and this project allows you to actually see and touch glaze the burners up in order to reach body reduction a few hours samples in person. later when Cone 0 1 2 goes down in both the top and bottom The project works like this: interested artists sign on to the Glaze windows. To put the kiln in body reduction, I close the F orward website, print out a form, fill it out and mail it, along with burner bells to inch and set the damper to cause back a check for $ 1 0 , to the address given. A booklet is sent that includes pressure out the peepholes. 2 2 recipes for Cone 6 reduction glazes, their unity molecular formu- I keep the kiln in reduction for 1 hours, after which las, leach-test results and comments. time I turn up the burners slightly and lessen the reduction Tiles of all the glazes are then shipped for examination, on loan by opening the damper a little. I set the damper to maintain a for one week. After a week, it is the responsibility of the loanee to constant back pressure for the rest of the firing while also repackage and ship the tiles to the next name on the list. Ten sets of keeping the temperature climbing. The kiln usually reaches tiles will be circulating at any given time, so the wait for tiles should Cone 6 between 4 – 6 P .M. I put the kiln into a stronger not be long. It is also possible to receive only the booklet, opting out reduction for the last hour of the firing. I fire these glazes to of receiving and circulating the test tiles. Cone 6 touching and Cone 7 at the 1 0 o’clock position. It is a Hundreds of glazes were tested to find the final recipes that are hot Cone 6 but Cone 7 does not go over. included in the project. I worked to improve them, tweaking the formulas to make them more beautiful, easier to formulate and, as much as possible, stable and craze free. P articipating artists are invited to experiment with the recipes for improvements and variations, and share them with others via the Glaze F orward website. It is intentional that the chemical bases of the glazes vary—some are high alumina matts, others are high calcium, and so on. Each offers its own advantages, particular surface and color response. Some of these recipes derive from Cone 1 0 favorites that have been altered to mature at Cone 6 and adjusted to fit a Cone 6 body. Some are not stable, because certain colors and surfaces cannot be achieved without ignoring the limits of stability. High alumina matts, for example, are often not good candidates for wet interiors or utensil use as they show scratch marks. I have provided strontium substitutes for barium and have added comments about the results of the substitutions on the individual glaze analysis pages. Those glazes containing substances considered toxic have been leach tested by Alfred Analytical Labs. The results Abov e: Satin Celadon test tile, f ired to Cone 6 reduction. are given on the individual glaze analysis pages so that artists may Opposite page: An assortment of Cone 6 reduction glazes know the precise levels of leaching and can make application deci- included in the Glaze F orward booklet. sions accordingly.

Ceramics Monthly June/July 2006 39 recipes F ake A sh (Cone 6 reduction) Bone Ash ...... 5% Dolomite ...... 25 Lithium Carbonate ...... 2 Strontium Carbonate ...... 9 Frit 3134 (Ferro) ...... 10 K entucky Ball Clay (OM 4) ...... 24 Cedar Heights Redart ...... 23 Silica (Flint) ...... 2 100 % This is a beautifully variegated fake ash glaze. It is a brighter yellow on porcelain with hints of green where thicker and terra cotta-colored where thin. It is not stable because it is low in silica, but to alter it would change the ash effect. While it does not meet strict requirements of stability, I use it anyway because I substituted strontium for barium.

T extured B lue (Cone 6 reduction) Talc ...... 17.0 % Whiting ...... 10.0 Frit 3134 (Ferro) ...... 20.0 Nepheline Syenite ...... 30.0 E PK K aolin ...... 13.0 Silica (Flint) ...... 10.0 100.0 %

Add: Z ircopax ...... 10.0 % Cobalt Carbonate ...... 0.5 % Copper Carbonate ...... 1.0 % Rutile ...... 3.0% Bentonite ...... 2.0 %

This is Marcia Selsor’s Waxy White base with a number of colorants added. This variation was derived from a 50/50 color blend with rutile incorporated in the base Top: F ake Ash test tile f ired to Cone 6. for texture. G oes glossy on interiors and breaks beauti- Bottom: Tex tured Blue test tile f ired to Cone 6. fully over textures.

The Glaze F orward palette covers traditional categories such as on porcelain—the colors are brighter, but satin celadon and cold celadon, temmoku, chun/jun and iron saturate, along with some yellow appear washed out on porcelain. standard additions to any color palette—satin white and transpar- On some of the tiles I attempt to show the results of single and ent. The selections also include colored glazes in matt, satin and double applications of glaze to enhance any potential color shifts. gloss, and surface effects such as ash (rivulet). Most of these glazes look best at thin and medium applications. The clay body used to make the Glaze F orward tiles is similar to Where the raw body color shows on the tiles you will notice that Laguna’s B-Mix; it is a white stoneware from R ovin Ceramic Supply the amount of reduction has differed, either from firing to firing, or called “You Betcha.” This body shrinks approximately 1 3 % and the from different locations in the kiln. The glazes are nevertheless glazes are corrected to fit a body with that shrinkage rate. I applied a reduced, despite the varying degrees of body reduction. stoneware body slip to the back of each tile to try to give an impression of the glaze over an iron body. I have tested many of the author Diana Pancioli is professor of ceramics at Eastern Michigan these glazes on porcelain as well as stoneware. Some are better on University in Ypsilanti, Michigan. She conducted this research using porcelain, some worse; for example I prefer fake ash and green gloss their facilities, with the help of her colleague Yiu Keung Lee.

Ceramics Monthly June/July 2006 40 focus innovation A Hybrid Kiln for Hybrid Surfaces by Dave Zdrazil

This piece was fired with wood and gas, and was then salted. The combination of firing methods contributes to the combination of orange peel, wood ash and flashing on the surface.

The spring semester of 2 0 0 5 was my last semester of graduate school at the U niversity of N orth Texas in D enton. I was teaching a Special Topics K ilnbuilding class with twenty students. One of our projects was building a new salt kiln to replace the existing one, which was dilapidated. The new kiln, like the old one, would be a “hybrid,” that is, fired by (no, not fuel cells and solar panels) gas and wood. P rofessor Elmer Taylor and I had collaborated on designing the previous salt kiln; it was a bourry box catenary kiln that included four burners in the firebox. The kiln was basically a prototype for the idea of designing a kiln to be fired on wood and gas. It had lasted for about twenty firings until we decided to build a new-and-improved model, which would be a barrel arch with an internal firebox.

Ceramics Monthly June/July 2006 41 Aside from economics, there were some pretty good reasons why or 6 , then with a few hours of stoking wood one could reach Cone the studio should have such a kiln. Taylor had students learn some 1 0 for a good stoneware temperature. The extra dedication here of the basic principles of how kilns worked and identified the positive would perhaps add a new dimension of learning while also pro- effects it had on their work. We agreed that it was important to give ducing some great work. students the opportunity to experiment with kilns as part of the The main design challenges were to effectively incorporate learning process. We needed a salt kiln that was easy to experiment the burners into an adequate firebox area while having enough with but not too easy to fire. natural draft for the wood and coal pile to burn properly. When you have to prepare and concentrate a bit more in order to A regular barrel arch was built with an inside span of 5 5 inches achieve a good firing, you should, theoretically, learn more. We and a depth of 2 7 inches. It sits on two vertical walls giving it an figured that if the gas burners could get the kiln up to about Cone 5 inside height of 4 5 inches. The front wall of the kiln is corbelled in a few inches where the arch rests, shifting the apex toward the chimney to increase stacking space. The fl oor of the stacking space steps up 1 5 inches from the fl oor of the firebox; the total stacking space is about 1 8 cubic feet. The chimney is generous with inside dimensions of 2 2 ×1 3 inches and a height of about 1 5 feet to provide enough draft, and keep the kiln yard clear of smoke and fumes.

When you have to prepare and concentrate a bit more in order to achieve a good ﬁring, you should, theoretically, learn more.

In the firebox, wood is stoked onto a grate of steel bars, allowing the embers to fall through and preheat the air used for combustion. This is a pretty standard and effective design used in a lot of wood kilns. It helps burn thicker logs and facilitates a nice amount of fl y ash while using relatively little wood. We designed and built a four-burner manifold, with 3 -inch-square tubular steel and equipped it with a removable blower. In- serted into the back of each burner is a type of brass nipple commonly used in V enturi burners with an orifice sized for natural gas. The burners are placed in front of the kiln just above the grates, level with the fl oor of the stacking space. They are back a few inches from the burner ports allowing the ports to easily be closed at the end of the firing. The forced-air burner fl ames blow This kiln can be f ired with gas, wood or a combination of both. Typically, it is f ired to Cone 6 with gas, then wood is stoked to Cone 10 or higher. V arious combinations are across the top of the burning wood, giving it possible, and ex perimentation continues on the U niv ersity of N orth Tex as campus in Denton. a turbo effect. There is a small bag wall which

Ceramics Monthly June/July 2006 42 focus innovation

distributes the heat more evenly while also ac- commodating the salting of the kiln. Salt ports are on both sides of the kiln located level with the top of the bag wall and also higher up. The Gas, Wood and Salt bag wall steps downward toward the stacking space, offering the salt a larger surface area from H y brid K iln S ide V iew which to volatize and dissipate. Salt is intro- duced via angle iron or by spraying a solution; salt water can easily be sprayed into higher up ports to ensure that the ware in the top of the 9 arch gets a good salting. 1 2 D uring the first firing, the burners were turned on overnight and slowly turned up to dry out the arch, which is insulated with scrap softbricks and a mixture of P ortland cement, 9 1 0 1 clay, sawdust and sand. Starting at 8 A.M. the gas was turned up 1 WC (inches of Water Col- umn pressure) per hour until it reached about 5 1 1 2 inches of pressure and a good red heat inside. 6 / 7 8 We turned on the blower and the kiln reached 5 Cone 6 early in the afternoon and stalled. The top and bottom temperatures were quite even. 4 Stoking then began, and the air and dampers 3 were adjusted accordingly. The kiln was quite responsive and within a few hours we were up to Cone 1 0 . We salted with about 8 pounds of salt and later snuck a cone pack through the spy- hole to examine it before shutting down the kiln. It was a nice, even firing. We ended up 1 . burner manifold/ blow er 7 . firebox burning about five wheelbarrows of wood. 2 . burner ports 8 . bag w all U pon opening the kiln, we discovered that it 3 . air entry ports 9 . salt ports had been a great firing, especially considering it 4 . coal bed 1 0 . w are chamber was the first one. Many of the pieces had both 5 . grate bars 1 1 . flue channel the orange-peel finish of a salt firing, along with 6 . stokehole/ fire door 1 2 . damper the melted ash drips of a wood firing. Everyone was happy and excited. We fired it again the next week with similar results. We experimented with trying different set- H y brid K iln T op V iew tings on the gas, the blower and the stoking. We tried just wood, just wood with the blower, and just wood and gas without the blower. We ob- 9 served the effects on temperature and atmosphere in the kiln, and tuned the air and dampers with every combination. The second and subsequent 5 1 1 firings have proven successful, and we have had 1 7 8 1 0 2 5 fun experimenting. 1 1 D uring that semester we also built a larger barrel-arch wood kiln, two raku kilns and a Texas-style wood-fired BBQ . It was great to ex- 6 9 perience so many people contributing to the construction and firing of kilns; not to mention the cooking.

Ceramics Monthly June/July 2006 43 Heads and Horses The Ceramic Work of Jean-Pierre Larocque by Andy Nasisse

Untitled, 99 cm (39 in.) in height, handbuilt form, with thin textured slabs thrown onto the surface, with glaze, 2006. “I want the glaze to get into the clay body and not sit on the surface, to look as if it was soaked rather than covered with glaze. To achieve this, I apply a watered-down low-fire glaze to which I add . . . different oxides. I wash off the glaze with a sprayer so that the glaze pools in the crevices while some areas are washed off as if eroded,” says Larocque.

Ceramics Monthly June/July 2006 44 Improvisation requires inspiration infused with intellect, and executed established with numerous solo shows in New York and an upcoming with a clear mind and a sure hand. Improvisational genius is possible major exhibition of new work headlining the opening of the newly only through complete mastery of material, detailed assimilation of the renovated Gardiner Museum of Ceramic Art in Toronto. With this history of the art form and in-depth analysis of the work of others. Truly huge body of work, made up of horses, houses, heads, full figures and brilliant improvisational work immediately strikes a chord within our various combinations of these, Larocque reveals his gift for infusing clay hearts. The analytical base of improvisational work is a mix of concept, with an emotional intensity that is both direct and subtle, straightfor- process, intent and possibility that is revealed slowly over time. Good ward and quietly ambiguous. Like a great jazz musician, Larocque work often has multiple meanings and encourages the viewer to con- develops major themes while endlessly improvising various moves along tribute their own interpretations. To see and understand the work is the way. The pieces have a fresh spontaneity while also seeming like ultimately to collaborate in its making. The artist provides a framework ancient natural geological formations. They are records of construction for our own inspiration. We all have admired and envied the occasional piece, born from the hands of a beginning student, that glows with spontaneity, freshness, directness, freedom and presence. How frustrating to realize that perhaps one out of the ten cups we just made seems to have this elusive presence? Why is it that often the thing we are trying to find only appears when we stop looking? Why is it so hard to let go and trust that something significant is inside and wanting to materialize through our hands? How can we avoid the paralyzing affects of over analysis? How can we see the mythic possibility of what we make, be more aware of the deeper meaning in everyday life, and respond to the power invested in the objects around us? How can we trust our intuition? How can we see the world with a more spiritual eye? Are there methods we can use to tap into our subconscious? How can we ever find answers to these questions? The answer is that asking the question is enough, and that, although the answers may never be found, we achieve victory when, by asking one question, we are led to another, and then another. We realize that good art asks good questions more often than providing pat answers. Our sense of curiosity becomes an important instrument in making and understanding great works of art. In numerous conversations over the years, Jean-Pierre Larocque has expressed the notion that he finds the latest piece or series of pieces to be “rather curious” and to exude a sense of mystery. He seems at times to be genu- inely mystified by what he makes and to be dynamically engaged in the exciting discovery of new forms and images. Talking about his latest group of houses and horses, Untitled, 99 cm (39 in.) in height, slab-, coil- and handbuilt stoneware, with slips and Larocque says, “several images, that I revisit over the glaze, fired mutiple times from Cone 06 to 6, 2006. Larocque often improvises, years, allude to beasts of burden, shelters, carry-on habi- starting with a form idea and making changes along the way. tats, chairs, expanded saddles like decorated howdahs on an elephant, highly decorated folk-art trucks, horses as hearses, and destruction, like glaciers, advancing then receding. They are testa- processionals, palanquins, and parade floats; all of this and none of this. ments to the hand of the artist while also having the appearance of a I prefer the mystery without explanation rather than the neediness of thing that has eroded its way into the world. Referring to his process of analysis that diminishes the work rather than adding to it.” working, Larocque says, “an artist struggles to integrate all the things he Larocque exemplifies the ideal life of the artist. For over ten years loves and responds to when some of those things appear to be poles now he has been working full time making an impressive body of apart. How could I manage to integrate the seismic geological force ceramic sculpture, drawings and paintings. His reputation is firmly behind a Voulkos form with the demands of figuration? How can one

Ceramics Monthly June/July 2006 45 bring in the immediacy of Chinese brush painting with the overworked, labored system of rep- resentation of say Cé zanne? How could I wring poetry out of a material with boldness and subtlety at the same time? I build up, I go over, I trample, I erase, I rebuild, I elaborate, and I strive to create a bridge between opposites.” Through this effort, over the years Larocque has developed one of the most distinctive styles in contemporary ceramic art. D iscussing the notion of personal style, he comments, “When an artist has something to say that has not been said before, they must invent, along the way, a language to say it. The handling of the clay, working the stuff, is our way of articulating an idea, making is another way of thinking, thinking with one’s body, the story is in the telling, the intellect is not afraid of the senses. The idea is slowly focused through playful work, through trust, and paying close attention to the possibility of each accident. Often a piece will completely change direction halfway through and the Larocque’s studio filled with heads-in-progress, which were just some of the pieces commissioned working process then becomes a real adventure.” specifically for his solo exhibition, “Clay Sculpture and Drawings,” during the grand re-opening of the Gardiner Museum of Ceramic Art in Toronto. Larocque’s work is so engaging because it is a record of a real experience; a visual, tactile and conceptual event in nature, to animals, to each other, and how our intuition and our time. The layers of meaning are embedded in the stratifications of the intellect have come into confl ict. Are we engaged in an attempt to material, the form, its history, and in our openness and our willingness domesticate nature? Is there a price to pay when we impose our will on to refl ect on infinite possibility. We see suggestions of Chinese funerary natural systems and ignore nature’s warnings? ceramics, Tang dynasty horses, Japanese Haniwa, Antonio Gaudi archi- The construction of each piece is executed in a way that refl ects the tecture, Olmec and Easter Island heads, Mayan effigies, Greek temples, needs of form to have a proper support so that it can stand against figures of warriors, terrorists, gods, goddesses, shelters, palaces, temples, gravity and so that it can stand as an idea about the interdependence of and tombs. Larocque’s skill in mystifying these ghostlike statues leads us all things. We see these pieces as works in progress, either on their way to to consider the images as archetypal, as mythic metaphors about the being completed or in the process of disintegrating, of deconstructing, human condition. We can imagine a narrative about our relationship to both physically and conceptually. In refl ecting on this paradoxical quality, we might come to consider the possibility that all matter and all life is interrelated and at times codependent. N othing stands completely alone. Like everything else in nature, our inventions and our ideas evolve slowly, one out of the other, building new form “on the back” of what came before. The form of a horse is supported by the structure of a man-made building. The back of the domesticated animal supports the form of a house, or a structure that resembles an elaborate crypt. A large head has a complicated hat or hairpiece that looks almost like a bizarre nest or dwelling. The juxtaposition of these ornate structures to the cranial area of the head implies that they may symbolize the shape of the human psyche; the mind itself. If we accept the notion that these constructions embody the spirit of what they represent, we might also believe in the possibility that spirit can evolve much the same as material form. The ultimate question then Larocque sculpts a ceramic figure in his Montréal studio. Currently, he fires his works in large oval kilns, which he customized with additional sections to accomodate the height of the is what drives this system of evolving interdependent phe- pieces. He uses a chain block on wheels to load and unload the kiln. nomena and where is it all going? Is there a point to this

Ceramics Monthly June/July 2006 46 evolution, is time a linear progression, or is it all an eternal manifesta- In a time when the academic trends towards postmodernism are tion of change itself without a particular goal or purpose? promoting a generation of shallow and pretentious ceramic attempts at With a masterful sense of touch, Larocque creates an object that is conceptualism, Jean-P ierre Larocque’s work stands strong as a beacon very confident and straightforward but that refl ects his hand in a way and signifier of universal and timeless themes. His love of the material that is both subtle and indirect. V isually we are drawn into surfaces that and celebrations of its nature are candid and unapologetic. The pieces crackle with texture, parched and dry in places, slick with shiny melts of are majestic and hauntingly beautiful. A showing of this size is usually thick glass in others. We are intrigued with the sense of structure and reserved for major retrospectives, but all these works, including paint-

PHOTOS: BERTRAND CARRIÈRE

Detail of the structure built on the back of one of the horse sculptures, 2006, by J ean-Pierre L arocq ue, Montré al, Q ué bec, Canada. internal movement beneath the thin layers of sensitively applied skinlike ings and drawings, were done in a two-year period of time directly slabs. We experience the choreography of the artist’s body movement, preceding the exhibition. We are privileged to see such a cohesive and the dance, the tango of his facility with the material and with the mature body of work from someone engaged in the dynamics of self- process. This work withstands an in-depth analysis but the ultimate discovery and revelation. The scale and quality of this exhibition is a reward is when we stand in front of a well-lit piece and we are deeply, testament to the accomplishment of a major contemporary artist and an emotionally moved by the visual presence and power invested in each individual who, through his work, has written another chapter in the work, by the sensitivity, subtlety and sheer eloquence of what we see. evolution of ideas in world ceramics.

Ceramics Monthly June/July 2006 47 Amy Lemaire Glass as Glaze by Elizabeth Reichert

Chicago artist Amy Lemaire wanders weekly through a local fl ower wholesaler hoping to stumble upon what she calls “oddities of nature”—a spiky pincushion protea, a droopy sandersonia blossom or an unexpectedly angled branch—that may eventually inspire her clay and glass beadwork. Like a scientist questioning natural patterns, Lemaire often wonders why a certain shape doesn’t occur, and it is this that she sets out to create. “I make things that do not appear in nature, but that I wish would,” she explains. “I want these things to look like they grew out of the earth, as if a new species of plant pods were being encountered. I want the viewer to think: ‘ Is that a bead or a pod? What’s its use? Was it found on the ground? Was it made in her studio, and if so, out of what? ’” An abstract painter by education, a bead artist by profession and a sometime fl oral designer by fancy, Lemaire and her work resist categorization. U nlike many of today’s beadmakers, who work mostly within the ornamental traditions of the craft, stringing up their creations to adorn others, Lemaire’s approach is more diversified. She wants to draw as much attention as possible to her beads (not the wearer) by making them large in a necklace, by mounting them as sculptural objects, or more radically, by using them to anchor submerged blossoms in what might traditionally be called a fl oral arrangement, but in her case certainly begs of another name. Such departures into the domains of fl oral design and sculpture embody that category- defying spirit—what many call thinking outside the box—that marks the way Lemaire works. It is no wonder then that Lemaire began to question not only how a bead could be used, but also how a bead could be made. That was in Autumn 2 0 0 4 , months after she had set up shop in Chicago’s Lillstreet Art Center, predominantly a clay studio. Surrounded by kilns and clay- covered neighbors, she began to notice that, while precious metal clay was commonly used by contemporary beadmakers, high-fire stoneware was as foreign a material to her colleagues as basket weaving reeds are to the traditional potter. After researching the surface compatibility issues between clay and glass, and the possibilities of constructing clay beads, Lemaire began to conduct experiments. Six months later, she discovered how to fuse clay and glass, a technique that, as far as this writer’s research can conclude, is not being practiced by any other artist. F rom a distance, the fusion of clay and glass seems a logical alchemy, one that, despite reason, has no place in history or in the contemporary craft genres. Some historians believe, for example, that glass originated as the accidental by-product of metal-smelting processes, others believe it was the accidental by-product of glazes being used without clay. After all, glass is, at its most basic level, a mixture of silicates—that same material which gives ceramic glazes their glassy shine. The only illogical component of fusing glass to clay arises from the difficulties involved in maintaining the temperatures of both the clay and the glass bodies so that cracking and separation do not occur. Having worked with premanufactured beads since she was a child, and more seriously since she began making her own in 1 9 9 7 , Lemaire considers herself a “second-generation” partici- pant in the Contemporary Glass Bead Movement. This movement is linked to the Interna- tional Society of Glass Beadmakers, which was established during the 1 9 8 0 s, and supports juried exhibitions and publications meant to foster a more sophisticated study of the craft. While most within the movement draw their inspiration from the Murano and V enetian glass- bead industries, many use glass toward more contemporary ends by sculpting abstract shapes, A group of bead pods, 2 in. (5 cm) in diameter each, soda-f ired stoneware, with or by encasing enamel-engraved landscapes within the bead. The most common technique lampworked, soda-lime glass accents. used among these artists is called lampworking.

