4 Ceramics Monthly Ceramics Monthly Volume 29, Number 2 February 1981

Features Down to Earth: Canadian Potters at Work by Judy Thompson Ross with Nina Czegledy-Nagy ...... 35

Rutile Blue by Peter Shrope...... 41

Pre-Columbian Ceramics by Robert J. Stroessner...... 43

British Columbia Ceramics...... 49

Plaited Clay by Rina Peleg...... 52

Marietta Crafts National by Karen Rychlewski...... 56

Sevres Porcelain ...... 63

Glaze Trailing by Lee Ferber...... 68

Sun Hai Pottery by Ruth Chin...... 95

Departments Letters to the Editor...... 9

Suggestions ...... 13 Itinerary ...... 15

Answers to Questions...... 21 Where to Show...... 23 Comment: Breaking Ceramics by Gabor Terebess...... 27 News & Retrospect...... 75

New Books...... 93 Index to Advertisers...... 98

Cover

Thrown porcelain bowl with celadon glaze, 6 inches in diameter, fluted with a broken hacksaw blade, by David Leach, Lowerdown Pottery, Devon, England. This and other porcelain or stoneware forms were in the artist’s recent one- man show at the Craftsmen Potters Association, London. Photo: David Cripps.

February 1981 5 6 Ceramics Monthly Ceramics Monthly Magazine

Spencer L. Davis ...... Publisher and Acting Editor

William C. Hunt ...... Managing Editor

Robert L. Creager...... Art Director

Barbara Harmer Tipton ...... Copy Editor

Carol Lefebvre Hagelee ...... Asst. Editor

Ruth C. Butler...... Asst. Copy Editor

Mary Rushley ...... Circulation Manager

Connie Belcher...... Advertising Manager

Editorial, Advertising and Circulation Offices 1609 Northwest Boulevard,

Box 12448, Columbus, Ohio 43212 (614)488-8236

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Ceramics Monthly (ISSN 009-0328) is published monthly except July and August by Profes­ sional Publications, Inc. — S. L. Davis, Pres.; P. S. Emery, Sec.: 1609 Northwest Blvd., Co­ lumbus, Ohio 43212. Correspondence con­ cerning subscriptions, renewals and change of address should be mailed to the Circulation Department, Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Controlled circula­ tion postage paid at Athens, Ohio 45701. Sub­ scriptions: One year $14; Two years $26; Three years $35. Add $3 per year for sub­ scriptions outside the U.S.A. POSTMASTER: Send address changes to Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Articles in each issue of Ceramics Monthly are indexed in the Art Index. MicroFische, 16mm and 35mm microfilm copies, and xerographic reprints are available to subscribers from Uni­ versity Microfilms, 300 N. Zeeb Rd., Ann Arbor, Michigan 48106. Manuscripts, photographs, color separa­ tions, color transparencies (including 35mm slides), graphic illustrations and news releases dealing with ceramic art are welcome and will be considered for publication. A booklet de­ scribing procedures for the preparation and submission of a manuscript is available with­ out cost to potential authors. Send manuscripts and correspondence about them to The Editor,Ceramics Monthly, Box 12448, Columbus, Ohio 43212.

Copyright © 1981 Professional Publications, Inc. All rights reserved

February 1981 7

Letters Bernard Leach strings attached; I don’t know what the tached. Artists and craftspeople should Thank you for the thoughtful inclusion strings are for $10,000. steer clear of government money and of some of the personal collection of Ber­ At most, it could become not just a strings. nard Leach. In the year and a half since $10,000 recognition of achievement, but Bob McWilliams his passing I have waited with much another way of tying the government to Honolulu expectation for some visual remembrance the art world. And in many cases on the of the massive contribution made by Leach federal, as well as local level, the govern­ Who, may I ask, is kidding whom? to the world’s ceramic community. This ment art world is very small, caters to [October Letters.] NEA grants are earned, remembrance should have warranted more university and college grads, and perpetu­ over a period of years, not only by a hell than half a column in the News & Retro­ ates itself thus. of a lot of consistent and diligent work, but spect section (June 1979). Potters of the quality mentioned in also by reputation and the ability to get All studio potters, and indeed all ce­ Ronan’s letter should have no trouble get­ that reputation into the limelight. Why is ramic artists, owe a great debt to this man ting private grants or getting in an extra ceramics any different than anything else? who bridged and brought together two show during a year with no strings at­ Continued cultures with understanding and accep­ tance for the potter and his work. As his fellow potter and friend, Michael Cardew, stated at a memorial for Leach shortly after Leach’s death, “If the climate of opinion in Britain (if not the entire world) today is kinder to potters and to all crafts­ people, the thanks are largely due to him, to his single-minded perseverance and to that inspired foresight which only the great have access to. . . .” That perseverance should be our in­ spiration to continue and grow. Bernard Leach the man may be gone, but the essence—that perseverance—lives on in his writings and pots and above all in his stu­ dents. Even though I never met him, I feel as if I knew him quite well and that I benefited greatly from that experience. Bill Reynolds Malibu, Calif.

The Art-Historical Myth Last week, while browsing in the art department of our library, I was reading the November issue and was impressed by John Stocking’s Comment. I have shown it to a sculptor and a potter as well as several others like myself—just interested in art— and have found them in agreement with what he says. Thank you for presenting an idea about art criticism that is, I believe, becoming accepted more and more. Mary J. Miller Topeka

As so many articles are promoting indi­ viduals, I think CM should do more of John Stocking’s kind of radical essay. There is a silent majority of potters who resent the New York hype, and this is the first time I have seen their side presented in an important magazine. Richard Moore Topeka

NEA Reaction Continues Ronan Adzul’s letter (October issue) and the succeeding letters (December and January issues) all strike me as very inter­ esting. Ronan touches a point that I’m sure many artists feel, but few respond to openly. National Endowment for the Arts grants are at the least just a government bureau giving money to individuals; basi­ cally another welfare scam. The govern­ ment never gives anyone money without

February 1981 9

Letters Don to move in whatever direction he chose. I’d seen some photographs of his Prominent, well-known ceramic artists— clay stick bundle experiments as they stood both potters and clay sculptors—have the in the kiln, for they were too fragile to moolah, are eligible and should be able to bring “live” to that year’s SuperMud. Just apply for any grant at any time. Whether those photographs revealed that Don was you are known or not known is really restless and searching. beside the point. What about consistency When he designed and built the several in good, viable clay work, exhibition rec­ pieces in our gallery, all of us were caught ords, workshops, etc.—also known as activ­ up in the event, and like Picasso, who ity and contribution to the ceramic arts— would have pushed finger painting to a that these people have made to all of us! new high, Reitz brought new life and zest Golly, I guess Henry Moore, Charles to a U.S. Navy weather balloon, to dry Simonds and Willie Nelson should not get clay blocks and lx2-inch strips of lumber, “rewards” for excellence. I have a word of and to Oscar Mayer sausage casings. It wisdom for all of those who think they’re was easy to see that the “Kenzan of the getting the wrong end of the potter’s ’70s” was great because of his artistic bril­ needle tool: keep applying, get to know liance and that the substance with which people and make good stuff. he chose to work was as pliable to his Jens (Art) Morrison mind as clay was to his hands. Niagara Falls, N.Y. We are comforted by reliability and reassured by stability but at the same time Mallam Garba we need to acknowledge our love of change It is always a pleasure to read docu­ and movement. Don Reitz is a veritable mentation on potters from other countries dynamo and will help to bring power to who work in traditional materials and the world of clay. If we wish to find methods (November CM: “The Dun- inspiration and adventure we have only dunge Pots of Mallam Garba”). The in­ to listen to him hum. formation and the accompanying closeup Jerry Caplan photographs were instructive. However, I Pittsburgh was distressed by the continued reference to Mallam Garba when not one photo­ Insightful December Garbage graph showed the potter’s face. I have In regard to “The Ceramic Identity Scandal of the ’70s,” only someone who has been there (Captain Kickwheel) could have written such delightful insightful garbage. Tym Wierwille Ruidoso, N.M.

To Captain Kickwheel: Well shiver me glaze recipes! ’Tis good to hear rumblings of mutiny in the ranks of the “real” tra­ ditional potters. It’s obvious their morale is beginning to dunt and with good reason. All this mulling over the past will certainly lead to confusion. As commander of the funky fleet, I can say without question there is no identity crisis in our ranks. We don’t look back but sail headlong into the future. Our battle cry has ever been and will continue to be “bigness is goodness but newness is best!” Why fuss over sang-de-boeuf when you can get it out of a jar, or better yet out of a spray can? been fortunate enough to watch him at Trim away at yer pre-Columbians Cap­ work and would like to share proof that tain Kickwheel—just sweep up the curl­ Mallam Garba is not a headless potter. ings and send them to me, your worthy Diane L. Buck adversary. New York City Commander E. Lectricwheel (Wayne Cardinalli) December Letter Response Stirling, Ont. In reply to Bob Hasselle’s letter concern­ ing Don Reitz: Ever since the first Super- Subscriber’s Comment Mud Conference at Penn State I have Pugging clay is a revolutionary move­ marveled at the tremendous energy with ment. which Reitz does everything. I was awe­ Marian Bart struck by his skill at the wheel, his enthu­ Sarnia, Ont. siasm for a philosophy that connects life and art and—most of all—the quality of Share your thoughts with other readers. spontaneity that is vibrating in his work All letters must be signed, but names long after it has cooled from the firing. will be withheld on request. Address: The In arranging for his show at Chatham Editor, Ceramics Monthly, Box 12448 , College we provided an opportunity for Columbus, Ohio 43212.

February 1981 11 11 Ceramics Monthly Suggestions from our readers

Mid-range Glaze Guides Keeping Exhibition Records As energy becomes more of a concern to potters, more of them After several frustrating episodes of missing an exhibition entry may be working in the Cone 4-6 range. A recent survey of 44 of deadline and not getting my slides mailed for jurying on time, our (University of Wisconsin, River Falls) mid-range glazes— I decided to get organized. A 3x5-inch card file works well and primarily reduction but suitable for oxidation as well—reveals two helps eliminate the stack of publications listing workshops or basic recipes that could be used as guides for experimentation: shows. On each file card paste a clipping from columns such as GMs MPDuriTMr cviTMrrir t 47c as a \ “Where to Show,” and file by deadline. Because many NEPHELINE SYENITE GLAZE (Cone 4-6, oxidation or reduction) , . rc . . , ... , . , ...... 1/tai- 10^/1 • events are annual affairs, it s a good idea to include additional Whiting and/or Dolomite .... 13% (plus or minus D%) . r . , , u r . ° ^-7/1 • nr* ( information about a particular exhibition, such as the names 01 NephelmeXT byemte...... 0 47 (plus or minus oyo) . , , . » . , , 1 / « 1, ^>.1 - / i • ( artists nearby who might share transporting artwork next year. Kaolin and/or Ball Clay ...... 7 (plus or minus 2%) —Donhn lontz Williamsbort Ind Flint ...... 25 _ (plus or minus 5%) uonlyn jontz, Williamsport, ma.

92% Mending Greenware with Glaze Fill out the recipe with other fluxes (lithium, boron, etc.), or when a decorative addition or knob has broken off a green- any flux-containing ingredient to arrive at 100%. ware object, rather than simply putting it back on with slip, try FELDSPAR GLAZE (Cone 4-6, oxidation or reduction) placing a dab of low-fire clear glaze on the break, and firing the Barium Carbonate ...... 12% (plus or minus 4%) blsclu,e * llttle hl«her than usual - The «laze melts enou Sh to Whiting and/or Dolomite .... 10 (plus or minus 5%) attach the a PPendage more firmly in preparation for glazing and Any Feldspar ...... 42 (plus or minus 8%) the flnal flrln S' ~lane L- CasPar> B°yce> Va • Any Kaolin and/or Ball Clay 9 (plus or minus 3%) Flint ...... 19 (plus or minus 6%) Smoothmg Greenware Bottoms , -■ Old glaze strainers or sieves work well for smoothmg the r, r, • • bottom of a greenware pot left to dry on a marred plaster bat. Fill out the recipe with other fluxes or any flux-containing __ya[ profihet> Dillon> MonL ingredient to arrive at 100%. In feldspar-based glazes, the following should be considered Dollars for Your Ideas general guidelines: If the feldspar is increased above 50%, then Ceramics Monthly pays $5 for each suggestion used; submis- the flint should be decreased 4%; if the feldspar is decreased sions are welcome individually or in quantity. Send your ideas to below 35%, then the flint should be increased 3%. CM, Box 12448, Columbus , Ohio 43212. Sorry, but we can't —Michael Hansen and Kurt Wild, River Falls, Wise. acknowledge or return unused items.

February 1981 13

Itinerary events, exhibitions, fairs, festivals, sales and workshops to attend

Send announcements of events, exhibitions, “Elena Karina: A Sense of the Sea,” an Evans: Ceramics and Photographs”; at the workshops, or juried fairs, festivals and exhibition of porcelain vessels and draw­ Egner Fine Arts Center Gallery, Findlay sales at least seven weeks before the month ings; at the Phoenix Art Museum, 1625 College. of opening to The Editor, Ceramics North Central Avenue. Pennsylvania, Philadelphia through Feb­ Monthly, Box 12448, Columbus, Ohio ruary 28 “Frances Riecken’s Kitchen,” an 43212; or phone (614) 488-8236. Arizona, Scottsdale February 1-28 “Lynn Turner: Porcelain”; at the Hand and the exhibition of ceramics; at Sign of the Swan Spirit, 4200 North Marshall Way. Gallery, 8433 Germantown Avenue.

February 23- California, Los Angeles through February Pennsylvania, Pittsburgh Events March 19 An exhibition of ceramics by 15 “Gallery Six: Elaine Carhartt,” an California, Orange March 7, 14 “Clay John Gill; at the Clay Place, 5600 Walnut exhibition of ceramic figures; at the Los Roots—Southern California,” a symposium Street. and exhibition examining past and current Angeles County Museum of Art, 5905 Wilshire Boulevard. directions in clay; at Chapman College. March 7 Elaine Levin will lecture on the antecedents of contemporary work in California, San Diego through Febru­ Group Exhibitions southern California. Panelists Stephanie ary 6 “Different Facets,” an exhibition of through February DeLange, Ed Forde, Linda Rosinas, Joe clay and glass by Sherry Karver Fein; at Arkansas, Little Rock 10 “Sixth AAC/UALR Biennial,” an ex­ Soldate and Paul Soldner will discuss their the Master’s Gallery, San Diego State hibition by faculty members of the Uni­ work and current trends. 10:00 A.M. University. versity of Arkansas at Little Rock and the March 14 “The Critical Eye,” a panel Arkansas Arts Center Education Depart­ discussion with Jacqueline Anhalt, Rena California, Studio City February 3-28 “Encounters in Clay,” recent ceramic ment, includes ceramics. Bransten, Elaine Levin, Suzanne Muchnic works by Lesley Yasnyi; at Garendo Gal­ February 20-March 30 “The Campbell and Sherrie Warner. 1:00 P.M. Contact: lery, 12955 Ventura Boulevard. Bret Price, Art Department, Chapman Museum Collection,” includes European porcelains from 1721-1872; both events at College, 333 North Glassell, Orange 92666. D.C., Washington through March 1 “An Arkansas Arts Center, MacArthur Park. California, San Francisco February 26-28 Interior Decorated: Joyce Kozloff,” in­ The annual meeting of the College Art cludes a 14-xlO/ 2-foot ceramic floor piece; California, Los Angeles through April 12 Association includes sessions on art history at the Smithsonian Institution’s Renwick “Made in Los Angeles/Con temporary Crafts ’81,” includes works by 22 ceramic and studio art. A placement service is Gallery, Pennsylvania Ave. at 17 St. N.W. artists; at the Craft and Folk Art Museum, provided for those interested in college 5814 Wilshire Boulevard. teaching, art administration and related Illinois, Arlington Heightsthrough Febru­ February 1-28 “Raku Variations: Post- fields. For further information see page 75. ary 6 An exhibition of carved ceramic con­ tainers by Rick Abbott; at Countryside Art Reduction Firing Innovations” includes work by ceramists Jerry Caplan, Patrick Illinois, Chicago April 2-4 The American Gallery, 408 North Vail. Crabb, Kazuko Matthews, Janice Rowell, College of Toxicology’s first annual con­ Harvey Sadow and Paul Soldner; at the ference, “Health Risks in Arts, Crafts and Illinois, Chicago through March 8 “Sonia Trades,” is open to artists and craftsmen. Delaunay: A Retrospective,” includes ce­ Marcia Rodell Gallery, 11714 San Vicente Boulevard. Contact: Health Risks in the Arts, Crafts ramics; at the Art Institute of Chicago, and Trade Conference, American College Michigan Avenue at Adams St. of Toxicology, 2405 Bond Street, Park California, Moraga through March 4 A Forest South, 111. 60466, or call (312) Illinois, Winnetka through February 25 multimedia exhibition, includes burnished 534-1770. An exhibition of sculptural vessels by clay by Miriam Licht; at the Hearst Art April 10-15 The National Art Education Christine LePage; at Synopsis Gallery, Gallery, Saint Mary’s College. Association’s annual convention; at the 931 Linden Avenue. Chicago Marriott. Contact: National Art California, Orange February 9-March 19 Education Association, 1916 Association Indiana, Indianapolis through February 21 An exhibition by southern California clay Drive, Reston, Virginia 22091. An exhibition of stoneware and porcelain artists; at the Guggenheim Fine Arts Gal­ containers and wall pieces by Alan Patrick; lery, Chapman College. Kansas, Wichita March 25-28 The an­ at Artifacts Gallery, 6418 North Carrollton nual conference of the National Council Avenue. California, San Francisco through March on Education for the Ceramic Arts 31 “Egyptian Art from the Lowie Mu­ (NCECA) ; at Wichita State University. Indiana, South Bend through February 20 seum,” includes pottery; at the M. H. de Contact: Don Gauthier, Wichita State An exhibition of porcelain and stoneware Young Memorial Museum, Golden Gate University, Studio Arts Department, Wich­ by Ron Kovatch; at the Moreau Gallery, Park. ita 67208, or call: (316) 689-3560. St. Mary’s College. February 17-March 21 “Collaborations,/ Individual and Collaborative Works in New York, New York February 8 “Tech­ Nebraska, Omaha February 28-April 8 An Clay and Handmade Paper,” an exhibition niques and Artistic Milestones in Islamic exhibition of sawdust- and pit-fired ceram­ by Kathryn Clark, Marjorie Levy and Ceramics,” a lecture by Manuel Keene; at ics and terra sigillata ware by Gene Wepp- Margaret Prentice; at Meyer Breier Weiss, the 92nd Street YM/YWHA, 1395 Lex­ ner; at the Craftsmen’s Gallery, 511 South Building A, Fort Mason Center. ington Avenue. Eleventh. D.C., Washington through April 5 “The Ohio, Columbus February 28 A sympo­ New York, New York through February 3 Search for Alexander,” an exhibition of sium held in conjunction with the “Beaux “Ceramic Sculpture,” an exhibition by Greek art from 356-323 B.C., includes Arts Designer-Craftsmen’s Update Exhibi­ Rina Peleg; at the Theo Portnoy Gallery, terra-cotta sculpture; at the National Gal­ tion,” includes an address by Helen Drutt 56 West 57th St. lery of Art, Fourth Street at Constitution on the crafts movement from 1960-1980. through February 7 “Harriet Bellows: Avenue Northwest. 1:00 P.M. Fee: $5 for museum members, Clay,” and “Harvey Sadow: Clay Ves­ through August 16 “American Porcelain: $6.50 for nonmembers; at the Columbus sels”; both events at the Elements Gal­ New Expressions in an Ancient Art,” in­ Museum of Art, 480 E. Broad Street. lery, 766 Madison Avenue. cludes approximately 110 contemporary through February 14 “Art of the Glazer,” works; at the Smithsonian Institution’s an exhibition of stoneware and porcelain Renwick Gallery, Pennsylvania Avenue at by Albert Green; at Greenwich House 17th Street Northwest. Pottery, 16 Jones Street. Solo Exhibitions Idaho, KetchumFebruary 26-March 18 Arizona, Phoenix through February 23 Ohio, Findlaythrough February 6 “Mike Continued

