Focus Emerging Artists Stephanie Craig

focus Monthly emerging artists

Stephanie Craig focus emerging artists May 2009 $7.50 (Can$9) www.ceramicsmonthly.org

Ceramics Monthly May 2009 1 Monthly

Publisher Charles Spahr Editorial [email protected] telephone: (614) 895-4213 fax: (614) 891-8960 editor Sherman Hall assistant editor Holly Goring assistant editor Jessica Knapp technical editor Dave Finkelnburg online editor Jennifer Poellot Harnetty Advertising/Classifieds [email protected] telephone: (614) 794-5834 fax: (614) 891-8960 classifi[email protected] telephone: (614) 794-5843 advertising manager Mona Thiel advertising services Jan Moloney Marketing telephone: (614) 794-5809 marketing manager Steve Hecker Subscriptions/Circulation customer service: (800) 342-3594 The Legend [email protected] Design/Production production editor Cynthia Griffith design Paula John Editorial and advertising offices “Making pottery should not be like 600 Cleveland Ave., Suite 210 Westerville, Ohio 43082 Editorial Advisory Board climbing a mountain, it should be more Linda Arbuckle; Professor, Ceramics, Univ. of Florida Scott Bennett; Sculptor, Birmingham, Alabama like walking down a hill in a pleasant Tom Coleman; Studio Potter, Nevada Val Cushing; Studio Potter, New York Dick Lehman; Studio Potter, Indiana breeze.” These words, that we can Meira Mathison; Director, Metchosin Art School, Canada Bernard Pucker; Director, Pucker Gallery, Boston all appreciate, were spoken by Shoji Phil Rogers; Potter and Author, Wales Jan Schachter; Potter, California Mark Shapiro; Worthington, Massachusetts Hamada, Japan’s most renowned pot- Susan York; Santa Fe, New Mexico Ceramics Monthly (ISSN 0009-0328) is published monthly, ter of the 20th century, to his good except July and August, by Ceramic Publications Company; a subsidiary of The American Ceramic Society, 600 Cleveland Ave., Suite 210, Westerville, Ohio 43082; www.ceramics.org. Periodicals friend and fellow potter Soetsu Yanagi. postage paid at Westerville, Ohio, and additional mailing offices. Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The American Ceramic Society. The publisher makes no claim as to the food safety of published glaze recipes. Readers should refer to MSDS (material safety data In discovering Hamada the man—his sheets) for all raw materials, and should take all appropriate recom- mended safety measures, according to toxicity ratings. background, his motivations—we can subscription rates: One year $38.45, two years $59.95. Canada: One year $40, two years $75. International: One year $60, two years $99. better understand Hamada the legend. back issues: When available, back issues are $7.50 each, plus $3 shipping/handling; $8 for expedited shipping (UPS 2-day air); and $6 for shipping outside North America. Allow Susan Peterson’s expert telling of the 4–6 weeks for delivery. change of address: Please give us four weeks advance notice. Send the magazine address label as well as your new Shoji Hamada story is based the very address to: Ceramics Monthly, Circulation Department, P.O. Box 662, Mt. Morris, IL 61054-9662. contributors: Writing and photographic guidelines human side of his life as revealed in are available online at www.ceramicsmonthly.org. indexing: Visit the Ceramics Monthly website at www.ceramicsmonthly.org to search an index of article titles and detailing of his day-to-day life and the artists’ names. Feature articles are also indexed in the Art Index, daai (design and applied arts index). copies: Authorization to photocopy items for internal many anecdotes of his colorful and re- or personal use beyond the limits of Sections 107 or 108 of the U.S. Copyright Law is granted by The American Ceramic sourceful life. Society, ISSN 0009-0328, provided that the appropriate fee is paid directly to Copyright Clearance Center, Inc., 222 Rosewood Dr., Danvers, MA 01923, USA; (978) 750-8400; www.copyright.com. Prior to photocopying items for classroom use, please contact Copyright Clearance Center, Inc. This consent does not extend to copying items for general Price: $59.95 distribution, or for advertising or promotional purposes, or to republishing items in whole or in part in any work in any format. Please direct republication or special copying permission requests Hardcover • 240 pages to the Publisher, The Ceramic Publications Company; a subsidiary of American Ceramic Society, 600 Cleveland Ave., Suite 210, Westerville, Ohio 43082, USA. Order online at postmaster: Send address changes to Ceramics Monthly, P.O. Box 662, Mt. Morris, IL 61054-9662. Form 3579 requested. Copyright © 2009, The Ceramic Publications Company; a subsidiary www.CeramicArtsDaily.org/books of American Ceramic Society. All rights reserved.

www.ceramicsmonthly.org Ceramics Monthly May 2009 2 Ceramics Monthly May 2009 3 Ceramics Monthly May 2009 4 May 2009 / Volume 57 Number 5

Monthly focus emerging artists

25 Emerging Artists 2009 Sixteen artists working in all manner of studio ceramic practice put their best foot forward. The results show that clay continues to be used in incredibly innovative and exciting ways! 26 Shay Church, Kalamazoo, Michigan 30 Jeremy Randall, Tully, New York 32 Magdalene Gluszek, Gatlinburg, Tennessee 34 Joanna Powell, Dallas, Texas 38 Nathan Craven, Helena, Montana 40 Brenda Lichman, Denton, Texas 44 Merrie Wright, Tyler, Texas 46 Stephanie Craig, Strongsville, Ohio 50 John Utgaard, Murray, Kentucky 52 Ryan Olsen, Red Lodge, Montana 54 Joseph Page, Walla Walla, Washington 56 Shanna Fliegel, Tarrytown, New York 58 Andréa Keys, Athens, Ohio 60 Clay Leonard, Bowling Green, Ohio 62 Raymond González, Gainesville, Florida 64 Melissa Griffin,Minneapolis, Minnesota features

66 Three Generations of Hamada Potters by Andrew L. Maske From establishing the Mingei legacy in Mashiko, Japan, to incorporating global influences, Hamada pots—whether Shoji, Shinsaku or Tomoo—are less about lineage and more about quality and relevance.

70 De-Constructing Anne Hirondelle by Matthew Kangas A well-established artist renews her approach to making and “emerges” once again with a new body of work. 70

cover: Factory Work Series #4, 7½ in. (19 cm) in height, hand-built stoneware, slip-cast porcelain, electric fired to cone 6, by Stephanie Craig, Strongsville, Ohio; page 46. 60 30 54

Ceramics Monthly May 2009 5 departments

8 from the editor

10 letters from readers

12 answers from the CM technical staff

14 suggestions from readers 14 Tip of the Month: trimming tool scrubber

16 upfront reviews, news and exhibitions 76 call for entries 76 International Exhibitions 78 United States Exhibitions 80 Regional Exhibitions 80 Fairs and Festivals 82 new books Thinking Through Craft by Glenn Adamson 102 calendar 84 Conferences 84 Solo Exhibitions 84 Group Ceramics Exhibitions 88 Ceramics in Multimedia Exhibitions 89 Fairs, Festivals and Sales 89 Workshops 94 classifed advertising 95 index to advertisers 96 comment Owning a Form by Jack Troy

online www.ceramicartsdaily.org information and inspiration from inside the artist’s studio Features Tips, techniques, profles and more—delivered to your inbox. Education 16 Listings of colleges, classes, guilds, workshops and residencies. Galleries Artist gallery pages, plus our comprehensive listing of museums and galleries that showcase ceramic art. Bookstore Complete line of ceramic art books to inspire, inform and instruct. Free Gifts Handy downloadable resources for the studio, including projects, recipes, our annual Buyer’s Guide and more! Magazines Current and archived features, back issues, article index.

20 17

Ceramics Monthly May 2009 6 Ceramics Monthly May 2009 7 from the editor e-mail letters to [email protected]

I can’t imagine making a magazine without ness of high-tech informational tools and to ber of searches (roughly equal to the number the internet and e-mail. I came into the employ them in the service of promoting and of you about to go search that term right industry as desktop publishing was becom- selling our “low-tech” handmade art. now to see if I’m right). But we also get folks ing the norm, and I never had to paste up a Yes, using the Internet to sell is more searching for “ceramic artists,” which is a lot layout or send out type to be set manually. complicated than walking and chewing gum more people. We’re going to try for a repeat We do almost all of our correspondence at the same time; you can’t just throw a web at the top of the search charts this year with through e-mail, and the CM website gets page up and expect the sales to come rolling the “2009 Emerging Artists,” which also will about as many page views as there are sub- in. You have to do the same marketing and be a free download like last year’s. Of course, scribers to the magazine. On the one hand, communications that you would through you could just turn to page 25 and see it this is the leveling of the playing field made “traditional” means, like maintaining a mail- right now. See, print—like the handmade possible by the digital revolution (anyone can ing (e-mail) list, keeping in contact with object—isn’t going away, it’s just learning publish anything), but I am also reminded your customers and potential customers, and new tricks to expand the audience. of arguments made against technological telling them about sales and events. advancement: the further the human being J. K. Rowling has ruined most of the easy (the hand) is removed from a process, the online visibility for potters, because unless less relevance there is for the human in the your name is Harry, you’re just not going to finished product. make it onto the first six pages of search re- As makers who are directly involved with sults for “potter.” And even though the craft material, we tend to place a fairly high value show is changing form and even dying out in on the kind of knowledge that comes from some ways, giving way to sites like Etsy.com, undergraduate that physical contact. Some of us embrace the challenges remain similar online. You still this idea to the point of shunning technology need to know who your market is and what showcase that appears to interfere with human contact, they are looking for. In September 2009, Ceramics Monthly will whether it be with material or other people. For instance, if you search for the term feature the works of undergraduate clay artists. At the same time, there are advantages to “emerging ceramic artists,” the first result is Those enrolled in undergraduate ceramics being able to reach potentially thousands of CM’s “2008 Emerging Ceramic Artists” fea- classes at accredited institutions are eligible. people at once through digital technology. ture, posted on ceramicartsdaily.org. That’s See requirements on page 79. The trick for us is to appreciate the useful- all well and good, but it’s a very small num-

Ceramics Monthly May 2009 8 75,000 lbs. of Tennessee Mud! In a period of one year, we have processed 75,000 lbs. of Memphis clay to make 7000 bricks (and numerous carved relief bricks) for “Rugby Gates”, a public art project in the Rugby neighborhood of Memphis, Tennessee. These bricks were used to make two large brick columns (4’ sq. x 20’ tall) and ten smaller columns (2’ sq. x 5’ tall). The relief imagery depicts many aspects to the area’s history and landmarks. The planning took one year with the efforts of 26 high school students, 5 ofy m college students, and myself.

Our Bailey MXP-125 mixed all 75,000 lbs of the local clay. Batch after batch, our Bailey kept on processing the raw clay and formed it into the thousands of bricks we used. It is an outstanding machine, and I can highly recommend it.

Greg Schlinger Professor of Art, Peay State University Clarksville, Tenn.

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(845) 339-3721 (Fax 5530) email: [email protected] Monthly May 2009 Website: www.baileypottery.com *(In the Contiguous US Only) 9 letters e-mail letters to [email protected]

More Layers How Do We Make It Work? better” or “for your convenience” or “your I enjoyed reading John Britt’s excellent Just wanted to let you know I loved your call is very important to us.” Though article, “The Many Layers of Kiln Wash” editorial in the March issue. It’s a great works by some emerging artists may be in the March issue. This topic is important edition overall; I know it will help a lot delightful and refreshing, some of it—like and it has now received the attention it of people out there in the ceramics world. dissonant modern music—may be repul- deserves. Many potters rely on the five-per- I would like to read more about studio sive and shocking to experience. cent-or-less rule when deciding on whether potters—the full-time working kind. Life, I certainly enjoy creating works of art or not to use kiln wash on their shelves. love and pots; how the working-around- in clay, but I guess I can never be a young If less than 5 pots out of 100 have glaze the-clock potters do it all and still stay emerging artist, because I am no longer drips, it might be more efficient to not use sane. I’m not there yet, but there are a lot young. The emerging ones are aware of kiln wash and scrape the occasional drips. of young potters trying to figure out the current trends in art (where trends are This allows the option of flipping the balance. This is an important part to living very important indeed, especially for those shelves to extend their useful life. the craft. Focus on making, marketing and seeking recognition and success) and they Thick applications of kiln wash can re- living off of pots. can tell us old “submerging” ceramic artists sult in a shelf cracking, as the non-washed Erin Lambers, Marshall, Texas a thing or two. side cools at a faster rate than the kiln Althea Stevens, Mariposa, California washed side. A thin “water color” applica- Erin (and Corky and Kim), keep an eye out tion of kiln wash protects the shelve with- for our June/July/August issue, which will Correction out causing unequal cooling rates. focus on working potters. We ask them the On page 20 of the April issue, in the Jeff Zamek, Southampton, Massachusetts very questions you have asked here. And don’t exhibition announcement for “Spirit of worry—there are indeed people who earn a the Figure: Four Views” at Snyderman- Where Are the Pots? living making pots.—Eds. Works Gallery, we inadvertently truncated What happened to my old Ceramics Month- Adrian Arleo’s artist statement so that the ly? Does anyone still make pots? If this is Emerging and Submerging last word, archetype was unreadable. Her the new direction of the magazine, I believe The term “Emerging Artist” has gotten to full statement can be read online at www. this will be my last subscription renewal. be quite cliché. Don’t you agree? It is like snyderman-works.com/works/artists/ce- Corky and Kim Wagner, Key Largo, Florida phone recordings that say “to serve you ramics/arleo/arleo.html.