Ceramics Monthly June/July 2006 48 “Bead Pod,” 4 in. (10 cm) in height, soda-f ired stoneware bead, with lampworked, soda-lime glass accents, sterling silv er stand, 2004. L emaire pref ers to present some of her beads on stands in order to draw attention to their sculptural q ualities.

Ceramics Monthly June/July 2006 49 “Woodland Pod N ecklace,” 8 in. (20 cm) long f rom bead to bead, each bead approx imately 1¹⁄₂ in. (3.8 cm) in diameter, soda-ﬁred stoneware, with lampworked, soda-lime glass accents, Ghana seed pods, and leather, 2004.

using porcelain beads, which were sensitive to thermal shock and separation during half of her attempts, and unglazed low-fire clay beads, which didn’t even take to the glass, Lemaire eventually found her most consistent success with beads made from a high- alumina stoneware. Because of both aesthetic preference and technical ease, Lemaire has worked predominately with the dot formation. She explains that the dot patterns are inspired by the color theories of Joseph Albers, a painter famous for claiming that “a color has many faces.” His work, infl uenced by Geometric Abstraction and the Minimalism of the Bauhaus group, and consisting of consecutive tri-colored squares, greatly affected Lemaire during her painting days. Her beads thus retain this infl uence by maintaining a three-color balance. And yet in technical terms, Lemaire has had most success with the dots because the point of adhesion, and therefore, the point of possible fissure, is relatively small. Wanting to eventually make larger, nonfunctional clay and glass sculpture, Lemaire is currently experimenting with sheets of glass and alternate clay bodies, while teaching her fusion technique at Lillstreet. Having trouble with thermal shock and separation when using larger surface quantities of glass, she has tried borosilicate glass, which has a lesser contraction and expansion rate. Likewise, It was in 1 9 9 7 that Lemaire was turned on to this technique she is building an insulation chamber that will protect the clay after taking a workshop with Cindy Jenkins, one of the key players bodies, and hopefully lead to greater surface fusion by not allowing in the revival movement. P rior to this initiation, Lemaire’s training the ambient heat to be pulled away from the torch. had been self-taught and secret. She had strung together home- D espite the aesthetic and technical success of her beads—as made polymer and bought beads for her friends while following a fl oral design, as jewelry, even as curious, miniature sculpture that more high-profile path as an abstract painter at the prestigious Art bridges a craft divide in a remarkably unprecedented way—Lemaire Institute of Chicago. The workshop changed her artistic focus: “I remains restless about how her work fits into not just the craft couldn’t believe I could create something that would still be around world, but also into “our American culture at large.” When asked in a thousand years. That day I was given the power and responsi- about the function of the bead in today’s society, as well as the bility to create future artifacts. I came home with a torch and function of her recent discoveries, Lemaire initially brings up the started buying books. I’ve been making beads ever since, and my fact that beads were not always used for self-adornment. In the painting has since shifted to the back burner.” P hilippines they were used in marriage ceremonies. In ancient Asia Were it not for the lampworking method Lemaire might not they were scattered like seeds to induce plentiful harvests. And in have ever bonded clay and glass. The technique, again, widely N orth America, Europeans exchanged their beads as currency for practiced by today’s beadmakers, involves a stainless steel rod, called beaver pelts. a mandrel, around which a pencil-thin stick of glass is wound. The “Traveling and studying these histories helped me realize the mandrel is covered with a clay slip (otherwise known as the bead social significance of the bead in many cultures, including my own,” release). The glass is heated by a table-mounted torch and does not she explains. “I now think that merging techniques and functions stick to the steel as it melts because, as the mandrel is heated, this to create something new and progressive is identifiably American.” slip turns to powder, allowing the glass to be released from the rod. Merging techniques and functions is, of course, the precise Lemaire’s initial instinct about clay and glass fusion was peaked by motivation that has enabled Lemaire to create a body of work that release agent. If the glass would adhere to the slip, she won- unique among that of her bead-making contemporaries. Yet young dered, why wouldn’t it stick to clay? at 2 7 , it will be interesting to see to what ends she will take her Lemaire began making clay beads then, all extruded and hollow, work, technically and aesthetically, in the lapidary or sculptural with the sides pushed in to resemble plant pods. Although she tried arts. “There is one thing about the craft world that does not fit with

Ceramics Monthly June/July 2006 50 my personality,” she explains. “And that is most artists who are working in MONTHLY glass work in glass, and most artists who are working in clay work in clay. methods There are very few who straddle the borders. And I am excited to finally be making work that is uncontainable in this sense.” Only time will tell, of course, whether her realization of clay and glass Mastering Clay fusion will mark a landmark technical achievement in the chronicles of bead, and Glass Fusion glass and ceramic form. But in the meantime, hopefully other artists—clay, Lemaire uses high-alumina stoneware for her glass and bead practitioners alike—will follow Lemaire’s lead, inspired to beads. The high alumina content causes more either dabble in other mediums, or adapt her clay and glass fusion technique soda-glaze build-up, which in turn leads to more to meet their own artistic ends. successful glass adhesion. The glass she uses is a soda-lime glass, the same used in Murano. How- ever, the technical prowess behind Lemaire’s beads does not occur only at the material level; it also occurs within the firings. The first two are those familiar to ceramists: a bisque firing followed by a soda-glaze firing. At Cone 1 0 , soda ash, whiting and wood chips are added to the high-fire kiln in order to give the beads an “unpredictable and natural finish.” What follows is the fusion firing. In a small test kiln, the clay body is heated to Cone 0 1 4 , approximately 1 5 4 0 °F (8 3 8 °C), the temperature at which glass begins to fl ow. Once the clay bead is red hot, Lemaire takes it out of the kiln with glass blower tongs. U sing an oxygen/propane torch, she then melts the glass onto the clay body in a dot formation. This fusion firing is followed by an annealing process familiar to glass and bead artists: the bead is placed in an annealing kiln and held at 9 6 8 °F (5 2 0 °C)—a temperature relative to the type of glass used—for approximately 4 5 minutes. Then the kiln and bead cool down over the course of six to eight hours.

PHOTOS: CINDY TRIM

“Single Pod,” 2 in. (5 cm) in diameter, soda-f ired stoneware bead, with lampworked, soda-lime glass accents, by Amy L emaire, Chicago, I llinois.

Ceramics Monthly June/July 2006 51 Horsehair Raku by Bob Hasselle

L ef t: “Sq uaring the Circle with Bluebird,” 16 in. (41 cm) in height. Right: “N ouv eau J ars,” each 13 in. (33 cm) in height. All are stoneware with kyanite added f or thermal shock resistance, with Riggs Terra Sigillata, bisq ue ﬁred to Cone 07 – 06, then reﬁred and remov ed f rom the kiln at Cone 015 f or horsehair application.

Sometimes I think the university system needs to be geared more toward the needs of people in the crafts. After the third or fourth MONTHLY diatribe in art history class on the arcana of various stages of the methods Cubist styles of P icasso and Braque, it occurred to me that maybe there should be an art history class on the crafts movement. As I see The Horsehair Process it, the class would start with William Morris (the elder) and the Applying horsehair is not a complicated process. Although I reaction to the Great Exposition of manufactured goods at the call my pots raku, because it is the category that fits best, they Crystal P alace in London. This would lead to the subsequent found- do not require the same level of heat. I take them out of the ing of the English Arts and Crafts Movement, which was the begin- kiln at 1 5 0 0 °F (8 1 5 °C) by my pyrometer, which may not be ning of the modern [ Western] interest in crafts. The course would accurate. I remove them when they are starting to glow inside then proceed through Art N ouveau, F rank Lloyd Wright and the of the pot. It is important to remember that you are not trying P rairie School, the work of Louis Comfort Tiffany, and the Ameri- to melt glaze, only horsehair. The heat will determine the can art potteries such as R ookwood and N ewcomb. After touching boldness of the black squiggles left by the horsehair. I like a on the California Arts and Craft Movement and Art D eco, the bold line and darker effect. The hair from the tail of a horse is course would end with the work of William Morris (the younger), superior to the mane hair, because it is longer and more coarse. one of the greatest glass blowers of our time. Morris has been a great Another tip for horsehair raku is to put some sawdust or inspiration to me in my current horsehair raku line. other combustible under the bottom of the pot during firing. I first started this line of work while creating porcelain and The temperature of the bottom of the pot is often not hot redware torsos decorated with tattoos of birds and animals. N one of enough to ignite material after it comes out of the kiln. To get these works had the look that I was after, however. The commercial the brown to orange colors, the pot is sprayed with ferric look of clear glaze over red and white clay seemed to contradict the chloride after the horsehair is applied. neolithic imagery. So, I set them aside for about a year. Later I

Ceramics Monthly June/July 2006 52 discovered the horsehair process, which gave them the overall look and surface patina that made them come alive for me. In my work, I try to combine well-thought-out vessel shapes with very simplified recipes sculptures of birds and animals reduced almost to gesture drawings in three dimensions. I use underglazes for color before the bisque These sculptures are often wire cut from a block of clay to approximate dimensions. I but after applying the terra sigillata. Terra then carve away and add clay until I get what I want. The finish can be attained with a sigillata allows one to polish the vessel to a hard-paste wax (like Trewax) or sprayed on with polyurethane varnish. This can be near reflective surface. I recommend a recipe tricky, because you don’t want it to run. from Linda and Charlie Riggs. The quality of their work is a great standard to emulate. One’s choice of media has to do not only with how to do it, but why to do it. All kinds of pit and raku firing appeal to me, but if you want color control and a certain R iggs T erra S igillata amount of compositional control, the horsehair raku process has its advantages. With Water ...... 3¹⁄₂ gallons this control, you can concentrate on the imagery and not worry whether that copper Sodium Silicate ...... 1 tbsp Soda Ash ...... 1 tbsp blush or carbon deposit will occur where you want it to. X X Saggar Clay ...... 6804 grams Another aspect of the “why to do it” is the creation of a coherent line of work that may start off being derivative but ultimately becomes your own. This process happens Mix ingredients and wait one day. Siphon more effectively when you pay attention to your personal ideas and where they are off and use only the first 1¹⁄₂ gallons. leading you, and to the input you are receiving from the medium.

L ef t: “Totem of the Salmon Cult,” 17 in. (43 cm) in height. Right: “L ibido F ragment,” 20 in. (51 cm) in height. Both are stoneware with kyanite added f or thermal shock resistance, with Riggs Terra Sigillata, bisq ue ﬁred to Cone 07 – 06, then reﬁred and remov ed f rom the kiln at Cone 015 f or horsehair application, by Bob Hasselle, Rock Hill, South Carolina.

Ceramics Monthly June/July 2006 53 The DARK SIDE of ATHANASIUS

by Brian Fiorentino

Detail of the restored coal-saggared tile f loor, which occupies 350 sq uare f eet in St. Athansius’ Chancel, Ev anston, I llinois.

F rom D ante to Lucas, it’s the dark side that provides much of the it seemed a distinct possibility. The article mentioned a possible texture to our journey. I hadn’t quite reached this epiphany when I replacement, so I left them with some hope of finding a good match, first gazed at the patterned tile beneath my feet in the dimly lit and we struck a bargain to begin producing samples. chancel of St. Athanasius P arish. N ow with the sting of smoke still Looking at the tile of St. Athanasius, I had but to connect the faintly in my eyes, I recall the dark swirling fumes from which the dots of past and present to find a solution. I placed calls east and tile was born. I think of Hamlet’s witches chanting over a smoking west to some of the old practitioners of our art. I also managed to caldron and recall Hamada saying, “if you truly want to know what reach the author of the CM article to ask about a substitute clay. happens inside the kiln, you must go inside.” Though I never fully Gradually I assembled my sources. realized that feat, many an hour was spent coaxing visions of dark- I found my own twenty-year-old clay recipe on a receipt from the ness from inside the coal-filled saggars spewing smoke from my kiln. “Grinding R oom” at Alfred U niversity. The junk I keep justifies its The spirit of the great medieval polymath St. Athanasius was existence at rare intervals. The new recipe would be a combination near as I strode the aisle of his namesake church with a group of science and intuition. The heft of the tile told the density; the comprised of two architects, a priest and an engineer. Beneath our grain of a broken shard revealed the grog content; I estimated the feet was a tile fl oor, installed eighty years previously and hidden under shrinkage and temperature from the color of the fired clay. The tattered carpets for almost half that time. The architects had been architects had asked for samples within two weeks and I delivered. looking for a year for someone to restore the fl oor, and now regarded Even I was surprised by the strong resemblance. One architect me with a mixture of skepticism and vague expectation. But there in gasped, and they got confused over which was the original. They that religious edifice I suddenly found myself on familiar ground. were impressed with the apparent sleight of hand and regarded me A few weeks earlier I had come across a Ceramics Monthly article now as magician as much as tilemaker. on red clays (“R ed Clays for Mid-R ange Oxidation,” by D avid G. Wright, March 1 9 9 9 ) that mentioned the passing of an old clay A D ate w ith D arkness mine. The orange clay that was mined there was called P BX V alen- With the orange recipe well under way, I squared off with the dark tine. It now lay buried beneath a vast shopping mall in northern side of the project. These tiles were impregnated with carbon; a N ew Jersey, lost forever to the hands of potters, sculptors and deep, smoked-in black for which there was no comparable pigment. brickmakers. It was my favorite sculpture clay throughout the ’8 0 s But the gods of serendipity were fast at work, and experiences new until it was no longer available. The group assembled at St. Athanasius and old made for a remarkable synergy. that day were taken aback when I named a town in N ew Jersey I visited the Moravian P ottery and Tile Works in D oylestown, where I thought this tile may have originated. It was only specula- P ennslvania. The staff there gave me a tour and I made note of the tion, of course, but the color was unique and so familiar to me that coal saggars they used, and the cutters designed for tile production.

Ceramics Monthly June/July 2006 54 A few months later, they also generously shared a recipe for making designed the lid to drop inside the saggar to compress the fuel as it saggars, and provided instruction on using horse bedding and coal burned so oxygen didn’t seep in and reoxidize the tile. All the seams dust to smoke tile. I admired their mottled gray-black tile, but was and inside spaces were buried in sand because the clay seals I used concerned about the random result. My tile had to be as black as shrank and cracked, allowing air to leak in. black’s shadow, as impenetrable as night’s last hour. The final hurdle was determining how to pack the tile inside A search for horse bedding ensued and I found a dealer in with the fuel. A mixture of sawdust and coal was required; however, western Illinois that sold horse bedding by the semitruck load. N ext if the coal came in direct contact with the tile it left a hard, shiny I set out to locate some coal dust. It was a cool, rainy day when I residue. Sawdust alone would not develop the dense blacks required made my way through a labyrinth on the far south side of Chicago. I at Cone 6 . Each tile had to be packed with a thin layer of fine arrived with anticipation at the Gruen coal yard, only to find no one sawdust on top, and then a careful blend of coarse horse bedding home. I stood there in the rain, empty bucket in my hand, while a and coal dust around the edges. Sand was used to fill any remaining frothing brace of dobermans thrashed violently against a chain-link air space, and the tile was packed face to face, one on top of the fence wishing to strip me of my soul. I had cash in pocket, but Mr. other all the way to the top, with the drop-in lid applying pressure to Gruen had forgotten our assignation to trade in dark substances. the top layer of tile. After an hour, and with the dogs’ palpable ferocity bearing down on I recalled some research done at Alfred U niversity by Charles me, I nervously shoveled some wet coal into my bucket and quickly Binns. He explained that terra sigillata reduced more easily than the left. Later that season I would return to make a legitimate transac- clay body it was applied to. When I coated the tile with a light spray tion, but for now I had what I needed for a test. of terra sigillata made from my tile body, I finally arrived at a The coveted sawdust of the required size, shape and hardwood reasonable success rate. The tiles were coming out with a solid composition originated conveniently in a cabinetmaker’s shop five uniform black, and a hardness, density and size to precisely match minutes from my home. The gods of serendipity smiled again but it would soon be the more fractious kiln gods that I would have to face. Some nights I lay awake thinking about my invisible partner in MONTHLY the project; the tilemaker that preceded me by 1 0 0 years. There was methods a fine craftsman’s sensibility teamed with industrial precision that produced a one-of-a-kind, yet remarkably uniform product. Glidden/ Custom Tile Cutters Claycraft was stamped on the bottoms of certain tile shapes. Claycraft Tile cutters are a simple and effective tool for producing was the name of a nineteenth-century tile company in California, large numbers of identical tile relatively quickly. I made a but their company logo and tile products didn’t match the Athanasius plywood template for each of the various shapes, sized up to tile. I searched but couldn’t find information on a tilemaker named account for clay shrinkage. A local sheet-metal fabricator Glidden. The maker of the original tile would remain a mystery. then cut and welded galvanized steel plates to tightly fit The Moravian recipe for saggars was loaded with fireclay, talc, around the templates. mullite and wet wood chips. Slabs were carefully packed into I screwed the template in place at one end of the cutter wooden forms and meticulously reinforced, smoothed and squared blade. I made the plungers from a one-inch dowel attached off. Lids were carefully fitted and the group of saggars was set aside to another piece of plywood cut slightly smaller than the to dry for a couple of weeks. After firing, they would be ready to template. After adding a handle, I was ready to go. Multiple pack with horse bedding, coal and tiles, and set in the kiln for the cutters can be combined for smaller tile shapes. Of course, a first tile firing. good slab roller is indispensable to the process.

I f at F irst Y ou D on’ t S ucceed . . . The first saggar firings were a disaster. The new tile had to be fired between Cones 6 and 7 to match the density of the original tile, but none of the saggars withstood the stress of the higher firings. They cracked violently across the bottoms and up the sides, and the rush of oxygen leaking in turned the tile gray. It took another four weeks to master the twin beasts of stress fractures and deep reduction. With the deadline fast approaching, I still only had about a 4 0 – 5 0 % success rate with the black tile. Both the initial body recipe and design of the saggars were scrapped and rethought from scratch. In the end, I adapted a 1 9 5 0 s fl ameware body from K aren K arnes for the saggars. This remarkable body seemed to get stronger with every firing. I made detached slabs for the bottoms because even corderite kiln shelves had exploded from the extreme heat differential. I

Ceramics Monthly June/July 2006 55 the originals. I still have no idea how the original tilemakers achieved this result. The process of packing the tile in saggars was painstaking recipes and unbelievably time consuming. It was hard to imagine someone devising this technique by choice. The last firing was to hold nearly a third of all the black tile Several versions of the Orange Tile recipe were used. I changed shapes. It took two full days to load and was a work of art in itself. the ratio of iron bearing clays to imitate color variations in the historical tile. The orange tile were then once-fired in an electric When the kiln was finally unloaded I was stunned at the results. kiln to allow precise control over color. Firing in a gas kiln with This final batch of tile was a perfect uniform black, but was even light reduction yields some nice brown to orange variations. darker than the original tile and would stand out in stark contrast. The reduction had been too successful! Just days before all the tile O range T ile C lay were due, a third of the black tile would have to be redone. Cone 4–6 Wollastonite ...... 5.3% A F inal A ttempt Ferro Frit 3134 ...... 3.2 At this point I was physically and mentally exhausted. We had Hawthorn Fireclay ...... 23.1 remade most of the black tile shapes more than once, completely K entucky Ball Clay (OM 4) ...... 10.5 remade the saggars three times, and now I had run short of materi- Lizzella Red Clay ...... 5.3 Neuman Red Clay ...... 52.6 als. The summer was coming to a close, all five of my crew had left town, and I had seriously injured my back while loading saggars. 100.0 % Add: G ranular Magnetite ...... 3.2% Medium G rog ...... 26.3 % Pyrax ...... 5.3% Sand ...... 10.5 %

PHOTOS: BRIAN F IORENTINO The saggar body for the Athanasius tile was adapted from a fl ameware body, which relies on the unusual thermal expansion properties of petalite to resist thermal shock. As with any fl ameware body, its reliability may be susceptible to the vagaries of materials and firing schedules. It must be well tested under the specific conditions of its use before you can be sure of its performance. Large slabs were shaped in ¹⁄₂-inch thicknesses. The slabs were assembled inside 14-inch-square plywood forms to maintain a uniform shape. All inside and outside corners were radiused to lessen stress at the seams.