February 1981 15 16 Ceramics Monthly Itinerary Michigan, Birminghamthrough February lains manufactured in Trenton; both events 14 An exhibition of sculptural clay by at the Newark Museum, 49 Washington Rafael Duran and Thomas Phardel; at Street. A multimedia exhibition which includes Robert L. Kidd Associates/Galleries, 107 ceramics by Jenny Lind; at the Sun Valley Townsend Street. New York, Brooklynthrough February 8 Center Gallery, 4th and Leadville. “Twentieth Century American Design: Michigan, Detroit through February 7 An From the Permanent Collection,” includes Illinois, Bloomington February 20-March exhibition by Byron Temple and Joe Za- ceramics; at the Brooklyn Museum, East­ 15 “Ceramics Invitational—Current jac; at Pewabic Pottery, Michigan State ern Parkway. Trends in Clay”; at Merwin Gallery, Illi­ University, 10125 East Jefferson. nois Wesleyan University. through February 27 An exhibition by New York, New Yorkthrough February crafts department faculty of the Center for 15 An exhibition of gallery members’ Illinois, Champaign through February 15 Creative Studies, includes ceramics; at the works; at 14 Sculptors Gallery, 75 Thomp­ “The First 4000 Years: The Ratner Detroit Gallery of Contemporary Crafts, son St. Collection of Judaean Antiquities”; at the 301 Fisher Building. through March 1 “Invited Artists Pro­ Krannert Art Museum, 500 Peabody Dr. February 15-March 14 An exhibition by gram—Fall 1980,” includes new works by Joan Rosenberg and Joe Zeller; at Pewabic Sherron Francis, Carl Glicko, Ann Igels- Illinois, Evanston through February 13 Pottery, Michigan State University, 10125 rude, Joyce Kozloff, Kikuo Saito, James An exhibition by art center faculty and East Jefferson. Walsh, James Wolfe and Betty Woodman; students; at the Evanston Art Center, at Clayworks Studio Workshop, 4 Great Jones Street. 2603 Sheridan Road. Missouri, Saint Louis through March 1 through March 15 “5000 Years of Korean “Later Chinese Porcelains from the Col­ Art”; at the Metropolitan Museum of Art, Indiana, Evansville February 15-March lection,” from the Qing dynasty, 1644- 5th Avenue and 82nd Street. 22 “Mid-States Craft Exhibition”; at the 1910; at the Saint Louis Art Museum, February 3-28 “Clay Sculpture: an Invi­ Evansville Museum of Arts and Science, Forest Park. tational,” an exhibition of approximately 211 Southeast Riverside Drive. 20 works by 10 artists; at Art Latitude New Hampshire, Manchester through Gallery, 29 East 73 Street. Louisiana, Shreveport through March 1 February 28 An exhibition by members of February 6-May 31 “The Clay Figure,” “Sevres Porcelain,” an historical exhibition the Massachusetts Association of Crafts­ new sculpture by ten artists working in of works from the 18th-20th centuries; at men; at the Manchester Institute of Arts, clay; at the American Craft Museum, 44 the R. W. Norton Gallery, 4747 Creswell 148 Concord Street. West 53 Street. Avenue. New Jersey, Newark through March 15 New York, Scarsdale through February 14 Massachusetts, Boston through February 8 “Sculpture in Clay from Puerto Rico,” an “A Salute to Skidmore: Artists in Clay, “The Art of the Chinese Potter,” a sam­ exhibition by members of the artists’ col­ Fiber, Metal, Wood,” an exhibition by pling of the major dynasties and ware lective Grupo Manos. Skidmore alumni; at the Craftsman’s Gal­ types; at the Museum of Fine Arts at through June 30 “New Jersey Belleek: A lery, 16 Chase Road. Faneuil Hall. Gift of the 1880s,” an exhibition of porce­ Continued

February 1981 17 18 Ceramics Monthly Itinerary ramics,” part of a multimedia exhibition; ists; at the Seattle Art Museum, 14th East at Artsplace II, 115 Park Avenue. and East Prospect. North Carolina, Chapel Hill through Feb­ ruary 22 “The Traditional Pottery of Pennsylvania, Pittsburgh through Feb­ North Carolina,” includes 19th and 20th ruary 19 “Craftsmen’s Guild of Pittsburgh Fairs, Festivals and Sales century redware, salt- and alkaline-glazed Invitational—Clay”; at the Clay Place Arizona, Tubac through February 8 The works; at the Ackland Art Museum, Uni­ Gallery, 5600 Walnut Street. versity of North Carolina at Chapel Hill. 22nd annual “Tubac Festival of the Arts”; throughout the village. Tennessee, Memphis through February 6 Ohio, Cleveland through February 20 A multimedia exhibition which includes Maryland, Baltimore February 20-22 The “The Ohio Ceramics Sculpture Show”; at recent works in terra cotta by Bert Sharpe; 5th annual “Winter Market of American the Cleveland State University Gallery. at the Clough Hanson Gallery, Southwest­ Crafts”; at the Convention Center, Pratt ern College, 2000 North Parkway. Street. Ohio, Columbus February 21-March 29 “Beaux Arts Designer/Craftsmen Update Texas, Fort Worth through February 18 Texas, McAllen through February 1 “Fi­ Exhibition,” winners of the last 20 years, “The Great Bronze Age of China: An esta on the Border”; at the McAllen Civic includes ceramics; at the Columbus Mu­ Exhibition from the People’s Republic of Center. seum of Art, 480 East Broad Street. China,” includes terra-cotta figures from the buried army of Qin Shihuangdi, the Ohio, Findlay February 16-March 6 First Emperor of China; at the Kimbell Workshops “Senior Show: Works by Graduating Art Art Museum, Will Rogers Road West. Students,” includes ceramics; at Findlay California, San Diego March 30-May 4 College, Egner Fine Arts Center. “Kids ’n Clay,” a workshop for children Vermont, Middlebury February 10-March from 6 to 12 years of age. All materials 6 “New Directions in Clay,” an exhibition provided. Fee: $30. 4:00-5:30 P.M. Con­ Ohio, Westerville February 19-March 28 by Elaine Anthony, Lisa Youngner and tact: Clay Dimensions Studio, 1735 Adams A multimedia exhibition, includes clay Malcolm Wright; at the Vermont State Avenue, San Diego 92116, or call: (714) vessels and sculpture by Ban Kajitani; at Craft Center at Frog Hollow. 296-9752. Herndon House Gallery, 40 Winter Street. Virginia, Alexandria through March 1 Connecticut, Brookfield March 28-May 17 Ohio, Youngstown through February 22 “Interiors,” a multimedia exhibition which Brookfield Craft Center is planning the “33rd Annual Ohio Ceramic, Sculpture includes ceramics; at Old Town Gallery, following advanced ceramic workshops: and Craft Show”; at the Butler Institute 324 North Fairfax Street. March 28-29 Angela Fina: Glaze Calcu­ of American Art, 524 Wick Avenue. lations and Formulation. Washington, Seattle through March 1 April 4-5 Scott Tubby: Neriage and Col­ Oklahoma, Oklahoma City through Feb­ “Contemporary Ceramics: A Response to ored Clays. ruary 13 “Kevin Byrnes: Majolica Ce­ Wedgwood,” includes works by 85 ceram­ Please Turn to Page 72

February 1981 19 20 Ceramics Monthly Questions Answered by the CM Technical Staff

Historical references to Chinese glazes sometimes mention a I cannot regard him as a good potter but he is the greatest material called petuntse. Is there a modern-day equivalent? acrobat in the history of art. —B.G. “It was Picasso who introduced us to primitive art, which as Cornwall stone is the contemporary equivalent. Frank Hammer with the art of children, consists not so much in the attempt to notes in The Potter’s Dictionary of Materials and Techniques represent what the artist sees, as to put a colored line round that “petuntse is a corruption of the Chinese for ‘white bricks’ conceptions of the seen objects.” in which form it was transported from the quarry to the pottery. This is similar to the English origin of the term ‘ball clays’ which We live near a source of zircon (which I understand is both were transported in balls.” an opacifier and refractory material in ceramics), and we use it as much as possible in glazes since it is so cheap in this We have been building a catenary arch kiln of castable locale. But do you know of a zirconium-based formula for kiln refractory, and want to know if there is a rough formula for wash?—T.L. calculating the amount of castable used?—H.R. A recipe of 90 percent zirconium silicate to 10 percent of any The volume of castable used in the arch itself can be roughly kaolin (by weight) will make a great kiln wash. calculated by running a flexible rule over the arch form, noting this length, and multiplying it times the depth of the arch, times I’ve noticed some potters’ jar lids fit almost as if they’ve the thickness of castable proposed. Add to this the volume of been ground smooth—a very pleasant sensation. How is this both end walls, each calculated at ¾ of the height, times the quality achieved?—C.C. width, times the castable thickness. If the floor, too, is castable, In some cases, they actually have been ground. Sanding before add it to the final volume: multiply its length, width and the firing is sometimes practiced. But the best solution is an applica­ proposed castable thickness. tion of any oil (3-In-One is a good choice) and a very fine grit silicon carbide placed on the rim. Twist the lid back and forth in place, thereafter wiping the oil/grit residue from the rim. This As a matter of curiosity, and noting CM’s recent publication technique works quickly and effectively. It seems particularly of work by Picasso and Bernard Leach, I am wondering if appropriate on porcelain. either of these artists ever commented on the technical or aes­ thetic abilities of the other?—J.P. In an addendum to his memoirs, Beyond East and West Subscribers’ inquiries are welcome and those of general interest (Watson Guptill Publications, 1978), Bernard Leach noted that will be answered in this column. Send questions to: Technical “There is in Picasso an element of ceaseless inventiveness. . . . Staff, Ceramics Monthly,B ox 12448, Columbus, Ohio 43212.

February 1981 21 22 Ceramics Monthly Where to Show exhibitions, fairs, festivals and sales