Ceramics Monthly May 2009 10 Ceramics Monthly May 2009 11 answers From the CM Technical Staff e-mail technical questions to [email protected]

Q I have heard that it is possible to make your The most common underglazes—those to To attempt duplicating the smooth brush-flow own underglazes from commercial stains. Is it which you are probably referring, and what of commercial underglazes, try adding liquid just like making dry, matte glazes, or is there most people think of as underglaze—are the starch, CMC gum (1% dry powder in above recipe), something else to it?—J. R. commercially prepared underglazes that allow and/or glycerin (1 tsp. per 100g dry mix). First, we need to clear up what an underglaze non-blurring painting compositions. Their com- Engobe is a term that is seen less often, but is. You will often see the words slip, underglaze, mon properties are: designed for use in low-fire is actually very useful because of its specificity. and engobe used interchangeably, although they oxidation; colored with stains; all colors have The definition is a little broader thanunderglaze , are not synonyms. similar color intensity; not very sensitive to ap- but more specific than slip, as engobes include Slip is the most general term, referring to any plication thickness; may be used on greenware or decorative slips that are intended for use both suspension of clay and other materials in water bisque; meant for use under commercial clear glaze; with and without glaze. You will more often see (this includes glazes). It describes the working, raw flow smoothly with brush application. engobe used in reference to high-fire decorative state of a formulation rather than the intended You can make your own underglazes by simply slips, and underglaze used in reference to low-fire final, fired state. adding the right amount of stain to an appropri- decorative slips (for use under glaze), but there is Underglazes are a particular kind of slip, in- ate low-fire slip or liquefied low-fire whiteware no strict rule dictating this. tended for decorative effects under glazes. Since body. However, it will be difficult to match all Keep in mind that a properly formulated dry the term underglaze only describes the use of the of the commercial underglaze properties listed matt glaze is made matt by the formation of tiny slip, there is a wide variation in the formulation above—particularly the application properties— crystals during the cooling of the kiln. It is fully of underglazes. You can find recipes intended for without extensive testing. Keep in mind that dif- melted and appears glossy wet if viewed through all types of application methods and all types of ferent colors and brands of stains have different a spy hole at the end of the firing. Decoration firings. Some of these recipes are intended to intensities, so each color of underglaze will have a and designs will bleed in a matt glaze just like work very differently than commercially prepared different percentage of stain. For a starting recipe, in glossy glazes. If the matt of a glaze is achieved underglazes. You can guess what they will look you might try the following, with a line blend of through incomplete melting, then it is really a like and how they will behave by name, descrip- 10–30 parts stain: vitreous slip (also called an engobe)! tion and ingredients, but you can only know for Low-Fire Whiteware Dry Scrap. . . .60 David Pier sure by testing them under your application and Frit 3124 (Ferro)...... 15 Potter and Technical Consultant firing conditions. Stain...... 10–30 Chapel Hill, North Carolina

Ceramics Monthly May 2009 12 Ceramics Monthly May 2009 13 suggestions e-mail suggestions to [email protected]

Speeding Kiln Shelf Cleaning I have found that using a power washer to tip of the month thoroughly clean multiple-fired kiln washed shelves is much quicker and easier than other Trimming Tool Scrubber methods we have tried. As an added bonus, the Trimming tools work better when bristles are submerged just below the water they are clean and dry. To create a way water eliminates the dust inhalation problems. line. The interior of your trimming tool to clean them easily while you are trim- can now be wiped repeatedly on the wet In many cases it will also remove glaze drips ming, cut off a cheap toothbrush about bristles while trimming to clean out the that have reached the shelf surface. an inch or so above the bristles. Then clay build up. Don’t forget to dry the wet Be careful though, a power washer can be clip the toothbrush to the inside of your tool with a towel before using it to trim extremely strong and it may actually gouge the water bucket with a small clamp so the your next pot. shelf surface if the tip comes too close. Safety glasses should always be worn while spraying to avoid possible flying debris and the shelves should be allowed to completely dry before firing.—Beverly Howard, Austin, Texas

Congratulations to Paveen “Beer” Chunhaswasdikul of Gadsden, Alabama. Your subscription has been extended by one year!

Ceramics Monthly May 2009 14 Ceramics Monthly May 2009 15 Tulip Vases from Twelve Designers A group exhibition of tulip vases will be on view through June 3 at Gallery Terra Delft (www.terra-delft.nl) in Delft, The Netherlands. Lotte van Laatum, one of the artist/designers included in the exhibition specializes in upfront the social-cultural and ecological aspects of design. According to Laatum, “Around 1600 exhibitions and reviews Dutch diplomats brought the tulip, which has its origin in Central-Asia, from Turkey to The Netherlands. The tulip was very popular in Turkey since it was a symbol for life and fertility. It was therefore commonly used in textile exhibitions: patterns for the kaftans of 16 Tulip Vases from Twelve Designers Gallery Terra Delft, Delft, The Netherlands the Sultans and as a pattern 17 Signals in different ceramic objects. Flow Gallery, London, England Not long after the tulip was 17 Patchwork introduced in The Netherlands Armstrong’s Gallery, Pomona, California it became a much loved flower 18 Sixth Biennial State of Clay 2009 Lexington Arts and Crafts Society, as well and a true tulip fever Lexington, Massachusetts came into being. Finally this 18 Perils in the Sublime: A Poetic Consideration fever collapsed in 1637, leaving of Ecology, Landscape and Reconstruction Gallery of Design, College of Design, Arizona State many people bankrupt. Today University Tempe, Arizona the tulip is still the symbol of 20 The Infinite Teapot The Netherlands. Ohio Craft Museum, Columbus, Ohio 20 Figural Poetry: The Work of Juliellen Byrne The vases are an expression Springfield Museum of Art, Springfield, Ohio of a shared identity. Both Tur- 22 Microworlds key and The Netherlands use cross mackenzie ceramic arts, Washington, DC the tulip as a national symbol 22 Tradition, Innovation and Good Design: The Ceramics of David Gil and it therefore expresses the Bennington Museum, Bennington, Vermont connection between different cultures. The shapes of the vases reviews: are derived from the traditional Dutch tulip vases. Because the tulips were so extremely expensive 24 Everything Is Not As It Seems (at the peak in 1637 one tulip bulb was sold for 10,000 guilders, as much as a coach house on the by Elizabeth Reichert Greenwich House Pottery’s Jane Hartsook Gallery, canals in Amsterdam) the vases only have a small number of openings. The shapes are combined New York, New York with the traditional tulip patterns from the Turkish kaftans. The patterns are executed in red on a plain white background which re- fers to the color of the first tulips which came to The Netherlands.”

Above: Lotte van Laatum’s Tulipa Vase, 14 in. (35 cm) in height, earthenware, 2008–2009.

Left: Dirk Romijn’s Tear for the Ordinary Muslim, 15 in. (37 cm) in height, stoneware, 2008. Photo: Ron Zijlstra.

Ceramics Monthly May 2009 16 Signals An exhibition of works by craft artists from Finland was recently on view at Flow Gallery (www.flowgallery.co.uk), in London, England. “A signal can be a message from one person to another, through sound, language or light,” says Yvonna Demczynska, Director at Flow Gallery. “Our environment is full of signs, of which we are both conscious and unconscious. They surround us wherever we go; warn us, direct us, assure and inform us about what is happening around us. We can interpret signs without reflecting over them. They are part of our everyday, our means of communication in the world, whether in the city or in nature. “Visual art is a way of signaling. Contemporary applied art is a part of the visual culture and part of the tradition of form. Applied art in Finland lives on the boundaries between design and art and is living through a process of change. Kristina Riska says of her work, “There always has to be a reason, an impulse that makes you create a work of art. My own works are my inner images that I give form to. “Architecture means a lot to me. Also history and environment bring interesting views to art—especially how people leave their marks [on] them.”

Kristina Riska’s basket sculpture, 24 in. (60 cm) in length, stoneware, white slip, fired to cone 6, 2008.

Patchwork A group exhibition including works by Bennett Bean, Nicholas Bernard, Beverly Crist, Thomas Hoadley, Peter Kuentzel and Geoffrey Swindell was on view recently at Armstrong’s (www.armstronggallery.net) in Pomona, California. The works exhibited display a variety of patterns, textures and colors. Each artist brings their own unique inspiration and process of piecing together different visual elements to create striking and distinctive ceramic pieces. Thomas Hoadley creates porcelain vessels using the ancient technique of nerikomi, creating patterns with colored clay using handbuilding techniques. Natural and delicate patterns are created through his masterful, sometimes magical manipulation of the clay. Geoffrey Swindell’s small, miniature–scale porcelain vessels are inspired by a wide variety of sources including aviation, aerospace and nature.

Left: Geoffrey Swindell’s small jars 51/4 in. (13 cm) in height, porcelain, glaze and oxides. Right: Thomas Hoadley’s nerikomi bowls 91/4 in. (23 cm) in height (tallest bowl), colored porcelain, high-fired, gold leaf.

Ceramics Monthly May 2009 17 exhibitions

Sixth Biennial State of Clay 2009 An exhibition of works by 50 Massachu- setts ceramic artists was recently on view at the Lexington Arts and Crafts Society (http://www.lexingtonma.org/LACS/) in Lexington, Massachusetts. The exhibition, juried by James Lawton, included utilitarian vessels, bowls and tableware as well as cutting edge sculptural and decorative fine art. “When I look at work I want to be moved—to be challenged by what the work has to say and the quality, materiality, of how it says it,” said Lawton. “I appreciate the ter- rifying and the beautiful, the nuanced and the bold, the whimsical and the serious—a heart that beats. I was not disappointed.” Jan Schachter’s deep plate, 11 in. (28 cm) in length, slab compressed Helmer clay, wood fired to cone 11.

Perils in the Sublime: A Poetic Consideration of Ecology, Landscape and Reconstruction An exhibition of works by Kim Dickey, Neil Forrest, Lauren Gallaspy, John Roloff, Walter McConnell and Clare Twomey was recently on view at the Gallery of Design, College of Design, Arizona State University (www.asu.edu/museums/fa/design.htm), in Tempe, Arizona. “The artists in this exhibition address ideas about our relation to landscape, past and present,” says co-curator Neil Forrest. “‘Perils in the Sublime’ reflects upon the dialectics of culture and nature, landscape and history, progress and sublimation. Moved by the arc of pre-historic Pueblo Grande Occupancy to contemporary urbanization, the artists view Phoenix as a city floating above and within an ancient landscape. It is the growth and collapse of familiar topographies that form the backdrop and subject for the work of the exhibiting artists. Perils provides six perspectives on landscape, substrate and regeneration in this nexus of culture and nature. The larger lens of the exhibition is set and measured by the genre of landscape art, and aspires to assess the relation of contemporary ceramics to landscape. The apparent politeness of historical representations of landscape in ceramics has given way to increasingly direct conversations that explore attending anxieties as much as the pleasure of landscape.” “I want to make work in which conventional hierarchies of value—the concrete over the imaginary, fact over fiction, efficiency over pleasure—are dismantled, their parts rearranged to form objects through which desire, pathos and obsession are encouraged, and the translation of event into imagination is made physical: form follows fetish,” states Lauren Gallaspy. “Clay is utilized in this activity as a covert material. A thicket in which animals of association may hide. A cooperative contradiction.”

Lauren Gallaspy’s Bone Spurned, 11 in. (28 cm) in height, porcelain, glaze, underglaze, fired to cone 6, 2009.