A thanasius S aggar B ody (Cones 4–6) V iew of the installation of the new tile f loor. The original tile f loor, Alumina ...... 4% installed 8 0 years ago, can still be seen. G erstley Borate ...... 3 But September weddings had been scheduled at the church and they Petalite ...... 40 expected the chancel to be finished. F acing failure dead in the eye, I G oldart ...... 10 made the decision to reload those tiles one more time. Hawthorn Fireclay ...... 33 K entucky Ball Clay (OM 4) ...... 10 F irst, I ground the remaining chunks of coal by hand with a 100 % brick. I slowly repacked each saggar with Z en concentration—too much coal and the tile were too dark, too much sawdust and they Add: K yanite ...... 20% were too gray—any remaining airspace and the tile were ruined. Bits Medium G rog ...... 15% of coal had to be carefully brushed from the top surface of each tile Wet Sawdust ...... 2% before the next could be loaded. The difference was very subtle and I wondered at times if I was imagining it, but each tile was repacked as A cautionary note on saggar firing: Burning sawdust and coal meticulously as a Tiffany egg. inside saggars results in a high volume of toxic fumes, including The final firing would be my reward. 1 0 0 % of the tile were just carbon monoxide. This should only be done outdoors, or in kiln right: a true carbon black, but not too dark! When the tile was rooms that are well ventilated and separate from other work finally installed, the people at St. Athanasius were deeply satisfied areas. Saggars should not be used in electric kilns as the elements could be damaged by the smoke. and grateful. Their church had changed permanently for the better, and I myself had been changed irrevocably in the process.

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Bailey Pottery Equipment Corporation PO Box 1577 Kingston NY 12402 TOLL FREE (800) 431-6067 (845) 339-3721 (Fax 5530) email: [email protected] Website: www.baileypottery.com Ceramics Monthly June/July 2006 57 artist; and Lydia Thompson, sculptor and assistant August 19 entry deadline call for entries professor of ceramics at Virginia Commonwealth Philadelphia, Pennsylvania “Ashes to Art” (Octo- Deadlines for Exhibitions, Fairs and Festivals University School of Arts. Fee: $15 for up to 5 ber 15–November 3), open to urns made from any entries. For prospectus, contact Baltimore craft media. Juried from digitals. Fee: $25 for 1–3 See call for entries online at www.ceramicsmonthly.org Clayworks, 5707 Smith Ave., Baltimore 21209; images; $5 per extra image. Awards: cash and www.baltimoreclayworks.org; tel (410) 578-1919. purchase; best-in-show, $1000. Sales commis- August 14–October 6 entry deadline sion: 40%. For prospectus, contact Funeria, 2860 Icheon, Republic of Korea “Fourth World Ce- Bowen St., #23, PO Box 221, Graton, CA 95444- ramic Biennale 2007 Korea (CEBIKO)” (April 28– 0221; www.funeria.com; tel (707) 829-1966. International Exhibitions June 17, 2007), open to works in two categories: ceramics for use and ceramics as expression. United States Exhibitions June 16 entry deadline Juried from slides or digitals. Cash awards; grand Baltimore, Maryland “World Women: On the Ho- prize KRW 60 million (US$55,000). Contact June 19 entry deadline rizon” (October 7–November 12), open to ceram- Shinhee Park, Curatorial Department, World Ce- Ross, California “Second National Juried Exhibi- ics made by women about women. Juried from ramic Exposition Foundation, 467-020, San 69-1, tion” (October 1–22), open to all media. Juried slides or digitals. Jurors: Janet Mansﬁeld, potter, Gwango-dong, Icheon-si, Gyeonggi-do; from slides or digital on CD. Fee: $30 for up to 3 publisher/editor of Ceramics: Art and Perception www.wocef.com or www.worldceramic.or.kr; tel entries. Juror: Rene de Guzman, visual arts curator and Ceramics Technical; Heeseung Lee, studio (82) 31 631 6572. at Yerba Buena Center for the Arts. Awards: over $2500. For prospectus, send SASE to the Marin Society of Artists, PO Box 203, Ross 94957; www.marinsocietyofartists.org. July 14 entry deadline Nitride-Bonded Silicon Indianapolis, Indiana “ClayFest 2006” (September 5–29), open to current and former residents of Indiana. Juried from slides. Fee: $20 for 3 entries. Carbide Shelves For prospectus, contact University of Indianapolis, Department of Art and Design, 1400 E. Hanna Shelves Available in the Ave., Indianapolis 46227; [email protected]; tel (317) 788-3253. Following Sizes August 1 entry deadline Estes Park, Colorado “10th Annual Lines into 12 x 18 x .394 - $38 18 x 18 x .394 - $60 Shapes” (September 22–October 15), open to all 12 x 24 x .394 - $50 18 x 24 x .394 - $90 media. Juried from slides. Fee: $12 per entry, up to 14 x 28 x .394 - $65 18 x 36 x .500 - $150 3 entries. Awards: $5000. For prospectus, send 16 x 16 x .394 - $55 SASE to Art Center of Estes Park, PO Box 3635, Estes Park 80517; www.artcenterofestes.com; tel (970) 586-5882 or (970) 586-0543. CALL FOR QUANTITY DISCOUNTS Farmington Hills, Michigan “From Our Per- ELECTRIC KILN SHELVES AVAILABLE spective” (September 21–October 13), open to Note: 10% packing charge will apply. Price does not include freight. women artists in all media. Juried from digitals. All prices F.O.B. Huntington Beach, California. Fee: $25 for 3 entries. Awards: best-in-show, $300; purchase, $250; 3 honorable mentions, $100 each; presidents award, $100. Contact Sandra Glaze releases easily and clean with a putty Happel, Oakland Community College, 27055 Or- knife, no damage to the shelf! chard Lake Rd., Farmington Hills 48334; www.oaklandcc.edu/womencenter/artshow.htm; tel (248) 522-3565; . GEIL KILNS PRESENTS THE HVLP Deluxe Manchester, New Hampshire “Ceramics Bien- nial Exhibition 2006” (October 13–November 13), Glaze Spray Gun open to works made predominantly of clay. Juried GEIL/COLEMAN from digitals. Juror: Mary Barringer. Fee: $25 for up to 2 entries. Awards: $2000. For prospectus, FIRING WORKSHOP send SASE to New Hampshire Institute of Art, Sara Zela, 77 Amherst St., Manchester 03101; The Only One of Its Kind! www.nhia.edu; tel (603) 836-2572. ONLY August 15 entry deadline July 29 - 31 Portland, Oregon “The Game Show” (November $49.95 18, 2006–January 8, 2007), open to all media A 3-day Tom Coleman and Paul Geil work- Plus S&H with a game theme. Juried from slides or CD. Jurors: Elizabeth Shypertt, Bill Will and Namita shop covering Coleman glazes and kiln Wiggers. Fee: $15 for up to 3 images. Sales firing. Topics include glaze applications, commission: 40%. Awards: best-in-show, $500. spraying techniques, firing in a Geil • Stainless Steel Nozzle & Needle Contact the Contemporary Crafts Museum & Downdraft Kiln and use of kiln controllers. • Precise 15 Hole Air Cap Set Gallery, 3934 S.W. Corbett Ave., Portland 97239; www.contemporarycrafts.org/gameshow; tel • Nozzle Diameter: 2.0 mm (503) 223-2654. LOCATION: Geil Kilns, 7201 Clay Avenue, • Glaze Tank Capacity: 600 cc September 1 entry deadline Huntington Beach, CA 92648 • Type of Feed: Gravity Paducah, Kentucky “BLUEgrassCLAYnational” (No- contact Sofia at (800) 887-4345 or vember 4–December 30). Juried from up to 5 slides. E-mail [email protected] • Air Inlet: 1/4” Juror: John Utgaard. Fee: $25. Awards: $1500. For prospectus, send SASE to Blue Clay, Yeiser Art Center, 200 Broadway St., Paducah 42001; www.yeiserartcenter.org; tel (270) 442-2453. September 4 entry deadline GEIL KILNS Louisville, Kentucky “NCECA 2007 Clay National Biennial Exhibition—Old Currents, New Blends: A 7201 CLAY AVE. HUNTINGTON BEACH, CA 92648 Distillation of Art and Geography” (March 14– 800-887-4345 • Fax: 714-847-6145 June 23, 2007). Juried from digitals. Fee: $30; Check Out Our Complete Line of NCECA members, $15; for two works. Jurors: Syd Carpenter, Silvie Granatelli and Nick Kripal. Pur- Gas & Electric Kilns at www.kilns.com chase and merit awards. Sales commission: 70%.

Ceramics Monthly June/July 2006 58 CE Certified Made in the USA PETER Quality, Durability, & Proven Performance. . . PUGGER Why Settle For Anything Less? Capable of batch mixing any combination of wet, dry, greenware, slip, slop and scrap. Recycle without slaking, wedging, or constant force feeding. SINCE 1975 SEALED HOPPER • Auto electric shut-off–no cumbersome grates or screens required NOZZLE • Patented mixing/pugging chamber–no extrusion • Die extrusion screens to plug, clean, or slow down cycle times capabilities • Huge hopper opening • 3”/80mm to • Stores moist clay indefinitely–prevents clay from 4”/100mm output drying out between uses

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VPM-30 VPM-60 CLAY MIXING PUGMILLS 31 Christy Lane Peter Pugger Mfg Inc Phone 0 43- 1333 kiah CA 42 Ceramics Monthly June/July 2006 Fax 0 4 2- www.peterpugger.com59 Chicago, Illinois “ A Holiday Happening” (No- Matt Long. Fee: $20. For prospectus, send SASE to call for entries vember 15, 2006–January 15, 2007), open to all Scott Lykens, Cup Show, c/o University of Arkan- media with holiday theme. Juried from up to 2 sas Monticello Ceramics Department, PO Box 3460, works. Fee: $25. For prospectus, send SASE to Joan Monticello 71656; [email protected]. Houlehen, A. Houberbocken, Inc., PO Box 196, Contact NCE CA, 77 E rie V illage Square, Ste. 280, Cudahy, WI 53110. Regional Exhibitions E rie, CO 80516-6996; www.nceca.net. September 20 entry deadline September 15 entry deadline Wayne, Pennsylvania “ Craft Forms 2006” (De- June 15 entry deadline Baltimore, Maryland “ 100 Teapots 3” (January cember 1, 2006–January 24, 2007), open to all Pittsburgh, Pennsylvania “ WAD Clay Institute Juried 13–February 25, 2007), open to ceramic teapots. craft media. Juror: G retchen K eyworth, director/ Clay Annual” (August 25–September 30), open to Juried from slides or digitals. Juror: Julia G alloway, chief curator Fuller Craft Museum. Fee: $25. all ceramists residing in Washington D.C., Dela- associate professor of ceramics at the School for Awards: $3000. For prospectus, send SASE to ware, K entucky, Maryland, New Jersey, New York, American Crafts at RIT. Fee: $15 for up to 5 entries. Wayne Art Center, 413 Maplewood Ave., Wayne Ohio, Pennsylvania, West V irginia and V irginia. For prospectus, send SASE to Forrest Snyder, Balti- 19087; www.wayneart.org. Juried from slides. Juror: Ron K orczynski. Fee: $20 more Clayworks, 5707 Smith Ave., Baltimore February 15, 2007, entry deadline for up to 3 entries. Awards: cash and purchase. For 21209; www.baltimoreclayworks.org; tel (410) Monticello, Arkansas “ Second Annual National prospectus, contact WAD Clay Institute, 2100 578-1919 x18. Juried Cup Show” (April 6–May 7, 2007). Juror: Mary St., Pittsburgh 15203; G erry Dinnen, tel (412) 279-9956. June 16 entry deadline Kansas City, Missouri “ V iva la Terra: celebrating life . . . in clay” (September 17–30), open to expressions of the power of clay as a healing medium. Juried from slides. Juror: Steven Hill. Fee: $35 for 3 entries, 1 detail of each. Awards: $1000. For prospectus, send # 10 SASE to Susan Speck, 5932 Nall, Mission, K S 66202; www.kcclayguild.org; tel (816) 363-1373.

Fairs and Festivals July 17 entry deadline Monroe, Michigan “ Third Annual Monroe Fine Art Fair” (August 12–13). Juried from slides or photos. Booth fee: $100 for 11×10-foot space. Contact Monroe Fine Art Fair, PO Box 2114, Monroe 48161; www.dmbn.org/artfair.html; tel (734) 243-0200. August 1 entry deadline Little Rock, Arkansas “ 28th Annual Arkansas Craft G uild Christmas Showcase” (December 1–3), open to handmade crafts. Juried from 4 slides or photos of work; 1 of booth. Fee: $15. Booth fee: $250 for 10×10-foot space. Contact ACG Showcase, Arkan- sas Craft G uild, PO Box 800, Mt. V iew, AR 72560; [email protected]; tel (479) 253-2951. September 1 entry deadline Cranford, New Jersey “ Fall Nomahegan Park Fine Art and Crafts Show” (September 30–October 1), open to all handcrafted work. Juried from 3 slides/ photos of work; 1 of booth. Booth fee: $305 for 10×12-foot space. Contact Rose Squared Produc- tions, Inc., 12 G alaxy Ct., Hillsborough, NJ 08844; www.rosesquared.com; tel (908) 874-5274. Upper Montclair, New Jersey “ Fine Art and Crafts Show at Anderson Park” (September 16–17), open to all handcrafted work. Juried from 3 slides/ photos of work; 1 of booth. Booth fee: $305 for 10×12-foot space. Contact Rose Squared Produc- tions, Inc., 12 G alaxy Ct., Hillsborough, NJ 08844; www.rosesquared.com; tel (908) 874-5274. September 13 entry deadline New York, New York “ Celebrating Women’s Cre- ativity” (November 8–26), open to women artists. Juried from slides or actual work. For prospectus, send SASE to the Pen & Brush Inc., 16 E . 10th St., New York 10003; www.penandbrush.com; tel (212) 475-3669. October 1 entry deadline Montclair, New Jersey “ Fall Brookdale Park Fine Art and Crafts Show” (October 14–15), open to all handcrafted work. Juried from 3 slides/ photos of work; 1 of booth. Booth fee: $305 for 10×12-foot space. Contact Rose Squared Produc- tions, Inc., 12 G alaxy Ct., Hillsborough, NJ 08844; www.rosesquared.com; tel (908) 874-5274.

F or a free call for entries listing, submit information on juried events at least four months before the entry deadline. A dd one month for listings in J uly, and one month for listings in September. R egional exhibitions must be open to more than one state. Submit online at www.ceramicsmonthly.org; mail to Call for E ntries, Ceramics Monthly, 735 Ceramic Pl., Suite 100, Westerville, OH 43081; e-mail editorial@ ceramicsmonthly.org; or fax (6 14) 89 1-89 6 0.

Ceramics Monthly June/July 2006 60 Amaco® Glazes. Artist Made. Artist Tested. Quality You Can Count On.

Diana Faris Director of Art Education Sales, Amaco M. F. A. Ceramics, University of Florida, Gainsville, FL • B. A. Studio Arts, Mary Washington College, Fredericksburg, Va George Debikey Vice President, Director of Technical Services, Amaco Ceramic Engineering/Ceramic Art degree Ballardini State Institute for Ceramic Arts, Faenza, Italy • Ceramic Sculpture degree, Academy of Fine Arts, Perugia, Italy

David Gamble Vice President, Director of Marketing and Education Educational Division, Amaco NON-TOXIC M. F. A. Candidate, Indiana State University, Terre Haute, IN Conforms to ASTM D-4236 M. ED. and B. S. Art Education, Edinboro University, Edinboro, PA

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Ceramics Monthly June/July 2006 61 new books

G laz es from N atural S ources Second E dition by Brian Sutherland Claydog Raku Kiln As most potters would agree, any thorough education in ceramics must involve an understanding of the source materials—the rocks around us. This new revised and updated version of Brian Sutherland’s 1 9 8 7 book on making glazes from natural sources explains how to locate glaze material and construct, test and use the glazes created. Sutherland explains that, while good, throwable clay may be a

www.claydogs.com Toll Free 1-877-454-3914 Vacuum-pressed fiber liner, burner & base one piece, lightweight, fires to 2000°F in 15 minutes, 16"w x 24"h firing chamber. The best raku kiln on the market!! $825.00 complete.

GEILKILNS Started the Downdraft Revolution! regional commodity, there is no part of the world that will not yield potential glaze mate- www.flatrockclay.com Clay, Glazes rials in abundance. In this book, Sutherland O Tools, Books 479-521-3181 UDI Equipment hopes to show potters how to exploit the ST Raw Materials OCK Workshops special properties of local rocks quickly, reli- LAT R IES ably and methodically. F SUPPL Sutherland discusses rock types and other Mon-Fri 9-6 AY 2oo2 South School Sat 9-1 CL Fayetteville, ARkansas 72701 likely sources of supply, the making of test pieces, and the use of blend systems and constructions. He also clarifies the Seger system of glaze presentation for those who, like himself, have found it difficult to grasp and apply. He covers, and supplies, formulae for glazes for all temperatures—from raku to stoneware and porcelain—and includes sample recipes. The book emphasizes careful planning and control to ensure results that are repeatable. F ully illustrated, with diagrams of techniques demonstrated as well as images of the finished works to show the results of these natural glazes, this edition also includes a

Ceramics Monthly June/July 2006 62 Ceramics Monthly June/July 2006 63 new books new chapter by glaze expert N igel Wood. Alderman House, 37 Soho Sq., London W1D ropean Ceramic Work Centre (ECWC) in the 1 4 2 pages including appendix and bibliogra- 3QZ England; www.acblack.com; tel (44) N etherlands. It is meant to be used as a guide- phy. Softcover, $ 3 5 (£ 1 8 .9 9 ). 4 6 color and 2077 580 200. line for artists, designers and students who wish 7 6 black-and-white photographs. ISBN to express themselves through clay. Based on a (U .S.) 0 -8 1 2 2 -1 9 4 5 -7 . ISBN (U .K .) T he C eramic P rocess series of handouts that the centre’s chief tech- 0 -7 1 3 6 -4 7 5 5 -8 . Published in the U.S. by A Manual and Source of Inspiration nician Anton R eijnders developed to help University of Pennsylvania Press, 3905 for Ceramic Art and Design ECWC participants who were new to clay, the Spruce St., Philadelphia, PA 19104-4112; by the European Ceramic Work Centre book explains in detail the various stages of the www.upenn.edu/pennpress; tel (800) 537- This book is a manual that has grown out of ceramic process. 5487. Published in the U.K. by A&C Black, experiences and practices developed at the Eu- “The original handouts were dynamic little treasures, wonderful additions to the literature of practical ceramics,” states Joel F isher in the foreword. “Because of their unusually clear nature, these sheets were treasured by the participants. What made them more valuable was

that much of the information included in these notes was based on unpublished research. It is good that they can now reach a wider audience.” The book is organized in the logical order of the working process; beginning with the selection of material and the method of construction, and ending with firing and finishing touches. Although some functional works are shown and some of the processes covered can be used to create functional work, the chief focus of the book is on sculpture. Complex and large-scale work is comprehensively covered. Also included are numerous glaze and clay recipes, using a range of widely available materials. 3 2 0 pages including foreword, introduction by D r. K oos de Jong, author’s notes and acknowledgments, five appendixes and index. $ 6 9 .9 5 (£ 4 5 .5 0 ). ISBN (U .S.) 0 -8 1 2 2 -3 9 3 2 -6 . ISBN (U .K .) 0 -7 1 3 6 -6 7 6 8 -0 . Published in the U.S. by the University of Pennsylvania Press,

Ceramics Monthly June/July 2006 64 VIDEO WORKSHOPS FOR POTTERS Form and Function Ceramic Aesthetics and Design 1. lements of Form 2. ids and erminations . pouts and andles 4. ots for ating and rinking 5. ots for Cooking and er ing I give these tapes my highest recommendation for anyone interested in learning about form and structure . . . . ill unt Ceramics Monthly ditor 198 -94 Now On DVD Videos with Visit PotteryVideos.com Robin Hopper

Making Marks Beginning to Throw Beginner Programs • Beginning to Glaze & Fire Ceramic Surface Decoration It's hard to imagine a more lucid or • Beginning Handbuilding 1. ntro & urface Remo al rocesses comprehensive introduction to the subject • Getting Started With Clay 2. arks of ddition & mpression . . . . Highly recommended. with Graham Sheehan . i uid & Colored Clays Video Librarian • Beginning to Throw 4. igments & Resists with Robin Hopper 5. la es & la ing Advanced Throwing • Beginning Raku 6. Firing & ost-Firing ffects Extended and Altered Forms with Gordon Hutchens As an encyclopedia of options available to Multiple camera angles, close ups of …excellent …highly recommended Video Librarian potters, Making Marks is unparalleled. hand and finger positions, and cut-away There are enough creative ideas here to fire The technical and visual aspects are shots make [this video] engaging and of the highest quality… a potter's kiln for decades. worthwhile. Book Report Video Librarian School Arts Pricing & Shipping VHS Making Marks Each $29.95 Videos with Salt-Soda Firing Form & Function Each $34.95 Gordon Hutchens Program One: Clays, Slips and Glazes Building Potter's Kiln $49.95 Advanced Throwing $39.95 Program Two: Loading and Firing Variations on Raku $39.95 Salt-Soda Each $39.95 Well organized with strong production values . . . . Beginner Programs Each $39.95 makes all the 'how-to' books seem hopelessly inadequate. Special Series Prices Contact Form & Function Series (5 Programs) $149.95 Variations on Raku Making Marks Series (6 Programs) $149.95 Beginners Series (5 Programs) $149.95 Raku applications of terra sigillata, sagger ware, fuming, Add $5.00 shipping & handling for one tape. slip resists and reduction. ncludes printed notes and recipes. Add $1.00 for each additional tape. Int'l Customers contact us for shipping cost. Gordon Hutchens gives the viewer a 'workshop in a box' In Canada, call toll free for prices with this nicely produced video. Studio Potter For information or to order call 800-668-8040 Building Your Own Potter's Kiln For programs available on DVD visit our website with Graham Sheehan or call for prices his ideo guides you through the construction of a 25 cubic foot E-Mail: [email protected] propane-fired kiln. ncludes materials list and working drawings. Web Site: www.PotteryVideos.com Sheehan’s considerable experience with kiln building shows . . . . Phone 250-247-8109 Fax 250-247-8145 Studio Potter Thirty-day money-back guarantee

Ceramics Monthly June/July 2006 65 new books

3905 Spruce St., Philadelphia, PA 19104- 4112; www.upenn.edu/pennpress; tel (800) 537- 5487. Published in the U.K. by A&C Black, Alderman House, 37 Soho Sq., London W1D 3QZ England; www.acblack.com; tel (44) 2077 580 200.