Send, announcements of juried exhibitions, scape motif as subject matter. Juried by Pennsylvania, State College July 5-August fairs, festivals and sales at least four 3 slides; include a resume and self- 16 The 15th annual “Juried Crafts Exhi­ months before the entry deadline to The addressed, stamped envelope. Entry dead­ bition” is open to ceramists. Fee: $10 for line: April 30. For both events contact: up to 2 works. Entry deadline: April 1. Editor, Ceramics Monthly, Box 12448, Springfield Art Association Gallery, 700 Juried by slides. Contact: Janis Mershon, Columbus, Ohio 43212; or phone (614) North Fourth Street, Springfield 62702, Box 5, Lemont, Pa. 16851. 488-8236. or call: (217) 523-2631. Texas, Ingram May 17-30 The “12th Bi­ Kansas, Topeka April 5-30 “Topeka annual Juried Craft Exhibition” is open to Exhibitions Crafts Exhibition 5” is open to ceramists ceramists. Entry deadline: May 9. Cash residing in Kansas and the Saint Joseph/ awards. Send a self-addressed, stamped Arkansas, Little Rock May 15-June 14 Kansas City, Missouri, area. Cash awards. envelope when requesting entry form. Con­ The 14th annual “Prints, Drawing and Juror: Ronald Hickman. Entry deadline: tact: Hill Country Arts Foundation, Box Crafts Exhibition” is open to artists born March 15. Contact: Larry D. Peters, 176, Ingram 78025, or call: (512) 367- or residing in Arkansas, Louisiana, Missis­ Topeka Public Library, 1515 West 10th, 5121. sippi, Missouri, Tennessee, Oklahoma and Topeka 66604, or call: (913) 233-2040. Texas. Fee: $5 per entry; artists limited to two works in any one category. Entry deadline: April 24. Juried by works. Con­ Minnesota, Duluth June 27-August 9 Fairs, Festivals and Sales tact: Townsend Wolfe, The Arkansas Arts “Lake Superior Crafts Exhibition.” Open to all craft media. Juried by slides. Juror: Florida, Sarasota November 21-22 The Center, MacArthur Park, Box 2137, Little 10th annual “Crafts Festival” is open to Rock 72203, or call: (501) 372-4000. Ruth Kohler. Entry deadline: March 15. Entry fee: $10. Awards totaling $3000. residents of Alabama, Florida, Georgia, Contact: Lake Superior Crafts Exhibition, Kentucky, Louisiana, Mississippi, North California, Downey June 20-July 25 The Carolina, South Carolina, Tennessee and “Westwood Clay National 1981” is open Duluth Art Institute, 506 W. Michigan St., Duluth 55802, or call: (218) 727-8013. Virginia. Juried by 5 slides. Entry fee: $5. to ceramists. Juried by slides. Entry dead­ Entry deadline: May 1. Contact: Marion line: April 6. Fee: $5 per entry: Juror: Hope, John and Mable Ringling Museum Richard Shaw. Contact: Westwood Clay Missouri, Saint Louis August 2-26 “Litur­ of Art, Box 1838, Sarasota 33578, or call: National 1981, Downey Museum of Art, gical and Ceremonial Objects” is open to (813) 355-5101. 10419 South Rives Avenue, Downey 90241, Missouri residents and Illinois residents or call: (213) 861-0419. living within 200 miles of Saint Louis. Juried. Cash awards. Entry fee: $10 for Indiana, Indianapolis June 6-7 “Talbot California, Taft October 24-December 5 up to 3 works. Entry deadline: July 10- Street Art Fair.” Open to all media. Juried “Vessels Aesthetic” is open to ceramic art­ 11. Contact: Craft Alliance, Liturgical by 3 slides. Entry fee: $15 for members of ists. Works must allude to the vessel form. Objects, 6640 Delmar Blvd., Saint Louis Indiana Artist-Craftsmen, $30, nonmem­ Fee: $5 per entry. Cash and purchase 63130, or call: (314) 725-1151. bers; membership available to current and awards. Juried by slides. Jurors: Philip former residents of Indiana at $5 per year. Entry deadline: March 1. Contact: Joan Cornelius, Lukman Glasgow and Jerry North Dakota, Valley City March 31- Rothman. Entry deadline: August 24. Kisner, 630 N. Washington St., Danville, April 24 The 12th biennial “National Art Ind. 46122. Contact: Jack Mettier, Taft College Art Exhibition” is open to ceramists. Juried. Gallery, 505 Kern Street, Taft 93268, or Entry fee: $5, maximum two works per call: (805) 765-4086. artist. Entry deadline: February 28. Con­ Maryland, Frederick May 30-June 7 The tact: Mrs. Riley Rogers, 2nd Crossing 7th annual “Frederick Craft Fair” is juried Colorado, GoldenMay 10-June 9 “North Gallery, Box 1319, Valley City State Col­ by five 35mm color slides. Entry deadline: American Sculpture Exhibition.” Open to lege, Valley City 58072; or Mrs. Barry March 1. No commission. Fees: $5 entry; sculptors working in a hard, permanent Bjornson, 1409 Third Avenue Northeast, $100-$ 150 booth, per weekend. Contact: medium. Juried by up to 3 photographs Valley City 58072. Noel Clark, National Crafts Ltd., Gapland, per entry; maximum 3 works per artist. Md. 21736, or call: (301) 432-8438. Fee: $10 per work. Entry deadline: March Ohio, Cleveland April 5-26 “Function: 18. Contact: Foothills Art Center, 809 October 15-18 Contemporary Viewpoints.” Open to cur­ Maryland, Gaithersburg Fifteenth St., Golden 80401, or call (303) The 6th annual “National Craft Fair” is rent and former Ohio residents (except 279-3922. students). Juried by 1-3 slides. Open to juried by five 35mm color slides. Entry deadline: July 1. Fees: $5 entry; $100- all media. Deadline: February 18. Con­ D.C., Washington May 11-13 The “Reli­ $175 booth. No commission. Contact: Noel tact: Joyce Porcelli, New Organization for gious Arts Exhibition and Competition” is Clark, National Crafts Ltd., Gapland, Md. the Visual Arts, 1 Playhouse Square, No. open to ceramists. Entry deadline: March 21736, or call: (301) 432-8438. 1. Juried by slides. Contact: Judith A. 106, 1375 Euclid Ave., Cleveland 44115. Miller, Interfaith Forum on Religion, Art Minnesota, St. Paul June 27-28 The Ohio, Marietta October 31-November 29 and Architecture, 1777 Church Street “Minnesota Crafts Council Festival” is The “Marietta College Crafts National Northwest, Washington, D.C. 20036. juried by 4 slides. Entry fee: $5. Purchase ’81” is juried by slides. Entry fee: $10. prizes. Entry deadline: April 18. For ap­ Entry deadline: September 12. Cash and Illinois, Crystal Lake August 21-Decem­ plication, send self-addressed, stamped en­ purchase awards. Contact: Arthur How­ ber 31 The “Clay Workers’ Guild Invi­ velope to: Minnesota Crafts Council, 528 ard Winer, MCCN ’81, Marietta College, tational” is open to clay artists living in Hennepin Ave., Minneapolis 55403. Illinois, Indiana, Iowa, Kentucky, Mis­ Marietta 45750, or call: (614) 373-4643, souri, Minnesota, Michigan, Ohio and ext. 275. Wisconsin. Purchase and cash awards. Ju­ New Jersey, Morristown October 9-11 The “Morristown Craftmarket” is open to ried by slides. Fee: $5 per entry; limited Pennsylvania, Erie March 8-22 The all craftsmen. Juried by 5 slides. Entry to 3 works. Entry deadline: May 15. Con­ “Sixth Annual Mercyhurst College Art fee: $7.50. Entry deadline: April 18. tact: Robert Blue, CWG Invitational, Box Scholarship Competition” is open to high Contact: Michael F. Feno, Morristown 1084, Elgin 111. 60120. school seniors and recent graduates. Juried Craftmarket, Box 2305-R, Morristown by 3-5 works in any medium; a cross 07960. Illinois, Springfield November 7-January section of art forms is suggested. Entry 3, 1982 “Fibers, Fabrics, Clay and Glass” deadline: March 2. Three art scholarships is juried by 3 slides. Entry deadline: will be awarded yearly for a 4-year pe­ Ohio, Cincinnati June 13-14 The 13th March 15. riod: $750, $500, $250. Contact: Edward annual “Summerfair” is open to artists and January 9, 1982-February 28, 1982 The Higgins, Department of Art, Mercyhurst craftsmen. Juried by 5 slides. Cash awards. first national “Landscape in Art Exhibi­ College, 501 East 38 Street, Erie 16546, No commission. Fees: $10 entry; $40 tion” is open to any artist using a land- or call: (814) 864-0681. Continued

February 1981 23 24 Ceramics Monthly Where to Show booth. Entry deadline: March 15. Con­ tact: Summerfair, Box 3277, Cincinnati 45201.

Ohio, Cleveland Heights July 18-19 The “Cain Park Arts Festival” is open to artists and craftsmen. Juried by slides or photo­ graphs. Cash awards. Entry deadline: June 1. Entry fee: $25. Contact: City of Cleve­ land Heights, Department of Recreation, 2953 Mayfield Road, Cleveland Heights 44118.

Ohio, Dayton May 23-24 “Art in the Park Show and Sale” is open to artists and craftsmen. Juried by slides. Booth fee: $30-$35. Entry deadline: April 1. Con­ tact: Art in the Park, Riverbend Art Cen­ ter, 142 Riverbend Drive, Dayton 45405, or call: (513) 225-5433.

Ohio, Marietta May 8-10 The “Spring Festival ’81” is juried by 5 slides. Entry deadline: March 12. Entry fee: $50. Con­ tact: Susan L. Kern, The Spring Festival ’81, Marietta College, Marietta 45750, or call: (614) 373-8027, or 374-6797.

Pennsylvania, State College July 9-12 The 15th annual “Central Pennsylvania Festival of the Arts Sidewalk Sale” is open to all media. Juried by 3 slides; include a self-addressed, stamped envelope. Entry deadline: March 10. Contact: CPFA Side­ walk Sale, Box 1023, State College 16801.

Tennessee, Tullahoma May 23-24 The 12th annual “Tullahoma Fine Arts and Crafts Festival” is open to ceramists. Ju­ ried by slides or black-and-white, glossy photos. Entry deadline: May 20. Entry fee: $30. Purchase and cash awards. No commission. Contact: Lucy F. Hollis, 401 South Jackson, Tullahoma 37388, or call: (615) 455-1234.

Wisconsin, Milwaukee April 25-26 The “19th Wisconsin Festival of Arts” is open to craftsmen 18 years or older. Juried by 5 slides; include a current resume and self- addressed, stamped envelope. Entry fee: $75 for 10- x 10-foot space. No commis­ sion. Entry deadline: April 1. August 15-16 The “8th Art Fair U.S.A.” is open to craftsmen 18 years or older. Juried by 5 slides, include a current resume and self-addressed, stamped enve­ lope. Entry fee: $60 for 10- x 10-foot space. $1000 in cash awards. No com­ mission. Entry deadline: August 1. For both events contact: Dennis R. Hill, 1655 South 68 Street, West Allis, Wis. 53214, or call: (414) 475-1213.

International Canada, Ontario, Toronto July 16-19 “Harbourfront Craft Fair.” Juried by slides. Awards. Entry deadline: March 1. Contact: Jean Johnson, Harbourfront Craft Studio, 417 Queen’s Quay West, Toronto M5V 1A2, or call: (416) 364-7127.

New Zealand, Auckland May 30-June 14 The “Fletcher Brownbuilt Pottery Award 1981” is open to ceramists. Purchase award: NZ$2000 (approximately $1900 U.S.). Commission: 20%. Entry dead­ line: May 8. Juried. Contact: The Com­ petition Organizer, Fletcher Brownbuilt, Private Bag, Auckland.

February 1981 25 26 Ceramics Monthly Comment

Breaking Ceramicsby Gabor Terebess

A cup is broken to pieces; I had material sense it is useless, like a knocked it off the shelf. Angry with rotten or worm-eaten apple, yet in a myself for being so clumsy, I set to spiritual sense it is not by far. Is it sweeping up the useless shards and then genuine art which glorifies our throwing them in a bin. While look­ conquest of matter, that acclaims a ing at how far they had fallen, instead perfect realization of our ideas, yet of feeling guilt, I find myself admir­ buries all traces of our failure together ing the spectacle. The broken cup can with the waste? Competitions, exhibi­ always be substituted by another, tions, publications and trade can very whole, mass-produced one, but these well do without failures, but can we? fragments are irreplaceable. Their Of course ceramics break easily. shape, their position is unique, never But why couldn’t this disadvantage be to be repeated. made into an advantage and be used If this little accident had been to make form as naturally as coiling, filmed, I would have a documentary. throwing and slip casting? As it is, I could film only the final When I was a child I often found outcome. Or, why couldn’t I keep the it fascinating to watch how the neigh­ pieces as they are? They would at boring bricklayer went about splitting least preserve the event in three di­ bricks: first he took his time to knock mensions. I could call the whole lot the brick with the hammer’s edge, documentary ceramics. After all, so- then he put the brick on his palm and ciography and documentary literature hit it. Surprisingly, it split more or less do not themselves aspire to more than where he wanted it to. Still, I do not recognizing the form of the material want to rival the bricklayer; I don’t as it is found. want to be an expert in splitting. I Why couldn’t the art of ceramics simply set out to see what it would have clay for raw material in any be like and not to see what I had state and quality, without exception imagined. and condition? Why couldn’t it be I take a brick into my hand. Its fired clay, finished ceramics? Some­ surfaces are smooth and regular: it thing I can chip, break, grind, ce­ preserves the behavior of the wet clay ment, re- or overfire? Nothing has a extruded and cut up. I could say it final shape—broken ceramics adver­ imitates its alienated self as ice imi­ tise, and also—it is the part that tates water frozen into form. If it is makes the whole; it is absence that broken, the breakage reveals its na­ makes presence what it is. ture changed in the fire. It breaks the Of course I had no intention of structure so the brick cannot function creating any documentary. But with as a brick any more. It is no longer a my unexpectedly clumsy move I did thing for use, but either a sculpture, not only ruin something practical, I or just waste. also created something else: a ceramic Ceramics broken by accident are object fallen apart. Unintentionally. ceramics without craftsmanship, their This is a negative work of art. In a Continued

February 1981 27 28 Ceramics Monthly Comment something broken as of equal value with the intact, like Hon’ami Koetsu’s technology is the absence of technol­ tea bowl mended with gold lacquer, ogy, a negation of both knowledge or Peter Voulkos’s plate repaired with and ignorance. epoxy-resin. Apart from Robert Arne- Fragments formed by hitting or son’s installation of smashed self- dropping seem implacably rigid and portraits, it is only outside the art incalculably capricious—they are not of ceramics that we sometimes meet to come up to our expectations, they shards combined with other materials can show our desires only approxi­ in mixed-media, high-art objects, like mately. They have a style of their broken plates (Julian Schnabel), own and we have to let them speak. mugs and saucers (Martha Holt) or As breaking regards the original ob­ tiles (Jean-Pierre Raynaud). ject as raw material, the value of the Well, it might be a pleasant diver­ broken object has nothing to do with sion during our Sunday walk to search the value of the original. Its value is heaps of solid or hollow broken bricks, ruined, anyway. Broken kitsch is like wall or floor tiles, broken crockery. an operated patient. We might as well put them into The unavoidable duality of the museums to save future generations original and the object broken from the trouble and expense of excava­ it would be artificial to make from tions. They tell more about the age wet clay. There we always have carte than present-day nonfunctional ce­ blanche, we have to make the shape­ ramic art which pretends to depict it, less mass into a new world; here the yet either feeds us the nostalgia of dialogue goes on with the existing man alienated from nature, through world. organic forms, mud, earth, stones, Breaking ceramics is irreparable. tree trunks, leaves, buds, cells; or the Greenware, as long as it is damp, can nostalgia for order, through minimal always be modified, corrected, re­ geometrical forms, man’s barren or­ shaped, while breaking is an irrevers­ der against the contingency of nature. ible process. I can only go on break­ But the utopia made of asphalt and ing what I have broken into smaller concrete seems to be dwindling away and smaller pieces (it is impossible to and there is no way back to nature. break in another way or to break Where is it? Overindustrialization, anew) until I have smashed the trash, junk, garbage, waste and dirt in whole. Then there is no more. Stone quantities impossible to dispose of or which disintegrated into dust through digest overgrow the cities like cancer. millions of years and was fired into It is not really easy to do away with stone again for a moment, is dust the waste of our ceramics production again. and consumption; it is not worth Breakage has always been taboo in recycling like iron and metals, paper, the art of ceramics. Perhaps it was cloth and glass. We meet it every day the loss of practical value of broken wherever buildings are put up or crockery which repelled us. Of course, pulled down and we produce it our­ museums cherish old and rare pottery selves. Ceramics to be broken do not fragments unearthed by excavation. need looking for; they cannot go In Hungarian peasant houses, cracked unnoticed. It is really superfluous to or chipped pots were used after re­ fire clay (using expensive energy), pair, either to save money or because there is enough fired already. people were attached to them. A jug Whether we break them ourselves or with a hole at the bottom might be not, there are always lots of broken used for watering flowers; a cracked ceramics about (as it is unnecessary pot, held together by a piece of wire, to fire, so it is to break), and all of for storing something; chipped plates them are excellent. There is no con­ to feed the dog or the chickens; flict between what is and what should broken pieces might be toys for chil­ be. Anyway, breakage does not do dren. anything but make visible the unno- Shards were used when making ticeable cracks born of tensions during adobe walls or building fireplaces. But forming, drying and firing. it was only the exception that con­ If we go on looking, not only at firmed the rule that we regarded Continued

February 1981 29 30 Ceramics Monthly Comment manship. Of waste we cannot de­ mand self-expression. We have to construction sites or demolitions but consider the attitude of the finder, at the wasteheaps of brick and porce­ who gives up his skill and equipment, lain factories and potters’ workshops, leaves his workshop or design office; we shall find one other monster: who works not isolated, under experi­ overfired clay. While carved stone mental circumstances but under nat­ and wood represent nature con­ ural, industrial ones; happens to no­ quered, bricks molten together are tice what rat-race society wants to man conquered. Chafed or damaged forget about. He does not construct greenware can be slaked again, under­ but discovers; does not look for sen­ fired pottery can be refired, faults in sual pleasure in refined, artistic ob­ the glaze can be corrected, but these jects but accepts even the rejected for two—overfired and broken pottery— what it is; looks for useless things at are final, unimprovable waste. the waste heap at a time when every­ The art of waste doesn’t destroy, thing has become a commodity, and it uplifts what industrial society has listens to the words of unmarketable discarded. Everyday objects exhibited objects which are not only free but a as works of art to provoke (as in burden for everybody else. “What’s Marcel Duchamp’s ready-mades) are the most valuable thing in the world?” made into individual pieces from mass asks the Zen Buddhist monk. “A dead products by the very act of exhibition. cat,” the Zen master answers. “Why?” Waste, on the other hand, is everyday “Because nobody values it.” objects ruined by accident; it is ma­ It is not art that makes man great lignant and irrational and unique, but man that makes art great. The whether exhibited or not. It may only art object is only rubble along the become an example but never a sam­ road as he passes on. Waste is a prod­ ple. Failure is its success because if it uct of man’s hand which has lost its had succeeded, it would have re­ original message; it has no age, no mained a nameless mass product. patina, no atmosphere recalling an­ When the worker happens to violate other age. It only preserves an acci­ regulations and produces not a mass dent, therefore it lacks human trick­ product—if he knocks a cup off the ery and speculation; it does not cheat, conveyor belt, forgets to switch off the it does not lie. It does not stand for kiln—he then never repeats himself, anything, even though man’s frus­ never imitates and instead of produc­ trated purposes gleam through when ing, he unwittingly starts creating. we see it. Waste is our vain efforts, “Fine arts came to an end in the age wasted energies and time, objectified. of technical reproducibility,” states We could settle its fate with a wave Walter Benjamin, though it is exactly of the hand, until as Friedrich Dur- technical reproducibility which best renmatt writes in “The Accident”: allows for the art of waste. So far the “a screw gets loose, a coil goes wrong, artist has been going to factories to a button fails and there is a short make use of the tricks of up-to-date circuit, a wrong connection, the end industrial technology, but perhaps the of the world. So there is no more . . . blunders of industrial technology are justice, no fate as in Symphony No. also useful for him. As in the case of 5, only traffic accidents . . . dams finishing, maker and artist are sepa­ bursting through technical mistakes, rate. But here the situation is re­ atom bomb factories blowing up versed. The object is finished before through the absent-mindedness of the artist has learned about it. We laboratory assistants.” might call it “art after creation.” Waste is the metaphor of our age, Waste refutes the argument that the model of derailments due at any new form is made only on designers’ moment. tables. The industrial designer guards only official changes. Waste also re­ The author Gabor Terebess has been futes that only a good artisan makes making ceramics since his boyhood, a good artist. and continues to produce “unofficial In the case of waste it never hap­ Hungarian ceramic art” while sup­ pens that the maker masks falsity and porting himself as a librarian and art shallowness by knowledge and crafts­ critic in Budapest.