Ceramics Monthly May 2009 18 Ceramics Monthly May 2009 19 exhibitions

The Infinite Teapot Figural Poetry: The Work of A group exhibition featuring teapots created in various craft media was recently on view at the Ohio Craft Museum (www.ohiocraft.org) in Columbus, Ohio. Juliellen Byrne “The teapot is a comfort- Works by Juliellen Byrne were recently ing and everyday object that on view at the Springfield Museum of Art resonates with all of us,” (www.springfieldart.museum) in Spring- notes curator Kay Koeninger, field, Ohio. Associate Professor of Art at “When I read poetry, I start with my ini- Sinclair Community College tial read through, then I go back several times in Dayton, Ohio. “But these and reread, to listen to the rhythm, again for contemporary artists take the the rhyme, yet again for the reason,” states teapot as a first step—and then the museum’s curator Charlotte Gordon. explore the form in different “When I look at the ceramic work of ways and in different materi- Juliellen Byrne, I use the same approach. Julie als. The themes of European says, ‘It takes three things to tell a story.’ So and American folk art, Asian I first look at the overall composition, then pottery, trompe l’oeil, Cub- I go back and look at rhythm, the physical Sandi Pierantozzi’s teapot, 6 in. (15 cm) in height, slab-built porce- ism, Pop Art, fantasy, social highs and lows of the piece. Then I return lain, fired to cone 6, 2008. commentary and even the and look for the rhyme, how the line of this Baroque, come into play as the arm follows the line of that leg, then I look extraordinary takes shape in the for the reason, what three things are telling idea of the teapot.” the story, how do these elements work with or against one another. Sandi Pierantozzi says of her “In the piece, Travelling With My Sister work, “My decision to focus on While Her House is on Fire, several figures making pots comes from a deep are grouped together, in a processional sort appreciation of food, celebra- of way. The figures are directional, each fol- tion, and setting a beautiful lowing the one ahead, with the middle few table. I also feel that pots help in a small boat. . . . a rich story unfolds, with me connect with people on a many layers left open for interpretation. As I very basic human level. In this reread each face and the juxtaposition of pos- “age of communication,” where tures, the seemingly disconnected figures not most communicating is done only connect . . . they are feeding information via high-tech equipment and to one another and through one another; the machines, and so much food is secrets of the real story.” being eaten out of paper, plastic Matt Long’s teapot, 6½ in. (16 cm) in height, soda-fired porce- or Styrofoam, I feel I can com- Juliellen Byrne’s Traveling With My Sister While Her lain, 2008. municate through my pots by House is on Fire, 30 in. (76 cm) in length, 2008. bringing some creative life into the daily rituals of eating and drinking. I truly believe that a hand made pot contains the soul and energy of the person who made it, and that with use, a real human connection is made. I feel that these real connections between people are essential to keeping alive the soul in all of us. “Most of my pots are handbuilt from slabs that I make with a rolling pin. After rolling a slab, I either texture the clay as a flat surface and then make a cylinder, or carve into the clay after the form is made. I pinch or cut darts or sections of clay out to create various forms. With this method of working, I can make pots that reveal the soft qualities of clay through the impression of texture or carving, while at the same time show control of the clay through the nature of the forms.” “My passion for clay lies within functional pottery,” states Matt Long. “I believe that pots have a nature of their own—a soul, a breath of reality—that is inherently guided by their maker. In a world that is fast paced and oriented around convenience in life rather than quality of life, hand made functional pots can slow things down, allowing the user to enjoy the important aspects of human interaction and self-introspection. Hand made pottery is a complete human expression, not an interpretation of usable objects that only address a standard.” Ceramics Monthly May 2009 20 Ceramics Monthly May 2009 21 exhibitions

Microworlds An exhibition of ceramic sculpture by Neil Forrest and photographs by Norman Barker and Giraud Foster was recently on view at cross mackenzie ceramic arts (www.crossmackenzie.com) in Washington, DC. “These artists explore worlds unseen by the naked eye and through their original techniques create intricate representations of these invisible realms,” according to the gallery’s director, Rebecca Cross. “Neil Forrest studies cellular organization in nature as a platform for his architectonic sculptural installations. The artist is interested in the skeletal construction of organic systems and he engineers sculptural forms in clay inspired by that study. This is no easy feat. The technique he developed allows him to overcome the challenge of the unfired porcelain and stoneware during the building process. . . . Forrest achieves a complex matrix that relates to the systematic growth of reefs. By using suspension lines and connecting devices, the artist Neil Forrest’s Rhizome, installation view and detail, 12 ft. extends the reach of his ceramics, making colonies (3.6 m) installed, cone 6 porcelain, vinyl tubing and metal with long chains of connected sections.” fittings, 2001.

Tradition, Innovation and Good Design: The Ceramics of David Gil The work of David Gil, founder of Bennington Potters, is on view at the Bennington Museum (www.benningtonmuseum.com) in Bennington, Vermont, through May 17. “Nearly 100 years after Bennington became a center of ceramic production, an artist, oblivious of the town’s ceramic past, started his own ceramic design cooperative,” according to Jamie Franklin, Curator of Collections at Bennington Museum. “Prior to his death in 2002, Gil designed hundreds of different pieces over a period of more than fifty years, establishing a hybrid hand craft/manufacturing company, Bennington Potters, Inc. (originally named Bennington Design Co-Operative). “This is the first major retrospective of Gil’s work . . . showing the variety of ceramic products designed by Gil and produced by Bennington Potters over a period of more than 50 years. These products range from the slick, modern looking biomorphic designs of the early years that won Gil national prominence during the 1950s to whimsical tiles and animal-form banks dating from the 1960s and ‘70s. The exhibit also features examples of Gil’s simple, but well-designed and highly functional, dinnerware. An example of his famous trigger-handled mug, designed in 1953, is among the pieces in the exhibit. It was this mug that is credited with keeping Bennington Potters in business during the lean years. “In addition to being a comprehensive overview of Gil’s career as a ceramic designer, the exhibition will also place Gil’s work within the larger cultural and artistic context from which it originated. As a student at the New York State College of Ceramics at Alfred University during the 1940s, Gil started his career in the crucible of the American craft movement. This was a movement that in many ways shunned the industrial, machine age in which it originated. Studio craft artists wanted to get back to the pre-industrial approach to the making of household goods, both beautiful and functional, by hand. Gil’s philosophy was much different. A craft artist at heart, Gil believed in the value of handmade objects, as exemplified by the patriarch of mid-20th century functional, production ware, Bernard Leach. However, Gil was also inspired by Bauhaus and the modern industrial design and manufacturing techniques. He wanted to make beautiful objects that were affordable to the masses. In order to do so he realized he couldn’t be a traditional studio potter, creating each piece from beginning to end at the potter’s wheel. Holding tight to his core values of hand-craft and high aesthetic standards, Gil embraced mechanization, including a ram press and a tunnel kiln. The combination of these principles brought about the success of Bennington Potters. Above right: David Gil’s trigger-handled mug, glazed stoneware, c. 1960. Right: David Gil and Louis Mendez’ Birdland Bud Vase, glazed stoneware, designed 1953, made 1953-59. Both pieces: Collection of the Bennington Museum. Ceramics Monthly May 2009 22 Ceramics Monthly May 2009 23 reviews

Jeanne Quinn’s Everything Is Not As It Seems, 24 ft. (7 m) in width overall installation, porcelain, wire, paint, electrical hardware, 2009. Photos: Cathy Carver.

Everything Is Not As It Seems by Elizabeth Reichert Richard Wagner—one inspiration behind Jeanne Quinn’s most recent remained more prominent and perhaps more important in Quinn’s work is exhibition at Greenwich House Pottery’s Jane Hartsook Gallery in New her increasingly sophisticated symmetries. Her earlier dishes, for example, York City—presented, in 1849, his idea of Gesamtkunstwerk: that the song, were mirrored like Rorschach blots, and while her vision has expanded beyond poetry, drama and architecture of a performance would be synthesized into pots to include space and gravity and entire rooms, her first installations were a complete work of art. Wagner was a composer, writing about opera. He still comprised of straightforward symmetries—large, Braille-like designs on even built his own opera house in which to stage such works—a grandiose walls—reminiscent of ornamental prints, or again, of Rorschach blots. gesture that finds correlation in Quinn’s desire to turn this tiny West Village In this show, the symmetry has become playful and elusive. Explaining gallery into a salon. her title Everything Is Not As it Seems, Quinn says that the installation—at Drawing on the coziness of the space—its tall windows and hardwood first chaotic, in that it defies the viewer’s expectations that a chandelier possess floors, its marble fireplace and tree-lined views —Quinn’s porcelain beads radial symmetry—begins to present its patterns as the viewer walks into the and electrified bulbs loop into functioning chandeliers that evoke tea and room and takes, or does not take, a seat in the observer’s central chair. “You women, jewelry and domesticity—basically the artist’s other chief inspira- come to the center,” she says, “and realize the room is bilaterally symmetrical. tion: the decorative arts. “I think of my pieces as Gesamtkunsthandwerks,” The whole piece snaps into focus. Everything is not as it seems; you don’t Quinn writes, combining Wagner’s gesamtkunstwerk with the German word get symmetry where you expect it but then an underlying order is revealed.” for the decorative arts, kunsthandwerk. Hoping to bridge “public exhibition The viewer may notice four identical balls hovering a thrilling inch above space and domestic space” into a “sensually encompassing installation,” the ground. Each ball is spaced in perfect quadrants, dropped down from Quinn created red backgrounds. Her crimson and white color scheme sug- threaded columns. A pattern of matte beads versus glazed balls might be gests both the romance of Victorian velvet or of theater curtains as well as the discovered, and then the gravity-defying, clustered disks repeat left and right. sensuality of bone and blood. The viewer sees necklaces of pearl and of spine, Indeed, the main pleasure in experiencing Everything Is Not As it Seems comes femurs floating and matte crystal hovering. Cursive lines coalesce around from these shifting patterns that tell us this is more than a chandelier. tumescent globes, and phallic antlers give off light. Sitting in a chair near Part of the pleasure in classical music also comes from identifying emerging the fireplace—where a guest of honor might be entertained or a composer symmetries, from anticipating leitmotifs and getting carried away by the sort enthralled—the viewer’s sense of what is abstract and what is physical gets of tonal invariances that Wagner helped pioneer. To think about these qualities lost. Is the feeling celestial or corporeal? Is the aesthetic accessory or lofty? is to understand how a chandelier, in its dancing droopiness and lights offered Push a garland and the chandelier dances, puppet-like. Shadows drift along like a ballerina’s hands, might be theatrical, and how clay, in its arabesques and the walls, and the final effect is theatrical. swirls, might be musical, operatic. Quinn knows her Wagner as well as she Quinn, who teaches at the University of Colorado Boulder and maintains knows her clay; as an undergraduate at Oberlin College, she studied baroque a studio in Brooklyn, New York, has been featured in books like Postmodern music; she apprenticed with a violin maker and earned her living crafting Ceramics and Sex Pots. Such titles remind us of the artist’s complimentary flutes. Ceramics and music are an unlikely pair. But lucky for us, an artist has curiosities: a touch of the intellect here and a touch of the sensual there. Her come along to show us that not all unlikely pairs are what they seem. earlier work includes pots joined like bodies, the eroticism of which remains only in the round shapes she now uses in her installations: the dripping clouds, the author, Elizabeth Reichert, is a freelance writer whose articles have appeared in the curtains of bulbous curves, the elongated forms in this show. What has CM and other art journals. Ceramics Monthly May 2009 24 emerging artists

If mixed media is your thing, no problem. Need your fix of straight-forward function? Done. From raw-clay installations to felt bunny ears to celadon and flashing slips, this year’s emerging artists have you covered.

We set out to present exciting new work you may not have seen, by folks you may not have heard of, and it turns out that their efforts cover just about the entire spectrum of studio ceramics. It’s gratifying to see proof that clay is alive and well in all its fascinating applications, and we think you’ll agree that the future of the field is secure.

A hearty thanks to all who submitted work, and well-deserved congratulations to those whose work appears on the following pages.

—Sherman Hall, Editor

Shay Church, Kalamazoo, Michigan ...... 26 Jeremy Randall, Tully, New York ...... 30 Magdalene Gluszek, Gatlinburg, Tennessee ...... 32 Joanna Powell, Dallas, Texas ...... 34 Nathan Craven, Helena, Montana ...... 38 Brenda Lichman, Denton, Texas ...... 40 Merrie Wright, Tyler, Texas ...... 44 Stephanie Craig, Strongsville, Ohio ...... 46 John Utgaard, Murray, Kentucky ...... 50. Ryan Olsen, Red Lodge, Montana ...... 52 Joseph Page, Walla Walla, Washington ...... 54 Shanna Fliegel, Tarrytown, New York ...... 56 Andréa Keys, Athens, Ohio ...... 58 Clay Leonard, Bowling Green, Ohio ...... 60 Raymond González, Gainesville, Florida ...... 62 Melissa Griffin, Minneapolis, Minnesota ...... 64

Ceramics Monthly May 2009 25 Shay Church Kalamazoo, Michigan

I believe in the natural cycles of the earth. Above: Gray Whale, 30 ft. (9 m) in length, raw clay, wooden armature installation, Cypress, California, 2008.

I often find truth within these patterns of Below: Gray Whale, 37 ft. (11 m) in length, raw clay, wooden armature, “permanent” installation life and death. While cities grow, wars rage completed during a residency at the Archie Bray Foundation for the Ceramic Arts, Helena, Montana, 2008. and industry climbs, nature’s pulse is just as persistent. Migratory paths remain, rivers continue to run downstream, wolves hunt, and insects are hatched. My artwork is an attempt to create a mean- ingful connection between myself and the natural world. Often this connection seems fleeting. It is based on observation and the physical act of working with material such as clay and wood. This physical relationship also allows me to explore my spiritual, emotional and psychological concerns for the human experience. My wet clay installation series focuses on the gray whale. These mammals have long, daunting migrations they must survive each year. I like to describe my installations as “migrations interrupted.” This puts a force- ful, crude human twist on an elegant natural cycle. I find comfort in meditating on their constant migratory state.

Ceramics Monthly May 2009 26 Ceramics Monthly May 2009 27 Ceramics Monthly May 2009 28 Ceramics Monthly May 2009 29 Jeremy Randall Tully, New York

Familiarity evokes memory and I look to this association to present nostalgia through form. My reference to rural American architecture and antique rural implements places the viewer in a familiar setting that is layered with time, function and history while color creates celebration in these iconic objects. The vessel forms tie these objects back to the domestic space, enriching one’s living environment while allowing for quiet contemplation and a reminder of a simpler time. The colors used refer to milk-painted surfaces, layered and stained by generations of use, while the wire elements and steel tacks are placed in the clay surface to give a direct connection to ideas of construction and joinery. The containers relate to buckets, tool caddies and tool boxes, connecting the ritual back to the everyday and creating a connection to the importance of our simplest actions. I believe that we need to re-connect to what is around us—people, objects and community. My work is meant to be the catalyst for those connections.