Ceramic Millenium Critical Writings on Ceramic History, Theory and Art Edited by Garth Clark Over a period of twenty years, the Ceramic Arts Foundation (CAF) and its afﬁliates have presented eight conferences of the Interna- tional Ceramics Symposium (ICS). The conferences were dedicated to raising the standards of art history and criticism in ceramics. In this book, noted ceramics scholar and CAF’s found- ing director, Garth Clark, has compiled a signiﬁcant selection of conference papers that

explore and deﬁne the concerns, values, and historical narratives that have gradually shaped GEILKILNS face of ceramics today. Contributors range Real Professionals from mainstream art and design writers, such Do Know the Difference! as Clement Greenberg, Paul Greenhalgh and George Woodman, to the ﬁnest specialty writers on ceramics, including Philip Rawson, Edmund DeWaal, Gabi DeWald, Leopold MOVING Foulem, Tanya Harrod, Susan Tunick, Janet SOON? Koplos and Garth Clark. 400 pages including Please send your new address to: introduction by Garth Clark, list of Ostracon Ceramics Monthly Circulation Department, Award winners, contributor biographies and 735 Ceramic Place, Suite 100 index. 140 black-and-white photographs. Westerville, OH 43081. Or Telephone: Softcover, US$45.00 (CAN$55.00). ISBN (614) 794-5890; Fax: (614) 891-8960

Ceramics Monthly June/July 2006 66 Ceramics Monthly June/July 2006 67 new books

0-919616-45-3. Published by the Press of the Nova Scotia College of Art and Design, 5163 Duke St., Halifax, Nova Scotia B3J 3J6 Canada; www.nscad.ca. Distributed by D.A.P./Distributed Art Publishers, 155 Sixth Ave., 2nd Fl., New York, NY 10013; (800) 338-2665; [email protected].

500 Pitchers Contemporary Expressions of a Classic Form Juried by Bakersville, North Carolina, potter Terry Gess, this book is like a gallery exhibition of contemporary ceramic pitchers in book form. Composed of 500 full-color pictures of pitchers, the book contains everything from handbuilt to wheel thrown, utilitar-

(410) 235-5998 www.clayworkssupplies.com ian to sculptural, and round to square. Com- mentary from Gess and the artists themselves help explain how handle and spout, or belly and foot come together to determine the personality of each piece. “The pitcher is an ancient, useful shape; GEILKILNS symbolic as well as practical,” says Terry Gess From Shino to Copper Red Every Time! in his introduction. “It has long played a central role in the ritual and ceremonial life of civiliza- tions worldwide. . . . The pitcher tradition has been deep and sustaining, with numerous av- The Olsen Kiln Kits are designed, enues of custom and style, and the interplay patented, and built by Fredrick Olsen between form and function continues to be explored today, as this remarkable collection of author of contemporary pitchers demonstrates so vividly.” "The Kiln Book" 420 pages including introduction, acknowl- Write for a Free Brochure edgments, juror’s biography and index. 500 color photographs. Softcover, $24.95. ISBN Olsen Kiln Kits 1-57990-687-7. Published by Lark Books, 60520 Manzanita #205 67 Broadway, Asheville, NC 28801; Mountain Center, CA 92561 www.larkbooks.com; (800) 284-3388. Telephone 760-349-3291

Ceramics Monthly June/July 2006 68 Ceramics Monthly June/July 2006 69 Contact Eastfield Village, PO Box 539, Nassau 12123; Research Center, Arizona State University, Mill Ave. calendar tel (518) 766-2422. and Tenth St. Conferences, Exhibitions, Workshops, Fairs South Carolina, Florence July 27–30 “Southern- California, Pomona through July 1 Steve Tobin, Fried Ceramic Surfaces Symposium, All About Surface “Exploded Earth”; at AMOCA, 340 S. Garey Ave. See calendar online at www.ceramicsmonthly.org Design.” Contact Potters Council, 735 Ceramic Pl., California, Redding July 18–October 27 Palul, Ste. 100, Westerville, OH 43081; tel (614) 794-5827; “Art in City Hall”; at Redding City Hall Gallery, 777 www.potterscouncil.org. Cypress Ave. Conferences Texas, Houston October 19–21 “Shaping the Fu- California, Sacramento through July 2 “Viktor ture of Craft, 2006 National Leadership Conference,” Schreckengost: National Centennial Exhibition.” July Indiana, Indianapolis September 13–16 “Clay includes panels, lectures, museum and gallery tours. 22–October 8 James Lovera, “Craters from Fire”; at Expressions, Surface Decoration Hits the Midwest Re- Contact American Craft Council, 72 Spring St., Sixth Crocker Art Museum, 216 O St. gion,” includes lectures, demos and exhibitions. Con- Fl., New York, NY 10012-4019; www.craftcouncil.org. California, Santa Monica through June 17 Peter tact Potters Council, 735 Ceramic Pl., Ste. 100, Australia, Brisbane July 10–14 “Verge: 11th Na- Shire, “Deuce ex Machina”; at Frank Lloyd Gallery, Westerville, OH 43081; www.potterscouncil.org; tel tional Ceramics Conference,” includes lectures, cri- 2525 Michigan Ave., B5b. (614) 794-5827. tiques, panels, exhibitions, workshops and trade Georgia, Atlanta through October 31 Niki de Minnesota, Minneapolis September 13–17 “Tiles show. Contact Fusions: Australian Network of Clay Saint Phalle, “Niki in the Garden”; at the Atlanta of the Northern Plains: Building on Tradition,” includes and Glass Artists, Verge conference committee, PO Botanical Garden, 1345 Piedmont Ave., NE. tours, lectures, demos, workshops and exhibitions. Box 1414, New Farm, Brisbane, Queensland 4005; Georgia, Decatur July 15–August 5 Niel Hora. Contact the Tile Heritage Foundation, PO Box 1850, www.fusions.org.au or www.verge2006.org.au; tel August 12–26 Barry Gregg; at MudFire Clayworks & Healdsburg 95448; www.tileheritage.org or (61) 7 3358 5122. Gallery, 175 Laredo Dr. www.handmadetileassociation.org. Hungary, Kecskemét November 7–10 “Critical Hawai‘i, Honolulu through June 6 Jun Kaneko, Montana, Helena June 22–24 “2006 Archie Bray Studies... Contemporary Writing for the Ceramic “Tropical Reflection: Drawings, Paintings and Sculp- International,” includes lectures, demos and exhibition Arts,” lectures and presentations by Gabi DeWald, Dr. ture”; at the Contemporary Museum at First Hawaiian by over 12 international artists to celebrate the opening Ichi Hsu and Janet Mansfield. Fee: 50,000 HUF Center, 999 Bishop St. of the David and Ann Shaner Resident Artist Studio (US$235), includes lunch. Contact International Ce- through June 18 David Kuraoka; at the Honolulu Complex. Fee: $160; members, $125; former Bray ramics Studio Kecskemét, Kápolna u. 11, Kecskemét Academy of Arts, 900 S. Beretania St. resident artists, $100. Contact Archie Bray Foundation H-6000; [email protected]; tel (36) 76 486 867. Illinois, Chicago through June 17 Meredith Brickell, for the Ceramic Arts, 2915 Country Club Ave., Helena Turkey, Eskisehir July 3–9 “Clay + Fire + Mobility “The Distance Between”; at the Lillstreet Art Center, 59602; www.archiebray.org; tel (406) 443-3502. + Education,” includes demos, workshops, lectures, 4401 N. Ravenswood Ave. New York, Garden City July 6–9 “All Fired Up, research trip and exhibition. Contact Zehra Coblani, through June 30 Dennis Lee Mitchell; at the Clarke Alternative Firing Techniques,” includes lectures and Anadolu University, Faculty of Fine Arts, Ceramic Dept., House Museum, 1827 S. Indiana Ave. demos. Fee: $300; members, $250; after June 15, 26470 Tepebasi Eskisehir; [email protected]; July 28–August 24 Lisa Merida-Paytes; at Woman $350; members, $300. Contact Potters Council, 735 tel (90) 532 405 1585. Made Gallery, 2418 W. Bloomingdale Ave. Ceramic Pl., Ste. 100, Westerville, OH 43081; Maryland, Baltimore July 29–August 23 Jessica www.potterscouncil.org; tel (614) 794-5827. Solo Exhibitions Broad; at Baltimore Clayworks, 5707 Smith Ave. New York, Nassau June 23–25 “British Ceramics: Massachusetts, Boston through June 14 Kang A Newly Discovered Potter’s Tip in Burslem 1795– Arizona, Tempe through August 5 “The Ceramic Hyo Lee, “The Beauty of Imperfection: Korean Ceram- 1805,” includes lectures and exhibition. Fee: $435. Art of R. Michael Johns”; at ASU Art Museum Ceramics ics”; at Pucker Gallery, 171 Newbury St. Continued

Ceramics Monthly June/July 2006 70 NEW RELEASE

2006 CONFERENCE SCHEDULE

ALL FIRED UP CONFERENCE Firing for Diverse Surface Treatments on Clay Adelphi University Garden City, New York July 6–9, 2006 REGISTER AT www.potterscouncil.org/allfiredup

SOUTHERN FRIED CERAMIC SURFACES SYMPOSIUM All About Surface Design Francis Marion University Florence, South Carolina July 27–30, 2006 This book is about a truly remarkable trans- CLAY EXPRESSIONS formation: how the simplest of materials—clay or mud—can be used to make tools for produc- Surface Decoration ing one of the most complex human expres- Hits the Midwest sions—music. With a history reaching back to In conjunction with AMACO ancient times, creating ceramic musical instru- Indianapolis, Indiana ments is a vibrant pursuit for many innovative September 13–16, 2006 artists today.This book explores the vast array of ceramic musical instruments, from their histori- PATE DE VERRE GLASS cal traditions in world cultures to their modern variations and innovations. Hundreds of color List Price: ...... $59.95 CASTING CONFERENCE photos present the work of artists from around INTRODUCTORY PRICE: . . $48.00 Glass Casting for Potters the world spanning the last three millennia, Order Code: ...... CA30 and Sculptors from ancient Peruvian water whistles and Fayetteville, AR Mesopotamian rattles to contemporary seven- addition, there’s a chapter providing detailed, November 2–5, 2006 chambered ocarinas and ceramic bagpipes. In- step-by-step instructions showing how to build depth profiles explore a number of today’s several ceramic instruments.A companion audio artists, their work, and their inspirations. CD contains 43 diverse tracks of ceramic instru- Contact: Danielle McIntosh All instrument families are represented: per- mental music ranging from the refined melodic (614) 794-5827 cussion, winds, strings, and even unique hybrids. strains of Vivaldi and Tchaikovsky to the earthy, [email protected] For each type of instrument, special construction primal wailings of bizarre pre-Columbian wind techniques specific to clay are explained. In instruments. www.potterscouncil.org/2006conferences Whether you are a musician, ceramist, or just a fan of art and music, you’re invited to embark on an incredible journey . . . from mud to music! To order, go to www.ceramics.org/music

Ceramics Monthly June/July 2006 71 calendar solo exhibitions

Massachusetts, Lenox June 17–July 16 Michael McCarthy, “Studio Pottery.” July 15–August 13 Jason Walker. July 22–August 20 Michael Kline, “Studio Pottery”; at Ferrin Gallery, 69 Church St. Minnesota, Duluth through July 2 Daisy Brand, “Ceramic Images of a Frightening Past”; at Tweed Museum of Art, University of Minnesota Duluth, 1201 Ordean Ct. Minnesota, Minneapolis through June 26 Viktor Schreckengost. through July 2 Lawson Oyekan; at the Northern Clay Center, 2424 Franklin Ave. E. Missouri, Kansas City through June 24 Ruth Borgenicht, “Permutations”; at Sherry Leedy Contem- porary Art, 2004 Baltimore Ave. July 6–29 Michael Fujita; at Red Star Studios Ce- ramic Center, 821 W. 17th St. Missouri, St. Louis through June 11 Melody Ellis; at Xen Gallery, 401 N. Euclid. Montana, Billings June 1–August 1 Marcia Selsor; at St. John’s Chapel Art Gallery, 3940 Rimrock Rd. Montana, Bozeman June 7–August 2 Patrick Hoffman; at Michelle Gantt Ceramics Gallery + Studio, 111 S. Grand Ave. #108. Montana, Helena August 15–October 15 Marcia Selsor; at the Carroll College Art Gallery. 1601 N. GEILKILNS Benton Ave. Fires Even and Easy! Montana, Red Lodge August 4–31 Gertrude Gra- ham Smith; at the Red Lodge Clay Center, 123 S. Broadway Ave. New Jersey, Clinton June 11–August 20 Toshiko Takaezu; at Hunterdon Museum of Art, 7 Lower Cen- ter St. New Jersey, Surf City July 1–19 Stacy Snyder. July AMPSHADES 22–August 9 Susan Beecher. August 12–September 6 L Liz Quackenbush; at m.t. burton gallery, 1819 Long NEW! HANDMADE PAPER Beach Blvd. New York, Alfred through June 26 “Viktor 1-800-622-3050 Schreckengost National Centennial Exhibition”; at the www.lampshadesforpotters.com Schein-Joseph International Museum of Ceramic Art, NY State College of Ceramics at Alfred University. New York, Beacon June 10–July 2 Tony Moore; at bau, 161 Main St. New York, Cazenovia through June 30 John Jessiman; at Chameleon Gallery, 53 Albany St. New York, New York through June 24 Jean-Pierre Larocque. Marek Cecula, “In Dust Real.” through July 8 Sir Anthony Caro, “The Kenwood Series”; at Garth Clark Gallery, 24 W. 57th St., Ste. 305. through July 30 “The Art of Betty Woodman”; at the Metropolitan Museum of Art, 1000 Fifth Ave. North Carolina, Atlantic Beach June 17–July 14 Andree Richmond, “Show Yourself”; at Vision Gallery, 407 Atlantic Beach Cswy., 6A. North Carolina, Charlotte through June 26 “Viktor Schreckengost National Centennial Exhibition”; at Mint Museum of Craft + Design, 2730 Randolph Rd. Ohio, Cleveland through August 13 Viktor Schreckengost, “Animals in Art: Clay Creatures”; at the Cleveland Zoo, 3900 Wildlife Way. Ohio, Columbus through June 30 Janis Mars Wunderlich; at Sherrie Gallerie, 937 N. High St. Pennsylvania, Erie through June 1, 2007 Eva Zeisel; at the Erie Art Museum, 411 State St. Pennsylvania, Philadelphia June 2–July 2 Sanam Emami. July 7–30 Brooke Noble; at the Clay Studio, 139 N. Second St. South Carolina, Charleston through June 27 Lin Barnhardt, “Homage to Hopper”; at Charles Wadworth Room, Dock Street Theatre, 135 Church St. June 29–July 29 Lin Barnhardt, “Homage to Hop- per”; at the Meeting Place Art and Craft Coop., 1077 E. Montague Ave. Texas, Longview through July 9 Marla Ziegler; at Longview Museum of Fine Arts, 215 E. Tyler St. Texas, San Angelo through June 25 David Furman,

Ceramics Monthly June/July 2006 72 ADVERTISEDDELIEVEREDPRICE 7ILLBEATANYONES

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Ceramics Monthly June/July 2006 73 Michael Johns Collection” ; at ASU Art Museum Ce- The Art of E arth & Fire” ; at the Hotchkiss School, 11 calendar ramics Research Center, Arizona State University, Mill Interlaken Rd. solo exhibitions Ave. and Tenth St. D . C . , W ashington through June 14 “ Architectural C alifornia, D avis through June 26 “ G et Fired: Hot Ceramics,” Solveig Cox, Jason G reen, E ric O’Leary, “ Figures of Speech” ; at San Angelo Museum of Fine Ceramics from the ACG A” ; at Pence G allery, 212 D St. Robert Winokur; at cross mackenzie ceramic arts, Arts, One Love St. C alifornia, K enw ood through June 30 G erald 1054 31st St. W ashington, A nacortes July 28–August 6 Allen Arrington, E lizabeth Frank, Todd Reed and Jenni Ward; G eorgia, D ecatur June 10–July 8 “ Surfacing: Moe; at John L. Scott Focus G allery, Commercial Ave. at the Sculpture G arden at Wildwood Farm, 10300 Multiartist Show of Four Potters from Athens, G eor- W ashington, T acoma June 10–October 2 Akio Sonoma Hwy. gia,” Christine Bentley, Brooke Cassady, Carter G illis, Takamori, “ Between Clouds and Memory” ; at Tacoma C alifornia, P asadena through June 24 “ Under the David Morgan; at MudFire Clayworks & G allery, 175 Art Museum, 1701 Paciﬁc Ave. Inﬂ uence— An Intergenerational Collaboration,” James Laredo Dr. W y oming, B uffalo through July 15 Blair Meerfeld; Coquia and Paul Soldner; at X iem Clay Center, 1563 N. H aw ai‘ i, H onolulu through June 24 “ Raku at Margo’s Pottery and Fine Crafts, 1 N. Main St. Lake Ave. Ho‘ olaule‘ a— Annual Juried E xhibition” ; at the ARTS C alifornia, P omona July 8–September 2 “ Musical at Marks G arage, 1159 Nuuanu Ave. Group Ceramics Exhibitions Mud” ; at AMOCA, 340 S. G arey Ave. July 20–October 8 “ Trade, Taste and Transforma- C olorado, G rand J unction through June 24 “ Con- tions: Jingdezhen Porcelain for Japan, 1620–1645” ; at A riz ona, T empe through August 5 “ A Ceramic temporary Clay ’06” ; at the Art Center, 1803 N. 7th St. Honolulu Academy of Arts, 900 S. Beretania St. Legacy: Selections from the Sté phane Janssen and R. C onnecticut, L akeville through June 18 “ Clay— I llinois, C hicago through June 10 “ Casas G randes: Ancient Ceramics of Northern Mexico” ; at Douglas Dawson G allery, 400 N. Morgan. through August 13 “ Casas G randes and the Ce- ramic Art of the Ancient Southwest” ; at the Art Institute of Chicago, 111 S. Michigan Ave. I llinois, O ak P ark June 3–July 5 “ The Soda Chicks,” Suze Lindsay, Linda McFarling and G ay Smith; at Terra Incognito Studios & G allery, 246 Chicago Ave. I ow a, I ow a C ity June 2–23 “ Forms and Shapes” ; at AK AR, 257 E . Iowa Ave. M aine, D eer I sle June 1–30 “ Platters in Black and White: Collaborations.” July 1–30 “ National Potters Showcase” ; at Dowstudio, 19 Dow Rd. M aine, P ortland through June 30 “ Functional and Sculptural Art for the G arden” ; at Maine Potters Mar- ket, 376 Fore St. M ary land, B altimore June 1–August 19 “ Lyrics & E xcerpts,” Michael Anthony and David Milburn; at Meredith G allery, 805 N. Charles St. June 9–July 9 “ New Directions: Baltimore Clayworks Resident Artists.” July 15–23 “ Clay from the Class- room: A Student Show” ; at Baltimore Clayworks, 5707 Smith Ave. M assachusetts, B rockton through June 7 “ Look- ing Back, Looking Forward: The State of Clay in Mas- sachusetts.” through June 18 “ The Beauty of Use: The Mingei Pottery of Hamada, Shimaoka, Matsuzaki & Tsuchiya” ; at Fuller Craft Museum, 455 Oak St. M assachusetts, L enox June 17–July 16 “ The Watershed Residency: One Year Later” ; at Ferrin G allery, 69 Church St. M ichigan, D etroit through July 14 “ Teapots” ; at Pewabic Pottery, 10125 E . Jefferson. M ichigan, K alamaz oo through July 16 “ Tea Time: The Art of the Teapot” ; at K alamazoo Institute of Arts, 314 S. Park St. M innesota, M inneapolis through July 2 “ Does Size Matter,” Beth Lo, Justin Novak, Peggy Preheim. June 1– 30 K evin Caufield, Paul Dresang, Sanam E mami. July 7– 31 Ryan G reenheck, Matt K elleher, Monica Rudquist. July 14–August 27 “ RAW: Unfired Clay Installations,” Walter McConnell, K risten Morgin, Clare Twomey; at Northern Clay Center, 2424 Franklin Ave., E . M ississippi, J ackson June 17–September 10 “ From the Fire: Contemporary K orean Ceramics” ; at the Mississippi Museum of Art, 201 E . Pascagoula St. M issouri, K ansas C ity June 1–July 1 “ Dinnerware Show.” August 31–September 30 “ Lynn Bowers In- vites” ; at Red Star Studios Ceramic Center, 821 W. 17th St. M ontana, B oz eman June 2–July 5 K ristin Schimik and Mark Cole; at Michelle G antt Ceramics G allery + Studio, 111 S. G rand Ave. # 108. M ontana, H elena June 16–24 “ Resident and V is- iting Artist E xhibition.” July 13–August 4 “ Annual Resident Summer E xhibition” ; at Archie Bray Founda- tion for the Ceramic Arts, 2915 Country Club Ave. M ontana, M issoula June 2–24 “ Wood Fire 2006.” June 22–July 22 “ International Cup E xhibition” ; at the Clay Studio of Missoula, 910 Dickens. M ontana, R ed L odge June 2–30 “ Pots with Sto-