February 1981 31

34 Ceramics Monthly Photos: David Allen Down toEarth:CanadianPottersatWork Quebec potterswhoadmiredhisintensity,envied eae suc o isiain o woe eeain of generation whole a to inspiration of source a became h nm o Gea Badn s s lsl lne t the to linked closely as is Beaudin Gaetan of name The Gaetan Beaudin n h 14s hn t a a ital ukon rf. He craft. unknown virtually a was it when 1940s the in ec i t ptey n nln. atn tre a a potter a as started Bernard Gaetan of England. name in the pottery to as is Quebec Leach in pottery of development potter, theartistoptedforgreateravailabilityofhisworkthroughmassproduction. by Gaetan BeaudinandtheSialdinnerwarehedesignsproducesinLaval,Quebec.Onceastudio J udy R Thompson oss

with N C ina zegledy -N agy

omtet o h cat hy ant nesad his understand man’s cannot this they admiring craft of the years After to taken. commitment has career urn psto a te oone ad einr f Sial of designer and cofounder the as Gaetan’s that position turn current the at aghast are proteges these of neut, n land rm i cetvt. oa, many Today, creativity. his from learned and ingenuity, Ltd., acompanywhichmassproduceslineofceramic

First begun as a clay and glaze supply company, Sial Ltd. now employs eighty people and sells its ware throughout Canada and several European countries.

With some forms hydraulically pressed, the company Gaetan designs not only the company’s ware, but has has a capacity of 800 dinnerware settings a day. developed new production processes and tools. dinnerware. Gaetan himself says that they treat him like out Canada and in five European countries. Gaetan is a defrocked priest because, to them, industry represents responsible not only for the design of the product, but for evil and the craftsman is sublime. the innovation of many new processes and tools used in For Gaetan, however, the progression to industrial the plant. He invented a glazing machine that uses dif­ ceramic design was a normal and natural evolution of ferent sponge heads to fit the greenware shapes, and then his talents. He has always approached pottery in an inno­ began carving designs in the sponges to create design vative way, seeking new and better solutions, and striving effects. He developed a method of salt glazing whereby to demystify the craft and make it more available to the a thin coating of a special sodium compound is applied public. The validity of his concept of a mass-produced directly to the pot on the assembly line. For multiple line of ceramic ware was confirmed by an exhibition of glazing, he constructed a Plexiglas holder embedded with teapots by Marcel Beaucage, a young Quebec potter. The hypodermic needles and plastic catheters to control the show was a sellout and there were dozens of people who flow of glaze. The ingenuity of the man is evident in wanted a Beaucage teapot but couldn’t have one. Gae tan’s every corner of the Sial plant. reaction was, “Why not produce what the public wants?” The prospect of continuing forever as a studio potter Today, the Sial plant in Laval, north of Montreal, was too narrow for Gaetan. He needed a larger forum for employs eighty people, has a capacity of eight hundred his ideas, ideas which he claims “are never lonely.” Even dinnerware settings a day, and sells its product through- as a child growing up in a poor family in southern

36 Ceramics Monthly Rows of finished mugs exemplify the power of industrial techniques applied to the potter’s designs. Most of Gaetan’s forms are simple—no handles are added—and all ware is single fired.

Ontario he showed signs of the entrepreneurial spirit that chemistry and marine biology at the University of St. has continued to forge his adult life. Andrews, he spent more time doing pottery at the nearby art college and ended up in Oland, Sweden, on a ceram­ Walter Ostrom ics scholarship. Back in the United States, he did gradu­ For a potter the pursuit of his craft presents a myriad of ate work with a Chinese potter, Henry Lin, at Ohio paths to follow. In fifteen years Walter Ostrom has been University. down many of them. He has done stoneware and porce­ His interests in science and art have blended together lain, raku and salt glazing, handbuilt sculptures and for Walter into two obsessions: pottery and plants. His thrown pots, earthenware and majolica, all because he home on the barren seacoast of Nova Scotia is surrounded believes that it takes many, many years to become a by rock gardens sprouting the fruits of his experiments potter and that one should experiment and experience with dwarf rhododendrons and alpine rock plants. His as much as possible. greenhouse and pottery studio are combined in a natural As a child growing up in New York State, Walter rock shed with huge slanted windows that let in the sun dreamed of becoming a scientist. He didn’t discover clay and look out on the ocean. until, as a chemistry student at the University of Buffalo, The gray clapboard house where he lives with his he spent hours between classes making pots in the student family has the weather-beaten appearance of a fisher­ union building. When he went to Scotland to study man’s shack. Inside, the decor is austere, but splashes of

February 1981 37 color from the decorative majolica pottery that is Walter’s family in the old tradition of barnbuilding. His studio- current interest create a feeling of warmth. The house cum-greenhouse is made entirely from rocks collected on began as one room where Walter lived as a bachelor, his property. It was an onerous task, but the result was a working at his wheel in a clothes closet. It then grew in building that blends into the bleak windswept landscape stages with the addition of his wife Elaine, and then three of the Atlantic coast. children. Two cats, chickens, ducks, geese and a New­ As head of the Ceramics Department at the Nova foundland dog complete the ebullient Ostrom menagerie Scotia College of Art, Walter spends four days a week at Indian Harbour. commuting to Halifax. It was the reputation of this For the past five years every summer has been spent school as a progressive institute that first brought him to building something, often with the help of friends and Nova Scotia in 1969.

Walter Ostrom in his studio at Indian Harbour, Nova Scotia. His pots include terra sigillata planters, candy jars with slip decoration and handbuilt earthenware serving dishes. Tim Worthington and Pam Birdsall tourists by the hundreds during the summer months, then On the main street of Mahone Bay, Nova Scotia, there’s empties like a burst dam after Labor Day. The four a forest green house bordered with cream trim and filled hundred year-round residents regard with pride the hard with the slip-trailed earthenware pots of Tim Worthing­ work and ingenuity of these two young potters, despite ton and his wife and partner Pam Birdsall. A hand- the fact that they are not natives of Mahone Bay. painted sign, ‘Birdsall-Worthington Pottery,’ hangs over Tim was studying pharmacy in his native Ohio when the front door. Two large picture windows display their he realized pharmacy was not for him. He came to the finely crafted wares. Across the street is the bay made Nova Scotia College of Art and Design to do a master of famous by the three churches standing side by side at the fine arts degree in ceramics. When he met Pam, she was water’s edge. This sleepy Maritime community attracts an art student at the same college. Over the years, the

Pam Birdsall and Tim Worthington in front of their home and pottery shop in Mahone Bay, Nova Scotia. Their earthenware is decorated with colored slips and a clear glaze. Wheel-thrown jar, approximately 8 inches in height, of local Nova Scotian earthenware, with slip decoration and clear glaze, by Pam Birdsall. decisions were made to marry, form a partnership, give But it wasn’t easy. In late 1976 they found the house up teaching positions, work together in earthenware, and in Mahone Bay. The location was perfect—right on the find a place to live, work and sell pottery. The latter main street—but the building was in derelict condition. proved to be the most difficult. With grit, determination and a large dose of naive roman­ They had hoped to obtain grants to help finance the ticism, they set to work. Living with no heat, no plumb­ purchase and renovation of a pottery studio, but when ing and no guarantees, they worked every weekend to this failed, Pam’s parents came to the rescue by forming convert the old abandoned house into what is now a a limited company and selling preferred shares to friends charming combination of pottery shop, studio and home. and acquaintances. Even some of Pam’s and Tim’s im­ In July of 1977 they opened their door for business. poverished friends bought a few of the $10 shares to help them out. Apart from giving them the financing they Excerpted from Down to Earth: Canadian Potters at needed, this commitment by others was a great boost for Work, published by Nelson Canada Limited, 81 Curlew their morale. With so many people behind them they Drive, Don Mills, Ontario M3 A 2R1; also available from knew it was going to work. It had to work. the Ceramics Monthly Book Department.

40 Ceramics Monthly i i i, Martha Mae Emerson and the author bnac o rtl i a la, ihtmeaue glaze. high-temperature clear, a in rutile of abundance ilt rtl bus r bilat yt amr hn the than warmer yet brilliant, are blues rutile violet, Additions from brown and tan orange, the in are rutile with obtained ih as n bon. hs clr ae h rsl o an of sometimes result the mottled, are often colors These are soft browns. a they and tans to blue; with purple cobalt deep typical a tile from commercial the Varying in gradations. popular blue are appear­ they in reason matt this more re­ for become glaze hence and transparent light ordinarily less an flect making opacifier, an ne Tpcl uie lzs xii mtld etrs and textures, mottled exhibit glazes rutile Typical ance. commonly most colors the content, vanadium (trace) and Rutile “Fat-Lipped Bowl,” nuty I a euig topee rtl gae as yield also glazes rutile atmosphere, reducing a In industry. iron its of Because textures. visual and colors of variety ags Rtl’ ttnu cnet s ercoy n at as acts and refractory is content titanium Rutile’s ranges. by Rutile Blue P eter

a ln be icue i gae t poue a produce to glazes in included been long has S hrope 6 to10%areusuallysufficient. 5½ inches inheight,thrownporcelain,withrutile/ironslipdecoration. o auiahg slc cnet poue le when blues produce contents silica alumina/high low ny h io t b afce b te topee When atmosphere. the or tantobereflected.Somerutilerecipesfollow: by affected be to iron the only s lee, hs asn te oo bu rte ta brown than rather valence blue its color atmosphere, the reducing causing thus a altered, to is subjected is rutile with eutectic a into enters rutile melt, high-temperature a alters structure molecular in change valences—the erals’ alumina/silica an to related is it that in red copper of hmcl hne i cpe ad uie fet hs min­ these affect rutile and copper in changes chemical auae wt bak rn xd. et idct ta during that indicate Tests with oxide. iron Glazes black (celadon). with green saturated to brown from ranges color e cags rm urc xd (u) o ealc copper metallic to (CuO) oxide cupric from changes per h slc, n lss oe f t ttnu cnet leaving content, titanium its of some loses and silica, the resulting fluid the it atmosphere, making reducing melt, a glaze the In into transparent. enter and to silica the of h setu o lgt elce fo te ie gae Cop­ glaze. fired the from reflected light of spectrum the o e. rn o te te hn, hne fo fri iron ferric from changes hand, other the on Iron, red. to more for 10 tendency to a 7 is is there content alumina, silica the the of When that 1:7. least times at of ratio C) n euto, asn te oo cag fo green from change color the causing reduction, in (Cu) (Fe h dvlpet f h rtl bu i smlr o that to similar is blue rutile the of development The 2 0 3 t fros rn FO i rdcin rslig in resulting reduction, in (FeO) iron ferrous to ) February 1981

41 eCosmological Jar,33 13 inches in height, thrown, with rutile blue glaze.

Rutile/Iron Slip The amount of reduction when the glaze is at its peak Feldspar ...... 25% melting temperature is important. Medium reduction will Ball Clay ...... 25 result in pale violet while heavier amounts will give rich, Kaolin ...... 25 dark purple-blues. The percentages of rutile as well as Flint ...... 25 the glaze formula will also contribute to slight variations 100% of color. The clay body also affects color development. In Add: Red Iron Oxide...... 25% most brown stoneware bodies the presence of additional Rutile ...... 50% iron in the clay contributes to deeper blues. On most porcelain bodies, however, the white background does not Rutile Blue Glaze I (Cone 11, reduction) help promote blue, making it more difficult to attain. Custer Feldspar...... 28.9% When firing rutile blues on porcelain, more glaze reduc­ Whiting...... 20.6 tion is necessary to obtain results similar to that which Edgar Plastic Kaolin...... 18.9 medium reduction would produce on a darker stoneware Flint ...... 31.6 body. With porcelain, the results tend to be more violet 100.0% than blue. Add: Rutile ...... 7.0% A versatile material, rutile can give the potter a wide range of colors at high temperatures. Rutile Blue Glaze II (Cone 10, reduction) Dolomite ...... 15.8% The author New Hampshire pot­ Custer Feldspar ...... 30.0 ter Peter Shrope maintains a WTiiting ...... 11.1 studio in Deering and is on the Edgar Plastic Kaolin...... 16.8 art faculty at New England Col­ Flint ...... 26.3 lege in Henniker. 1000.% Add: Rutile ...... 8.0%

42C eramics Monthly Pre-Columbian Ceramics

byR obert J. Stroessner

As a mirror to the development of pre-Columbian civili­ in Mexico or Peru, but their areas of influence stretched zations the evolution of ceramics played a major role in from the central United States to Patagonia. the ancient Americas. Many regions have little other Within the Pre-Classic period, formative experimenta­ evidence of past cultures than the elaborate tomb offer­ tion firmly established the direction ceramics would follow ings which vividly portray societal precepts. Historical for the next 4000 years. Early works were one of a kind, ceramics not only served functional needs, but also had made by coil or slab methods. Design techniques included major religious and economic significance. incising, punctuation, rocker engraving, applique, bur­ Appearing around 3000 B.C., pre-Columbian clay ob­ nishing, polishing, wax resist and slip painting. Clay jects were produced without evident foreign influence bodies contained ground shell, sand or shards as grog, until the Spanish conquest. From the first, ceramic con­ varying from primitive to highly successful formulations. tainers reflected the earlier arts of basketry, textiles and Experimentation with slips closely followed the perfection calabash decoration. of the various clay bodies. Their history is generally divided into three phases: The oldest artistic style identified is from the Valdivia Pre-Classic, from about 3000-1000 B.C.; Classic, 1000 culture in Ecuador before 3000 B.C., whose hemispheric B.C.-A.D. 600; and Post-Classic, which continued to the bowls clearly resemble decorated calabashes. Inspired by conquest. Dates shift somewhat from area to area due to earlier forms carved in stone, ceramic sculpture first cultural interaction between political leaders and their appeared in the form of small human figures made from spheres of influence. The high cultures generally centered solid coils of clay. Other related early ceramic sites in- Photos: Bill Allen, and courtesy of the Denver Art Museum

Nearly 5000 years ago these female fertility figures were produced in clay by the Valdivia culture of Ecuador. Made from solid coils, they exemplify the oldest pre-Columbian style yet identified. elude Puerto Hormiga, Colombia (circa 2800 B.C.) and predominate. Deities are again feline, bird or human Monagrillo, Panama (circa 2100 B.C.). forms mysteriously combined. All known ceramics have Polychrome works utilized incised outlines to separate been found buried either in caches related to architectural colors. These incised “Bichromes” (usually black on red) building complexes or in tombs. or “Trichromes” (usually black and white on red), rep­ With the rise of the Classic period’s great city states resent the earliest ceramics in much of Central and and vast empires, pre-Columbian society became highly Mesoamerica, suggesting that initial experimentation stratified. Art styles were not created to mirror nature developed first in the south. Hollow effigy vessels soon but were intentionally abstracted to fulfill a tribal iden­ brought sculptural forms to functional containers of com­ tity. Religious beliefs and tribal styles imbued portrayals pelling technical and artistic originality. The sophistica­ of animals, people and deities with characteristics of their tion and excellence of such work reveal the position unique time and space. This led to public sculpture: granted professional artists by their society. Highly es­ enormous incense burners, teemed, ceramic production clearly became an important offering vessels and larger- part of cultural development. than-life figures of the gods The Pre-Classic period ended with the sudden rise of for architectural adorn­ the empires which became the mother cultures of Mexico ment. The largest of these and Peru—the Olmec and Chavin civilizations. Their figures come from Vera Cruz, Mexico, and are be­ lieved to have been built over frames of wood or reeds in pits which were then used as kilns. Finer, small works were placed in tombs filled with rich offerings. As styles be­ came highly formalized, an artist’s creativity was mea­ sured by technical excel­ lence within the narrow, accepted tribal vocabulary. So thorough and complete is the reflection of Classic cultures in their ceramics that their study remains the basis for much of our knowledge thin-walled vessels with hollow sculptural forms within a of these ancient peoples. rigid tribal style were made from finely textured clay As pre-Columbian man developed larger social units, bodies and high fired. Art served religion with complex ceramic technology was directed toward mass production symbolic designs that also appeared on textiles, stone —first with simple press sculpture and wall painting. From that point on, Meso­ molds and later with com­ america and South Amer­ plicated slip castings from ica established two distinct multipart molds. Teotihua- traditions which seem to can, an enormous city-state have grown out of the little in the Valley of Mexico, known Valdivia/Chorerra created an architectonic complex of Ecuador. style which spread into Cen­ Chavin art is character­ tral America. The most in­ ized by fantastic deities novative objects are incense which combine human, fe­ burner lids made of many line and avian parts in small press-molded symbols complicated, flat, linear de­ combined to form fantastic signs. Olmec art shows a depictions of the gods. greater sensitivity to vol­ At this same time the Mochica in northern Peru refined ume, and sculptural forms the unique stirrup-spout bottles for which they are known.