Above: Yellow and Blue Tank, 9 in. (23 cm) in height, earthenware, terra sigillata, glaze, steel tacks, nichrome wire, 2007.

Left: Purple Silo Bottle, 18 in. (46 cm) in height, earthenware, terra sigillata, steel tacks, nichrome wire, 2008.

Ceramics Monthly May 2009 30 Ceramics Monthly May 2009 31 Magdalene Gluszek Gatlinburg, Tennessee

Children in general are less inhibited by social and cultural constraints imposed on them later in life. Their actions are frank and more sincerely instinctual than those of adults. Adolescence is the meeting of these two worlds, where the boundaries of cultural and natural influences become blurred. I use animal features and mannerisms blended with those of humans to create hybrid forms, which illustrate this psychological state. Through the process of play and “trying things on,” my figures experiment with objects that affect their appearance and bodily movement. The decorations reference desserts in their delicately frosted, sugary surfaces. . . . They serve as a means to an end as vehicles used to create an image of desire. The figures are experimenting with different modes of Top: Feeding, 21 in. (53 cm) in length, terra cotta, felted self-representation. They alternate between appearing wool, wire, polymer clay, resin, glass eyes, 2008. submissive and threatening. It is indistinguishable Above: Eavesdropper, 27 in. (69 cm) in length, terra whether they make these alterations for a self-serving cotta, fabric, wire, glue, nylon flock, lacquer, glass purpose or for the pleasure of the viewer. eyes, 2008.

Ceramics Monthly May 2009 32 Ceramics Monthly May 2009 33 Joanna Powell Dallas, Texas

The focus of my work has been the creation of objects that are beautiful and fun, with an informal use of material, pattern and color. I am a collector of objects and ideas that manifest themselves in a need to create pieces which are treasured by others in the same way I treasure them. Memories of objects are important to me and are incorporated into the pieces; like the curve of the outer edge of an old umbrella or the fluffiness of a cloud. . . . I picture my work in an imaginary landscape; quiet, picturesque and ideal. I try to invoke in each piece a playful, nostalgic feeling, not concerning myself with slight, human- izing imperfections. My glazes are layered to create a sense of depth and interest in the surface decorations. . . . When glazing, I let the pots tell me what they want. For me, clay is an intuitive medium and the work comes from within. My forms are created through evolution and not forced into being.

Right: bell jar, 7½ in. (19 cm) in height, soda-fired porcelain, 2008.

Below: butter dish, 7 in. (18 cm) in length, soda-fired porcelain, 2008.

Ceramics Monthly May 2009 34 Ceramics Monthly May 2009 35 Ceramics Monthly May 2009 36 Ceramics Monthly May 2009 37 Nathan Craven Helena, Montana

Through the act of arranging, stacking, balancing, and connecting po- rous ceramic units, I invite the viewer to experience how a wall or floor might contain space and direct flow through space in new ways. The eighteenth century German philosopher Immanuel Kant described decoration as “enlivening the object for sensation.” In my work, extruded forms function both as decoration and as structure. Depending on their context, they become floors, window screens and room dividers. This architecture is not merely decorated, it actually grows from decoration.

Above: Gordon and Marthe Behr It All, 8½ ft. (2.6 m) in height, ceramic extrusions and wood, 2008.

Right: Kosmeo Wall Prototype II and III, each 25 in. (64 cm) in height, ceramic extrusions, wood and wallpaper, 2008.

Ceramics Monthly May 2009 38 Ceramics Monthly May 2009 39 Brenda Lichman Denton, Texas

The physicality of the ceramic medium is an inte- gral part of my everyday liveliness and identity. As a result, it is imperative that my work reflect this synergy. I define myself as an energetic, passionate person, striving for balance and harmony in my life and in my creative work. It is important that I leave my mark on the surface of the vessels I create to express this personal involvement with each piece. The touch of my hand or a fingerprint left on the surface are all aspects of this interaction. Thick slips are added to the outer surface of my vessels, creating soft fluid contours. These luscious lines accent the form, alluding to graceful movements of a feminine gesture. I begin to develop the form from within; stretching, pushing, and pulling the clay outward, creating internal volume and strength. My vessels convey an inner quality or core: a breath, full of energy and full of life.

Above: lidded jar, 6 in. (15 cm) in height, thrown and altered, soda fired to cone 10 in heavy reduction.

Below: oval dish, 11½ in. (29 cm) in length, thrown and altered, soda fired to cone 10 in heavy reduction.

Ceramics Monthly May 2009 40 Ceramics Monthly May 2009 41 Ceramics Monthly May 2009 42 Ceramics Monthly May 2009 43 Merrie Wright Tyler, Texas

Ceramic sculptures of the figure have historically been used to comment on culture, from Japanese Haniwa to Tang dynasty splash ware to Mochican portrait vessels, offering insight into the creator’s social, religious and environmental surroundings. Pieces in the Urban Wildlife series are portraits of the animals’ struggle for survival and adaptation, and more acutely, portray the connection or disconnection between ourselves and our environment. The idea of camouflage, a means of concealment or disguise that creates the effect of being part of the natural surroundings, is the basis for color and surface texture selections of this work. Browns and gray—the familiar colors of wildlife camouflage found in North America—are replaced with “urban camouflage;” a myriad of manufactured colors and references to materials found in the urban landscape. The new camouflages created for each animal are both visually beautiful and environmentally disturbing, creating animals that are eerily in sync with their surroundings. The photographs serve as a reminder of adaptability amidst an evolving artificial landscape. Above: Graffiti Bluebird, 8 in. (20 cm) in height, earthenware; digital print, 34 in (86 cm) in width, 2007.

Below: Construction Zone Coyote, 24 in. (61 cm) in height, earthenware; digital print, 34 in (86 cm) in width, 2007.

Ceramics Monthly May 2009 44 Ceramics Monthly May 2009 45 Stephanie Craig Strongsville, Ohio

In my current studio work, the Factory Work Series, I am equally interested in formal design considerations and conceptual concerns. Each piece is carefully crafted with emphasis on elements in contrast; most notably the delicate white figures juxtaposing the crusty industrial machinery. The bold visual contrasts amplify the tension in the suggested narratives. The sculptures signify many like people repeating antiquat- ed habits. I am interested in the tensions between traditional and contemporary ideologies and cultural habits, particularly regarding the individual and the collective. In this series, the individual’s concerns of futile labor, under-rewarded effort, and unsupported ambition are put against the collective’s mindless productivity, blind conformity, and mass indifference. The visually pleasing formal design and charming figures are bittersweet irony.

Above right: Factory Work Series #3, 28 in. (71 cm) in length hand-built stoneware, slip- cast porcelain, electric fired to cone 6, 2008.

Below: Factory Work Series #5, 10 in. (25 cm) in width, hand-built stoneware, slip-cast porcelain, electric fired to cone 6, 2009.

Ceramics Monthly May 2009 46 Ceramics Monthly May 2009 47 Ceramics Monthly May 2009 48 Ceramics Monthly May 2009 49 John Utgaard Murray, Kentucky

I have always remembered my dreams. Though I have never been a religious or superstitious person, I have always believed that my dreams had significance. The fact that there are large parts of ourselves that we can never experience in waking life is deeply fascinating and disturbing to me, and it motivates much of my work as an artist. My interest in the psychological has less to do with self-analysis than with the collective, hidden territory that we all share. I think of the things I make as geological, biological and psychological relics, as if my mind were a site of excavation. Wet clay records the work of our hands and reflects the softness of our bodies as well as the plasticity of our thoughts. When we fire it, it becomes like a fossil—hard, dead and stony, but with the evidence of a time when it was soft and alive in someone’s hands. I am attracted to how clay can speak of our living minds and bodies but at the same time of our mortality and the span of geologic time.

Right: Companion, 13 in. (33 cm) in height, slab and coil built, red earthenware, underglazes and lithium glaze, fired to cone 04 in oxidation, 2008.

Below: Remnant, 19 in. (48 cm) in height, slab and coil built, red earthenware, slips and lithium glaze, fired to cone 04 in oxidation, 2006.

Ceramics Monthly May 2009 50 Ceramics Monthly May 2009 51 Ryan Olsen Red Lodge, Montana

I am investigating how we experience what we are attracted to. This experience is multifaceted, involving an awareness of nature, various cultures and histories, and a connection to ceramic vessels. I do this with the understanding that visual and physical attraction are both different than our experience of beauty. The idea of beauty is a human understanding of attraction. For example, an insect is attracted to a flower through form and color, not the insects understanding of beauty. My vessels operate in a similar way when their formal attributes are expe- rienced through their physical qualities. Through form and color, their relationships become clearer. Saucers contain and hide the feet of cups, while the lips of the cups undulate to conform to vases. Their understood utility becomes hidden when the collection of forms are viewed as a whole, not unlike a garden of flowers. These larger forms can then be separated into single vessels, not unlike picking a single flower from a garden. This facilitates an understanding of the individual utility of each object inside a larger whole.

Objects that create an awareness of beauty further our understanding of the ways in which we are attracted to them. Vessels are not only utilized by their intended function as objects but also with an understanding of our capacity to aestheticize our environment. This beautification of the everyday lies in a relational experience of physical and conceptual qualities. I draw upon historical ceramic forms to introduce cultural notions of beauty—taking forms and imagery from separate cultures and interpreting them through a single piece.

Top: Pitcher Stack, 14 in. (36 cm) in height, reduction-fired celadons, soda/ wood-fired clay, porcelain and stoneware, 2008.

Left: Whiskey Stack, 12 in. (30 cm) in height, reduction-fired celadons and soda-fired cups, porcelain, 2008.

Ceramics Monthly May 2009 52 Ceramics Monthly May 2009 53 Joseph Page Walla Walla, Washington

My primary concern is to immerse the viewer in a place of both comfort and uncertainty. While the appearance of the work comes from the realm of fantasy and early video games, my conceptual approach looks for ways to function under strict sculptural parameters, much in the same way those early video game program- mers navigated the visual and technological limitations of their time. I’m challenged by the premise of presenting a simplistic, sugary and absurd scenario as both a sophisticated and fantastical environment. The work is the product of a calculated system, an undercurrent suggesting that all is not what it first appears to be. The intent is not to be cynical about notions of escape and fantasy, but instead acknowledges their importance and limitations. Early video games were created with a basic level of technology. There was an extremely limited color palette and an inability to render recognizable shapes. . . . The small number of pixels and colors meant that a number of simple repeated elements would tend to make up these worlds, but the objects and characters they rep- resented would change based upon the context, combination, timing and direction in which they appeared. Similarly, I find myself interested in what happens when everything in an environment passes through the lens of a simple form, like the bubble. There is an important relationship between the economy of a simple form and a need for complex logic and order. The unyielding insistence of such a system allows the characters and locations to gain identity through repetition and contextual placement. Clouds, mountains, waterfalls, wind currents, rays of light and the growth of vegetation all fall within the same values dictated by the insistent repetition of the bubble. The playfulness in the work is tempered by the calculated rules for how the system oper- ates. The optimism and comfort gained by such strict rules do not exist without an underlying current of skepticism; this is what drives us to keep looking.

Above right: Flow Chart, dimensions variable, porcelain, polystyrene foam, paint, hardware 2008.

Below right: Containment Cloud II, 22 in. (56 cm) in length, porcelain and polystyrene foam, 2007.

Ceramics Monthly May 2009 54 Ceramics Monthly May 2009 55 Shanna Fliegel Tarrytown, New York

The surrealistic nature of dreams and childhood memories motivate the manifestation of the drawn, sculpted and painted images of my forms. I am drawn to an aesthetic that is both visceral and detailed. I intend for image, color and clay to exist as a harmonious vehicle that can generate stories for the viewer. By combining the parts of horses, rabbits, insects, birds and other various animals with human compo- nents, I attempt to shape characters within the fantasy worlds that once dictated our childhood thoughts. Ab- surdity and humor are themes that circulate throughout the situations I illustrate. Beyond the bizarre, I also question the disposition of contemporary society’s relationship with animals, and I am interested in ideas that surround the human need to anthropomorphize them. Recently, I’ve become interested in the juxtaposition between society’s constructs of architectural forms among nature’s habitats.

Right: detail of History of a Large Mammal. Below: History of a Large Mammal, 28 in. (71 cm) in height, earthenware, 2008.

Ceramics Monthly May 2009 56 Ceramics Monthly May 2009 57 Andréa Keys Athens, Ohio

The sculptures that I make are driven by a desire to investigate how an individual’s personal history affects their identity, behaviors and actions. I am especially interested in inter-generational trauma and how a person’s past—particularly a past that has been interrupted by a traumatic event such as war—can influence patterned behaviors that are passed through the family. I focus on characters who take their cues from Western ideals of a collective identity. I am utilizing images, patterns and symbols found in specific notions of Western identity and Jungian psychology to create my characters, yet I am displaying them in environments that are unfamiliar. The element of fantasy that is thus created shows how the past and the present, dream and reality, conscious and unconscious, familiar and unfamiliar can exist together in an environment that is uncanny, similar to the way subconscious memories of a traumatic event can be very much alive in our conscious actions.