Ceramics Monthly June/July 2006 74 ries,” Mary Briggs, Bede Clarke, Chuck Hindes, Liz ity: Contemporary Ceramic Sculpture,” Shawn Busse, W ashington, A nacortes June 2–25 “ Clay, Fire Lurie and Ron Meyers; at Red Lodge Clay Center Marek Cecula, Bean Finneran, K ay Hwang, Denise and Form” ; at G allery at the Depot, 611 R Ave. G allery, 123 S, Broadway Ave. Pelletier, Jeanne Q uinn, G regory Roberts and Juana W ashington, K irkland June 9–August 29 “ Clay? ” ; N ew J ersey , S urf C ity through June 26 “ Jersey V aldes; at Stanlee and G erald Rubin Center for V isual at K irkland Arts Center, 620 Market St. Shore Clay National 2006” ; at m.t. burton gallery, Arts, University of Texas E l Paso, 500 W. University Ave. W est V irginia, L ew isburg June 2–July 31 “ An- JSCN ’06, 1819 Long Beach Blvd. T exas, S an A ngelo through June 25 “ The Six- nual Clay Invitational” ; at Washington Street G allery, N ew J ersey , W est C aldw ell through June 30 teenth San Angelo National Ceramic Competition” ; at 123 W. Washington St. “ Hunnebedden” ; at Bouzard-Hui G allery, 697 Bloom- San Angelo Museum of Fine Arts, One Love St. W isconsin, R acine June 20–November 25 “ Trea- ﬁeld Ave. V irginia, A lexandria June 5–July 7 “ Platters.” July sure Hunt: Teapots” ; at the Charles A. Wustum Mu- N ew M exico, S anta F e through June 24 “ E arthen- 6–August 6 “ Tea Time.” August 7–September 3 “ Be- seum of Fine Arts, 2519 Northwestern Ave. ware.” June 30–July 29 “ Six Functional Potters,” fore & After” ; at Scope G allery, Torpedo Factory, 105 Malcolm Davis, Mary Law, Peg Malloy, K ent McLaugh- N. Union St. Ceramics in Multimedia lin, Blair Meerfeld, McK enzie Smith. August 4–Sep- V irginia, R ichmond through July 9 “ Parian Porce- Exhibitions tember 2 “ China Response” ; at Santa Fe Clay, 1615 lain: A Nineteenth-Century Passion.” through Sep- Paseo de Peralta. tember 24 “ Traditions in Miniature: The Louise A riz ona, P hoenix through August 13 “ Mid-Cen- N ew Y ork, A lfred June 1–September 29 “ Recep- Westbrook Collection of Chinese Ceramics” ; at Uni- tury Modern: Native American Art in Scottsdale” ; at tive V olumes” ; at the Schein-Joseph International Mu- versity of Richmond Museums, Lora Robins G allery of the Heard Museum, 2301 N. Central Ave. seum of Ceramic Art, NY State College of Ceramics at Design from Nature. C alifornia, Exeter through June 28 “ That E xtra Alfred University. N ew Y ork, C atskill June 17–July 30 “ Journeys in Clay 2006” ; at G reene County Council on the Arts, 398 Main St. N ew Y ork, D ix H ills July 8–August 13 “ Patterns in Clay” ; at Art League of Long Island, 107 E . Deer Park Rd. N ew Y ork, N ew Y ork through June 10 “ Trade, Taste and Transformation: Jingdezhen Porcelain for Japan, 1620–1645” ; at China Institute G allery, 125 E . 65 St. through June 17 “ Annual Members Showcase and Children’s Show” ; at Jane Hartsook G allery, G reen- wich House, 16 Jones St. N ew Y ork, W ater M ill through June 19 “ Out of the E arth,” Hana Anteby, Susan Broderick, Sydney Butchkes, Mary Jaffe, Jack Rosenberg, Cati V an Milders. June 23–July 17 “ The Art of Serving,” Malcolm Davis, Outi Putkonene, E ve Behar. July 21–August 14 “ Mas- ters of the Art,” Tony Clennell, David Crane and Lucinda Piccus. August 18–September 4 “ Ceramic Sculpture,” Rae Lapides, Marsha Lipsitz, Diane G iardi; at Celadon, A Clay Art G allery, 41 Old Mill Rd. N ew Y ork, W hite P lains through July 28 “ Ce- ramic Invitational” at Westchester Art Workshop, 196 Central Ave. N orth C arolina, C harlotte through July 2 “ Fancy Rockingham Pottery: The Modeller and Ceramics in 19th-Century America.” through November 12 “ Bun- combe County Pottery from the Leftwich Collection.” July 15–December 10 “ G ifts from the Delhom Service League and the Mint Museum Auxiliary.” August 5– November 5 “ North Carolina Pottery from the E lizabeth and Leo K ohn Collection” ; at Mint Museum of Art, 2730 Randolph Rd. N orth C arolina, C reedmoor June 9–September 10 “ Fresh Catch,” Alan and Rosemary Bennett; at Cedar Creek G allery, 1150 Fleming Rd. O hio, C incinnati through June 18 “ Marvels of Maiolica: Italian Renaissance Ceramics from the Corcoran G allery of Art Collection.” July 14–Septem- ber 10 “ Dark Jewels: Chinese Black and Brown Ceram- ics from the Shatzman Collection” ; at Taft Museum of Art, 316 Pike St. O hio, C olumbus through June 25 “ Stories in Clay,” Julie Byrne, Jenny Mendes and Janis Mars Wunderlich; at Ohio Craft Museum, 1665 W. Fifth Ave. July 1–August 31 “ Weapons and Torches,” Andi and Robert Moran; at Sherrie G allerie, 937 N. High St. O hio, K ent through June 10 “ Sixth Annual Na- tional Juried Cup Show” ; at Downtown G allery, 223 N. Water St. P ennsy lvania, H averford through June 13 “ In- spired Utility: E xceptional Ceramic V essels” ; at Main Line Art Center, Old Buck Rd. and Lancaster Ave. P ennsy lvania, P hiladelphia through June 25 “ Trompe l’Oeil Sculpture— A G roup E xhibition.” June 2–July 2 “ Made at the Clay Studio.” June 29–July 30 “ Third Annual Marge Brown K alodner G raduate Stu- dent E xhibition.” July 7–30 “ Associate Artists’ G roup E xhibition” ; at the Clay Studio, 139 N. Second St. T exas, El P aso June 29–September 23 “ Multiplic-

Ceramics Monthly June/July 2006 75 calendar multimedia exhibitions

ZDUGEXUQHUFRP %DOO9DOYHV.LOQ&RQWUROOHUV5DNX.LOQV3\URPHWHUV%$629DOYHV%ULFN )LEHU5HJXODWRUV%XUQHU3DUWV1HHGOH9DOYHV3URSDQH+RVH Dimension,” including ceramics by Carol Clum, Nancy Jonnum and Marn Reich; at the Courthouse Gallery of 32%R[ the Arts, 125 S. B St. California, San Francisco through June 18 “Inter- 'DQGULGJH71 national Arts and Crafts”; de Young Museum, 50 Hagiwara Tea Garden Dr., Golden Gate Park. through August 5 “Body Language—Figurative Works by 5 Women Sculptors,” including ceramics by Jane Burton and Kathy Venter; at Sculpturesite Gallery, HPDLOLQIR#ZDUGEXUQHUFRP 201 Third St. Florida, St. Petersburg through June 22 “Unre- stricted,” including ceramics by Alice Ballard Munn, Debra Fritts, Jean Cappadonna Nichols, Nazaré Felciano, Shanna Fliegel, Hyo-in Kim, Helen Otterson and Cristina Pellechio; at Florida Craftsmen, 501 Central Ave. Florida, Tallahassee August 28–September 2 “Combined Talents Annual Juried Exhibition”; at Florida State University Museum of Fine Arts, 8347 Summerdale Ln. Georgia, Moultrie through June 30 “Essential Nature: Asian Inspired Painting and Sculpture,” including ceramics by Mark Fletcher; at Colquitt County Arts Center, 401 Seventh Ave., SW. Illinois, Chicago through January 1, 2007 “Tutank- www.japanpotterytools.com hamun and the Golden Age of Pharaohs”; at the Field Museum, 1400 S. Lake Shore Dr. Iowa, Sioux City through June 18 “Opening the Vault: Selections from the Permanent Collection 1980 to the Present”; at the Sioux City Art Center, 225 Nebraska St. Maine, Deer Isle August 4–September 10 “Color On and Off the Wall”; at Dowstudio, 19 Dow Rd. Clay Whistles . . . the voice of clay Massachusetts, Cambridge through June 30, 2007 56 pages of clear instructions + illustrations “The Moche of Ancient Peru: Media and Messages”; at on making clay whistles, ocarinas, whistle Peabody Museum, Harvard University, 11 Divinity Ave. tools, plus tuning, PROBLEM SOLVING. Massachusetts, Lenox June 10–July 12 Two-per- 30-min. VHS video available. son exhibition including ceramics by Michael Sherrill. August 26–September 24 Three-person exhibition in- Book now available in Spanish—72 pages cluding ceramics by Debra Fritts and Red Weldon Silbatos de Arcilla . . . la voz del barro Sandlin; at Ferrin Gallery, 69 Church St. Clay Whistles book (in English/Spanish) $11.95 + Minnesota, Duluth through January 7, 2007 $3.50 S&H (US Funds) Book + Video $34.95 + $3.50 “Across Space, Time and Meaning”; at Tweed Mu- S&H (US Funds) Canadian orders add $.75 seum of Art, University of Minnesota Duluth, 1201 The Whistle Press, PO Box 1006 Ordean Ct. Dept. CM Petal, MS 39465 Minnesota, Minneapolis June 13–July 27 “NA/ www.whistlepress.com Telephone/Fax: GAS—North American Graduate Art Survey”; at Uni- E-mail: [email protected] 601-544-8486 versity of Minnesota, Regis Center for Art, 405 21st Ave., S. New Hampshire, Manchester through June 26 “Voces y Visiones: Highlights from El Museo del Barrio’s Permanent Collection”; at Currier Art Museum, 201 Myrtle Way. FKHFNRXWRXUZHE New Jersey, Trenton through June 11 “Ellarslie Open XXIV, The Best of the Best”; at Trenton City Muse- GEILKILNS VLWHIRUUHJXODU um, Ellarslie Mansion, Cadwalader Park, Parkside Ave. Buy Once, Buy a Geil! ´ZHEVSHFLDOVµ New Jersey, West Caldwell through June 30 Four-person exhibition including ceramics by Karen Aumann, and Eva Bouzard-Hui and Slavica Musulin; at Bouzard-Hui Gallery, 697 Bloomfield Ave. New Mexico, Santa Fe July 8–August 26 “Cel- ebrating 25/20,” including ceramics by Richard Devore and Ruth Duckworth; at Belles Artes, 653 Canyon Rd. New York, Bronx June 2–30 “Art of the Word,” including ceramics by Tony Moore”; at Haven Arts, 235 E. 141st St. New York, Brooklyn through December 31 “Beauty Beyond Words: Calligraphy in Asian Tradi- tions”; at Brooklyn Museum of Arts, 200 Eastern Pkwy. New York, New York through June 10 Two- person exhibition including ceramics by Bean Finneran; at Nancy Margolis Gallery, 523 W. 25th St. through June 22 “Process and Promise: Art Educa- tion and Community at the 92nd Street Y, 1930– 2005,” including ceramics by Kim Dickey, Edward $OXPLQL]HG&ORWKLQJ)DFH6KLHOGV5DNX%XUQHUV3RZHU%XUQH UV9HQWXUL%XUQHUV6DIHW\&ORWKHV5HWHQWLRQ1R]]OHV:RPHQ·V5DNX*ORYHV Eberle, Warren MacKenzie, Akio Takamori, Susan

Ceramics Monthly June/July 2006 76 1-800-335-0741 “You Deserve the BEST”

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Ceramics Monthly June/July 2006 77 If not for the incredible technical staff first, using an electric kiln was discourag- at Laguna Clay Company, I would never ing because I wasn’t able to achieve the have gotten this 35 foot mural depicting excitement and interest I was used to. indigenous sea life of the California coast Now, Juan Aguilera, Laguna’s off the ground! chemist, has developed fabulous new glaze lines and I was brought up on cone 10, gas reduction fir- majolica paintables which mimic both reduction envi- ings at schools and studios. However, now that I have ronment and low-fire hues. The Crackle glazes look a home studio I rely on cone 5 oxidation firings. At fabulous on top of a base white glaze..try it out!

C onnecticut, G uilford July 13–15 “ Craft E xpo River Festival Fine Art/Fine Craft Show” ; at Oakdale calendar 2006” ; on the G uilford G reen, downtown. Park, Mulbery St. multimedia exhibitions F lorida, W inter P ark August 18–19 “ Schowalter K entucky , M idw ay June 10–11 “ Third Annual Hughes Community College— Cup-A-Thon X X II” ; at Francisco’s Farm 2006 Invitational Fine Art & Craft Tunick, Betty Woodman; at 92nd Street Y, 1395 Lex- Crealdé School of Art, 600 St. Andrews Blvd. Show” ; Midway College, I-64. ington Ave. I llinois, M onmouth June 10 “ 100th Anniversary M ary land, B altimore June 9–11 “ Baltimore Clay- through September 3 “ A Passion for Asia: The Rock- Celebration of Western Stoneware Pottery” ; at Town works Seconds Sale.” June 10 “ Clay Fest” ; at Balti- efeller Family Collects” ; at Asia Society, 725 Park Ave. Square, Downtown. more Clayworks, 5707 Smith Ave. through October 29 “ Feeding Desire: Design and K ansas, S alina June 8–11 “ Smoky Hill River Four M ichigan, D etroit June 2–5 “ For the House & the Tools of the Table, 1500–2005; at the Cooper- Rivers Craft Market Show.” June 10–11 “ Smoky Hill G arden Show” ; at Pewabic Pottery, 10125 E . Jefferson. Hewitt National Design Museum, 2 E . 91st St. N orth C arolina, C harlotte through August 6 “ Crosscurrents: Art, Craft and Design in North Caro- lina.” through November 26 “ Mint Menagerie: Crit- ters from the Collection” ; at Mint Museum of Craft + Design, 220 N. Tryon St. P ennsy lvania, P hiladelphia through June 15 Two- person exhibition including ceramics by Skeff Thomas; at the Works G allery, 303 Cherry St. T exas, G alveston June 3–July 8 “ Revolving Cycles,” including ceramics by Lebeth Lammers; at Design Works, 2119-A Postofﬁce St. U tah, S alt L ake C ity though June 9 Two-person exhibition including ceramics by Francesc Burgos; at Phillips G allery, 444 E . 200 S. W isconsin, R acine through October 15 “ Treasure Hunt: Works from RAM’s Storage” ; at Racine Art Museum, 441 Main St.

Fairs, Festivals and Sales C alifornia, L aguna B each July 2–September 1 “Annual Festival of Arts” ; at Irvine Bowl Park, 650 Laguna Canyon Rd. C alifornia, M endocino July 1 and 22 “ Mendocino Street Fairs” ; on Heider Field, Little Lake St. C alifornia, P alo A lto July 8–9 “ 2006 Palo Alto Clay & G lass Festival” ; at Palo Alto Art Center, 1313 Newell Rd. F unctional ware by Pat Koszis; at Palo Alto Art Center, Palo Alto, Calif ornia.

Ceramics Monthly June/July 2006 78 g- And the Mystic line has great movement and depth unpleasant surprises...just load after load of by itself or under other colors. successful firings. This work also incorporated —Ellen Rundle the work of several budding teenage d artists who had never worked with vi- ceramics. Thankfully, Laguna clay 800 4-LAGUNA k bodies and glazes are stable and www.lagunaclay.com reliable which meant there were no

M ontana, H elena June 22–24 “2006 Bray Inter- Heavenly Pl., Prescott 86303; www.vanprice.com; tel Vallecito Lake 81122; www.bluesprucervpark.com; national Live Auction”; at Great Northern Best West- (928) 443-9723. tel (888) 884-2641. ern Hotel, 835 Great Northern Blvd. C alifornia, L ancaster June 17–21, July 15–19 and/ C onnecticut, G uilford August 12–13 “Lidded Ves- N ew J ersey , M ontclair June 17–18 “Spring or August 5–9 Architectural ceramics workshops with sels” with David MacDonald. Intermediate through Brookdale Park Fine Art and Crafts Show”; on Mary Harper. Fee/ session: $575. Contact Mary Harper, professional. Contact Lisa Wolkow, Guilford Art Cen- Wachtung Ave. Serene Fascinations, 1414 Kerrick St., Lancaster 93534; ter, 411 Church St., Guilford 06437; tel (203) 453- N ew Y ork, C az enovia August 19–20 “26th An- tel (661) 547-4319 or (661) 951-1445. 5947; www.guilfordartcenter.org. nual Pottery Fair”; in Stone Quarry Hill Art Park, Stone C alifornia, O j ai June 22–25 “Luster Glaze Work- D elaw are, W ilmington October 7 Clay printing Quarry Hill Rd. shop” with Myra Toth. Fee: $750, includes lunch, with Mitch Lyons. Contact Delaware Center for the N ew Y ork, N ew Y ork June 3–4 and 10–11 “30th participants must bring 4–5 bisqued pieces of their Contemporary Arts, 200 S. Madison St., Wilmington Annual American Crafts Festival”; at Lincoln Center, own work. Contact the Beatrice Wood Center for the 19801; www.thedcca.org; tel (302) 656-6466. 140 W. 56th St. Arts, 8560 Oj ai-Santa Paul Rd., Oj ai 93023; F lorida, S t. P etersburg October 2–7 and/or 9–14 N ew Y ork, P ort C hester June 8–11 “Summer www.beatricewood.com; tel (805) 646-3381. “The International Architectural Ceramics Symposium,” Studio Sale”; at the Clay Art Center, 40 Beech St. C alifornia, P alo A lto September 4–8 Clay printing hands-on building and installing workshop with Peter N orth C arolina, P enland August 11–12 “Penland with Mitch Lyons. Contact Pacific Arts League, 68 King and X inia Martin, plus Rudy Autio, Stan Bitters, School of Crafts Annual Benefit Auction.” For reserva- Ramona St., Palo Alto 94301; www.pacificartleague.org. Gwen Heeny, John Mason, John Donovan and Ben tions, www.penland.org; tel (828) 765-2359, x45. C alifornia, S anta C lara November 3–5 “Portrait Gilliam. Fee: 2 weeks, $1500; students, $1400; 1- O hio, C ambridge August 11–13 “38th Annual Class” with Philippe Faraut. Contact Matt Hoogland, week, $795; students, $745. November 11–17 “At- Salt Fork Arts and Crafts Festival”; at Cambridge City Clay Planet, 1775 Russell Ave., Santa Clara 95054; mospheric Firing Methods” with Chuck Solberg. Fee: Park, Eighth St. [email protected]; tel (408) 295-3352. $350; students, $300. February 24–25, 2007 Work- T exas, H ouston July 8–9 “ClayHouston Festival”; C alifornia, S olana B each October 7–8 “Architec- shop with Tom and Elaine Coleman. Fee: $225; stu- at Houston Center for Contemporary Craft, 4848 tural Decorative Pillars in Clay” with Irene De Watteville. dents, $195; bring ware to carve. Contact Jennifer Main St. Fee: $195. Contact Sheila Menzies, Tile Heritage Foun- Lachtera, St. Petersburg Clay Company, 420 22nd St. W ashington, A nacortes August 4–6 “Anacortes dation, PO Box 1850, Healdsburg, CA 95448; S, St. Petersburg 33712; www.stpeteclay.com; tel Arts Festival”; downtown. www.tileheritage.org; tel (707) 431-8453. (727) 896-2529. W isconsin, C ambridge June 10–11 “Cambridge C olorado, L oveland September 15–17 “Portrait F lorida, W inter P ark October 14–15 Workshop Pottery Festival and U.S. Pottery Games”; at Lake Class” with Philippe Faraut. Contact Karen Dreith, with Ron Meyers. Contact the Crealdé School of Art, Ripley Park. Sculpture Depot, 418 Eighth St., SE Unit B, Loveland 600 St. Andrews Blvd., Winter Park 32792; W isconsin, M cN aughton July 28–30 “North- 80537; [email protected]; tel (800) 260-4690. www.crealde.org; tel (407) 671-1886. woods Summer Art Tour 2006.” For a tour map, C olorado, S now mass V illage September 9–22 G eorgia, D ecatur September 16–17 “Thrown and www.northwoodssummerarttour.com. “Developing Your Pottery Voice” with Doug Casebeer, Altered Maj olica” with Posey Bacopoulos. Fee: $125. Oc- W isconsin, M ilw aukee July 20–23 “Festa Italiana”; Alleghany Meadows, Aysha Peltz and David Pinto. Fee: tober 7–9 “Dreaming in Clay with Metal” with Lisa on the Summerfest Grounds. $1100, includes studio fee. Contact Anderson Ranch Clague. Fee: $275. November 3–5 “Ornament and Arts Center, PO Box 5598, Snowmass Village 81615; Abstraction” with Liz Quackenbush. Fee: $275. Con- Workshops www.andersonranch.org. tact MudFire Clayworks, 175 Laredo Dr., Decatur 30030; C olorado, V allecito L ake August 7–11 “Holding www.mudﬁre.com; tel (404) 377-8033. A riz ona, P rescott June 10–11 Hands-on inten- your Sake, Sushi and More” with June Szaj ko Getford. I llinois, C hicago June 1–5 “Ash and Flash Wood- sive slab/ handbuilding workshop with Karen Price. Fee: $340, includes materials. All skill levels. Contact Fire Workshop.” Fee: $250, includes materials and Fee: $100. Contact Karen, vanPrice Studio, 2057 Blue Spruce Recreational Park, 1875 County Rd. 500, camping, participants must bring up to 25 lbs of Cone