Top Two Pre-Classic figures, 1000 B.C., each Top “Tlaltecuhtli, Lord of the Earth ”3/2 inches in approximately 14 inches in height. The form on the left, height, ceramic sculpture produced in Vera Cruz, an Early Culture work from Costa Rica, is decorated Mexico, circa A.D. 700. Larger works from this area are with bichrome patterns separated by incised outlines. On believed to have been built over frames of wood or reeds the right is “The Zumpango Baby,” an Olmec form in pits which were then used for kilns. (Mexico) produced within a rigid tribal style. AboveStirrup-spout bottle, molded (slip-cast) ceramics, AboveBottle with incised trophy head, 8l/$ inches 12 inches in height, produced by the Mochica in in height, Chavin culture, Peru, 1000 B.C. Chimbote, Peru, circa A.D. 600.

44C eramics Monthly Incense burner and lid, molded and assembled clay, 24 1/2 inches in height, produced circa A.D. 500 at Teotihuacan, an enormous city-state in the Valley of Mexico where their most innovative objects were incense burners such as this, made of many small press-molded symbols combined to form fantastic depictions of the gods.

February 1981 45 Tripod cup with calendar motif, 71/4 inches in height, produced by Mixtec artists for their Aztec masters, circa A.D. 1400. Such Post-Classic work was enriched with the same elaborate figures and glyphs seen in the codices of the time, and is known as Cholula ware.

46 Ceramics Monthly These depict realistically modeled animals and portrait ety was much diminished and that religious practice no heads or are slip-painted with complicated religious longer required excellence and perfection. scenes. Produced in multisectioned molds, these bottles A hallmark of this period is the highly vitreous, represent a high point in slip casting technology. Ceramic double-slipped ceramic ware called “plumbate.” Its fine, production became a fundamental economic base to this high-fired body and unu­ society in which religious custom encouraged the cere­ sual surface suggest porce­ monial destruction of ceramics to annually ensure con­ lain covered with a pewter- tinued employment for an artisan class producing in gray metallic finish. True large workshops. glazing was unknown before Polychrome slip painting (up to ten colors on a single the conquest, but the quali­ pot) reached its height with the Nazca of Southern Peru ties of this ware are suffi­ and the Maya in Guatemala. Noted for their complicated ciently distinct to serve as a dating indication in archae­ ological excavation. Although the Aztec tribal style was most clearly in­ terpreted in stone, their ceramic arts—particularly in monumental scale— equaled the Classic period. The finest slip painting was done by Mixtec artists for their Aztec masters. This “Cholula” ware was enriched with the same elaborate figures and glyphs seen in the codices of the time. Waves of migrating peoples interacted with the natives of Nicaragua, Costa Rica and Panama from Pre-Classic times on, creating a cultural funnel through which influ-

scenes painted on cylindrical vases, the Maya represent what the average person believes pre-Columbian art is all about. This culture, with its elaborate ceremonial archi­ tecture, monumental stone sculpture and fine ceramics, reveals more clearly than others the richness of the Classic period civilizations. Between A.D. 700 and A.D. 1000, one after another of the Classic cultures collapsed as the political and eco­ nomic base of society shifted, first into a dark age then into a renaissance. South America was enveloped by the Tiahuanaco expansion and finally united under the Inca empire. Mexico reorganized under Toltec domination and finally fell under Aztec power. Mass production again created new tribal styles, which became controlled and standardized. Vessels were eventually codified by the Inca into standard shapes and sizes. Each manufacturer was allowed its particular interpretation of the official style, but materials, compositions, firing and all phases of production were standardized. Late production of this sort contributed to the decline of both quality and artistic expression. This suggests the artist’s position within soci-

AboveCeramic cylinder vase, 6)4 inches in height, Top Beaker with warrior head, plumbate ware, 7/2 with polychrome slip painting of the god “L” and an inches in height. This Maya-Toltec ceramic form attendant. Late Classic Period, A.D. 600-900, Maya (Guatemala), produced circa A.D. 1200, is made from culture, highland Guatemala. This culture with its a relatively high-fired body with a finish suggesting elaborate ceremonial architecture, monumental stone porcelain covered with a gray metallic finish. True sculptures and fine ceramists, reveals more clearly than glazing was unknown before the Spanish Conquest. others the richness of the Classic Period civilizations, and represents what the average person believes AboveMoon goddess ocharina, 131/% inches in pre-Columbian art is all about. height, Late Classic Mayan, A.D. 600-900.

February 1981 47 Below Tripod effigy, sgraffito through dark slip, and ences from the great centers of Mexico and Peru passed. lines filled with plaster after firing, Late Classic Period, By the Classic period two distinct types of ceramics Guanacaste, Costa Rica. were common: incised wares (where complicated patterns are scratched through a single dark-colored slip and filled Below right Polychrome vase, Post-Classic ware, with a white plaster after firing) or polychromes (painted Guanacaste, Costa Rica. over a heavy white slip). The early Post-Classic was the golden age in which there was a rapid increase in the number and size of sites. Ceramics show both northern and southern influence with old deities from Mexico and “false glyphs” from the Maya as common decorative mo­ tifs. The addition of whistles and rattles concealed in many pieces suggests religious practices in which sounds from the ceramic offerings call forth the deity to oversee the interment of the dead. Miniatures of all ceramic forms exist and are thought to have served in burials of children. The imperishable nature of clay has left the most com­ plete picture of ancient America. Clues to architecture, music, dance and theater are revealed in ceramics. Painted scenes show religious ceremonies with elaborately jeweled and costumed figures, bringing to life the pageantry and splendor of a cultural heritage we share as Americans.

The author Robert J. Stroessner is curator of the New World Department at the Denver Art Museum. He will be presenting a discussion of pre-Columbian ceramics, March 25-28 at the annual conference of the National Council on Education for the Ceramic Arts (NCECA), at Wichita State University, Kansas.

48 Ceramics Monthly British Columbia Ceramics

Celebrating the 25th anniversary of the Potters Guild of British Columbia, “Retrospect Ceramics 80” recently was presented at the Robson Square Media Center in Van­ couver. Produced in the province since the guild’s incep­ tion, the 390 clay works included objects by 121 invited artists, along with juried entries by 18 newer members.

Right “ Walt ,” wood-fired sculpture, 11 inches in height, by John Gordon James, Quadra Island.

Below Salt-glazed teapot, 5 inches in height, by Heinz Laffin, Hornby Island.

February 1981 49

Far left Bottle, 11 inches in height, hakeme brush decoration, by Wayne Ngan, Hornby Island.

Left “Adolescents,” terra-cotta sculpture, 32 inches in height, by Zeljko Kejundzic, a part-time British Columbia resident.

Left, center Stoneware sculpture, 12 inches in length, by Donna McLaren, North Vancouver.

Left, belowStoneware teapot, 6 inches in height, thrown, by Meg Buckley, Vancouver.

Right Bell, 21 inches in height, salt-glazed stoneware, by Ellen Zeiss, Vancouver.

Below Slip-trailed earthenware platter, 18 inches in diameter, by Robert Weghsteen, Vancouver.

Bottom Stoneware plate, 14 inches square, by Walter Dexter, Victoria.

February 1981 51 lip. Made without a mold, square baskets were begun with Plaited Clay longer warp coils, adjusted when necessary with addi­ tional clay. Patterns were developed in the baskets by by Rina Peleg utilizing various plaiting techniques and incorporating the following clay bodies:

White Porcelain Body (Cone 6, oxidation or reduction) Talc ...... 3.9% A lmost everywhere one walks through an Israeli kib­ butz one practically stumbles over pottery shards that are Custer Feldspar ...... 11.5 sometimes the only evidence of previous Middle Eastern Nepheline Syenite ...... 9.6 cultures. First acquainted with ceramics through these Ball Clay...... 5.8 fragments, working with clay became a way to make Georgia Kaolin ...... 17.3 contact with the world outside the kibbutz and, ulti­ Kaolin (6 Tile Clay) ...... 34.6 mately, outside Israel. While studying ceramics at Alfred Flint ...... 17.3 University, New York, I explored coiling vessels and 1000.% decided to try “weaving” with grogless plastic clay. With about sixteen extruded coils (each 36 inches in Black Clay Body (Cone 4, oxidation or reduction) length), the warp for a circular basket was laid over two Barnard Slip ...... 13.3% pieces of canvas or cotton cloth in a concave plaster mold. Earthenware Clay...... 13.4 Several dies were employed to extrude a variety of coils. Ocmulgee Red Clay...... 13.3 To form round coils, extruded clay was rolled on a table. PBX Fireclay...... 40.0 The warp coils, meeting at the bottom center, were se­ Wollastonite ...... 20.0 cured with a woven horizontal coil. One to three more of 1000.% these at a time were then plaited with the warp; double­ Add: Black Iron Oxide ...... 4.0% walled baskets were made by adding another layer of Iron Chromate ...... 4.0% warp and weaving the two plaited walls together at the Manganese Dioxide ...... 10.0%

The author's clay baskets were plaited (intertwined or braided) from extruded coils and slats.

Two baskets await reduction firing in a catenary arch kiln; Kaowool lends support against slumping.

52 Ceramics Monthly AboveRounded baskets are plaited in a concave mold; Below Rina’s studio at Alfred University, with clay rope is a stronger warp and often replaces clay. baskets in various stages of completion. Yellow Clay Body (Cone 4, oxidation or reduction) Cedar Heights Goldart Clay...... 45% A.P. Green Fireclay...... 20 Pine Lake Fireclay...... 20 Wollastonite ...... 15 100% Add: Macaloid ...... 2% Red Clay Body (Cone 04, oxidation or reduction) Talc ...... 10% Cedar Heights Goldart Clay...... 20 Cedar Heights Redart Clay ...... 60 Fireclay ...... 10 100% Add: Barium Carbonate...... 1% Supported with bricks in the kiln, the unglazed baskets were fired to Cone 04 in oxidation or reduction. To plait forms closed in at the top, a rope warp, instead of the more fragile clay coils, was employed. Of course,

AboveEarthenware basket, 29 inches in height, Below A cloth sling facilitates handling and formed of extruded slats, unglazed. removal from the metal form before firing. the rope burns out in the kiln, but slip applied between allowed to burn in the subsequent firing. Surface deco­ the plaited coils strengthens the structure. Occasionally, rations were applied by impressing mats and other woven Fiberfrax rope was incorporated for visual effect; people materials, and coils resembling rope also are found as are often surprised by this “rope” still intact in a finished decorative elements on early pots. Woven straw and clay basket. were employed together in ancient Egypt where large pots The connection between basketry and clay work seems often had no handles and were carried in baskets—much very natural. Historically, the first clay container probably in the way some Latin Ameri­ came about when a hole was dug in the clay ground for cans and Africans carry their a fire pit; after the fire was extinguished, someone dis­ ware to market today. covered the sides of the hole had become hard. For use Although my clay baskets as a container, the fired clay was removed from the sur­ relate to traditional straw and rounding earth to make the shape self-supporting and clay objects, they were con­ portable. Eventually, man discovered a better way to structed without any function make a pot was not to remove a “hole,” but to pinch in mind. Strong, yet light in together clay coils assembled as a basket. An imprint of appearance, the plaited clay a basket made with coils was found in the clay floor of basket “breathes” like straw, a home in Jericho circa 7000 B.C., a time when ceramics but is indicative of the ceram­ was in its infancy. ist’s right to create nonfunc­ Baskets were employed also as molds and simply tional work.

An interior view shows decorative/structural clay loops, built around rope which burns out during firing. Sometimes the author employs Fiberfrax rope since it is refractory and thus remains in the fired form.

February 1981 55 one of quiet dignity. The 68 ceramic objects rest patiently Marietta awaiting the attention they deserve. This is not to say the exhibition lacks excitement or timeliness—far from it; but the vitality of the pieces lies in their careful assimi­ Crafts National lation of the varied directions of recent clay, not in gratuitous one-upmanship. by Karen Rychlewski The exhibition includes pieces from forty-eight states among the 230 assorted craft objects, and presents the work of relatively unknown clayworkers. There are no

Like a crisp autumn breeze which scatters the useless superstars here, but many positive hints for the future and dead leaves, the first Marietta College Crafts Na­ are evident. All of the pieces embody the impeccable tional of the ’80s whips away many of the extraneous craftsmanship seen in previous MCCN exhibitions, no pufferies of the last decade in American clay. At first doubt the result of the sensitivity of this year’s judges: glance, the exhibition seems dull: nothing screams, noth­ Lloyd E. Herman, director of the Renwick Gallery; Sam ing threatens. After years of flamboyant and aggressive Maloof, woodworker; and Francis Merritt, former direc­ experiments with clay, the immediate impression here is tor of the Haystack School for Crafts. Exhibition director

56 Ceramics Monthly

57

February 1981 percent were accepted by 8 inches in height, cast and 8 Statistics for the exhibition show that of the “Family,” tea set, “Self Portrait ” thrown platter, 16 inches in diameter, nearly 3000 works submitted, the jury. Entries came from all except states and Delaware assembled, by Viorica Colpacci-Niculescu, New York City. assembled, by Viorica Opposite page North Dakota. Below by Barbara Tipton, Powell, Ohio. by Barbara Tipton, oxidation-fired porcelain, with slip trailing, blue-green glaze, with slip trailing, blue-green oxidation-fired porcelain, Left

Photos: courtesy of the artists and MCCN Arthur Howard Winer states, “The 1980 MCCN is the of rustic Japanese folk pottery, Amerind burnished ware, largest since 1975, and compares favorably in scale and Mochica stirrup pots and mid-century American smoked quality with it. This year’s show has a life, vitality and raku are all apparent. These two factors, scale and tradi­ humor which recent ‘precious little’ shows didn’t have.” tion, might be taken to indicate a growing reaction against There are several features which seem to dominate the the excesses of recent clay work, as well as the ability of clay work. Most noticeable of these is the human scale of the entire ceramic heritage to continually provide room the pieces. With few exceptions, the pieces are holdable, for growth in the medium. lif table, and carry able—this is in marked contrast to the A fascinating concept seen in a significant number of recent tendency toward grandiose size and/or excessive the pieces is the development of the interior clay surfaces fragility which results in a psychological separation of the as focal elements in the total form. Traditionally, the viewer from the object. Also, nearly all of the pieces exterior surface of a clay shape is emphasized, as with clearly evidence their ancestry in the vessel tradition. glaze on a convex shape; or the concave surface of a bowl These craftsmen appear to have selected their influences or plate is allowed to become the decisive feature. In carefully from the broad history of pottery form. Echoes either case, the opposite surface of the clay wall is mini-

“Untitled Number 2” slip-cast porcelain, 12 inches in height, by Barbara A. Brown, New Paltz, New York.

“Crested Butte ,” 17 inches in height, by Steven Schrepferman, Englewood, Colorado.

“Untitled Vessel,” 24 inches in height, bisqued porcelain, by Suzanne Volmer, Brooklyn. “Ancient Voices ” 14 “Untitled Number 3” 18 inches in “Self-Effigy Vessel-Nite” 8 inches in height, by Jill diameter, by Mark Eaton, Salinas, inches in height, by Virginia Coyle, Camden, Maine. California. Joseph, Chicago.

ccHollow Mountain ” inches in height, coil-built, with wiped oxides, unglazed, by Susan Eisen, Upper Saddle River, New Jersey.

February 1981 59 mized or ignored. Interestingly, several artists in this exhi­ Russell McKeel’s mundane serial “Egg Story.” Thank­ bition seem to be involved with both surfaces on their fully, the days of stick and bone mysticism appear to have pieces: the gouged interior surface of Patrick Crabb’s ended, though there is at least one token “Sacred Vessel” raku “Inscriptions” reiterates and continues the painted complete with dangling pebbles, bits of copper, twisted and smoked exterior surface patterns. This dual attention wire, and its own little straw prayer rug—better to have serves to affirm the solidity of the mass of the clay at the sacrificed it to whatever it holds sacred. same time as it emphasizes the continuity of surfaces— If the 1980 MCCN has any faults, it is in the virtual the piece could literally be turned inside out with no loss. absence of functional clay pots. Contemporary American This implied malleability is an intriguing concept which clay work certainly embraces a wide range of inventive could prove to be a fruitful direction for the future. Neil high-quality production ware and one-of-a-kind func­ Tetkowski’s prize-winning piece, “Vessel Two,” also has tional work, and its lack of representation prevents the this quality, though to a lesser extent. exhibition from being considered an inclusive survey. There is the obligatory nod towards illusionism in However, the judges cannot be blamed this time. Arthur Sandra Deitch’s satirical slipcast “Fine Art Kit” and Winer noted, “The show gained a reputation for being

vVessel Two33 18 inches in diameter, by Neil Tetkowski, Granville, Ohio; Judges3 Award.

60 Ceramics Monthly “Dancing Shadow ” 12 inches in “Bird Box33 23 inches in C(Cup A,” raku, 9 inches in height, soft-paste porcelain, by height, by Ritvaliisa Morris, height, by Karl Borgeson, Bob Duca, Tempe, Arizona. Cambridge, Massachusetts. Whitewater, Wisconsin. Untitled earthenware form, 24 inches in height, by Lucien Koonce, Iowa City.