(dis) Placement (detail), figures 4 ft. (1 m) in length, hand-built stoneware, paint, 2008.

Ceramics Monthly May 2009 58 Ceramics Monthly May 2009 59 Clay Leonard Bowling Green, Ohio

We live in an era where indirect forms of communication have become standard. Cell phones, internet messaging and e-mail have made face-to-face conversation seem like a distant memory. Through my ceramic vessels, I investigate the important ritual of sharing a meal. My ceramic vessels embody my interest in design, including the innovation of forms during production as well the aesthetic of display. This body of work is my contribution to reintroducing the lost art of communication around the dinner table. Although my work draws formal inspiration from mass-produced objects, I strive to reclaim the directness of human interaction with the material. Arranging the work in groupings references the table and the object’s domesticity. Through the presentation of these forms, I also reference where the work exists prior to display or use on the table. The stacking of these forms suggests the storage of these objects and reinforces the idea of humble production.

Above: server with stacked nesting plates, 18 in. (46 cm) in length, slab-built porcelain, fired to cone 6 in oxidation, 2009.

Below: stacked rotary servers, each 11 in. (28 cm) in length, slab-built porcelain, fired to cone 6 in oxidation, 2009.

Ceramics Monthly May 2009 60 Ceramics Monthly May 2009 61 Raymond González Gainesville, Florida

My art explores the overlap and interrelation between child play, adult play, desire and sensuality. Many of our toys were handed down from generation to generation. I strive to capture the appeal of those toys—Lincoln Logs, Legos and wooden blocks—that endured time and generations. In some way, my art is my play, and when I work, it is joyful and fun. At the same time, references to adult play intentionally inform the work. The adult audience is able to enjoy the work for its quality of design, suggested interactivity and references to sensuality. While I reference the act of child play, the adult audience is also able to make associations with my work sensually as adult play. The distinction between the male parts and female parts is clear. The desire to touch the work also feeds this sensual desire to play as you caress the forms and fondle the nipple-like protrusions. The interaction between the parts and the ability to pop them into and out of each other is enjoyable. This interaction recalls many fields where male and female are pertinent to understanding, such as electrical or plumbing where the male part fits into the female part. Above: Collectible XIV (Sputnik), 6 in. (15 cm) in height, My work embodies a toy-like quality, and beckons visual earthenware, glaze, luster, 19 light emitting diodes, 2009. interaction. While the physical is not allowed, desire to in- Below: Collectible XI, 18 in. (46 cm) in length, earthenware, glaze, teract and visual interaction is certainly encouraged. flocking, rubber grommet, luster, automotive urethane, 2008.

Ceramics Monthly May 2009 62 Ceramics Monthly May 2009 63 Melissa Griffin Minneapolis, Minnesota

My work is a search for a connection to new and shifting landscapes, as well as an investigation of my own evolving relationship with the natural world. The imagery reflects an ongoing inner dialogue regarding the domestication of animals and land. Animals can be caged or freed by the form, and the surface landscape speaks both of cultivated earth and open horizons. Characters are whimsical, but sometimes melancholy or forlorn. These animals are a reflection of my search for meaning and a sense of wonder within the tame surroundings of suburban life. By capturing images of these characters on familiar, functional and tactile objects, I bring them into our most intimate domestic places and activities and propose a dialogue between the user and the piece. Drawing on my faith in the innate intelligence of the motion of making, I allow momentum and intuition to guide my studio practice. Throughout the entire pot, I seek to balance comfort with adventure, and structure with romance and possibility.

Above: Vulture’s Dinner Plate, 11 in. (28 cm) in diameter, earthenware, 2008.

Below: Chicken Tray Set, 12 in. (30 cm) in length, earthenware, 2008.

Ceramics Monthly May 2009 64 Ceramics Monthly May 2009 65 Three Generations of Hamada Potters by Andrew L. Maske

Of all the well-known Japanese ceramic artists of the past four we tend to assume that those outward trappings are essential for hundred years, men like Raku ware’s Chojiro, the Kyoto design- any Japanese traditional craftsman/artist. Shoji typically dressed ers and decorators Ninsei Nonomura and Kenzan Ogata, and the in western suits on formal occasions, however; so he no doubt innovative and technically brilliant Kozan Makuzu, by far the wore native working garb mainly because he found it comfortable, most famous and influential has been the twentieth century folk not because he thought it necessary for a “traditional” potter. craft (mingei) movement potter Shoji Hamada (1894–1978). It is That said, it is obvious that Shoji approached his life and work ironic that Shoji sought to capture the spirit of “nameless potters” in a holistic manner, and that his workshop, house, clothes and (mumei toko) who had worked before him, and ended up becoming lifestyle were all related to his greater motivation for working in famed around the developed world. It is even more surprising that clay. One is struck most strongly by both his aesthetic focus and he began his craft not in a traditional workshop as an apprentice to the reverence with which he treated his profession. These, and an established potter, but in one of Japan’s newly-founded technical a keen sense of design, are what set Shoji Hamada apart from schools, Tokyo Industrial College. other ceramists. It is important to realize that Shoji Hamada did not set out Shoji Hamada’s son, Shinsaku, naturally has had a life both to become a folk craft style potter from the outset of his career. easier and more difficult than his father. One might suppose that His first teacher was the famed porcelain artist Hazan Itaya growing up watching his father, then working alongside him well (1872–1963), whose delicately executed designs in soft colors and into adulthood, it would take Shinsaku little effort to produce relief and whose habit of wearing a white lab coat when he worked whatever he wanted. In fact, he really only had to continue his were the antithesis of the mingei ideal. Both Shoji and his good father’s basic style, using the same materials and the same tools, friend Kanjiro Kawai (1890–1966) worked as ceramics technicians and he was assured of a comfortable life with a steady income. At at the Kyoto Ceramic Testing Institute—their first paying jobs the same time, it must be admitted that Shinsaku’s circumstances in ceramics. Thus, it is a mistake to refer to Shoji as either a folk at the time of his father’s passing could not have been very easy. artist or a traditional potter, because the styles he worked in were Although he had all the skills to continue making his father’s consciously selected and developed from all the many ceramic style of pots right there in his father’s own workshop, if he chose, modes he encountered. Shinsaku was also faced with a situation in which the number of Today, when we read about Shoji in his later years and see potters coming to Mashiko to cash in on the Hamada mingei legacy photos of him bent over the wheel in his traditional garments, was increasing steadily.

Ceramics Monthly May 2009 66 Yet Shinsaku had resources beyond what might be expected. As a also pays tribute to Shinsaku’s wheel-throwing skills. One wonders young man, he attended Waseda University in Tokyo, one of Japan’s how many of the pots that pass as Shoji’s were actually thrown by foremost private universities. There he studied industrial arts, since Shinsaku? Of course, neither Shoji Hamada nor anyone else who he had already decided to be a potter. After graduation, Shinsaku understands the mingei approach would say that there’s anything apprenticed in his father’s workshop, and in 1953–54 he served wrong with that. After all, most traditional ceramics around the as an assistant to his father on his first visit to the United States. world were made as part of a collaborative process. (Moreover, there Susan Peterson, in her wonderful 1974 classic Shoji Hamada: A is little doubt that Shoji personally worked in some way on every Potter’s Way & Work (www.ceramicartsdaily.org/books), records that ceramic piece that his workshop sold under his name.) in his prime, Shinsaku could throw 75 tea cups in an hour—quite Looking intently at Shinsaku’s ceramic pieces, the differences a remarkable feat. In the foreword to that volume, Bernard Leach between his works and those of his father become clear. While the

Square vase, 9½ in. (24 cm) in height, stoneware Square jar with octagonal opening, 9 in. (23 cm) in height, with cobalt and brown sugar cane glaze, by Shoji Hamada. stoneware with kaki glaze with akae (enamel) decoration, by Shoji Hamada.

Ceramics Monthly May 2009 67 Large plate, 19½ in. (50 cm) in diameter, stoneware with celadon glaze, by Shinsaku Hamada.

two share many of the same sturdy, utilitarian shapes, Shinsaku’s approach to decoration and glazing parts ways with that of his father. While Shoji focused on the motif, capturing simplified or abbreviated forms from nature or depicting energy, through techniques such as splash glazing, Shinsaku is more concerned with rhythm and pattern, using repeated forms to evoke a subtle emotional response and bring a sense of wholeness to his vessels. photos: Courtesy of P u c ker Gallery Courtesy photos: Moreover, Shinsaku’s work often has an engaging sense of liveliness and even humor to it. If the impression made by Shoji’s work could be thought of as a sublime smile, the feeling of Shinsaku’s work might be characterized as a joyous giggle. Shinsaku’s second son, Tomoo Hamada, has taken yet a different tack from those of his father and grandfather, meanwhile maintaining certain consistencies that distinguish Hamada–lineage ceramics. Tomoo’s pots utilize essentially the same materials as those of Shinsaku and Shoji—glazes like reddish brown kaki, brown tenmoku, cobalt blue, white rice straw ash, bluish-white namako, green seiji, black kurogusuri, creamy nuka, translucent namijiro and runny-green wood ash, all used to cover a speckled tan clay dug and formulated right in Mashiko. Unlike his elders, however, Vase with lugs, 11 in. (28 cm) in height, stoneware Tomoo has become much more daring in the use of unconventional with black and white glaze, by Shinsaku Hamada. shapes, extensive application of overglaze enamelled decorations,

Ceramics Monthly May 2009 68 and surface textures. In particular, his tiered flasks are very progressive, and unlike anything seen before in a mingei genre. It is clear that Tomoo has been looking beyond the works of his forebears, examining works from the early English Arts and Crafts movement, and even from Art Nouveau. Many of Tomoo’s works aim for a vibrant and re- cherché effect; repetition plays an important role in his skillfully and generously applied overglaze enamel decoration, creating an almost textile-type surface on many of his works. His favorite motif no doubt is a type of shell-rondel; it appears not only in relief and in enamels, but even in openwork. Although his pieces are all vessels, some of them would be difficult to use, and seem created to be admired on a shelf rather than handled by their owners. Among such works, those of unconventional or asymmetrical shapes stand out. For use or not for use—that is the question that has haunted both vessel potters and their buyers since handmade ceramics first outstripped their production line counterparts in cost. One can imagine that, today, relatively few of Shoji’s many surviving works are used on a daily basis, and most are probably never used except for display. Tomoo seems to have made a practical choice to create pieces that are, first and foremost, satisfying visually, and to let the purchasers find ways to use them if they so choose. The world of traditional ceramics in Japan naturally places great emphasis on lineage. Lines of potters that began in the late sixteenth or early seventeenth century are now in their fourteenth or fifteenth generations. A lineage of only three generations may seem insignificant by comparison, but the works of the Hamada family make it clear that it is not the length of the line that is most important, but rather the quality of the work.

This essay is from the exhibition catalog for “Hamada: Three Generations,” June 13–July 20 at Pucker Gallery (www.puckergallery.com) in Boston, Massachusetts. the author Dr. Andrew L. Maske has held positions at the Peabody Essex Museum, the Rhode Island School of Design and Harvard University. He is currently Assistant Professor of Art History (Asianist) at the University of Kentucky, where he is researching connections in ceramics between the nations of East Asia.

Top: vase, 9½ in. (24 cm) in height, stoneware with blue and kaki glaze, with akae (enamel) decoration, by Tomoo Hamada.

Right: vase, 11 in. (28 cm) in height, stoneware with white glaze and akae (enamel) decoration, by Tomoo Hamada.

Ceramics Monthly May 2009 69 De-Constructing Anne Hirondelle by Matthew Kangas

Tumble 6, 10 in. (25 cm) in height, sanded and waxed stoneware, fired to cone 01, acrylic and latex paint, 2007. Courtesy of Francine Seders Gallery. Photo: Frank Ross. Ceramics Monthly May 2009 70 Anne Hirondelle’s artistic achievements have led to numerous group exhibitions all over the world. The 64-year-old Vancouver, Washington-born artist has had a raft of solo exhibitions since 1977 in New York, Seattle, Los Angeles, Chicago and elsewhere. Major museums as well as the William J. Clinton Presidential Library in Little Rock, Arkansas, have acquired her ornate ceremonial vessels. Though perhaps best known for her signature antiquarian vessels of the 1980s Anne Hirondelle and 1990s, Hirondelle recently made an abrupt transition to wall-mounted sculptures. Gradually rejecting glaze in favor of paint on unglazed white stoneware surfaces, Hirondelle also turned her art inside out, deconstructing her own former pathway to market success, the elaborate Greco-Roman or medieval-appearing pairs of dark pitchers, ewers, urns and vases. In 2002, she switched to notched and segmented circular forms with exposed colored interiors. With this switch, Hirondelle was able to turn away from traditional oversized vessels to abstract forms addressing contemporary conceptual content and the serious issues she has always been dealing with—femi- nism, gender, installation art and the denial of inherent ceramic properties. How did this evolution come about? As it turns out, much of the artist’s life has involved abrupt shifts, leaving old ideas behind and moving toward an unexplored future. In a similar fashion, the artist even switched identities early in her career. Formerly known as Anne Elizabeth Harvey Schwiesow, she

became Anne Hirondelle in 1972. With the Arum, 21 in. (53 cm) in height, stoneware with soda-ash stroke of a pen, she announced her use of a glazes, fired to cone 9, 1995. Courtesy of Garth Clark feminist strategy common to artists of the Gallery. Photo: Anthony Cunha. 1970s: Judy Chicago, Wanda West Coast and Marge Palm Tree, among others, adopted new artist names. Anne Harvey left behind a career as Director of a Seattle women’s center and a Stanford-trained psychologist to become Anne Hirondelle—the French word for swallow (bird)—Pacific Northwest ceramic sculptor. Though the recent shift in her work seems abrupt, it is related to her feminist thinking developed earlier in her career, and it had simply taken 30 years for this thinking to become part of the content of her work. Fast forward to 2002, celebrated clay artist Anne Hirondelle rejects the traditional vessel as well as the double-pot imag- Outurn #3, #4 and #1 (installation view), 12 in. (30 cm) ery she had been known for and replaces it in height, unglazed stoneware, fired to cone 01, 2004. with acrylic-painted and truncated thrown Courtesy of Francine Seders Gallery. Photo: Ole Kanestrom.