Ceramics Monthly June/July 2006 79 calendar workshops

10 bisqueware. All skill levels. Contact Gina www.ashandflash.com; tel (800) 252-8221. July 30 “Incorporation of Multimedia into Ceram- ics—Steel Copper, Aluminum and Fiberglass” with Mata Ortiz Pottery Lisa Merida-Paytes. All skill levels. Contact Lillstreet Art Center, 4401 N. Ravenswood, Chicago 60640; [email protected]; tel (773) 769-4226. Illinois, Crystal Lake October 6–7 Demo with Lana Wilson. Contact Molly Walsh, McHenry County College, 8900 Rte. 14, Crystal Lake 60014; Photo By Joe Butts www.clayworkersguild.com; tel (815) 455-8697. Louisiana, Monroe July 10–15 “Crystalline Porce- lain Workshop” with Donald R. Holloway. Fee: $250, Juan Quezada includes materials, firings and two meals. Contact Donald R. Holloway, Crosscraft Originals, 18 Jana Dr., Monroe 71203; [email protected]; tel (318) 343- 7658 or (318) 343-9220. Maine, Deer Isle September 3–9 “Collabora- tions: Exploring Form” with Karen Karnes and Mark Shapiro. Fee: $365. Contact Haystack Mountain School of Crafts, PO Box 518, Deer Isle 04627; www.haystack-mtn.org; tel (207) 348-2306. Maryland, Baltimore September 16–17 “Parts Pottery For Sale and Pieces: Throwing and Assembling Sculptural Forms on the Wheel” with Virginia Scotchie. October 6–10 “Wood-Fire Workshop” with Janet Mansfield. Fee: $300; members, $280, includes firing; must bring bisqueware. October 28–29 Workshop with Lydia Thompson. Fee (unless noted above): $180; members, $160. Contact Baltimore Clayworks, 5707 Smith Ave., Baltimore 21209; www.baltimoreclayworks.org; tel (410) 578-1919 x18. Workshops Massachusetts, Truro September 4–8 “Raku, Smoke & Pit” with Ron Dean. September 11–15 “The Marriage of Form and Surface” with Mary Barringer. Fee/session: $450. Contact Truro Center for the Arts Castle Hill, 10 Meetinghouse Rd., Box 756, Truro el hombre regreso! 02666; www.castlehill.org; tel (508) 349-7511. ...the man comes back Massachusetts, Williamsburg June 4–10 “Earth- Location: Historic Silco Theatre at 311 enware and Majolica: Terra Cotta Pottery” with Sharon N. Bullard in downtown Silver City, Pollock. June 24–26 “Colored Clay” with Naomi New Mexico Lindenfeld. Fee: $295. July 1–15 “High School Ceram- 3 day workshop: Friday 2pm-5pm, ics Program Session I.” Fee: $2600, includes materials, Saturday and Sunday 10am-3pm $200 lodging, meals and field trips. July 16–30 “High School (materials provided) Ceramics Program Session II” Fee: $2600; both weeks, Pottery Sales: Friday 12pm-6pm, $5000; includes materials, lodging, meals and field trips. July 30–August 9 “Accelerated Studio Arts Pro- Saturday 9am-6pm, Sunday 10am-4pm gram,” ages 16–18. Fee: $1400, includes lodging and FREE Admission: The largest meals. August 10–13 “Wheel Throwing and Ancient Quezada family exhibition & pottery Firing Techniques” with Bob Green. Fee: $385. August market in the United States. 13–19 “Sculpting the Human Figure” with Harriet Special Performance: The Santa Cruz Diamond. August 20–26 and/or October 22–28 “Mul- River Band 8pm-12am at the Buffalo tifaceted World of Clay” with Bob Green. September Dance Hall $10.00 2–4 “Make It/Mold It: Ceramic Mold Making” with Lodging: Ruth O’Mara. Fee: $295. September 17–23 “Working SCGC Chamber of Commerce with Porcelain: Design and Decoration” with Phoebe 505-538-3785 Sheldon. September 24–30 “Ceramic Tile Making: Cienega Spa 505-534-1600 From Trivets to Floors” with Sharon Pollock. October Comfort Inn 505-534-1883 9–15 “Sculpting the Human Figure” with Judith Abraham. October 22–28 “The Multifaceted World of Clay” with Bob Green. Fee (unless noted above): $360. Contact Snow Farm: the New England Craft Program, 5 Clary Rd., Williamsburg 01096; www.snowfarm.org; tel (413) 268-3101. Minnesota, Minneapolis July 5–13 “Installation Workshop” with Walter McConnell and Clare Twomey. Free. Limit of 10. Contact Annie Gemmell, Northern Clay Center, 2424 Franklin Ave. E, Minneapolis 55406; www.northernclaycenter.org; tel (612) 339-8007 x305. Mimbres Region Mississippi, Tougaloo July 16–22 “Art Colony 2006—Salt Kilnbuilding Workshop” with Don-Hung Arts council Chung. Contact Minnie Watson, Tougaloo College, P.O. Box 1830 • Silver City, NM 88062 500 W. County Line Rd., Tougaloo 39174; tel (601) 505-538-2505 • 888-758-7289 977-7839. www.mimbresarts.org Missouri, Kansas City July 22–23 Workshop with

Ceramics Monthly June/July 2006 80 Ceramics Monthly June/July 2006 81 calendar workshops

Marko Fields. Fee: $125; students, $100. Contact Susan Speck, KC Clay Guild, 200 W. 74th St., Kansas City 64112; www.kcclayguild.org; tel (816) 363-1373. November 4–5 Workshop with Sam Chung. Febru- ary 3–4, 2007 Workshop with Ron Meyers. November 3–4, 2007 Workshop with Linda Christianson. Contact Red Star Studios Ceramic Center, 821 W. 17th St., Kansas City 64108; www.redstarstudios.org; tel (816) 474-7316. Montana, Helena September 29–October 1 “New Directions and Endless Manipulations” with Doug Case- beer and Eddie Dominguez. Fee: $350, includes materials and firing. Limit of 15. Contact Archie Bray Foundation for the Ceramic Arts, 2915 County Club Ave., Helena 59602; www.archiebray.org; tel (406) 443-3502. New Jersey, Layton September 2–4 “Alternative Mold Processes” with Lynn Munns. Fee: $340; includes materials and firing. September 8–10 “Innova- tive Handbuilding Techniques” with Lana Wilson. Fee: $320; includes materials and firing. Beginning through advanced. Contact Jennifer Brooks, Peters Valley Craft Center, 19 Kuhn Rd., Layton 07851; www.petersvalley.org; tel (973) 948-5200. New Jersey, Surf City July 1 “Inspirational Form” with Stacy Snyder. July 22 “Altering Methods for GEILKILNS Functional Pots” with Susan Beecher. August 12 “The Real Professionals Decorated Form” with Liz Quackenbush. September 9 Fire in a Geil! “Wheel-Centered Altering: Focus on Function & Move- ment” with Tina Gebhart. Contact the m.t. burton gallery & 19th Street Clay Studio, 1819 Long Beach Blvd., Surf City 08008; www.mtburtongallery.com; tel (609) 494-0006. CHARLOTTE, NC New Mexico, El Prado June 19–23 “Handbuilt Vessels” with Matt Adams. June 26–30 “Naked Raku” Setting up a studio? with Richard Hawley. July 3–7 “Forms from Parts” with Your full-service pottery supplier Blair Meerfeld. July 13–15 “Teapots” with Hillary Kane. featuring clays by July 20–22 “Majolica” with Naussika Richardson. July Standard, Highwater and Laguna; 26–29 “Mold Making” with Faith Gelvin. August 7–11 kilns, glazes, chemicals and equipment. “Throwing Large Raku Vessels” with Mark Wong. School orders welcome! August 14–18 “Wood Kilnbuilding” with John Bradford. Contact Taos Clay Studio & Gallery, 1208 Paseo de Pueblo Norte, El Prado, NM 87529; CAROLINA CLAY www.taosclay.com; tel (505) 770-6563. CONNECTION New Mexico, Santa Fe June 2–7 “Animals in Clay 704/376-7221 Workshop” with Joe Bova. Limit of 8. Contact Joe Bova, [email protected]; tel (505) 466-4309. e-mail: [email protected] New York, Honeoye July 24–28 “Portrait Class” with Philippe Faraut. Contact Charisse Faraut, PCF Studios, PO Box 722, Honeoye 14471; tel (585) 229- 2976; [email protected]. New York, Port Chester August 9–10 “Outdoor Animals: Sculpture for your Garden” with Susan Halls. Fee: $175. Contact Clay Art Center, 40 Beech St., Port Chester 10573; tel (914) 937-2047. New York, Water Mill September 16–17 “Raku” with Bill Shillalies. Fee: $275, members $200. October 14–15 “Tile Making” with Frank Giorgini. Fee: $325; members, $250. Workshops at Celadon Gallery. Con- tact Clay Art Guild of the Hamptons, 51 Round Pond Ln., Sag Harbor, NY 11963; [email protected]; tel (631) 899-3599. North Carolina, Asheville September 8–10 “Movin’ On” with Cynthia Bringle. Fee: $200, includes registration. September 22–24 “Everything in the Glaze Kitchen” with Peter Pinnell. Fee: $200, includes registration. Contact the Odyssey Center for the Ceramic Arts, 236 Clingman Ave., Asheville 28801; www.highwaterclays.com; tel (828) 285-0210. North Carolina, Bailey November 4–5 “Forming and Decorating Functional Pots” with Cynthia Bringle and Bill van Gilder. Fee: $175. Contact Finch Pottery, 5526 Finch Nursery Ln., Bailey 27807; tel (252) 235- 4664; www.danfinch.com. North Carolina, Brasstown September 3–9 “Scot- tish-Inspired Pottery” with Pamela Kohler-Camp. Sep-

Ceramics Monthly June/July 2006 82 Anderson Ranch Arts Center

Summer Workshops 2006 Robert Brady Brad Miller Sandy Simon Mark Burleson Ron Nagle Paul Soldner Doug Casebeer Lisa Orr Peter VandenBerge Terry Gess Walter Ostrom Bill van Gilder Andrea Gill David Pinto Mikey Walsh John Gill Donna Polseno Stan Welsh Sam Harvey Juan Quezada Robert Winokur Jun Kaneko Beth Robinson Paula Winokur Tony Marsh Ralph Scala Michael Wisner Alleghany Meadows Mark Shapiro

Field Workshops 2007 Jamaica April 20 – 28, 2007 Akio Takamori, David Pinto & Doug Casebeer

Residencies 2006-2007

One-month, two-month, Sam Harvey, Jar three-month and six-month residencies. Call or email for more information.

Visit our web site or call to join our mailing list 970.923.3181 www.andersonranch.org

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

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

US $39.95 + $4.50 shipping by SU ER RAKU Priority/Air Mail in North America or $12 international air. See our CELEBRATION web site or call for other shipping options. PA residents must add All Day Saturday, 6% sales tax. Checks, money or postal orders, VISA/MC or school uly 15, 2006 • 95.00 purchase requisitions accepted. Guests of Honor: Here is what others are saying about Mastering Cone 6 Glazes: Dave & Boni Deal “What a stupendous book! I’ve read it from cover to cover and find it packed with excellent ideas, lovely glazes and solid concepts. This book marches glaze theory for potters miles into the future.” aul Anton Jim Robinson, Phoenix, Oregon

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

Ceramics Monthly June/July 2006 83 calendar workshops

tember 10–17 “World of Japanese Ceramics” with Rebecca Floyd. Fee: $610. September 24–30 “Hand- made Tiles” with Jeanie Daves. October 8–14 “Big Pots—No Sweat” with Mary Hearne. October 15–21 “Form for Functional Pots” with Caroline Montague. October 29–November 4 “Wheel, Glazes and Firing” with Rob Withrow. November 26–December 2 “The Magic of Mosaics” with Pam Brewer. December 3–9 “Throw Pots in One Day” with Mike Lalone. Fee (unless noted above): $412. Contact John C. Campbell Folk School, One Folk School Rd., Brasstown 28902; www.folkschool.org; tel (828) 837-2775. North Carolina, Seagrove September 15–16 “Two Approaches to Function” with Suze Lindsay and Kent McLaughlin. Contact the North Carolina Pottery Cen- ter, 250 East Ave., Seagrove 27341; tel (336) 873- 8430; www.ncpotterycenter.com. Pennsylvania, Farmington June 5–10 “In Re- sponse to Flame” with Kenton Baker and Beverly Fisher. June 12–17 “Out of the Heart and Onto the Wheel” with Kevin Crowe. June 19–24 “Teapots Find- ing Form” with Joe Sendek. June 26–July 1 “Porcelain: Thrown and Altered” with Brad Johnson. July 7–15 “Out of the Frying Pan” with Jim Dugan. Fee: $695. July 17–22 “The Potters Wheel for Beginners” with Donn Hedman. July 24–29 “The Process of Discovery” with Trevor Youngberg. July 31–August 5 “Hot Metal, Hot Clay” with Dave Olson and Joe Sendek. August 7– 12 and 14–19 “Wheel-Thrown Pottery” with Valda Cox. August 20–27 “Carbon-Trapping Shino” with Malcolm Davis. Fee: $750. August 28–September 2 “Surface Decoration Techniques” with Yoko Sekino- Bove. Fee: $480. Fee (unless noted above): $495, includes materials and studio fees. Contact Touch- stone Center for Crafts, 1049 Wharton Furnace Rd., GEILKILNS Farmington 15437; www.touchstonecrafts.com; tel The Best Built Kiln (800) 721-0177. You Can Buy! Texas, Dallas September 8 (lecture)–10 Hands-on workshop with Linda Christianson. Contact Craft Guild of Dallas, 14325 Proton Rd., Dallas 75244; tel (972) 490-0303; www.craftguildofdallas.com. Texas, Del Rio July 8 Workshop with Virginia Cartwright. Fee; $85, includes lunch. Contact the Del Rio Potters Guild, 302 Cantu, Del Rio 78840; 8290 N. DIXIE DR. [email protected]; tel (830) 768-2287. DAYTON, OHIO Texas, Longview October 13–15 “Portrait Class” 45414 with Philippe Faraut. Contact Renee Hawkins, Mu- (937) 454-0357 seum of Fine Art, 215 E. Tyler St., Longview 75601; [email protected]; tel (903) 753-8103. Wyoming, Cheyenne June 16–17 “Porcelain: The Plasticity of a Line” with Alleghany Meadows. Contact Laramie Community College, 1400 E. Col- lege Dr., Cheyenne 82004; tel (307) 778-1164 or (307) 778-1239.

International Events Belgium, Brasschaat October 14–15 “Silk-Screen Printing on Ceramics” with Ivo Nijs. Fee: C125 (US$150). November 18–19 “Slip Casting with Bone China” with Sasha Wardell. Fee: C125 (US$150); or “Painting with Smoke” with David Roberts. Fee: C135 (US$160). Each includes materials and meals. Intermediate through professional. Contact Patty Wouters, Atelier Cirkel, Miksebaan 272, 2930 Brasschaat; www.ateliercirkel.be; tel (32) 36 33 05 89. Belgium, Brussels through June 27 Jean-François Fouilhoux and Vibeke Fonnesberg Schmidt. June 17– July 22 Barbro Åberg; at Puls Contemporary Ceramics, 4, place du Châtelain. Canada, Alberta, Calgary through June 30 Carole Hanson Epp; at Dashwood Galleries, Art Central, 100 Seventh Ave. SW. Canada, British Columbia, Vancouver June 1– 26 Stephanie Craig, “Specimen Collections.” June 29–

Ceramics Monthly June/July 2006 84 Working hand-in-hand ... so you can spend more time in the studio and less time on the road.

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3000 Chestnut Avenue, Suite 300 Baltimore, MD 21211 800-432-7238 Fax: 410-889-1320 www.AmericanCraft.com Is the Philadelphia Buyers Market of American Craft right for you? Visit us this July 21 - 23, 2006! Email [email protected] with “Visit BMAC” in the subject line for more information.

Ceramics Monthly June/July 2006 85 Annies Mud mudsh rk Pie Shop calendar studios, LLC Pie Shop international events

• Ceramic Supplies July 31 Geoff Searle, “Colors in Fire.” August 3– September 4 Gordon Hutchens; at Gallery of BC Ce- & Equipment ramics, 1359 Cartwright St., Granville Island. Standard Clays, Skutt, Canada, Ontario, Aurora September 16–17 “Or- model and mold making AMACO, Brent, Orton, nately Functional: Form & Surface” with Kristen Kieffer. Fee: CAN$107 (US$94); members, CAN$85.60 ceramic production services North Star, Kemper, (US$75). Contact Fusion: Ontario Clay & Glass Asso- product consulting Giffin Tec, Aftosa, ciation, Cedar Ridge Creative Centre, 225 Confed- Spectrum, L&L, eration Dr., Toronto, Ontario M1G 1B22; 971.645.8611 Mid South [email protected]; tel (416) 438-8946. [email protected] Canada, Ontario, Brockville July 10–14 “Pot- • Raw Materials tery—Wheel Throwing” with Christina McCarthy. July 17–21 “Smoke Firing & Terra Sigillata” with Lyse • Classes Fleury. Participants must bring 15–20 bone-dry pieces 16 C.F. West Coast and 5–10 leather-hard pieces. July 24–28 “Clay Por- West • School Discounts trait Sculpture” with Ben Darrah. Fee: CAN$266.40 (US$227); senior citizens residing in Canada, Coast Kiln (Unified Purchase Approval) CAN$218.03 (US$186); includes materials. July 31– August 4 “Chinese Painting—Birds/Fish/Dragonﬂies” For free info, • Open 6 days a week! with Chia-Chi (George) Hsiung; or “Pottery Decora- tion—Dark Clay Body” with Darlene Kieffer. Partici- write (Closed Thursday) pants must bring greenware and bisqueware. Fee P.O. Box 2152 (unless noted above): CAN$221.40 (US$189); senior citizens residing in Canada, CAN$173.03 (US$148). Lucerne Valley, Contact St. Lawrence College, 2288 Parkedale Ave., CA 92356 Brockville, Ontario K6V 5X3; www.sl.on.ca; tel (613) 3180 Wasson 345-0660 x3503. 714-778-4354 Cincinnati, OH 45209 Canada, Ontario, Dundas July 7–30 Judith Call Toll Free Morsink; at the Carnegie Gallery, 10 King St. W. 1-866-GET-CLAY (438-2529) Canada, Ontario, Toronto through July 9 “Draw- ing Time,” including ceramics by Hilary Masemann; at www.anniesmudpieshop.com Harbourfront Centre, York Quay Centre, 235 Queen's Quay W. June 8–August 12 Peter Powning, “clay : bronze : glass”; at Sandra Ainsley Gallery, 55 Mill St., #32. GEILKILNS June 23–October 9 “Jean-Pierre Larocque: Clay, Over 30 Years Experience Sculpture and Drawings”; at the Gardiner Museum, 111 Queen’s Park. Behind the Kilns! Canada, Québec, Mystic June 23–July 2 “Ceramystic, Ceramics Exhibition & Sale”; in a garden, 248 Chemin Mystic. Denmark, Skælskør September 18–22 “Media CONTEMPORARY CERAMIC Hybrids” with Brian Bolden and Colby Parson-O’Keefe. FORMULAS Fee: DKr 1900 (US$312); members, DKr 1700 (US$279); John W. Conrad students, DKr 1200 (US$197). October 7 “Creativity as Re-released now as a paperback. Play” with Sandy Brown. Fee: DKr 350 (US$58); members/students, DKr 200 (US$33). October 23–27 149 clay, 25 leadless earthenware, 37 “Vitriﬁed Print III” with Paul Scott. Fee: DKr 1900; refractory, 88 single fire, 52 raw stain, 121 members, DKr 1700; students, DKr 1200. Contact stoneware, and 66 aventurine, crystal, and Guldagergård, International Ceramic Research Cen- crystalline matt formulas. “The price of the tre, Heilmannsvej 31 A, 4230 Skælskør; www.ceramic.dk; tel (45) 5819 0016. book is worth the section on crystal glazes England, Bovey Tracey, Devon July 1–Septem- alone.” 165 pages, 8¹⁄₂" × 11". ber 10 “Summer Exhibition.” July 22–August 28 $21.60 contact your distributor “Raku,” Tim Andrews, Rob Sollis, Elizabeth Raeburn; FALCON COMPANY at Devon Guild of Craftsmen, Riverside Mill. P.O. Box 22569, San Diego, CA 92192 June 9–11 “Crafts at Bovey Tracey”; at the Mill Marsh Park. England, Bury St. Edmunds, Suffolk through June 24 “Elemental Insight”; at Bury St. Edmunds Art Gallery, Market Cross. England, Leeds through July 30 Rebecca Appleby. Soldner Clay Mixers by Muddy Elbow August 5–October 28 Slip-cast raku by Elena Blunsum; Manufacturing at the Craft Centre & Design Gallery, City Art Gallery, The Headrow. England, Liverpool June 1–30 June David and Margaret Frith. July 1–31 Mo Jupp; at Bluecoat Display Centre, Bluecoat Chambers, College Ln. England, London through June 10 Robert Marsden. June 16–July 29 Philip Eglin; at Barrett Marsden Gal- lery, 17-18 Great Sutton St. through September 3 “The Road to Byzantium: Luxury Arts of Antiquity”; at Hermitage Rooms, South

Bldg., Somerset House. 310 W. 4th KS • 67114 Newton, (316) 281-9132 Phone/Fax [email protected] soldnerequipment.com through December 22 “The Ming Vase: Decon-

Ceramics Monthly June/July 2006 86 New: Sculpture “long firing time”program

*New EC242431FH Huge Load Productivity

*Cone 10 *24”×24”×31.5” tall with 10.5 cubic feet. *Easy-loading, front-opening kiln with drying shelf under the firing chamber. (for drying ceramics only—not for general storage) *Three-year warranty, including elements. *Patented clean air exhaust option to reduce color cross-contamination. *Turns off automatically to slow cooling and reduce breakage. *Multibank insulation—4” thick walls for superb slow cool down and high- energy efficiency. (3” brick plus 1” high-efficiency block insulation on walls) *Excellent for all ceramics, including porcelain and handmade sculptures. *Kaowool rope door seal to prevent door air leaks. *Symmetrical elements to assure uniformity front to back. *Elements are balanced for great temperature uniformity top to bottom. *Five automatic firing programs covering a wider range of applications than competitive kilns. *Optional electronic control, with six-segment sculpture firing program, replaces two-segment fast-fire program. *Optional simple Firemate control is also available—automatically fires kiln using a pyrometric cone in shutoff and replaces electronic control shown in photo above. Call (775) 884-2777 or please visit www.cressmfg.com.