“Fine Art Kit ” 5½ inches in height, by Sande Deitch, Pittsburgh.

“Pair of Furled Wing Forms,33 20 inches in height, by Martha Gittleman, Wyndmoor, Pennsylvania. funky and gimmicky in previous years, and perhaps it was to some extent. Now, potters making functional pieces aren’t bothering to enter, so the judges simply aren’t seeing much functional ceramics. We realize the show is deficient in this area, but it’s up to the artists, and we would very much like to see more functional work.” The obvious predominance of vessel-derived forms would seem to support his plea. When the 1980 MCCN is considered a summary of selected recent tendencies in clay which have some aes­ thetic value and formal possibilities for future explora­ tion, clay in the ’80s will be in good shape. The exhibition proves that there is still infinite room for innovation within the extensive confines of our long clay tradition. “Rainbow Trout Plate ” 12 inches in diameter, by Delia Earthenware container, 9 inches in height, by Susan Loftin, Atlanta. K. Schalansky, Sacramento.

“Untitled I ” 12 inches in height, by Kevin Hluch, Saint Cloud, Minnesota.

Above, center “Mountain Basket,” 33 inches in height, by Gary Schlappal, Frostburg, Maryland.

62 Ceramics Monthly Photos: courtesy of the Smithsonian Institution Traveling Exhibition Service

“Bourget Vase B” 7 inches in height, soft paste porcelain, enamels, 1901.

Sevres Porcelain

Dating from 1740 to the present, 118 porcelain objects traditional techniques includes designs of the 1970s and from the National Manufactory at Sevres are completing ’80s, as well as reproductions of the 1770s. an American tour organized by the Smithsonian Institu­ Intended shapes and glazes determine the composition tion Traveling Exhibition Service. Through works dis­ of the Sevres clay bodies. Before kaolin deposits were dis­ played, the historical review traces production from the covered in France, Sevres founders developed a “soft manufactory’s first site at Vincennes, through the difficult paste” of frits, white earthenware and plastic clays. Soft years and near disintegration during the French Revolu­ soap and parchment sizing are added for molding the tion, to current production. mixture. Although this translucent, creamy-white clay Since its 18th-century beginnings, Sevres has employed can be modeled, it is not very plastic and may deform a specialized craftsman producing each step in the ce­ markedly during firing. Today, a “hard paste” of feldspar, ramic process—designer, thrower, mold-turner, calibrator, kaolin and flint is mixed for throwing dinnerware. glazer, colorist, lithographer, copper-plate engraver, pol­ Only plates are jiggered at Sevres; clay is pressed over isher. burnisher. Present-day production, however, is not a plaster mold on a rotating platform, with a metal limited to historical standards; contemporary work with template shaping the foot and back. In 1880 a “new

February 1981 63 Clay bodies are mixed as slip, run through a filter press With a slip-soaked sponge, a Sevres potter throws a and stored for about a year. Aged clay is kneaded thick version of a vase. After the form dries, the by a paste walker (above), then deaired in a pugmill. shape will be refined with an overall trimming.

A bisqued plate is dipped into a tub of glaze. Hard paste Some Sevres decoration is applied by paper transfers is reduction fired in saggars to approximately Cone 15; from a lithographic stone, with ceramic pigments “new paste” is oxidation fired to Cone 11. replacing printer's ink.

paste” was formulated for unglazed, stained “bisque” and Most of the ware is bisque fired to 940°C (1725°F), highly decorated vases. Prepared as slip, the clay bodies then dipped in or sprayed with a clear glaze. Subsequent are reduced to thin, flat cakes with a filter press, then firing temperatures vary according to the clay bodies. aged for about a year. When kneaded by a “paste walker” Hard paste ware is fired in saggars to 1400°C (2550°F) and deaired in a pug mill, the clay is ready for forming. in a reducing atmosphere, while new paste is fired to Thrown pots are made in two stages: rough shaping 1280°C (2335°F) in oxidation. and turning. With a slip-soaked natural sponge, a thick- High-temperature overglaze colors are applied with a walled form is thrown, allowed to dry, then placed on the thick, round, badger-hair brush or sprayed in three layers wheel to trim and define according to metal templates. on fired glaze. They are fired twice: first to 950°C Spouts and handles are molded and attached with slip at (1740°F) in an electric kiln, and then to 1360°C specified angles to counter “unscrewing” during firing. (2480°F) in a propane kiln. Low-temperature colors in­ Sculptural work is assembled from press-molded sec­ clude the metallic oxides applied to porcelain that has tions, sometimes up to 100 parts. Slip-casting techniques already been glaze fired. Decorators grind their own colors are employed for very thin or irregularly shaped objects. and mix them with thin or thick oils for brushed applica­ Introducing the slip through the base of a stack of plaster tions ; certain decorations are applied by lithographic molds in a fountain fashion allows slip casting monu­ transfer to paper, then to the ware. Gold powder mixed mental forms (up to 6 feet in height). Since the harden­ with turpentine may be brushed or printed on transfer ing slip is very fragile, a vacuum is created around the paper with a copper-plate engraving to complete the molds to reduce stress. design, and receive a final firing of 920°C (1700°F).

64 Ceramics Monthly Very thin, large or irregularly shaped forms are slip cast. “Photophore ” 12 inches in height, unglazed porcelain For work larger than 80 inches, slip is introduced form by Marcel Fiorini, 1968, based on a linoleum block fountain-fashion through the base of a stack of molds. print by the artist.

‘Ruins of Egypt ” 6/2 inches in height, hard paste porcelain sculpture by Anne and Patrick Poirier, 1979.

February 1981 Vase, 13 inches in height, thrown, hard-paste porcelain, with high- temperature on-glaze painting, by Jean-Michel Meurice, 1979.

“Moebius Ring,” approximately 11 inches in height, hard-paste porcelain, polychrome decoration applied by lithographic transfer, by Jean Dewasne, 1978.

“Mantes Box,” 4 inches in height, gold decoration on glazed hard-paste porcelain, by Georges Mathieu, 1968.

66 Ceramics Monthly Above “Guitet Cup ” approximately 8 inches in height, glazed hard-paste porcelain, with gold decoration after an engraving, by James Guitet, 1970.

Left Soup tureen, 12 inches in height, hard-paste porcelain and nickeled steel, by Etienne Hajdu, 1970.

February 1981 67 Glaze Trailing by Lee Ferber

During the unstacking of a kiln a few years ago, I Stoneware Clay Body (Cone 9) observed a plate with poured glazes that overlapped about A.P. Green Fireclay...... 70% Ys inch, producing a line about 10 inches long. The color Cedar Heights Goldart Clay...... 20 and visual quality of this line possessed the properties I Kentucky Ball Clay (OM 4) ...... 10 was looking for in my images and glaze surfaces. I thought 100% it might be interesting to trail thick glaze directly on the The glaze image is applied with plastic squeeze bottles bisque to attempt to achieve this effect. intended for hair dye and are available from most drug My plates are either thrown or made from slabs shaped stores. Their main advantage over other types of squeeze over plaster hump molds carved from cast blanks with bottles is that they come with a nozzle that tapers to a rasps. The following clay is used in both processes: very fine hole, allowing greater control in applying the

68 Ceramics Monthly Opposite page Thrown stoneware plate, 12 inches in with rasps. A slab is draped over the hump mold, then diameter, with trailed glazes and the Shiny Brown Glaze rolled along the inverted bottom and sides to establish (mentioned in the text) overall. definition of form. After trimming excess clay from the rim with a knife and stamping the back, a board is placed 1-6 Many of the author’s glaze-trailed plates are against the bottom of the finished form to facilitate formed over hump molds carved from cast plaster blanks turning over the plate and mold.

February 1981 69 7-12 After turning over the mold and plate (note the leave a raised surface. A plastic squeeze bottle with a interior of the hump mold contains a press mold for a tapered nozzle allows the option of a larger opening if a slab plate with a foot rim), the plaster form is removed, more dominant line is desired. By placing the plate on the edges of the leather-hard plate are sponged smooth, a potter’s wheel, centered circular lines may be trailed; the ware is dried and bisqued. When mixed for trailing on additional lines, dots and patterns are added without unglazed bisqueware, the author’s glazes contain less rotation. When the design is complete, a cover glaze water than when used for pouring or dipping and thus is poured and the plate fired.

70 Ceramics Monthly glaze and the option of cutting the nozzle back to create Yellow Glaze (Cone 9, reduction) a larger opening if a more dominant line is desired. Dolomite ...... 24% To date, I have tried numerous glazes in various com­ Whiting ...... 4 binations as both the trailed glaze and the cover glaze; Custer Feldspar ...... 44 all have worked with no problems from either shivering or Ball Clay ...... 28 crazing. Aesthetically I have found some combinations 100% unsatisfactory, but this is a personal judgment. These are Add: Rutile...... 6% the glazes that have worked best in my studio: This glaze is my favorite for trailing; it tends to flow and Base Glaze (Cone 9, reduction) spread out during firing and often results in interesting Barium Carbonate ...... 22% color effects. All the glazes listed I have used for years in Dolomite ...... 22 dipping and pouring; when mixed for trailing they should Custer Feldspar ...... 32 contain less water so that they will not run or spread as Ball Clay ...... 14 squeezed from the bottle. It is preferable to trail directly Flint ...... 10 on the bisque rather than over poured glaze that has 100% dried. With the former procedure, the plastic nozzle is Color variations may be obtained with the following oxide working on a hard surface; in trailing over dried glaze, and carbonate additions: you run the risk of scratching or chipping the surface, and, 1.5% Rutile and 4.5% Red Iron Oxide...... Orange in addition, some trailed glazes will separate from the base 1% Cobalt Carbonate and 1%Black Iron Oxide . . .Blue glaze as they dry. 1% Black Iron Oxide...... Buff All of my work with glaze trailing has been at Cone 9; Shiny Brown Glaze (Cone 9, reduction) however, it should work successfully at any temperature. Bone Ash ...... 10% As with most ceramic processes, glaze trailing is not diffi­ Dolomite ...... 11 cult in either concept or practice. The real problem is Whiting ...... 6 finding a technique that complements the artist’s ideas. Custer Feldspar ...... 43 Edgar Plastic Kaolin ...... 6 The author Lee Ferber studied at the Georgia Institute Flint ...... 24 of Technology, the University of Oklahoma, and received 100%) his M.F.A. degree from the University of Kansas. He is Add: Bentonite...... 1% currently on the art faculty at Drake University, Des Red Iron Oxide...... 6% Moines, Iowa.

Slab plate, 12 inches square, trailed glaze decoration and Thrown plate with cut edges, 10 inches in diameter, Base Glaze with black iron oxide addition. glaze trailing and Base Glaze with black iron oxide.

February 1981 71 Itinerary Continued, from Page 19

April 11-12 Fred Tregaska: Energy Effi­ cient Kiln Design and Construction. April 24-25 Farley Tobin: Tiles and Ce­ ramic Surfaces. May 2-3 Leon Nigrosh: Architectural Commissions. May 9-10 Kathy Yokum: Raku. May 16-17 Penelope Fleming: Advanced Raku and Special Glazes. Contact: Brook­ field Craft Center, Box 122, Brookfield 06804, or call: (203) 775-4526.

D.C., Washington March 6-May 3 “Mak­ ing It in Clay 4,” a series of 2-day lec­ tures/demonstrations which will conclude with a 1-week exhibition of the artist’s work, includes the following: March 6-8 Airbrushed and faceted work by David Nelson. April 3-5 Slip-cast canvases by Tom Spleth. May 1-3 Cone 05 earthenware by Mineo Mizuno. All events at the Corcoran School of Art. Fees for each event: Friday night, $5; Saturday, $30; Sunday, free and open to the public. Contact: Eagle Ceramics, 12266 Wilkins Avenue, Rockville, Mary­ land 20852, or call: (301) 881-2253. through March 29 Greenwood Gallery is planning the following workshops: February 14-15 “The Versatile Potter” with Kenneth Ferguson. March 7-8 “To Decorate” with Bennett Bean. March 14-15 “Porcelain” with Gerry Wil­ liams; “Photographing Your Work” with Bob Hanson. March 28-29 “Ceramics and Drawing Workshop” with David Middlebrook. Con­ tact: Greenwood Gallery, 2014 P Street Northwest, Washington, D.C. 20036, or call: (202) 463-4888.

Georgia, Atlanta February 6-8 “Richard Hirsch: Raku,” a 3-day lecture/demon- stration workshop which will include an overview of Japanese techniques, American variations, and the work of Richard Hirsch. Contact: Glenn Dair, Callanwolde Fine Arts Center, 980 Briarcliff Road North­ east, Atlanta 30306.

Massachusetts, Falmouth February 28- March 1 Potter Daisy Brand will demon­ strate, as well as present advice on pre­ paring for juried exhibitions. Fee: $30. Contact: Falmouth Artists’ Guild, 744 Main Street, Falmouth 02540, or call: (617) 540-3304.

Nebraska, Omaha June 8-14 A one-week intensive workshop in large-scale ceramic sculpture with Tony Hepburn of Alfred University. Workshop participants will utilize industrial facilities at the Omaha Brickworks. Send up to 10 slides of recent work, $5 application fee, brief resume and self-addressed, stamped envelope. Applica­ tion deadline: March 21. Contact: Nancy Gruver, Craftsmen’s Gallery, 511 South Eleventh, Omaha 68102, or call: (402) 346-8887.

New Mexico, Albuquerque February 7-8 A workshop with Tom Coleman; at the University of Albuquerque. Room and board will be available. Fee: $25 for members of the New Mexico Potters Asso­

72 Ceramics Monthly ciation, $30 nonmembers. Contact: New Mexico Potters Association, Box 26811, Albuquerque 87125.

New York, New York February 22-March 15 The 92nd Street YM/YWHA is offer­ ing the following sessions: February 22 “Care and Repair of Ce­ ramics for Potters and Collectors” with Ellen Pearlstein. March 13 , 15 “Slip Casting and Mold Making for the Potter” with Stephen Hill. Contact: Janet Bryant, Art Center, 92nd Street YM/YWHA, 1395 Lexington Ave­ nue, New York 10028, or call: (212) 427-6000, ext. 172.

New York, Scarsdale February 17-19 “Architectural Landscapes in Clay,” a par­ ticipatory workshop with Raymon Elozua. Contact: Nancy Ungar, Art Department, YM/YWHA of Mid-Westchester, 999 Wil- mot Road, Scarsdale 10583, or call: (914) 472-3300.

North Dakota, Fargo April 25-June 21 Community Arts is planning the following sessions: April 25-26 “Salt Glazing and Firing” with Mark Pharis. June 19-21 “Stoneware and Raku” with Wayne Branum. Both workshops include hands-on experience. Contact: Carol Schwandt, Creative Arts Studio, 1430 South 7th Street, Fargo 58103, or call: (701) 241-4859.

Ohio, Canton April 3-4 A workshop with Karl Christiansen. Contact: The Canton Potters Guild of the Canton Art Institute, 1001 Market Avenue North.

Ohio, Columbus February 9 A session on functional ceramics with Ginny and Tom Marsh. Contact: Ban Kajitani, Columbus College of Art and Design, 47 North Washington Avenue, Columbus 43215, or call: (614) 224-9101.

Ohio, Wooster April 23-25 “Functional Ceramics Workshop,” includes sessions for the potter with Richard Hensley, Donna Polseno and Tom Turner. Contact: Phyllis Clark, the College of Wooster, Wooster 44691, or call: (216) 264-1234, ext. 388.

Oregon, Corvallis February 7 A session on studio practices and functional stone­ ware-forming techniques. Fee: $5 for Willamette Ceramics Guild members, $10 nonmembers. Contact: Nancy Kendall, Willamette Ceramics Guild, Route 2, Box 412, Alsea, Oregon 97324.

Oregon, Portland March 23 A lecture/ demonstration in tile making with Sara Krohn, includes airbrush techniques, Cone 6 oxidation firing and solar use. April 25-26 “Low Fire Sculptural Ceram­ ics,” a lecture/demonstration in handbuild- ing, airbrushing and casting techniques with Patti Warashina. For both events con­ tact: Oregon School of Arts and Crafts, 8245 Southwest Barnes Road, Portland 97225, or call: (503) 297-5544.

Pennsylvania, Elkins Park February 10-11 The Tyler School of Art is offering a 2-day presentation in ceramic art with Amanda Jaffee and Ken Little. Contact: Robert Winokur, Temple University, Tyler School Please Turn to Page 76 February 1981 73 74 Ceramics Monthly News 8c Retrospect

Free Workshop Listings lamps, fountains and hummingbird feeders molded with wet brick clay rolled in sand, The 1981 Summer Workshops listing was a series of Deanna’s platters, including then single fired to Cone 3 in oxidation. will be published in the April issue of the stoneware form, below, 16 inches in eramics onthly Summer schools, col­ C M . Matthew Hewell leges and universities, craft institutions and Look out, Michael Cardew. Move over, workshops not already contacted are in­ Paul Soldner. Here comes Matthew Hewell vited to furnish information by February 13 about their programs in ceramics. Please of Gillsville, Georgia. In most cases it would be sufficient to say that this artist include the workshop name, location, open­ is a sixth-generation potter, but Matthew ing and closing dates of sessions, course de­ scriptions, names of instructors, availability of live-in accommodations and where to write or call for details. Send to: Summer Workshops 1981, Ceramics Monthly, Box 12448, Columbus, Ohio 43212, or phone (614) 488-8236.

