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Ceramics Monthly Ceramics Monthly Volume 29, Number 2 February 1981

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Ceramics Monthly Ceramics Monthly Volume 29, Number 2 February 1981 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 West Coast Advertising Representative: Joseph Mervish Associates, 12512 Chandler Boulevard, No. 202, North Hollywood, California 91607 (213)877-7556 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
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