2006 MASTERS’ SERIES WORKSHOPS Charlie and Linda Riggs July 2 - 9 Raku, Saggar Firing, and Special Effects Surface Visuals and Textures

Nick Joerling August 13 - 20 Pots and Possibilities in Stoneware Beginning round and pushing, cutting, coaxing, and stretching into forms of human experience and nature while maintaining function.

Matt Long July 23 - 30 Porcelain and Soda Throwing and handbuilding porcelain with emphasis on line, gesture, and utilization of slips.

Also at Laloba Ranch, Tom & Elaine Coleman, Judith Carol Day, Meira Mathison, Randy Brodnax & Don Ellis, Biz Littell Laloba Ranch Art Center 33516 County Road 43A Steamboat Springs, CO 80487 tel. 970/870-6423 fax. 970/870-6452 e-mail: [email protected] website: www.lalobaranch.com Graduate and Undergraduate Credit Biz Littell, Professor of Record

Ceramics Monthly June/July 2006 87 calendar international events

structing an Icon”; at Percival David Foundation of Chinese Art, School of Oriental and African Studies, 53 Gordon Sq. June 8–July 14 “Fired Up: Terra-Cotta Sculptures from Europe 1450–1950”; at Daniel Katz Ltd., 13 Old Bond St. June 15–September 10 “From Jean Arp to Louise Bourgeois: Modern Artists at Sèvres”; at the Wallace Collection, Hertford House, Manchester Sq. September 17–30 “Pottery and Archaeological Tour of Southwest England,” museum, gallery and pottery tours with Alan and Gillian McMillan. Fee: CAN$5695 (US$5056), includes lodging and most meals. Limit of 12. Contact Bestway Tours & Safaris, 8678 Greenall Ave., Ste. 206, Burnaby, British Columbia V5J 3M6 Canada; tel (888) 280-6890; www.naturalheritagetours.com. England, Sherborne through June 17 Three-person show including ceramics by Richard Batterham; at Alpha House Gallery, South St. France, Cordes sur Ciel September 3–9 “Throw- ing and Raku” with Frank Theunissen. Fee: C395 (US$474), includes materials, ﬁring and meals. Instruc- tion in Dutch, English, French and German. Beginning through advanced. Contact Frank Theunissen, LaCéramique, La Plaine, Cordes sur Ciel 81170; www.laceramique.com; tel (33) 5 63 53 72 97. France, Limoges June 16–October 30 “White Spirit, Contemporary White Ceramics”; at Fondation, d’Enterprise Bernardaud, 27 ave. Albert Thomas. France, Lot et Garrone September 4–9 “Paper Clay” with Karin Heeman. Fee: C250 (US$299), includes materials, ﬁring and lodging. Instruction in Dutch, English, French and German. Contact Centre de Céramique International, Château de Barry, Auradou, Lot en Garonne 47140; tel (33) 5 53 40 64 88; www.karinheeman-ceramics.com. Cobalt Wholesaler France, Manosque June 1–30 Raku by Suzanne Bouverat. July 3–31 Raku by Judith Regnault Tedesco; Tin Oxide Call for Pricing at Galerie Voghera, 4 rue du Tribunal. France, Nançay through July 2 Three-person exhi- Cobalt Oxide $29** bition including ceramics by Andoche Praudel. July 22– Great Products • Low Prices Cobalt Carbonate $19** September 24 Four-person exhibition including ceramics by Yoland Cazenove; at Galerie Capazza, Chrome Oxide $4/lb. Grenier de Villâtre. France, Quimper through October 20 “Un Oeuvre Nevada Dan’s $15/25g 1-877-625-7687 Silver Nitrate de Faïence”; at Musée de la Faïence, 14 rue Jean- Zinc Oxide $2.50/lb. Baptiste Bousquet. www.PotteryEquipment.com Nickel Oxide $7/lb. France, Saint-Quentin-la-Poterie through Janu- ary 7, 2007 “Pichets Extraordinaires.” June 4–July 23 Copper Carbonate $4/lb. Daniela Schlagenhauf, “Les Écritures Imaginées.” Bats David Roberts, “Painting with Smoke.” July 26–Sep- Undrilled–Formica surface tember 7 Dany Jung, “Voyageurs de l’Espace.” 12" diameter, $2.85 each Catherine Venter, “L’Esprit du Geste”; at Terra Viva Galerie, rue de la Fontaine. 14" diameter, $3.25 each France, Uzès August 5–October 5 Violette Adjiman; 17" - 20" bats available. Call for pricing. at Galerie 21, 21 rue du Dr Blanchard. All bats discounted with bulk purchase. Germany, Berlin-Charlottenburg through Au- FREE pound of Tin Oxide with the gust 7 “New Acquisitions.” through October 2 “Teabowls and Ceramic Tea Equipment.” June 10– purchase of 100 12" Bats! August 7 “Ceramics from Buergel”; at Keramik-Mu- Please add UPS shipping charge seum Berlin (KMB), Schustehrusstr. 13. to your order. Germany, Frauenau July 12–28 “Ceramics—Three Ways Towards Sculpture” with György Fusz. August 3– ANYBODY KNOWS IT'S 19 “Dream Vessels” with Heidi Kippenberg. Fee/ses- THE SERVICE! sion: C420–500 (US$504–600). Contact Reinhard Mader, Bild-Werk Frauenau, Pf. 105, Frauenau D-94258; Westerwald Chemicals www.bild-werk-frauenau.de; tel (49) 9926 180 895. 40 Pottery Lane Germany, Koblenz through June 5 “Salt Glaze Scenery Hill, PA 15360 2006”; at Galerie Handwerk Koblenz, Service et Messe Tel: 724-945-6000 GmbH der Handwerkskammer Koblenz, Rizzastraße Fax: 724-945-5139 24–26. Hungary, Kecskemét September 6–28 “Narrative 15% Restocking Charge Sculpture” with James Tisdale. Contact International **We will match any competitors prices Ceramics Studio Kecskemét, Kápolna u. 11, Kecskemét H-6000; [email protected]; tel (36) 76 486 867.

Ceramics Monthly June/July 2006 88 KPS 370 KICKWHEEL KRUNCH

K K R U O & O N L C H Y

Cone 10, Reduction

Cone 6, Oxidation Clay Problems Should Be The Last Thing On Your Mind! We Think You Deserve Better! 370 KICKWHEEL KRUNCH STONEWARE Cones 6-10. This is a very warm, salmon-colored clay in oxidation, that is recommended for functional work and handbuilding. Especially beautiful in reduction with that good old 70’s look and feel. 04 Bisque. Oxidation, reduction, wood or salt. Medium grog. KICKWHEEL POTTERY SUPPLY INC. 1986 Tucker Industrial Rd., Tucker (Atlanta), GA 30084 • 770-986-9011 800-241-1895 FAX 678-205-2001• E-mail: [email protected] • WEB: www.kickwheel.com A Division of KPS Clay Company, LLC

Ceramics Monthly June/July 2006 89 calendar international events

I taly , C ertaldo ( F lorence) September 4–9 “ Soda Firing” with Terry Davies. Contact La Meridiana, Loc. Bagnano 135, 50052 Certaldo; www.lameridiana.ﬁ.it; tel (39) 0571 660084. I taly , F aenz a through June 18 “ Light,” including ceramics by Andrea Salvatori; at Museum Carl Z auli, V ia della Croce 6. June 2–November 30 Biancini Angel, “ Sculptures and Ceramics from Year Thirty to the Post-War Pe- riod” ; at International Museum of Ceramics Faenza, V ia Campadori 2. I taly , M arsciano August 12–15, September 2–3, 9–10, 16–17, 23–23, 30–October 1, 7–8, 14–15, 21– 22 and/or 28–29 “ Stages of Raku Ceramics— Arts and Holidays.” Fee: 4 days, C430 (US$516); 2 days, C200 (US$240); includes materials and ﬁring. Meals: C15/ meal (US$18). Lodging: C35/day (US$42). Instruction in E nglish and Italian. Beginning through advanced. Contact E lisabetto Corrao, La Fratta Art-House, V ocabolo Fratta 157, Marsciano; www.lafratta.it; tel (39) 075 8785111. J apan, G ifu through October 16 “ E uropean Noble Wares” ; at Museum of Modern Ceramic Art, G ifu, 4- 2-5 Higashi-machi, Taj imi-shi. J apan, S higaraki through June 25 “ The Human Form in Clay” ; at Shigaraki Ceramic Cultural Park, The Museum of Contemporary Ceramic Art, 2188-7 Shigarakicho-Chokushi. M exico, V alle de G uadalupe November 11–13 “ South of the Border Talavera Tile Painting Retreat” with Ivette V aillard. Fee: $350. Limit of 10. Contact Sheila Menzies, Tile Heritage Foundation, PO Box 1850, Healdsburg, CA 95448; www.tileheritage.org; tel (707) 431-8453. N etherlands, A msterdam through June 17 K ayoko Hoshino; at G alerie Carla K och, Prinsengracht 510 sous. July 7–October 22 “ Wonders of Imperial Japan: Got Hands? Meij i Art from the K halili Collection” ; at the V an G ogh Then we have the conference for you! Museum, Paulus Potterstraat 7. N etherlands, D en H aag through July 2 “ Bird- watching” at G emeentemuseum De Haag, Stad- ALL FIRED U CONFERENCE houderslaan 41. Firin for Diverse Surface N etherlands, L eeuw arden through August 27 Treatments on Clay Sonj a Landweer, “ A Life’s Work.” Marië tte van der Adelphi University Garden City, New York V en, “ No ID.” through September 17 “ Mysterious July 6–9, 2006 Celadon” ; at Princessehof Leeuwarden, G rote K erkstraat 11. Re ister TODAY N etherlands, ' s- H ertogenbosch through Septem- www.potterscouncil.or allfiredup ber 3 “ Free Spirit, Contemporary Ceramics of Native America” ; at Sm' s - Stedelij k ' s-Hertogenbosch, Magistratenlaan 100. S outh K orea, G y eongsangnam- do through Oc- tober 1 “ International Architectural Ceramic E xhibition” ; at Clayarch G imhae Museum, 358, Songj eong-ri Jillye-myeon, G imhae-si. T urkey , I stanbul, C appadocia, A nkara Septem- ber 14–October 5 “ Turkey 2006 E xcursion,” hands-on workshop including handbuilding, colored porcelain and decals with Mehmet K utlu, then hands-on workshop with E rdogan G ulec, tours, and studio visits. Fee: CAN$4685 (US$3975), includes airfare, lodging, break- fast; without airfare, CAN$2935 (US$2500). Contact Denys James, Discovery Art Travel, 182 Welbury Dr., Salt Spring Island, British Columbia V 8K 2L8 Canada; www.denysj ames.com; tel (250) 537-4906. S pain, A rgentona ( B arcelona) August 4–6 “ In- ternational Ceramic and Pottery Fair; along Main sts.

For a free listing, submit announcements at least two months before the month of opening. Add one month for listings in July and one month for listings in September. Submit listings online at www.ceramicsmonthly.org; mail to Calendar, Ceramics Monthly, 735 Ceramic Pl., Suite 100, Westerville, OH 43081; e-mail [email protected]; or fax (614) 891-8960.

Ceramics Monthly June/July 2006 90 [ FOB Ontario, CA ]

Heavy Duty Welded Uses 16˝ Round Shelf Steel Construction Firing Chamber Lifts Off Full Swivel Locking Casters Full 2˝ Thick Ceramic Cast Refractory Floor Fiber Insulation Fires up to Cone 5 80,000 BTU Burner & Safety System Compact Size – 4 cu. ft. Propane Regulator

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Ceramics Monthly June/July 2006 91 CALL FOR ENTRIES

Craft artists are invited to apply to our juried Exhibition and Sale of fine work Dates for 2007 show are April 19-22 National Building Museum Washington, D.C.

Application deadlines: Monday Sept 25, 2006 for online-fee $50 Friday Sept 1, 2006 postmark for mailed-fee $75

Apply online at: www.smithsoniancraftshow.org or contact: Smithsonian Craft Show P.O. Box 37012 SI Room 436 MRC 037 Washington, D.C. 20013-7012 888.832.9554 202.633.5006 [email protected]

Cliﬀ Lee

This show produced by the Smithsonian Women’s Committee

Ceramics Monthly June/July 2006 92 opportunities

BLUEGRASSCLAYNATIONAL (November 4–De- cember 30, 2006). Deadline for entries, September 1. classified advertising Juror: John Utgaard. Fee: $25 for up to 5 slides. $1500 Ceramics Monthly welcomes classifieds in the following categories: Buy/Sell, Employment, Events, Opportunities, in awards. For prospectus, send SASE to BLUE CLAY, Personals, Publications/Videos, Real Estate, Rentals, Services, Travel. Accepted advertisements will be inserted Yeiser Art Center, 200 Broadway St., Paducah, KY into the first available print issue and posted on our website (www.ceramicsmonthly.org) for 30 days at no 42001; or visit www.yeiserartcenter.org. additional charge! See [email protected] for details. Denver area guild memberships available. Individual studios, gas, raku and electric kilns, plus other equipment. Gallery! Arvada Ceramic Arts Guild, buy/sell Production potters: full-time, year-round posi- 5870 Olde Wadsworth Blvd., Arvada, CO 80003; tions for skilled potters who are serious about throw- (303) 423-0448; www.arvadaceramicarts.org. ing salt-glazed production ware. Benefits. Send Inventory closeouts—Jack D. Wolfe Co. Kishwaukee College accepts exhibition propos- résumé to Salmon Falls Stoneware, PO Box 452, retiring. New and used ceramic equipment and sup- als on an ongoing basis. Proposals are reviewed in Dover, NH 03821-0452; or [email protected]. plies, and enameling supplies. Call Sharon or Mitch every September and February. Proposal materials We’re located 90 minutes north of Boston. (718) 495-2065. include description of proposed exhibition, 15–20 Apprentice/internship. Small production pottery slides of artwork, résumé/vitae and SASE for return of Amaco electric kiln. Serial number: 2874. Maxi- in northwest Montana seeks motivated individual for slides. Send to Michelle Erickson-Goettl, Gallery mum temperature: 2400ºF. 12x16-inch opening. Tele- one-year position starting end of August. 40 hours/ Director, Kishwaukee College, 21193 Malta Rd., Malta, phone (724) 695-3268. Must sell! Best offer. week in exchange for studio space (includes materi- IL 60150; phone (815) 825-2086 ext. 561; or [email protected]. Venturi burners, retaining port pressure nozzle, als and firing), room and board, monthly stipend, cast iron, Chas. Hones—6 for $899. Insulating fire- gallery sales. Check www.whitefishpottery.com for Potter’s retreat. Tucson, Arizona. Furnished brick, P38 HK Porter, 9-inch straights, 23 boxes more details about applying. cottages for rent on a private estate. Share a large (25 brick per box)—$999. Buyer pays shipping ceramics studio, kilns, pool and spa. The Humming- Excellent opportunity for exploring wood from Pittsburgh, Pennsylvania. (724) 776-1448; bird House. Call (520) 742-3969; or toll free firing in a natural Ozark forest setting. Studio assis- [email protected]. (877) HUMMING; www.hummingbirdhouse.com. tant desired in exchange for room, board, Study with master potter Tom Turner in a one- Are you interested in selling your collection? I small stipend, studio space and kiln space— to-one teaching and learning experience. Information am interested in purchasing collections of contempo- anagama, noborigama. For details, contact Joe is available at www.tomturnerporcelain.com; e-mail rary American and/or British studio pottery. Individual Bruhin (870) 363-4264. [email protected]; phone (828) 689-9430. pieces are fine as well. E-mail [email protected]. Taos, New Mexico! “Paint Your Own Pot- Ceramic casting business for sale. Located events tery” business opportunity in a great downtown loca- about 60 miles north of Houston. Approximately 500+ tion in this world-famous art colony. Lots of pedestrian “Second Annual Vasefinder Nationals”: molds (all sorts), pouring tables, 7 kilns, bisqueware, traffic strolls past the “John Dunn Shops.” Business Please see www.vasefinder.com for details. greenware, paints, brushes, etc. Inventory is valued at includes blankware inventory, electric kiln, lease, train- $25,000+. Will take $5000 for all. You move. Call Ireland pottery courses. Summer 2006: 3 salt ing by seller and much more. Contact Mary Emery, (281) 723-6688; e-mail [email protected]. glaze/1 wood fire fully residential courses, guest Century 21 Success, (505) 758-0080, ext.1330; [email protected]. For sale: VPM-30 Peter Pugger, $3000; Air King tutors and many extras. Marcus O’Mahony, Glencairn Pottery, Waterford, Ireland. 353 58 56694. For infor- ceramic air filter, $880. Call Brant at (505) 881-2350. Partner wanted (can buy in with “sweatwork”) mation, e-mail [email protected]; or for 21-year-old pottery/art gallery/studio in the Ceramic art tile business for sale. Well-estab- [email protected]; view the website at Caribbean. Must teach; throw. For more information, lished, 18 years, national distribution. Three full deco- www.marcusomahony.com. visit [email protected]. rative lines well developed with fields and decorative Workshops in Italy: Glenn Dair in Tuscany, Italy, Resident position starting in late fall or January tiles. Ceramic relief, glass and mosaic. Equipment “Pots of Place,” October 1–15, 2006. Pottery Abroad, 2007. Large new studio with 400 square feet of per- includes 60-ton Ram press, dies, extruder, 500-gallon LLC, (706) 377-2986; e-mail [email protected]; sonal space plus shared space. Salt, wood, electric slip casters, extensive glazes and much more. Owner website www.potteryabroad.com. and gas kilns. Central Virginia on historical 100-acre retiring. Call for details, (773) 368-4978. plantation. (434) 248-5074; www.cubcreek.org; or Pottery course Spain: Seth Cardew and [email protected]. employment Simon Leach team up to teach from the wheel. Great Spanish experience! Also at the pottery, a fully products furnished 4-bedroom house is available to rent by Full-time ceramics teacher, Fall 2006. Teach- Skutt kiln blowout—40% off! All new, full ing experience and M.F.A or equivalent required. the week. www.cardew-spain.com; or e-mail [email protected] for details. manufacturing warranties. For more information, visit Excellent independent, 150-year-old college the website www.skuttblowout.blogspot.com; or call preparatory school, 25 wooded acres, Brooklyn, New In beautiful Point Reyes, California, “Magic (208) 255-6472 for a list of kilns and full details. York. Large classroom/studio, indoor electric kilns, Fire” with Molly Prier (CM March 2000). Handbuilding, outdoor gas kilns, electric potter’s wheels and Albany slip. It’s the real thing! The last load from the burnishing, beach pit firings. Working with clay in original mine. Make those great Albany slip glazes kick wheels. Possible department head. Contact simplicity, connecting to the four elements. July [email protected]. again, from Cone 6 to 11. At Cone 10–11, it fires a 21–28. All levels, limit 8. $450. (415) 669-7337; deep glossy brown. For further information, contact Ceramics instructor seeking employment! [email protected]. the Great American Wheel Works, in New York, at (518) 756-2368; e-mail [email protected]. Washington University M.F.A. (Ceramics) seeking full- Kilnbuilding workshop, November 2006, Pot- time employment in ceramics, sculpture or related tery West, Las Vegas, Nevada. Tom Coleman and areas. St. Louis, Missouri, area. 4.5 years college- Don Bendel will build a train wood-fire kiln. Contact publications level teaching experience being solely responsible for Amy at (702) 987-3023 for complete details. ceramics program (teaching beginning, intermediate EXTRUDE IT! Getting the Most From Your , new instructional videos by David and advanced ceramics, ordering supplies, equip- Pat Horsley workshop, September 23 and 24. Clay Extruder Hendley. Volume I—extrusions as handles, feet and ment maintenance, firing, organizing student events, Pottery West, Las Vegas, Nevada. Contact Amy additions; Volume II—two-part dies for hollow extru- etc.). E-mail [email protected] or Kline at (702) 987-3023 for complete details. sions; Volume III—the expansion box and extrusions phone (314) 680-9701. Anagama wood-firing workshop with as building components. $40 each or $100 for the set Instructors needed for wheel throwing and Hiroshi Ogawa and Sam Hoffman in Boulder, Colo- (more than four hours of video). (903) 795-3779; handbuilding shops in premier childrens’ sleep-away rado, August 26–31. $250 for Boulder residents, www.farmpots.com. camps in the Pocono Mountains, Pennsylvania. Excel- $312 for nonresidents. Weekend workshop Taking the Macho Out of Bigware. New video lent facilities and equipment. 90 minutes from New with Hiroshi and Sam in the studio, September 2–3. by Tony Clennell. Bigger Pots Made Easy! See review York City. Excellent salary. From 6/20–8/17/06. Send $125 for residents and $156 for nonresidents. in June CM 2005! Cost is $39.95 plus $5.00 S/H. résumé to [email protected]; fax (973) 575-4188; Contact Nancy Utterback at (303) 441-3446 for To order, phone (905) 563-9382; fax (905) 563-9383; phone (973) 575-3333 ext. 124. more information. e-mail [email protected].