College Art Association to Meet The annual meeting of the College Art Stoneware platter Association will be held February 26-28 at diameter, thrown and cut, with slip design the San Francisco Hilton Hotel. Recep­ and airbrushed glaze application, fired to tions are scheduled to include galleries in Cone 8. Deanna currently maintains a the downtown area, the San Francisco Art studio in Yarnell, Arizona. Institute, Oakland Museum, San Fran­ cisco Museum of Modern Art, California Palace of the Legion of Honor, the Asian New York Invitational Art Museum, M. H. de Young Memorial Mythical and stylized creatures were Museum, and Stanford Museum of Art. among the ceramic forms by 21 artists pre­ Studio potter Matthew Hewell Areas to be covered in CAA program sented in “The Animal Kingdom,” an started when he was three years old! sessions include: The Role of Reproduc­ invitational exhibition at BFM Gallery Shown here at age six, Matthew, now tions; Semiotics and the History of Art; (New York City) through January 26. An eight, makes 50-100 pots per day, “all dur­ German Expressionism; New Developments ing the summer, holidays from school and in Art Law; Meaning and Content in some afternoons after school if there isn’t American Art; Color as Metaphor; Pacific too much homework to be done.” All Coast: A Regional Update; Renaissance Matthew’s work is sold at his parents’ Funerary Art; The Problem of Art Now (Christo, Richard Haas, etc.) ; Foundation studio or shipped throughout the eastern United States. He now has orders for Courses (their form and content at various 2000 pieces to be produced this summer. colleges and universities) ; Vernacular Art and the History of Art; Sculpture in What’s more, Matthew has a little brother, Europe and America from Romanticism Nathaniel, and he too is learning to throw. through Cubism; and Figurative and Nar­ rative Traditions in California Art. Peace Corps Jobs The organization’s placement facilities at Ceramists looking for employment the annual meeting have become a central through the Peace Corps should be aware market for those seeking employment in that volunteers sign up for two years plus college teaching, as well as for those insti­ training of two to three months in culture tutions seeking studio artists, art historians, and languages. Extensions might stretch to art educators, museum professionals, or art a maximum of 5 years if all are agreeable, and slide librarians. Placement sessions but there are no permanent positions avail­ begin early with an orientation meeting on able with this U.S. government agency. Tuesday evening, February 24, from 8:30 The job requires what one corps spokes­ P.M. in the San Francisco Hilton. man called a (emoral commitment” be­ Other aspects of the meeting include cause salaries are based on the eemiddle exhibits of books, magazines, slides and class income for the host country” which artists’ materials, films on the fine arts and Diving Gila’ averages $300 per month and may be as art history, and alumni reunions of major offshoot of work with repeated images, low as $100 per month. Over the 20-year American schools of art. “Diving Gila,” above, approximately 30 existence of the Peace Corps, 500 of the Registration and membership are avail­ inches in length, was assembled with 80,000 volunteers have worked directly in able at the meeting. For further informa­ earthenware modules glued on a wood crafts, primarily teaching their skills. tion contact: The College Art Association backing by Jim Stephenson, State College, In the following article, ceramist Miska of America, 16 East 52 Street, New York Pennsylvania. Individual units were press Petersham discusses volunteer service em­ City 10022, or call: (212) 755-3532. ployment from the vantage point of first­ hand experience. The author, a graduate Send news and photos about people, of Cleveland Institute of Art and Syracuse Deanna Nichols places or events of interest. We will be University, has been on the ceramics fac­ Approximately 100 stoneware and porce­ pleased to consider them for publication ulties of Kent State University and the lain functional objects by Deanna Nichols in this column. Send items to: News & were recently featured in a solo exhibition University of Montana, has received three Retrospect, eramics onthly P.O. C M , Fulbright Lectureships abroad, and cur- at the Wickenburg Gallery in Wickenburg, Box 12448, Columbus, Ohio 43212. Arizona. Among the dinnerware, jars, Continued

February 1981 75 Itinerary workshop/demonstration with F. Carlton “Crafts and Design in Denmark” includes Ball. Contact: Barbara Sampson, Creative lectures and visits to workshops, exhibitions Continued from Page 73 Arts League, 620 Market Street, Kirkland and factories. This seminar is being held in 98033, or call: (206) 822-7161. conjunction with the World Crafts Council of Art, Beech and Penrose Ave., Elkins European Conference; participants will Park 19126, or call: (215) 224-7575. join the WCC program while in Copen­ hagen. Fee: 6100 Danish kroner. Contact: Helle Wisti, Det Danske Selskab, Kultorvet Pennsylvania, Philadelphia April 1-2 The International 2, DK 1175, Copenhagen K, or call: Philadelphia College of Art plans a 2-day Australia, Sydney May 17-23 The 2nd (45-1) 13 5488. presentation in ceramic art with Dave Australian Ceramic Conference for Pot­ Nelson and George Timock. Contact: Bill ters; at Seymour Centre and the Univer­ Daley, Philadelphia College of Art, Broad sity of Sydney. Michael Cardew will give England, Bath through February 22 A and Spruce Streets, Philadelphia 19102, or the keynote address. Fee: $96. Registration retrospective exhibition of ceramic works call: (215) 893-3100. deadline: March 31. Contact: The Pot­ by Katharine Pleydell-Bouverie; at the ter’s Society of Australia, 48 Burton Street, Holburne Museum, University of Bath, Tennessee, Gatlinburg February 15-20 A Darlinghurst, N.S.W. 2010, or call: (02) Great Pulteney Street. porcelain workshop with Gerry Williams. 31 3151. February 15-27 A session in handbuilding with Norman Schulman. College credit Canada, Alberta, Calgary May 2-3 “Ce­ England, Halifax May 23-25 “National available for all sessions. Contact: Arrow- ramics Seminar ’81” includes sessions for Potters Jamboree” will feature demonstra­ mont School, Box 567, Gatlinburg 37738, the potter. Contact: Faye Nutting, Leisure tions by several British potters including or call: (615) 436-5860. Learning Services, Parkhill Centre, 3630 guest of honor David Leach. There will Second Street Southwest, Calgary T2S also be a concurrent crafts fair. Registra­ 1T8, or call: (403) 243-0463. tion deadline: March 31. For more infor­ Texas, El Paso February 5-7 A three-day mation write: Alan Beastow, 1, Lumbrook, workshop with Rudy Autio includes slides, Westercroft Lane, Northowram, Halifax, lectures and demonstrations. Fee: $15. Canada, Ontario, Brantford February 6- West Yorkshire, England HX37SF. For registration information, cohtact: The 28 “Form, Function and Fantasy II,” an Cone 9 Club, Art Department, University exhibition by members of the Brantford of Texas, El Paso 79968. Potters Guild; at the Glenhyrst Art Coun­ England, Oxford through February 4 An cil Galleries, Glenhyrst Gardens, 20 Ava exhibition of ceramics by Judith Gilmour. Vermont, Middlebury February 23-27 A Road. February 9-March 11 Ceramic, glass and 5-day session for advanced potters with stone sculpture by Rosamund O’Connor; Karen Karnes. For additional information Canada, Quebec, Montreal February 5-28 both events at Oxford Gallery, 23 High St. contact: Vermont State Craft Center at An exhibition of handbuilt ceramics by Frog Hollow, Middlebury 05753, or call: Dzintars Mezulis; at the Centre des Arts Thailand, Bankok February 6-20 “Inter- (802) 388-4871. Visuels, 350 Avenue Victoria. crafts Conex ’81,” includes a crafts exhi­ bition; at Amphorn Garden and the Royal Washington, KirklandFebruary 13-14 A Denmark, Copenhagen May 27-June 8 Plaza.

76 Ceramics Monthly News & Retrospect who had taught at the local high school and had spent some time up a river full rently resides on Fiji Island while partici­ of crocodiles at a pottery set up by Ameri­ pating in the United Nations volunteer cans several years before. When we visited section, a Peace Corps equivalent.—Ed. last spring, the pottery needed someone to work and teach the owners for a couple of Opportunities for clay-related jobs are years. available through the Peace Corps and a Almost all volunteer opportunities are similar program administered by the loose enough to be altered and with luck United Nations. Although not always com­ some interesting jobs can be arranged. pletely career oriented, a two-year over­ seas experience can be beneficial and en­ Victor Valley Workshop joyable for a self-motivated individual willing to accept different value systems “Ceramics has arrived at a position and conditions. While stipends are not [where] restrictions are no longer imposed large through either organization, gener­ upon or of consequence to the artist,” ally a couple fares better in the Peace commented art department chairman Gene Corps since both husband and wife must Kleinsmith in “History and Directions of have relevant jobs, thus doubling income. Contemporary Ceramic Art,” the opening Lists of current openings can be ob­ lecture of a recent invitational workshop tained from Peace Corps Washington at Victor Valley (California) College. “A [write: 806 Connecticut Avenue, North­ clay artist now is able to [act] with com­ west, Washington D.C. 20525, or call: plete freedom; any conceivable possibility (800) 424-8580] or their nearest recruiter is open. (see the telephone listing for “Action” “The history of ceramic art is a con­ under U.S. Government offices). The most tinuum; it did not begin with one indi­ common jobs involve teaching, working vidual. While being immersed in the past with local craft villages or cooperatives, or and cognizant of the present, the ceramist advising a government ministry. If a must seek a personal imagery to project position exists with even remote possibil­ toward the future. At the same time,” ities, write that country’s Peace Corps Gene added, “the artist should remain an director, explaining what you have to individual, thinking in unusual combina­ offer. This is outside normal channels, but tions and not rejecting any materials, con­ sometimes leads to otherwise unobtainable cepts, techniques, ideas or forms that may knowledge. (The Peace Corps philosophi­ at any particular time seem impractical.” cally prefers to deal with generalists they During the next two days of the work­ can train for a specific situation.) Once shop approximately 200 students and in­ established in a country, chances to apply structors from the area worked with Gene ceramics skills or actually work with pot­ to build two salt kilns (80 and 100 cubic tery often arise, depending on the volun­ teer’s ability to take advantage of the situation. Although the smaller United Nations program is administered by the Peace Corps, the UN volunteer does not become involved in the corps’s philosophy and training; the UN service assigns appli­ cants to these higher paying, more definite and career-oriented jobs, while the corps takes care of finances. Work situations range from the case of a potter recently hired through the UN to set up a ceramics department for an art school in Garoka, Papua, New Guinea, to our Peace Corps assignment on Fiji. Building an 80-cubic-foot salt kiln Directed to establish extension courses in arts and crafts for the University of the feet in capacity) and produced nearly South Pacific, we found on arrival that the 1000 clay objects. Handbuilt with slabs university job did not exist, the village pressed in a variety of molds from motor­ pottery tradition was almost dead and the cycle fenders to laundry baskets, or thrown, local people did not really want to make some of the ware was raku fired or salt any changes. However, there were clay glazed; most were glazed with the follow­ deposits, a potential market and a govern­ ing Victor Valley “Top 10” recipes: ment very interested in starting a local Green Gloss Glaze (Cone 10, reduction) business. A proposal to the government for Gerstley Borate...... 13.0% a pottery training and sales project was Whiting ...... 15.7 eagerly accepted. The project underwent Zinc Oxide ...... 1.7 a steady evolution and even a location Cornwall Stone ...... 58.3 change, but progressed enough for the Edgar Plastic Kaolin ...... 4.3 government to request its continuation Flint ...... 7.0 under UN auspices. On the way back to the United States, 100.0% I tested some clay for the UN in Micro­ Add: Copper Oxide ...... 4.0% nesia, where I ran across records and Rutile ...... 6.0% stories of a Peace Corps potter in Palau Continued

February 1981 77 News & Retrospect

Gold Gloss Glaze (Cone 10, reduction) Barium Carbonate ...... 4.0% Gerstley Borate...... 20.8 Whiting ...... 11.9 Kingman Feldspar* ...... 38.6 Flint ...... 24.7 100.0% Add: Red Iron Oxide ...... 5.0% Rutile ...... 8.3%

Brown Matt Glaze (Cone 10, reduction) Nepheline Syenite ...... 41.7% Whiting ...... 17.5 Kaolin ...... 15.8 Flint ...... 25.0 100.0% Add: Red Iron Oxide ...... 4.2%

Blue Gloss Glaze (Cone 10, reduction) Whiting ...... 21.8% Kingman Feldspar* ...... 40.0 Edgar Plastic Kaolin ...... 12.7 Flint ...... 25.5 100.0% Add: Cobalt Oxide ...... 0.5%

Red Matt Glaze (Cone 10, reduction) Bone Ash ...... 7.6% Soda Ash ...... 1.9 Talc ...... 6.9 Whiting ...... 9.6 Kingman Feldspar* ...... 47.0 Edgar Plastic Kaolin ...... 6.1 Flint ...... 20.9 100.0% Add: Red Iron Oxide ...... 10.4% Bentonite ...... 2.2%

White Gloss Glaze (Cone 10, reduction) Whiting ...... 21.8% Kingman Feldspar* ...... 40.0 Edgar Plastic Kaolin ...... 12.7 Flint ...... 25.5 100.0% Add: Zircopax ...... 9.1%

White Glaze (Cone 10, reduction) Dolomite ...... 8% Gerstley Borate ...... 9 Talc ...... 15 Kingman Feldspar* ...... 43 Edgar Plastic Kaolin ...... 5 Flint ...... 20 100% Add: Rutile ...... 10%

Celadon Glaze (Cone 10, reduction) Colemanite ...... 53.2% Dolomite ...... 3.7 Talc ...... 7.4 Custer Feldspar ...... 22.0 Ball Clay...... 2.7 Flint ...... 11.0 100.0%

*Ceramists considering alternatives might select Custer feldspar, a reasonable direct substitute for Kingman. Custer has an excellent record of availability and con­

tains approximately 10% K20 which is slightly less than Kingman (11.9%)—Ed.

78 Ceramics Monthly Ketchup Glaze (Cone 10, reduction) Barium Carbonate ...... 7.2% Bone Ash ...... 14.5 Dolomite ...... 7.2 Kingman Feldspar* ...... 58.0 Ball Clay ...... 5.8 Flint ...... 7.3 100.0% Add: Copper Carbonate ...... 5.1% Tin Oxide ...... 5.8%

Swedish Matt Glaze (Cone 10, reduction) Barium Carbonate ...... 23.7% Whiting ...... 6.0 Kingman Feldspar* ...... 59.0 Ball Clay ...... 11.3 100.0% Add: Rutile ...... 2.3% Zinc Oxide ...... 9.0%

At the workshop’s end, a salt kiln bil­ lowed and raku pots were cooled in the campus lake. Two weeks later, objects

Billowing salt kiln at Victor Valley produced during the workshop were auc­ tioned, with proceeds placed in a fund to assist a young southern California pottery student recovering from an extensive ill­ ness. Text: Ted Dowe.