Ceramics Monthly May 2009 71 forms that gradually examine an infinite variety of concentric became more minimalist. Her studies with Robert Sperry at the compositions with systematic color and oblique orifices. Instead University of Washington were superseded by distant allusions to of the painstakingly meticulous works like Campaña, Carpella and Sperry’s predecessor, Paul Bonifas, a Purist ceramic designer who Tolmen from 1985–1994, she pursued a totally new direction, came to Seattle in the late 1940s to head the division at U.W. now addressing gender identity for the first time since her politi- The former secretary to Le Corbusier, Bonifas stressed design cal name-change strategy. Anne Hirondelle, vessel-maker, became over intuition, plan over impulse and drawing before throwing, Anne Hirondelle, feminist come-lately sculptor. What art critic all strategies eventually adopted by Hirondelle. Regina Hackett called Hirondelle’s earlier, “post-Art Deco” style One work, Arum, from 1995, alludes to the genital orifices suggested by her current work. With its splotched white interior and V-shaped lip descending to a zipper-like seam, Arum foretells Remember Grid (Edged), 20 in. (51 cm) in height, stoneware, fired to cone 01, with acrylic and latex paint, 2008. Courtesy of Francine Seders Gallery. the ovoid and vaginal suggestions of the Outurns series which Photo: Frank Ross. she worked on from 2002-04. As she wrote in 2008, “I began

Ceramics Monthly May 2009 72 Remember Stack, 32 in. (81 cm) in height, stoneware, Background (left to right on wall mounted pedestals ): Ready-Set-Go 2, 1, 3 and 4, to 12¼ in. (34 cm) in length, fired to cone 01, with acrylic paint, 2008. Courtesy of stoneware, fired to cone 01, acrylic paint, 2004. Foreground: Tumble 10, 9 in. (23 cm) in height, stoneware, Francine Seders Gallery. Photo: Frank Ross. fired to cone 01, acrylic paint, 2007. Courtesy of Port Angeles Fine Arts Center. Photo: Jake Seniuk. the Outurn series by moving the work from the horizontal to the deconstructing color in the process. Besides Ready-Set-Go, nested, vertical plane.” Positioning in space is therefore a critical factor concentric and curved cylinder shapes, as in Tumble 6, employ for the work begun in 2002. Juxtaposition of circular and square color with crisp division. Only the interior walls are colored, and shapes and images also evolved in Blind 4, 2006. the acrylic paints afford brighter yellow-green, red and pink shades. Hirondelle greatly expanded the formal properties of her work Tumble 10 enlists primary colors only, perhaps an homage to Mon- by shifting to a vertical, wall-mounted format. As the symbolic and drian. Go-Tumble 1 is simplest of all; each of the two shapes has representational subject matter of her past work gave way, Hirondelle the same interior shade of delphinium blue. Go 6 is a freestanding, instituted a dialogue with the most important development in West- truncated single shape with a vivid red interior wall. Finally, the ern art of the 20th century, abstraction. Ready-Set-Go 1-4, 2004, is a Remember Grids, 2008, are white spheres with thin black lines on shelf-mounted set of monochromatic pink, blue, orange and green their rims mounted in a grid upon the wall. In these, she has built flattened ovals with openings at one end. The series, crudely referred upon the exquisite delicacy of her related colored-pencil drawings to by Hackett as “abstracted bedpans,” lends itself to multiple-element such as Go 11-II, 2006, and Combine 8, 2007. installations as seen in Hirondelle’s 2007 museum exhibition, curated Having moved from the more anatomical feminist Outurns to by Jake Seniuk, at the Port Angeles Fine Arts Center. Ready-Set-Go the new, comparatively Pop colors, Hirondelle has covered more introduces a tenet of minimalist art, sequentially. ground in terms of development and innovation in the last five Hirondelle’s September 2008 show at Francine Seders Gallery in years than in the preceding 25. Her transition from the antiquari- Seattle offered an extraordinary range of sculptural approaches. Re- anism so endemic to 1980s American ceramics to a re-generated member Stack, 2008, places four fragmented spheres upon a tall pile abstract modernism has been well worth the wait. of splayed egg cartons. Twice, 2008, sets two white stoneware egg shapes in woven copper-mesh containers. Reclining Fold (2008) is a the author Matthew Kangas, a frequent contributor to CM, also folded-over pancake or crêpe form on a gray wool-felt cushion. writes for Art in America, Sculpture and Art Ltd. His full-length For an artist who developed an amazing range of “patinas” study of a Seattle ceramic sculptor, potter and filmmaker, titled using basic darker glazes in her earlier work, Hirondelle has now Robert Sperry: Bright Abyss, is available now from University of dismantled such an integration of color and surface treatment, Washington Press.

Ceramics Monthly May 2009 73 ceramic artsdaily.org

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Ceramics Monthly May 2009 75 call for entries Deadlines for Exhibitions, Fairs and Festivals submit online at www.ceramicsmonthly.org international McCloud, Gallery Up, 201 E. Main St. 2nd Fl., Rock Hill, versity, Ceramics Department, Eskisehir, 26470 Turkey; SC 29730; [email protected]; www.galleryup.com; [email protected]; www.seramik.anadolu.edu.tr; May 1, 2009 entry deadline (803) 980-5355. 90 222 335 1290. Ohio, Cincinnati “Call for solo and group exhibition May 31, 2009 entry deadline proposals for 2009–2010 exhibition schedule.” Juried May 15, 2009 entry deadline Canada, Toronto “Call for site-specific out- Pennsylvania, Philadelphia “Juried Solo Artist from digital. Fee: $30. Contact Terra Firma, Manifest door sculpture.” Toronto Sculpture Garden, Series.” Juried from digital. Contact Jeff Guido, The Creative Research Gallery and Drawing Center, PO Box 38 Avenue Rd., Ste. 713, Toronto, M5R 2G2 Clay Studio, 139 N. Second St., Philadelphia, PA 19106; 6218, Cincinnati, OH 45206 ; [email protected]; Canada; [email protected]; [email protected]; www.theclaystudio.org; 215- www.manifestgallery.org. www.torontosculpturegarden.com/proposals.htm; 925-3453. (416) 515-9658. May 1, 2009 entry deadline May 31, 2009 entry deadline South Carolina, Rock Hill “2nd Annual 30 Small May 20, 2009 entry deadline People's Republic of China, Beijing “Beijing Interna- Works” (June 24–August 7) open to work no larger than Turkey, Eskisehir “International Symposium of Over- tional Art Expo” (August 27–31). Contact Guangzhen 20” in any direction. Juried from digital. Fee: $30 for glaze Paintings 2009” (June 29–July 10). Juried from Po Zhou, Chinese Ceramic Art Council, 1155 S. De Anza two entries; $5 for each additional entry. Contact Alfred digital. Fee: $505. Contact S. Sibel Sevim, Anadolu Uni- Blvd., San Jose, CA 95129; [email protected]; www.chineseclayart.com/mall/c110/s25729/opportu- nity.asp; (408) 343-3919.

May 31, 2009 entry deadline France, Vallauris “Small Art Objects 2009” (July 7–21) open to work not exceeding 15cm in any direction. Contact, A.I.R Vallauris, Place Lisnard, 1 Boulevard des Deux Vallons, Vallauris, 06220 France; [email protected]; www.air-vallauris.com; 33 0 493 64 65 50.

June 1, 2009 entry deadline Pennsylvania, Philadelphia “Earth Matters NCECA Invitational” (March 13–April 15, 2010). Contact Linda Ganstrom, NCECA, 77 Erie Village Square, Erie, CO 80516-6996; [email protected]; www.nceca.net; (866) 266-2322.

June 1, 2009 entry deadline Pennsylvania, Philadelphia “Call for thematic group exhibition proposals for 2009–2010 exhibition schedule.” Juried from digital. Contact Jeff Guido, The Clay Studio, 139 N. Second St., Philadelphia, PA 19106; [email protected]; www.theclaystudio.org; 215- 925-3453.

June 5, 2009 entry deadline Ohio, Cincinnati “3rd Annual Master Pieces” open to current or recent MFA and MA students. Juried from digital. Fee: $30. Contact Terra Firma, Manifest Creative Research Gallery and Drawing Center, PO Box 6218, Cincinnati, OH 45206; [email protected]; www.manifestgallery.org.

June 19, 2009 entry deadline Spain, El Vendrell “V Biennal de Ceràmica” (October 15–18). Juried from digital. Patronat Mu- nicipal de Serveis Culturals, La Rambla, 24, El Vendrell, 43700 Spain; [email protected]; www.elvendrell.net/default2.aspx; 0034 977 66 56 84.

June 22, 2009 entry deadline Republic of Korea, Heungdeok-Gu, Cheongju-Si “Cheongju International Craft Biennial 2009” (Sep- tember 23–November 1). Contact Kang Sun Kyoung, Cheongju International Craft Biennial Committee, 329 Heungdeok-Ro, Heungdeok-Gu, Cheongju-Si, 361-828 Republic of Korea; [email protected]; www.okcj.org; 82 43 277 2501-3.

June 22, 2009 entry deadline Spain, Barcelona “IX Biennal Internacional de Cerámica” (November 12–January 17, 2010). Juried from digital. Asociación Española de Ciudades de la Cerámica, Carrer Ramon Par, 1, Argentona (Bar- celona), 08310 Spain; [email protected]; www.ciudades-ceramica.es.

June 30, 2009 entry deadline Georgia, Norcross “2009 Art Kudos Interna- tional Online Juried Competition” (August 15–August 14, 2010). Fee: $30. Juror: Scott Canty. Contact Robert Anderson, Artshow.com, 4388 Wickershire Way, Norcross, GA 30092; [email protected]; www.artkudos.com/callforentries.html. Ceramics Monthly May 2009 76 A Texas potter makes 1,300 pound quilts with her Paragon Dragon As a child, Earline Green made hand-stitched quilts with her grandmother Mama Freddie. Earline spent more time quilting with the older ladies than she did playing with children her own age. Her early experiences with the lively quilters taught her a life-long love of artwork. Earline’s other grandmother, Mama Ginger, taught her advanced quilting patterns. Later this influenced the design of Earline’s stoneware quilt tile mosaics displayed in the en- Earline Green with her Paragon Dragon front-loading kiln. This kiln is be- trance of the Paul Laurence Dunbar Lancaster-Kiest Library coming a favorite with potters. It is easy to load, heavily insulated, and de- in Dallas, Texas. For that project, Earline fired 284 white signed to reach cone 10 with power to spare. stoneware tiles—all in her faithful Paragon Dragon. “During tile production, I fired my Dragon two or three “The Dragon's design and controls are perfect for firing times a week for four to six weeks at a time. I expected and re- large flat pieces,” said Earline. “The digital programming con- ceived excellent results with each firing.” trols provide a consistent firing environment that eliminated Contact us today for more information on the exciting cracks and warpage in this project. Dragon kiln. Ask about the new easy-open switch box hinged Earline Green’s at the bottom. Call us for the name of your local Paragon dis- clay spirit quilts tributor. on display in the Dunbar Lancaster-Kiest Branch Library Better 2011 South Town East Blvd., in Dallas, Designed Mesquite, Texas 75149-1122 Texas. Kilns 800-876-4328 / 972-288-7557 Toll Free Fax 888-222-6450 www.paragonweb.com [email protected]

Ceramics Monthly May 2009 77 call for entries

July 3, 2009 entry deadline ber 4–January 23, 2010). Juried from digital. Fee: $30. proposals for 2009–2010 exhibition schedule.” Con- Spain, El Vendrell “V Fira de Ceràmica 2009” Juror: Bruce W. Pepich. Contact Nancy Campbell, Direc- temporary Arts Center, 189 Beaver St., North Adams, (October 15–18). Juried from digital. Contact, Pa- tor, Wayne Art Center, 413 Maplewood Ave., Wayne, MA 01247; [email protected]; www.thecac.org; (413) PA 19087; [email protected]; www.wayneart.org; tronat Municipal de Serveis Culturals, La Rambla, 24, 663-9555. El Vendrell, 43700 Spain; [email protected]; www.craftforms.com; www.juriedartservices.com; (610) 688-3553. www.elvendrell.net/default2.aspx; 0034 977 66 56 84. November 30, 2009 entry deadline September 26, 2009 entry deadline Dominican Republic, Santiago “Fourth International September 1, 2009 entry deadline England, London “Proverbial Porcelain: Zelli Por- Ceramic Tile Triennial” (April 15–June 15, 2010) open Texas, Corpus Christi “Call for exhibition proposals celain Award 2009” (October 19–31) open to artists for 2009–2010 exhibition schedule.” Contact Brooke working with porcelain and pieces under 40 cm. Juried to tiles 15x15x5 cm. Juried from digital. Contact Thimo Fitzpatrick, K Space Contemporary, PO Box 545, Cor- from digital or slides. Fee: $15. Contact, Zelli Porce- Pimentel, Igneri Foundation, 1733 NW 79th Ave., Doral, pus Christi, TX 78403; [email protected]; lain, 55/57 Chiltern St., London, W1U 6ND England; FL 33126-1110; [email protected]; www.elit-tile.net; www.kspacecontemporary.org; (361) 887-6834. [email protected]; www.zelli.co.uk; 020 7224 2114. (809) 531 0164.