Ceramics Monthly June/July 2006 93 Throwing One Piece Goblets on the Wheel. Linden Pottery for rent. 60 miles west of Wash- Step-by-step instruction. 45-minute DVD or ington, D.C., and 10 miles east of the Shenandoah VHS. $34.50 to Montrose Pottery, PO Box 705, National Park. Approximately 1400-square-foot studio Montrose, CO 81401. and living space; one 40-cubic-foot wood-diesel kiln. Rent $950 per month. Discounts available for building real estate upkeep. Ask about other job opportunities. Call Tom at (540) 905-2716; e-mail [email protected]. Beautiful home and pottery studio in Hawaii. Two fully landscaped acres. Panoramic views. services Within walking distance to ocean. 2-story, 3000-square- foot house. 2000-square-foot fully equiped studio. Master Kiln Builders. Twenty-one years experi- 2 large kilns. Collecting offers starting at $700,000. ence designing and building beautiful, safe, custom Call (808) 982-8332; or see www.moonroadtile.com. kilns for universities, colleges, high schools, art cen- Ceramist’s home and studio, Cheshire, ters and private clients. Soda/salt kilns, wood kilns, Connecticut. 3.1 acres, 4 bedroom, 2.5 bath, 3300- raku kilns, stoneware kilns, sculpture burnout kilns, square-foot rustic home. Separate 2000-square-foot car kilns and specialty electric kilns. Competitive studio with gas kiln. Studio has its own 200-amp prices. Donovan. Phone/fax (612) 250-6208. electric service. $429,000. Contact Baltayan Realty Get great slides from your digital files! First (203) 387-9477; [email protected]. slide from each file just $2.25 with code CM06May, Ceramics artist’s and/or potter’s dream stu- additional slides $1.25. Fast, easy—upload or mail a dio/house! Alfred, New York. 6 acres with pond. 2200- CD for larger orders. Files archived for easy reorder. square-foot contemporary 3 bedroom, 3 bath, with Portfolio photography (slide, digital or both), 2400-square-foot artist’s studio. 4 miles from Alfred’s CD portfolios and artist websites available. art school! House: appliances, berber carpet, decks, http://domainvanhorn.com/van/; (888) 868-4350. 2-car garage, etc. Studio: radiant heat, propane, toi- Custom kilnbuilding and repair of electric, gas, let, sink, etc. Photos e-mailed. Phone (503) 864-3524 wood and salt kilns. Repairs on all makes of ceramics (PDT); e-mail [email protected]. and refractory equipment. Welding. Mold making. Con- Arkansas gallery and studio for sale. 3180 square sulting for all ceramics needs. Serving the Hudson feet on Main Street. For more information, e-mail Valley, New Jersey, New England and beyond. Contact [email protected]; or call (479) 857-1800. David Alban at [email protected]; (845) 351-5188. Smoky Mountain dream! North Carolina home on Accept credit cards in your ceramics retail/whole- approximately 5 acres. Awesome mountain view and sale/home-based/Internet and craft-show business. creek running through property. 3 bedroom/3 bath, No application fee. No monthly minimum. No lease large basement with workshop. Great home for crafts- requirement. Retriever/First of Omaha Merchant Pro- man or artist. $249,000. Graham County has two cessing. Please call (888) 549-6424. lakes, trout streams and hiking galore. Ceramics Consulting Services offers technical www.southlandrealtync.com. Call Johnna Stewart information and practical advice on clay/glaze/kiln (800) 249-2207; or cell (828) 735-2248. faults and corrections, slip casting, clay body/glaze Maine coast—Main Street building. Living quar- formulas, salt glazing, product design. Call or write for ters upstairs with downstairs studio and retail space, details. Buy What Every Potter Should Know, $31.20 full basement. Near Belfast, Maine, with ocean views. and Safety in the Ceramics Studio, $25.50. Jeff Z amek, Call Sam Mitchell, Town & Country, at (207) 338-3500. 6 Glendale Woods Dr., Southampton, MA 01073; (413) $169,000. 527-7337; ﬁ[email protected]; or www.ﬁxpots.com. Two-acre home/studio for sale. Located in safe, serene western Maine with White Mountain panoramic travel views. Full Ram press system, slip casting and wheel facilities in place. Asking $299,000 for home and Overseas ceramics workshops and tours— studio facility; $249,500 for home without equipment. Turkey, Istanbul and Cappadocia: 9/14–10/4/06, work- Contact Paris Cape Realty: telephone (207) 743-6111; shops with Mehmet Kutlu and Erdogan Gulec. [email protected]. Small, culturally sensitive groups using local transla- tors and experts. Discovery Art Travel, Denys James, Awesome contemporary home designed by Canada; (250) 537-4906; www.denysjames.com; artists with full-production pottery studio, including [email protected]. electric kiln, wheel, slab roller, shelves, drying racks, north light, plus a lake view and lake privileges. Ap- “Pottery & Archaeology Journey” in UK West proximately 1850 square feet, 3 bedrooms, 2 baths, Country with potter Gillian and archaeologist Alan master with jetted tub, cathedral ceiling in great room McMillan. September 17–30, 2006. Photos from last with natural fireplace. Wooded backyard, perennials, year and this year’s itinerary can be found at private, quiet road. Historical Clarkston, Michigan. www.naturalheritagetours.com; toll free (888) 280-6890. $259,000. (248) 515-3457. Ceramics residency in Ghana. Learn indig- Ceramist’s home, two studios, kiln room and enous techniques. Fee of $2350 includes equipped covered outdoor firing workshop. 5400-square-foot studio, materials, tours, lodging and meals for 3 weeks multilevel facility designed and built for raku. Totally (airfare additional). www.studiomateceramics.com. equipped, unique, functional and spacious on 1.75 Craft and folk art tours. Burma, India, Central acres with spectacular views of Z ion Park in southern Asia, Morocco, Bulgaria, Romania, Maramures Winter Utah. $525,000. www.rakufountains.com or call toll Festival, Mexico. Small, personalized groups. Craft free at (866) 301-8649. World Tours, 6776CM Warboys, Byron, NY 14422; (585) 548-2667. rentals China ceramics tour, October 11–30, 2006. Beijing, Evanston, Illinois. Work with a small group of X i’an, Jingdezhen, Yellow Mountain, Yixing and Shang- artists in a recently renovated, fully equipped private hai. [email protected]; telephone (800) studio space. 24/7 access. Darrow Street Studios 689-CLAY (2529). PO Box 1733, Cupertino, CA 95015 (847) 332-1730; [email protected]. www.ChineseClayArt.com. Studio space available in Brooklyn, 10 min- Fall 2006 Japan Tour. Travel with Japanese pot- utes from Manhattan: 16 wheels, slab roller, extruder, tery expert and longtime Japan resident/potter to tile press, mold-making equipment, lots of space and Kyoto, Bizen, Hagi and Karatsu. Further information at affordable. Call (718) 218-9424. www.robertfornellceramicarts.com.

Ceramics Monthly June/July 2006 94 index to advertisers 4 t h CEBIK O ...... 1 3 Co r n e l l ...... 8 4 K i l n Do c t o r ...... 8 2 Po t t e r y W e s t ...... 6 2 A. R. T. St u d i o ...... 6 7 Co y o t e Cl a y & Co l o r ...... 6 4 Po t t e r y V i d e o s . c o m ...... 6 5 Aa r d v a r k ...... 7 7 Cr e s s ...... 8 7 L & L ...... 4 ACe r S Bo o k s ...... 7 1 L & R...... 6 2 Ru n y a n ...... 8 4 Af t o s a ...... 2 Da v e n s ...... 8 2 L a g u n a Cl a y ...... 7 3 , 7 8 , 7 9 Am a c o a n d Br e n t ...... 2 5 , 6 1 De l V a l ...... 7 2 L a l o b a Ra n c h Cl a y Ce n t e r ...... 8 7 Sa p i r St u d i o ...... 9 2 Am e r . M u s e u m o f Ce r a m i c Ar t s ...... 1 7 Di s c o v e r y Ar t Tr a v e l ...... 7 2 L a r k i n Re f r a c t o r y So l u t i o n s ...... 8 7 Sh e f f i e l d ...... 9 1 An d e r s o n Ra n c h ...... 8 3 Di s p l a y Y o u r Ar t b y G l a s s i c a ...... 9 0 Sh i m p o ...... 1 9 An n i e ’ s M u d Pi e Sh o p ...... 8 6 Do l a n To o l s ...... 9 0 M a s t e r K i l n Bu i l d e r s ...... 6 6 Si e r r a Ne v a d a Co l l e g e ...... 6 8 Ar r o w m o n t ...... 7 7 M a s t e r i n g Co n e 6 G l a z e s ...... 8 3 Sk u t t ...... Co v e r 4 Ax n e r Po t t e r y ...... 1 5 Ec h o Ce r a m i c s ...... 8 6 M i d - So u t h ...... 1 0 Sm i t h - Sh a r p e ...... 9 5 Eu c l i d ’ s ...... 1 8 M i l e Hi ...... 1 2 Sm i t h s o n i a n Cr a f t Sh o w ...... 9 2 Ba i l e y Po t t e r y ...... 1 , 8 , 9 , 5 7 M i m b r e s Re g i o n Ar t s Co u n c i l ...... 8 0 So l d n e r Cl a y M i x e r s ...... 8 6 Ba m b o o To o l s ...... 6 8 F a l c o n ...... 8 6 M i n n e s o t a Cl a y ...... 8 9 Sp e c t r u m G l a z e s ...... 1 6 Be n n e t t ’ s Po t t e r y ...... 7 F l a t Ro c k ...... 6 2 M K M Po t t e r y To o l s ...... 8 8 Sp e e d b a l l Ar t Pr o d u c t s ...... Co v e r 2 Bi g Ce r a m i c St o r e . c o m ...... 6 6 M u d s h a r k ...... 8 6 St . Pe t e r s b u r g Cl a y ...... 9 0 Bl u e b i r d M f g ...... 7 7 G e i l K i l n s ...... 3 , 5 8 M u d t o o l s ...... 7 3 St a n d a r d ...... 7 4 Bra c k e r’s ...... 7 2 G e o r g i e s ...... 7 7 St a r f l o w e r F a r m a n d St u d i o s ...... 8 4 Br i c k y a r d ...... 8 0 G i f f i n Te c ...... 6 9 Na b e r t h e r m ...... 8 1 Th o m a s St u a r t W h e e l s ...... 2 7 Bu y e r s M a r k e t o f Am e r . Cr a f t ...... 8 5 G lazeM aster ...... 8 8 Ne v a d a Da n ’ s ...... 8 8 To m Tu r n e r Po r c e l a i n ...... 9 4 G r e a t L a k e s Cl a y ...... 7 5 Ne w M e x i c o Cl a y ...... 8 4 Tr a d i t i o n s M e x i c o ...... 7 3 Ca n t o n Cl a y W o r k s ...... 1 4 G r e a t Ri v e r W o o d w o r k i n g ...... 9 4 No r t h Ca r o l i n a Po t t e r y Ce n t e r ...... 8 8 Tr i n i t y ...... 7 0 Ca r o l i n a Cl a y ...... 8 2 G r e a t e r De n t o n Ar t s Co u n c i l ...... 8 1 No r t h St a r ...... 2 3 , 8 5 Tr u r o / Ca s t l e Hi l l ...... 8 2 Ce r a m i c Se r v i c e s ...... 9 1 No r t h e r n Ar i z o n a U n i v e r s i t y ...... 2 9 Tu c k e r ’ s Po t t e r y ...... 9 1 Ce r a m i c Sh o p , Th e ...... 7 6 Ha n d m a d e L a m p s h a d e s ...... 7 2 Ce r a m i c Su p p l y Ch i c a g o ...... 7 2 He r r i n g De s i g n s / Sl a b M a t ...... 8 2 Ol s e n K i l n s ...... 6 8 U . S. Pi g m e n t ...... 9 2 Ce r a m i c Su p p l y Co m p a n y ...... 6 8 , 8 5 Hi g h w a t e r Cl a y s ...... 1 1 Ol y m p i c K i l n s ...... 6 3 Ch e l t e n h a m Ar t Ce n t e r ...... 8 8 V e n c o ...... 7 3 Ch i n e s e Cl a y Ar t ...... 8 1 J a p a n Po t t e r y To o l s ...... 7 6 Pa r a g o n ...... Co v e r 3 Cla s s ifie d s ...... 9 3 J o e Bo v a ...... 6 2 Pe t e r Pu g g e r ...... 5 9 W a rd ...... 7 6 Cl a y Ar t Ce n t e r ...... 8 3 J o h n s o n G a s Ap p l i a n c e ...... 6 6 Pi e d m o n t Te c h n i c a l Co l l e g e ...... 8 0 W e s t Co a s t K i l n ...... 8 6 Cl a y Pl a n e t ...... 8 9 Po t t e r s Co u n c i l ...... 7 1 W e s t e r w a l d ...... 8 8 Cl a y w o r k s Su p p l i e s ...... 6 8 K e n t u c k y M u d w o r k s ...... 7 6 Po t t e r s Sh o p ...... 9 0 W h i s t l e Pr e s s ...... 7 6 Co n t i n e n t a l Cl a y ...... 6 0 K i c k w h e e l Po t t e r y ...... 8 9 Po t t e r y No r t h w e s t ...... 9 2 W i s e Sc r e e n p r i n t ...... 8 4

Ceramics Monthly June/July 2006 95 Comment super iga by W. Lowell Baker

My students call it Iga clay and Super Iga thirty million years ago, spreading a 3 0 0 - silica chunks the pieces made from the ant- clay although it is neither. The clay they are foot-thick layer of ash over hundreds of square hill clay were almost indistinguishable from referring to is a mixture of our regular class miles. This same volcano provided the clays the clay made with Tuffa body, and granular, insect-mined silica and for the San Ildefonso and Santa Clara P ueb- Because of the coarseness of the mix, each granular feldspathic materials. los in more historical times. of these clay bodies were moderately difficult The story starts with almost a million The second clay that my students call to throw and exhibited some problems with years of eruptions of volcanoes along the chain Super Iga is a mixture of our class clay, and plasticity in handbuilding. However, any of mountains we call the Continental D i- the mine tailings from ants making thou- problem with the workability of the clay was vide. The most recent part of the story starts sands of trips into the volcanic and alluvial more than compensated for in the quality of with my annual trip west. I go to escape the desert of the southern San Luis V alley in the surface of the fired piece. heat of the Alabama summer and to recharge south central Colorado. We were driving This summer’s prospecting also yielded my personal batteries in the huge expanses of down a dusty desert road when I stopped to an Albany-sliplike glaze from a small loca- the American West. The West is my love and collect some of the very fine dust that had tion on the Continental D ivide (a 4 -mile my anchor. I was raised by a geologist who been ground by hundreds of passing cars. As hike at elevations above 1 1 ,0 0 0 feet), two encouraged lots of questions about our physi- we were sifting dust into our buckets, I no- sources of primary K aolinite and a unique cal world. Because of that upbringing, I am ticed an 1 8 -inch-tall anthill at the edge of green clay that melted to a rich brown glaze continually aware of the rocks and dirt around the road. The anthill consisted of millions of at Cone 8 . When the snow melts and I re- me. Being aware of the environment has never even-sized grains of silica, volcanic rock and turn next summer, I will collect larger samples been enough to satisfy my curiosity. I have to of the anthill tailings and some of the other bring samples back to the studio to see what materials that have proven to be good glazes. they will do under fire. F ortunately, this last To be an inventor I will also return to the site where I found summer I had the company of Greg, one of requires a good junk pile individual feldspar crystals that were 2 inches my students, who is a close friend of my son, and a receptive mind. across, not because they make good glaze Jackson. They share my curiosity about stuff. materials, but because they are excellent teach- We stopped at every opportunity to collect —Thomas Edison ing tools. interesting rocks, clays, sands and gravels. The primary lesson I learned from this Some of these have been turned into glazes feldspars. The ants had conveniently pulled prospecting trip out West was that ants make and others remain untested under tables and each one to the surface and piled them so we great choices in the size of materials they in my store rooms. could just scoop them into our containers. bring to the surface. I cannot wait to make a When Greg screened the tuffa (a form of We loaded our treasure into the Jeep, waved return visit to the playground at the grade volcanic ash) that we collected from the side at the only passing car and eventually brought school I attended in Enid, Oklahoma. It has of the road by the golf course in Los Alamos, our sample to the studio in Alabama. only been 5 2 years. I have memories of a N ew Mexico, and then added the course ma- Only basic washing and sifting was re- huge R ed Ant hill that was surrounded by terial to our clay body he found it a little quired to process the ant tailings because the piles of silica and feldspathic sands. That rough to throw. When it was fired in the hill was comprised of the largest particles the playground was bordered by Hedge Apple stoneware kiln we noticed clear to white glass ants could move and the finer material was trees that produce a fruit, which is rich in beads bulging from the surface. When the blown away by the desert wind. This is not silica and iron oxides. The fruit by itself makes same clay was fired in the wood kiln to above recommended in fire ant country, but if the an interesting glaze when set in a platter and Cone 1 0 the results were wonderful. This local ants are not too ferocious, stealing from fired to Cone 1 0 . clay truly rivaled the most beautiful clays of the anthill is an excellent way to get perfectly As ceramics artists our materials of ex- Shigaraki and Iga. The white blips on the presorted grit. We did have to remove some pression are all around us. We only need to surface and black iron craters that dug into dead miners and a few twigs. reach out and capture them. The conversa- the clay spoke of process and materials. The This material was slightly courser than tion begins when we mix these natural mate- clay fl ashed in response to the kiln and the the tuffa from Los Alamos. It contained less rials with our more certain, refined, safe wood ash in colors from dark browns to light fine material and was considerably less fri- materials. The adventure begins when we are reds and grays. Glazing was unnecessary and able when it was mixed into our clay body. standing in our backyard or in the expanse of even the simplest of applied glazes defeated The results in the fired work were similar to the desert and collect a material that cannot the raw beauty of the surface. The blast of the tuffa. There were clear to white blips of be found in any glaze book. natural ash glaze was burned through by the glass bulging from the surface, there were One of my favorite quotes is attributed to fl uxing of the iron and the chunks of volca- dark iron craters where the high iron ash had Edison. It is, “to be an inventor requires a nic ash. The surface spoke eloquently of the fl uxed areas of the clay and there were solid good junk pile and a receptive mind.” The heat and the fire. The fire of the kiln and the silica particles bulging from the body of the junk pile of the ceramics artist is every inch of fire of the Jemez volcano that erupted over pot. With the exception of the unmelted rock, sand and gravel we walk over every day.

Ceramics Monthly June/July 2006 96 Jonathan Kaplan and Annie Chrietzberg of Ceramic Design Group in Steamboat Springs, Colorado with a Viking-28 Paragon kiln. It features an easy-access switch box that opens forward, mercury relays, heavy duty elements, and 3” bricks. UL Listed to U.S. and Canadian safety standards. “I used to be Paragon’s worst critic” —Jonathan Kaplan onathan Kaplan bought one of Paragon’s ler I have ever used. It’s easy to program and what I need and I know what works,” said Jon- Jfirst digital kilns. Six years ago he posted a very accurate. The brickwork is superb, and the athan. listofcomplaintsabouthisParagonkilnson extra 2” of solid brick at the top eliminates Call now or visit www.paragonweb.com for the Internet. breakage when you’re lean- a free catalog and the name of a local Paragon "My hands were bruised ing into the kiln. distributor. from replacing relays in a “The counter-balance lid confined space,” said Jona- is effortless, and the sectional than, “and I was frustrated design of the Paragon trying to work on the wiring Viking makes it easy of our early Paragon Kilns. I to move and assem- thought of ways to improve ble,” said Jonathan. 2011 South Town East Blvd. access to the wiring as well as “I've been making Mesquite, Texas 75149-1122 upgrade the electronics. Par- my living with kilns 800-876-4328 / 972-288-7557 agon listened. for thirty-plus years. I know Toll Free Fax 888-222-6450 “The Paragon Sentry 2.0 www.paragonweb.com is the best electronic control- [email protected] )NTRODUCINGTHEALLNEW

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