Larry Lubow Two wall murals by California ceramist Larry Lubow were installed recently at George Washington University in Wash­ ington, D.C. Mounted on a brick wall, the geometric design, shown, 6 feet in width, is composed of 14 units, handbuilt with

Coiled, stoneware wall mural colored stoneware bodies and fired to Cone 7. For his architectural work, Larry de­ velops modular patterns or one-of-a-kind asymmetrical forms to construct flat, free­ standing and relief sculpture. His objective Continued

February 1981 79 80 Ceramics Monthly News & Retrospect as a trainee assistant, or to follow an art school course with a strong bias toward is “to have the work be designed for its craft pottery,” states the 1980 fifth edition surroundings, whether interior or exterior. of “Potters,” a directory of the work and Each particular space dictates the appro­ studios of the 154 full members of the priate materials with consideration for di­ Craftsmen Potters Association of Great mension and strength.” Britain. “Many potters and students favor a combination of the two—a preliminary art school training followed by a period of Ron Meyers workshop practice. In “Clay Pots,” a recent solo exhibition “At the present time no formal appren­ at the University of Georgia Botanical Gar­ ticeship scheme exists for training prospec­ den, Athens, Ron Meyers presented ap- tive potters, and the very diverse nature of craft pottery itself seems to preclude the chances of one being established. It fol­ lows, therefore, that the kind andvariety of work undertaken by trainees, and the amount and quality of teaching they re­ ceive in workshops will depend very largely on the outlook and skills of the potter con­ cerned and on the facilities available. All one can say is that as a general rule the larger the workshop the more formal and disciplined the training is likely to be. “A new venture is the Dartington Pot­ tery Training Workshop which produces a range of domestic stoneware and provides practical training for students from col­ leges of art and for career apprentices. Further details can be obtained from the workshop at Dartington Cider Press Cen­ tre, Shinners Bridge, Totnes, Devon. “Nearly all professional potters spend much of their time making repetition do­ mestic ware, and students leaving art schools for workshops may find the change constricting. The new environment will Teapot with wicker handle perhaps be more intensive, but opportu­ nities for personal expression will almost proximately 50 thrown, functional forms. certainly be more limited. Much of the Among the variously fired works were a learning will inevitably be done through stoneware teapot (above), 10 inches in making pots designed initially by the diameter, incised and salt glazed, with teacher. wrapped wicker handle; and a red earth- “There are no standard rates of pay for trainees, and remuneration will be set by potters according to their means and to the productive help that an assistant can give. Although the Crafts Council provides money to supplement the wages of trainees, these grants are not available for every potter with assistants and it must be assumed that rates of pay for trainees will be less—and in some cases considerably less—than those in industry or teaching. “Many workshops are, through choice or necessity, situated in rural areas and this can present problems of transport and accommodation. A few potters are able to provide accommodation for trainees on their own premises and this will be taken into account when negotiating remunera­ tion. Opportunities for social life may also be limited in rural areas. Earthenware plate “Before applying to workshops it is im­ enware plate, 17 inches in diameter, with portant that prospective trainees should white slip, commercial polychrome glazes see the work of as many potters as pos­ and clear glaze fired to Cone 4. sible. Too few applicants seek out potters Ron is currently head of the University with whose work they have real sympathy. of Georgia ceramics department. This obvious fact is very often ignored, and few applicants writing to potters for workshop places give any indication that Training in England they are familiar with what is made, or that they are interested in learning the “Anyone wishing to develop pottery particular skills that certain potters, skills to a professional standard has two choices: to enter a workshop studio direct Continued

February 1981 81 82 Ceramics Monthly News & Retrospect through their own approach to the sub­ ject, can teach them. “Prospective trainees should try to visit potters of their choice, ensuring before­ hand that it is convenient by writing or telephoning. Several pots and/or pho­ tographs should be taken along for the potters to judge an applicant’s ability or potential. “Working successfully and harmoniously as a member of a small team or in con­ junction with an individual potter is as much, if not more, a question of good personal relationships as the teaching and application of skills. In the search for workshop places, therefore, it is difficult to overestimate the importance of personal contact,” the guide concludes. Those seeking apprenticeships in En­ gland will find the names, addresses and telephone numbers of all full members of the Craftsmen Potters Association listed in this directory, plus photographs and brief descriptions of work, potters’ marks, bio­ graphical notes and visiting hours. Also presented are addresses for local and inter­ national societies; names of British art schools offering degree or vocational ce­ ramics programs; information on part-time study and holiday courses; and a map of Great Britain C.P.A. studio locations. Copies of “Potters” may be obtained by writing Ceramic Review Books, 17A New­ burgh Street, London W.l, Great Britain.

David Lloyd-Jones Stoneware by English potter David Lloyd-Jones was exhibited recently at the Craftsmen Potters Association gallery in London. Among the pots shown were three

Covered, stoneware jars storage jars, ranging from 8 to 14 inches in height, with magnesia matt glaze. Also included in the exhibition was a set of Continued

February 1981 83 54- Ceramics Monthly News & Retrospect nesting batter bowls, the largest 10 inches in diameter, thrown, with pulled spouts, cream-colored glaze. Primarily self-taught, David works alone at his Yorkshire studio, equipped with a dough mixer and a pug mill for clay prep­ aration, three different wheels, and two oil-burning kilns. The larger kiln (125 cubic feet) is glaze fired every six to eight weeks, depending on production. Having

David Lloyd-Jones no distinction between standard and exhi­ bition ware, David tries to fire a cross section of his work in each kiln load.

Workshop Trio Three one-day ceramics workshops were sponsored by the Columbus (Ohio) Col­ lege of Art and Design earlier last year. First in the scries, Jacqueline Germanov, an instructor at Syracuse University, con­ structed large “heads” from wheel-thrown

Jacqueline Germanov sections and coils. After applying poly­ chrome slips, Jacqueline burnished her work with a stone or the back of a spoon. Pit fired to Cone 04, the forms are pol­ ished with a commercial floor wax. Her Continued

February 1981 85 86 Ceramics Monthly News & Retrospect works are intended to represent man unmasked. Studio potter Tim Mather, Athens, Ohio, demonstrated throwing porcelain teapots. Sometimes faceted with a potato peeler, the forms are defined with thrown

Tim Mather spouts or long slab spouts fabricated over a dowel rod. A multisectioned handle was shaped by squeezing a thick coil and adding pulled lengths to each end before attaching it to the pot. Wax resist and sponge stamp patterns applied to bisque- ware were combined with a white matt or various transparent glazes and fired in reduction to Cone 11. A final session was conducted by sculp­ tor Bruno LaVerdiere, Hadley, New York, who coil built monumental objects with

Bruno LaVerdiere heavily grogged stoneware. Either brushed with white, brown or black slips in abstract designs or left unglazed, the forms then were fired to Cone 4.

Pitney/White Show Studio potters Suzanne B. Pitney and Tom White, Northfield, Massachusetts, presented functional porcelain ware in a recent exhibition at Yamato House gallery Continued

February 1981 87 88 Ceramics Monthly News & Retrospect in Lenox, Massachusetts. Among Suzanne’s blue and green celadon-glazed forms with abstract linear decoration was a cane- handled basket, 9 inches in diameter,

Suzanne B. Pitney thrown and altered, with attached lugs. A green Albany slip glaze was applied on the interior and upper half of the pot. Rutile was washed over a saturated iron glaze on the lower half. Also shown from the exhi­ bition is Tom’s lidded jar, 10 inches in

Tom White height, thrown and carved, with clay birds attached as handles, and copper red glaze fired in reduction. Tom frequently facets or carves his ware to achieve “pools” of celadon or copper red glaze, applied alone or in combination.

Mark Lang Work fired in saggars by studio potter Mark Lang, Tucson, was among the raku and pit-fired ceramics exhibited recently at Horizon Gallery in Mill Valley, California. Continued

February 1981 89 90 Ceramics Monthly News & Retrospect To achieve surface effects similar to pit- firing results, Mark built around each pot a rectangular, hard-brick saggar with open

Mark Lang corners. Hardwood (ash, oak or birch) was placed inside the saggar and the ware was single fired to 2200-2300°F in a small gas kiln. The coil- and slab-built vessel, shown, 18 inches in height, was textured by press­ ing wood molding into slabs prior to con­ struction. Surface colors were produced by ash deposits and diagonal drafts through the open saggar, which simultaneously oxidized and reduced the iron-rich clay— equal parts Cedar Heights Goldart Clay and Death Valley Red Clay (the latter available from Westwood Ceramic Supply Company) with 15-20% sand added.

Frank Colson “Effigy Forms,” an exhibition of colum­ nar clay figures by Frank Colson, Sarasota, Florida, was shown at the Warner Com­ munications Building in New York City earlier last year. Frank cut circles and slits to develop masklike features on the

Frank Colson with an effigy section stylized totems, which ranged from 6 to 8 feet in height when assembled. After bisque firing, the segments were smoked in saw­ dust. White paint was applied to empha­ size the faces on some of the forms, while others were crowned with headdresses of clay or fiber.

February 1981 91 92 Ceramics Monthly New Books

Pricing and Promotion by E. Patrick McGuire and Lois Moran Of interest to ceramists planning to estab­ lish or improve business practices, this paperback guide for craftspeople discusses pricing fundamentals for commissions, pro­ duction work and one-of-a-kind objects. The authors are well qualified to discuss the subject: E. Patrick McGuire is execu­ tive director of Business/Government Re­ search for the Conference Board, a business research institution in New York City; Lois Moran has been on the staff of the American Craft Council since 1965 and recently was appointed editor of “Ameri­ can Craft” magazine. They note that prices set by a craftsperson often reflect the individual’s concept of self-value. “As a craftsperson you can never completely divorce yourself of the relationship between the price set on a product and how you view the value of your work and of your­ self to society.” A study on marketing conducted by the American Craft Council provided the ex­ amples of business situations encountered by craftspeople. Various pricing ap­ proaches are proposed with explanations of potential drawbacks. Uniqueness of the product, amount of competition and diffi­ culty of production are considered along with real cost factors, including materials, labor, overhead and marketing. The text also offers suggestions for product promo­ tion through the news media, advertising and direct mail, as well as for selecting markets and displaying ware. 93 pages including an annotated bibliography. $7.50 ($5.20 to ACC members). American Craft Council, 22 West 55 Street, New York City 10019.

Aegean Faience of the Bronze Age by Karen Polinger Foster Written by an archaeologist, this study of early polychrome-glazed ware produced in areas bordering the Aegean Sea offers a brief look at some of the origins of ceramic and glass technology. Although many ce­ ramists associate faience solely with the type of tin-glazed earthenware produced in Faenza, Italy, since the 16th century, the author explains the term is also applied to objects (with similar surface) found in excavations of Bronze Age cities. Eventu­ ally, self-glazing faience, made with pow­ dered flint, sand and sodium carbonate was press molded, handbuilt and thrown. After firing to about 870°C (1600°F), the ware was often coated with a copper oxide or copper carbonate, sodium carbonate and powdered flint glaze, or painted with ox­ ides for geometric and representational designs; then refired. In the main body of the text, approxi­ mately 200 examples, produced from about 3000 to 1200 B.C. on Crete, the Greek mainland and several Aegean islands, are Please Turn to Page 98

February 1981 93 94 Ceramics Monthly Photos: Ruth Chin fe pnee ti prlxn qeto wt hs col­ his with question perplexing this pondered often al tt Uiest i Mni, nin, o Peake Ron Indiana, Muncie, in University State Ball I ae lvn wt ter r. hl a eais tdn at student ceramics a While art. their with living a make of thrown sections, stamped, glazed, by Ron Peake of thrownsections,stamped,glazed,byRon constructed height, in inches 9 ” Notekeeper “Pigeonhole netit, r suet otn odr f t s osbe to possible is it if wonder often students art uncertainty, Kay andRonPeakeinfrontoftheirSunHaiPotterystudio,convertedfromderelictfarmbuildings. Pottery by u Hai Sun n

R uth C hoig career a choosing hin

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ere n tahn at lse fr sot ie he time, short a for classes art teaching and degree o fre a eaae otr ad h Pae have Peakes the and pottery separate a formed Bob id o ams tit yas hn ucae. n drive- One purchased. was convertedinto thepotterybyenclosing endswith when years thirty almost for pied hog br, omry sd o soig on n beans, and corn storing for used formerly barn, through eae n prnie t h Bte Pk Ptey near Pottery Pike Bethel the at apprentice an became operated SunHaieversince. pne ad uos ony ie te rpry includes property the line, County DuBois and Spencer pn lv o te 5ar fr-otr. idn on a down Hidden farm-pottery. 45-acre the on live pony a w brs n a w-tr hue hc hd en unoccu­ been had which house two-story a the and at barns 231 two Highway Indiana of west road and gravel horse two-mile a chickens, cats, numerous plus uncle, retired a lay Idaa t lan aktn a wl a production as well as marketing learn to Indiana, Albany, oe sui pte. hs atr eevn hs master’s his receiving after Thus, potter. studio a come kls Fnly Rn ond o Ple t etbih u Hai Sun establish to Pulley Bob joined Ron Finally, skills. h sol i mk a ifrne hte o nt o feel you not or whether difference a secure aslongyou’rehappywithwhatdoing?” make it should Temple Why Byron potter visiting asked he day One leagues. how longittookhimtofeelfinanciallysecure. otr i te il o suhr Idaa Atr he years, three After Indiana. southern of hills the in Pottery o, i wf Ky ter ieya-l sn ot, and Monty, son nine-year-old their Kay, wife his Ron, hs el ws aayi i hlig o dcd t be­ to decide Ron helping in catalytic was reply This Scr? asee Brn “ nvr a ta feeling. that had never “I Byron, answered “Secure?” February 1981

95 Ron pounds out clay before rolling a slab. His workdays are spent producing functional ware and one-of-a-kind sculpture, as well as remodeling his studio in southern Indiana.

The slab moves through the roller. Says Ron, “I like While executing a 7- x 28-foot mural, scaffolding allowed working when I want to, spending time creating.33 access to interior areas of the large slab.

The mural was cut into tiles, each scored on the back Corks are added to planters as Ron unloads his sprung to facilitate bonding to the glue and wall surface. arch, propane-fueled kiln.

96 Ceramics Monthly doors, along with stained glass windows from an old Ron’s favorite glaze is the following recipe to which he country church. Old brick was used to cover the dirt adds basic colorants for variation: floors and the loft was finished as a showroom. An L-shaped extension to the production room, formerly used Temple White Glaze (Cone 9-10) for farm equipment storage, now houses a sprung arch Dolomite ...... 19.7% kiln constructed of used brick. Whiting ...... 2.6 Ron still throws with the kickwheel he purchased while Potash Feldspar ...... 35.0 attending school, but has since added a motor to accom­ Kaolin ...... 22.7 modate production. He usually works in the pottery about Flint ...... 20.0 four hours a day making one-of-a-kind sculpture and 1000.% functional ware such as coffee mugs, dishes, cookie jars, Add: Bentonite ...... 2.0% wine dispensers, candlesticks, etc. A professional tile setter installed the murals in spaces “Ron works all day long,” Kay commented. “When he’s surrounding both faces of a two-sided fireplace. To not in the pottery, he’s gardening or remodeling the facilitate the bonding of the glue to the clay surface, the house or studio. Sometimes, he takes a temporary job, and back of each tile was grooved while leather hard. Ron has he also does all the mechanical work around here like produced several more murals on a smaller scale. repairing the tractor.” To supplement income from the pottery, the Peakes To expedite his role as a potter Ron functioned partly plant vegetables, many of which are canned for winter as a carpenter, when he received a major commission to use. With the grocery miles away and food costs rising, make two 7- x 28-foot murals for an inn at Evansville, the garden has been a sustaining factor in their household Indiana. First he constructed a table large enough to budget. During the winter when they sometimes are snow­ support one mural and then built a scaffold of planks to bound for weeks, Ron often pots in the house where it reach otherwise inaccessible sections. is warm. In the kitchen, which serves as a center of Both murals were crafted in stoneware for which Ron’s household activity while construction goes on in other formula is: parts of the house, a large cast iron stove warms the Peake Stoneware (Cone 10) atmosphere, radiating hospitality as well as heat. Ball Clay...... 5.0% Happy doing what he’s doing, Ron says, “I’ll always Cedar Heights Goldart Clay ...... 56.0 want to be an artist. I like working when I want to, Cedar Heights Bonding Clay ...... 19.0 getting my orders out first and then spending the rest of Fireclay ...... 9.0 the time creating, thinking and designing better pottery— Spodumene ...... 5.0 or working on the house and farm. When we get short on Feldspar ...... 2.0 money, I can find temporary work at a local coal mine Grog ...... 4.0 or in construction. I suppose I could get a steady job— 100.0% but then. . . .” The birds were singing and the cats darted Add: Red Iron Oxide...... 0.4% in and out from behind the house. Ron lifted up the Ron covered each mural with a large sheet of plastic fresh-picked pail of black raspberries and started for the and kept the clay moist with an occasional sprinkling of house. “Come on,” he smiled, “let’s have a cup of coffee.” water. Designing a small section at a time, he worked through a hole in the plastic sheeting similar to a surgeon The author Photo journalist Ruth Chin maintains a operating on a patient. studio in Muncie, Indiana. She is a member of Profes­ After completion of the project the partially glazed tiles sional Photographers of America, Inc., and has been a were fired to Cone 10. frequent contributor to CM.

One of two 7- x 28-foot stoneware murals executed by Ron Peake for an inn at Evansville, Indiana.

February 1981 97 New Books Continued from Page 93

grouped geographically and chronologically for comparison with other Bronze Age faience to describe historical development with emphasis on economic conditions. 205 pages including selected bibliography and index. 3 maps, 4 charts, 104 drawings, 54 black-and-white photographs. $25. Yale University Press, 92A Yale Station, New Haven, Connecticut 06520.

On Pottery and Porcelain by Mary Rogers An introduction to handbuilding, with emphasis on porcelain, this book by a British author primarily describes pinching methods. Forms interpreting natural phe­ nomena, such as plants, rocks and land­ scapes, are often accompanied by photo­ graphs of the model and preliminary sketches. After a discussion on form, the author gives step-by-step instructions for pinched and coiled pots. Colored clay recipes are offered for incorporating inlay or neriage techniques. Recipes for simple glazes (mostly ash-based) are also in­ cluded. Following a chapter on African handbuilding traditions, the text concludes with a history of porcelain. 152 pages in­ cluding references, bibliography, plus list of British and North American suppliers. 189 black-and-white photographs, 22 draw­ ings, 9 color plates. $17.95. Watson-Guptill Publications, 1515 Broadway, New York City 10036.

98C eramics Monthly