September 17, 2009 entry deadline November 1, 2009 entry deadline Pennsylvania, Wayne “Craft Forms 2009” (Decem- Massachusetts, North Adams “Call for exhibition united states exhibitions

May 1, 2009 entry deadline Massachusetts, Needham “Drink It In” (June 5–July 3) open to functional and sculptural interpretations of drinking vessels. Juried from digital. Fee: $20 for three entries. Contact Jennifer Barbe, The Gallery at The Potter’s Shop and School, 31 Thorpe Rd., Needham, MA 02194; [email protected]; http://thepottersshopgallery.blogspot.com; (781) 449-7687.

May 15, 2009 entry deadline Pennsylvania, Philadelphia “The Marge Brown Kalodner Graduate Student Exhibition” (July 3–August 2) open to students currently enrolled in a Graduate Program or graduating from a Graduate Program in 2009. Juried from digital. Contact Jeff Guido, The Clay Studio, 139 N. Second St., Philadelphia, PA 19106; [email protected]; www.theclaystudio.org; 215-925-3453.

June 1, 2009 entry deadline Kansas, Wichita “The Wichita National All Media Craft Exhibition” (September 4–October 18). Juried from digital or slides. Fee: $30 for three entries. Ju- ror: Kathleen Royster Lamb. Contact Amy Reep, The Wichita Center for the Arts, 9112 E. Central, Wichita, KS 67206; [email protected]; www.wcfta.com; (316) 634-2787, ext. 219.

June 2, 2009 entry deadline New York, Rochester “History in the Making IV: Ceramic Traditions/Contemporary Pots” (September 18–October 24) open to work incorporating historic design elements, themes or trends. Juried from digital or slides. Fee: $20 for one entry; $25 for two entries; $30 for three entries. Contact, Genesee Pottery, 713 Monroe Ave., Rochester, NY 14607; [email protected]; www.geneseearts.org; 585-271-5183.

June 5, 2009 entry deadline Illinois, Monmouth “64 Arts National Juried Exhibi- tion” (August 22–September 19). Juried from digital. Fee: $25 for three entries. Juror: Preston Jackson. Con- tact Linda Sickmon, Buchanan Center for the Arts, 64 Public Sq., Monmouth, IL 61462; [email protected]; http://bcaarts.org; (309) 734-3033.

June 10, 2009 entry deadline Pennsylvania, Lancaster “Strictly Functional Pottery National” (September 26–October 25) open to work not exceeding 30 inches or 20 pounds. Juried from digital or slides. Fee: $30 for three entries. Juror: Pete Pinnell. Contact Phil Haralam, Strictly Functional Pottery National, The Market House Craft Center, PO Box 204, East Petersburg, PA 17520; www.strictlyfunctionalpot- terynational.net; (717) 560-8816.

June 15, 2009 entry deadline Texas, Houston “Dining In: An Artful Experience.” Juried from digital. Fee: $25 for three entires. Contact Susan Love Fitts, 18 Hands Gallery, 249 W. 19th St., Suite B, Houston, TX 77008 ; [email protected]; www.18handsgallery.com; (713) 869-3099. Ceramics Monthly May 2009 78 Undergraduate Showcase to appear in the September 2009 issue of Ceramics Monthly

Open to all undergraduate students enrolled in ceramics classes at accredited post-secondary educational institutions, including 2009 graduates.

To be considered, please submit the following by June 30: • Up to five professional-quality digital images (300 ppi resolution on CD, plus a color print of each image), with complete descriptions of works. Images should be at least five (5) inches in the smallest dimension. • Full contact information including e-mail • Artist’s statement and résumé • Instructors’ name(s) and contact information • Institution at which you study

Arrival deadline: June 30

Do not submit materials in binders or folders. E-mailed submissions and submissions of more than five images will not be considered. Materials will be returned only if a padded envelope with appropriate postage is included.

Due to the volume of submissions, we are unable to acknowledge receipt of materials. Notification via e-mail will be sent by the end of July. Please, no phone calls.

Do you know a deserving undergraduate? Do they need a nudge? Pass this along and help them get the recognition they deserve.

Ceramics Monthly May 2009 79 call for entries

July 1, 2009 entry deadline Nebraska, Lincoln “Art of Fine Craft 2009” (October 1–November 8). Fee: $30 for three entries. Juror: Jason Briggs, Victoria Goro-Rapoport, Lulu Smith, Jess Starkel and Sonya Clark. Contact Regina O’Rear, Nebraska Wes- leyan University and Lux Center for the Arts, 5000 Saint Paul Ave., Lincoln, NE 68502; [email protected]; www.luxcenter.org; (402) 465-2529.

August 1, 2009 entry deadline Illinois, Warrenville “Clay3 National Juried Ceramics Exhibit” (October 23–November 21) ceramic art that fits within one cubic foot. Juried from digital. Fee: $25 for two entries. Juror: Mary Kay Botkins. Contact Marie Gnesda, ClaySpace, 28W210 Warrenville Rd., Warren- ville, IL 60555; [email protected]; www.clayspace.net; (630) 393-2529.

regional exhibitions

May 1, 2009 entry deadline Wisconsin, Madison “Juried Exhibition” (Sep- tember 15–November 25) open to residents of MI, MN and WI. Juried from digital. Juror: Peter Held. Contact, Promega Corporation, 2800 Woods Hollow Rd., Madison, WI; [email protected]; or contact Peter Held at [email protected].

May 15, 2009 entry deadline Kansas, Hays “2009 Invitational Members Exhi- bition” (October 19–November 7) open to residents of CO, KS, MO, NE and OK. Jurors: Glen Brown and Linda Ganstrom. Contact Linda Ganstrom, Kansas Artist Craftsmen Association, 600 Park St., Hays, KS 67601; [email protected]; www.kansasartistcraftsm enassociation.com; (785) 628-4273.

June 19, 2009 entry deadline New Mexico, Las Cruces “Call for solo and group exhibition proposals for 2010 exhibition schedule.” open to artists in AZ, NM and TX. Juried from digital. Fee: $30. The Las Cruces Museum of Art, PO Box 20000, Las Cruces, NM 88004; [email protected]; http://museums.las-cruces.org; (575) 541-2221.

June 26, 2009 entry deadline California, Turlock “Hands in Clay” (July 1–Au- gust 31) open to residents of Northern California. Juried from actual work. Fee: $18; members, $15 per entry. Juror: Tom Collins and Bruno Kark. Contact Don Hall, San Joaquin Potter’s Guild, 92 Benjamin Way, Turlock, CA 95380; [email protected]; www.sjpottersguild.org; (209) 634-3653.

July 1, 2009 entry deadline Illinois, Skokie “Lewis C. Weinberg Biennial Sculp- ture Competition” (October 4–September 1, 2011) open to monumental outdoor sculptures by sculptors living in Illinois or contiguous states. Juried from digital. Contact Barbara Goldsmith, Skokie Northshore Sculpture Park, PO Box 692, Skokie, Illinois 60076; [email protected]; www.sculpturepark.org/WeinbergCompetition.htm; (847) 679-4265.

July 15, 2009 entry deadline Colorado, Arvada “Continental Divide” (Septem- ber–November) open to residents of CO, MT, NM and WY. Jurors: Bebe Alexander, Linda Ganstrom and Collin Parson. Contact Linda Ganstrom, NCECA, 77 Erie Vil- lage Square, Erie, CO 80516-6996; [email protected]; www.nceca.net; (866) 266-2322. fairs, festivals and sales June 1, 2009 entry deadline North Carolina, Dillsboro “Western North Carolina Pottery Festival” (November 7). Contact Brant Barnes, Travis Berning and Joe Frank McKee, PO Box 397, Dillsboro, NC 28725; [email protected]; www.wncpotteryfestival.com; (828) 586-3601. Ceramics Monthly May 2009 80 Potters Council 2010 Exhibition FILL-adelphia CALL For ENtrIES: Deadline to SubmIt is July 1, 2009 First juried exhibition of Potters Council members’ work to be held in conjunction with NCECA 2010 in Philadelphia, PA.

Entrants must be members of the Potters Council both at the time of application and at the time of the exhibition.

Public reception on April 2, 2010 at A Show of Hands Gallery.

Go here for submission form www.potterscouncil.org

Ceramics Monthly May 2009 81 new books

Thinking Through Craft new definition for craft, one that redefines the by Glenn Adamson word from representing the handmade object Glenn Adamson’s book Thinking Through to one representing the process. He wants to Craft, examines the role of craft in a 21st-century produce a separate criteria for which craft can art and culture context. Adamson begins by be viewed, one that would not be of lesser exploring ‘critical craft’ theory, which, in his importance to art. This new standard will lead view, continues to lead to a “craft avant-garde.” to a craft world where it “is favorable for all the He defines this avant-garde as autonomous from thinking to operate in process.” any social, political and economic influence and Adamson explores five core principles within allowing the artistic work to represent a critique the new craft definition and critically examines of the world. Adamson’s purpose is to propose a them using theory, history and criticism crite-

ria. Adamson defines these core principles as: supplemental or craft viewed solely through the experience of its process; material, or craft made by physical interaction; skill and its paramount importance, because “it is the most complete embodiment of craft as an active, relational concept rather than a fixed category”;pastoral or the symbolic ideal of craft; and amateur or the varying levels of proficiency. Although loosely explored throughout the book, ceramics is a focus in the chapter titled, “Material.” Here he compares the bodies of work of such ceramic artists as Robert Arneson and Judy Chicago to Mike Kelley and Tracey Emin, to make a point about the similarities in appearance, but differences in the artists’ intent and the public’s reaction. Adamson writes at length about several well known ceramacists and their direct involvement in the broader known art movements of the 1960s–80s, he explores in depth how craft is viewed when it is removed from its functional role, as well as the use of content and imagery as a means to resolve a problem of material and form. Many ceramic artists noted include Stephen De Staebler, Edmund de Waal, Shoji Hamada, John Glick, Bernard Leach, Warren MacKenzie, Jeff Oestreich, Susan Peterson, Mark Pharis, Ken Price, Linda Sikora, Richard Slee and Peter Voulkos. 209 pages. 59 illustrations, 16 in color. Paperback, $29.95. ISBN 978-1-84520-647-5. Published by Berg Publishers, 175 5th Ave. New York, NY., 10010; www.bergpublishers.com. Ceramics Monthly May 2009 82 Ceramics Monthly May 2009 83 calendar Conferences, Exhibitions, Workshops, Fairs submit listings at www.ceramicsmonthly.org

conferences Arizona, Tempe through May 16 “Eden Revisited: Pennsylvania, Philadelphia June 5–28 “New The Ceramic Art of Kurt Weiser”; at ASU Art Museum Work” works by Melissa Mytty; at The Clay Studio, California, Davis May 1–3 “20th Annual California Ceramics Research Center, Arizona State University, 139 N. Second St. Conference for the Advancement of Ceramic Art,” Mill Ave. and Tenth St. Pennsylvania, Philadelphia June 5–28 “New presentations by includes lectures and demonstrations Arkansas, Little Rock through May 17 “Legacy of Work” works by Rebecca Chappell; at The Clay Studio, by Bill Abright, Clayton Bailey, Jack Earl, Sylvia Hyman, an American Potter” works by Warren MacKenzie; at 139 N. Second St. Louis Marak, Kevin Nierman, Richard Notkin and Judith Arkansas Arts Center, 501 East 9th Street. Tennessee, Smithville August 7–September 15 Schwartz. Contact Nancy Resler, John Natsoulas Gal- California, Berkeley June 13–July 3 “Warren “Meditations on Space” works by Sally Brogden; at lery, 521 1st St., Davis, CA 95616; [email protected]; MacKenzie”; at TRAX Gallery, 1812 Fifth St. Appalachian Center for Craft, 1560 Craft Center Dr. www.natsoulas.com; (530) 756-3938. California, Davis May 1–30 “Ceramic Plates” works Utah, Salt Lake City through May 8 “Invoking the Maine, Deer Isle July 12–16 “Making: Past, Present by Linda S. Fitz Gibbon; at Rominger West Winery, 4602 Divine Goddess, Cowgirl and Pottist” works by Randi and Future,” presentations by Sonya Clark, Neil Gersh- Second St., Ste. 4. Lile; at Red Kiln Gallery, 393 East 1700 South. enfeld, Sabrina Gschwandtner, Lydia Matthews, Walter California, Pomona May 16–July 25 “The Artist Vermont, Bennington through May 17 “Tradi- McConnell, David Revere McFadden, Stephen Nach- is in the Details” works by David Furman; at American tion, Innovation and Good Design: The Ceramics of manovitch and Joe Wood. Fee: $320. Contact Candy Museum of Ceramic Art, 340 S. Garey Ave. David Gil”; at The Bennington Museum, 75 W. Main Haskell, Haystack Mountain School of Crafts, PO Box California, San Francisco June 11–September St. (Rte. 9). 518, Deer Isle, ME 04627; [email protected]; 13 “Legacy of an American Potter” works by Warren Wisconsin, Racine through August 16 “Bigger, www.haystack-mtn.org; (207) 348-2306. MacKenzie; at Museum of Craft & Folk Art, 51 Yerba Better, More: The Art of Viola Frey”; at Racine Art Minnesota, Minneapolis October 15–17 Buena Ln. Museum, 441 Main St. “Creating a New Craft Culture.” Contact American California, Santa Monica through May 2 “Recent Canada, Ontario, Toronto through May 3 “Ré- Craft Council, 72 Spring St., New York, NY 10012; Work” works by Jennifer Lee; at Frank Lloyd Gallery, cupération” works by Léopold L. Foulem; at Gardiner www.craftcouncil.org/conference09. 2525 Michigan Ave. B5B. Museum, 111 Queen’s Park. Pennsylvania, Philadelphia September 17–19 Canada, Ontario, Toronto May 15–August 23 Illinois, Bloomington May 6–29 “Transitions” “Handbuilt,” presentations by Guest Speaker: William “George Ohr Rising: The Emergence of an American works by Bob Dixon; at Illinois Wesleyan University, Daley. Demonstrators: Hayne Bayless, Lisa Naples, Sandi Master”; at Gardiner Museum, 111 Queen’s Park. Merwin Gallery, 6 Ames Plaza W. Pierantozzi and Holly Walker. Contact Sandi Pieran- England, Merseyside, Liverpool through June 6 Iowa, Iowa City through May 15 “Featured Artist” tozzi, 2034 Fairmount Ave., Philadelphia, PA 19130; “Idea to Object” works by Matthew Burt; at Bluecoat works by Josh DeWeese; at AKAR, 257 E. Iowa Ave. [email protected]; www.sandiandneil.com; Display Centre, 50-51 The Bluecoat, Bluecoat Cham- (215) 236-1617. Iowa, Iowa City May 29–June19 “Recent Ceramics” bers, College Ln. Virginia, Front Royal October 1–4 “8th Bien- works by Ron Meyers; at AKAR, 257 E. Iowa Ave. England, West Yorkshire, Leeds through April nial Mid-Atlantic Clay Conference,” presentations by Iowa, Iowa City June 26–July 17 “Recent Ceramics” 30 works by Rie Tsuruta; at The Craft Centre & Design Frank Giorgini, Suze Lindsay and Gay Smith. Contact works by Kevin Snipes; at AKAR, 257 E. Iowa Ave. Gallery, City Art Gallery, The Headrow. The Clay Connection, PO Box 3214, Merrifield, VA Iowa, Iowa City June 26–July 17 “Featured Artist” Germany, Berlin through June 1 “Art Pottery” 22116-3214; [email protected]; works by Tara Wilson; at AKAR, 257 E. Iowa Ave. works by Friedrich Festersen; at Galerie Theis-Keramik, www.theclayconnection.org; (540) 636-6016. Maryland, Baltimore through May 30 “New Schustehrusstr. 15. Canada Ontario, Toronto May 22–24 “Fusion Work” works by Joe Vitek; at Baltimore Clayworks, Germany, Berlin May 1–30 “Memorial Exhibition”; Conference 2009,” presentations by Tom Coleman 5707 Smith Ave. at Galerie Theis-Keramik, Schustehrusstr. 15. and Meira Mathison. Fee: $103. Contact Lucie Gil- Massachusetts, Cambridge May 2–30 “New Works Germany, Frechen May 17–July 26 “Exhibition” christ, Fusion: Ontario Clay & Glass Association, 1444 in Porcelain: Lotus Series” works by Dorothy Feibleman; works by Gibert Portanier; at Keramion Foundation, Queen St. East, Toronto, Ontario M4L 1E1 Canada; at Mobilia Gallery, 358 Huron Ave. Bonnstraße 12. [email protected]; www.clayandglass.on.ca; Massachusetts, Wellesley May 3–31 “A Potter in Netherlands, Amsterdam through May 16 “Ce- (416) 438-8946. West Africa” works by Ann Schunior; at Clever Hand ramics by Wietske Van Leeuwen”; at Galerie Carla Denmark, Skælskør June 20–July 31 “Sculpture in Gallery, 52 Central St. Koch, Veemkade 500, 6th fl. Public Space: Symposium,” presentations by Christie Michigan, Ann Arbor through May 29 “New Work” Netherlands, Delft through May 23 “New Brown, Akio Takamori and Wenzhi Zhang. Contact Ane works by John Glick; at Clay Gallery, 335 Main St. Work” works by Wim Borst; at Gallery Terra Delft, Fabricius Christiansen, Guldagergaard International Montana, Red Lodge May 1–31 “Featured Artist” Nieuwstraat 7. Ceramic Research Center, Heilmannsvej 31 A, Skælskør, works by David Hiltner; at Red Lodge Clay Center, 123 Netherlands, Delft May 30–June 27 “New 4230 Denmark; [email protected]; www.ceramic.dk; S. Broadway. Work” works by Duncan Ross; at Gallery Terra Delft, 45 5819 0016. Montana, Red Lodge June 1–30 “Featured Artist” Nieuwstraat 7. Denmark, Skælskør November 3–December 16; Jan- works by McKenzie Smith; at Red Lodge Clay Center, Netherlands, Deventer through May 16 “Journal” uary 5–February 17, 2010 “Network 2009: Symposium.” 123 S. Broadway. works by Yuk Kan Yeung; at Loes & Reinier International Contact Ane Fabricius Christiansen, Guldagergaard Montana, Red Lodge July 1–31 “Featured Artist” Ceramics, Korte Assenstraat 15. International Ceramic Research Center, Heilmannsvej works by Ayumi Horie; at Red Lodge Clay Center, 123 31 A, Skælskør, 4230 Denmark; [email protected]; Netherlands, Leeuwarden through September S. Broadway. www.ceramic.dk; 45 5819 0016. 6 “Levenswerk 07 - Fussfassen” works by Beate Montana, Red Lodge July 1–31 “Featured Artist” Reinheimer; at Ceramic Museum Princessehof, Grote Republic of Korea, Heungdeok-Gu, Cheongju-Si works by Gerit Grimm; at Red Lodge Clay Center, 123 Kerkstraat 11. September 23–November 1 “Cheongju International S. Broadway. Craft Biennale 2009 ‘Outside the Box’.” Contact Kang Spain, Barcelona through May 10 “There, New Jersey, Surf City August 15–September 9 Sun Kyoung, Cheongju International Craft Biennial Com- Where the World Ends” works by Rosa Cortiella; at “Recent Work” works by Neil Patterson; at m. t. burton mittee, 329 Heungdeok-Ro, Heungdeok-Gu, Cheongju- Museu de Ceràmica, Palau Reial de Pedralbes, Av gallery, 1819 N. Long Beach Blvd. Si, 361-828 Republic of Korea; [email protected]; Diagonal 686. www.okcj.org; 82 43 277 2501-3. New York, Port Chester May 2–23 “Tonight, Switzerland, Geneva May 7–January 11, 2010 Tomorrow and Forever” works by Kathy Ruttenberg; South Africa, Durban September 18–27 “Af- “Céramique” works by Philippe Barde; at Musée Ariana, at Clay Art Center, 40 Beech St. rican Ceramics Conference.” Contact University of Ave. de la Paix 10. KwaZulu-Natal, King George V Ave., Durban, South New York, Syracuse through May 3 “50/50: Africa; [email protected]; www.ukzn.ac.za; 27 Meanings/Messages” works by Nancy Jurs; at Everson group ceramics exhibitions (0)31 260 2212. Museum of Art, 401 Harrison St. Pennsylvania, Philadelphia through May 31 solo exhibitions “Ceramic Sculpture” works by Etta Winigrad; at Muse Arizona, Tempe through May 30 “NCECA Clay Na- Gallery, 52 N. 2nd St. tional”; at ASU Art Museum Ceramics Research Center, Arizona, Scottsdale May 14–28 “A Profound Pennsylvania, Philadelphia May 1–31 “New Arizona State University, Mill Ave. and Tenth St. Legacy: The Pottery of Mela Youngblood”; at King Work” works by Julia Galloway; at The Clay Studio, Arizona, Tempe through May 31 “Simply Formal”; Galleries of Scottsdale, 7100 Main St., #1. 139 N. Second St. at ASU Museum of Anthropology, 900 S. Cady Mall. Arizona, Scottsdale June 11–18 “Born of Fire: One Pennsylvania, Philadelphia May 1–31 “New California, Berkeley May 9–June 5 “New Work” Year Anniversary” works by Margaret Tafoya; at King Work” works by Sharif Bey; at The Clay Studio, 139 works by Kusakabe and Marc Lancet; at TRAX Gallery, Galleries of Scottsdale, 7100 Main St., #1. N. Second St. 1812 Fifth St. Ceramics Monthly May 2009 84 ceramicartshandbooks www.ceramicartsdaily.org/books Featuring 3 New Releases CERAMIC ART: Innovative Techniques

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CERAMIC SCULPTURE: Inspiring Techniques

With sculpture, clay provides more possibilities than any other medium. It’s possible to build with any forming process and even combine other media. More than 20 artists demonstrate some of the infinite possibilities of clay for manifesting ideas into a physical reality. Whether their sculptures are figurative or abstract, large or small or electric or wood fired, the variety is awe-inspiring. From the pro seeking solutions to the enthusiast looking for inspiration, this book covers it all.

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RAKU FIRING: Advanced Techniques

Raku firing is the most exciting and stimulating of all ceramic processes. It allows artists to spontaneously create surface effects not available with any other ceramic technique. By working directly with the fire, they can continue the creative process until the very end. This book provides a wealth of information and inspiration and covers a wide range of topics including production techniques, kiln construction, glaze formulation, tools and more.

Softcover | Order code CA77Ceramics | ISBN Monthly 978-1-57498-301-6 May 2009 | Price $29.95 85 calendar group exhibitions

California, Davis through June 1 “Firing a Legacy”; Georgia, Sautee Nacoochee through August 31 Massachusetts, Northampton through May 17 at Pence Gallery, 212 D St. “International Folk Pottery Exhibition”; at Folk Pottery “Recent Work” works by Emily Reason and Lindsay California, Davis May 1–29 “20th Annual California Museum of Northeast Georgia, Georgia Hwy 255, Rogers; at The Artisan Gallery, 162 Main St. Clay Competition Exhibit”; at The Artery, 207 G St. Sautee Nacoochee Center. Massachusetts, South Dartmouth June 20–July California, Fresno through May 2 “Functional Illinois, Chicago May 2–27 “Michael Corney 26 “The Watershed Gala Benefit Wood Fire Exhibi- Forms” works by Mary Law, Paddy McNeely and Ken and Bart Johnson”; at Lillstreet Art Center, 4401 N. tion”; at Gustin Ceramics Studio and Gallery, 231 Standhardt; at Clay Mix, 1003 N. Abby St. Ravenswood Ave. Horseneck Rd. California, Lincoln through May 31 “Feats of Clay”; Iowa, Iowa City through May 15 “Recent Ceramics” Michigan, Detroit May 15–June 28 “Altogether at Lincoln Arts Center, 580 Sixth St. works by Marty Fielding and Stacy Snyder; at AKAR, Now: Sets, Themes and Aggregates” works by Daniel California, Pomona through May 16 “Cerámicas 257 E. Iowa Ave. Bare, Heather Mae Erickson, Alleghany Meadows, Mia de la Tierra”; at American Museum of Ceramic Art, Iowa, Iowa City August 28–September 18 “Recent Mulvey, Susan Schultz and Mark Shapiro; at Pewabic 340 S. Garey Ave. Ceramics” works by Jill Lawley and John Neely; at Pottery, 10125 E. Jefferson. District of Columbia, Washington through Janu- AKAR, 257 E. Iowa Ave. ary 1, 2010 “Taking Shape: Ceramics in Southeast Asia”; Kentucky, Louisville through May 3 “2009 Best Minnesota, Minneapolis through May 3 “Con- at Arthur M. Sackler Gallery, Smithsonian Institution, of Louisville Clay”; at Kentucky Museum of Art and temporary Monsters” works by Wesley Anderegg, Tom 1050 Independence Ave. SW. Craft, 715 W. Main St. Bartel, Cynthia Consentino, John de Fazio, Edith Garcia, District of Columbia, Washington through May 10 Kentucky, Louisville through June 20 “Painted Arthur González and Michael Lucero; at Northern Clay “Golden Seams: The Japanese Art of Mending Ceram- Clayworks: Ceramics and the Graphic Arts”; at Kentucky Center, 2424 Franklin Ave. E. ics”; at Freer Gallery of Art, Smithsonian Institution, Museum of Art and Craft, 715 W. Main St. Minnesota, St. Paul May 8–June 14 “Pots Plus Jefferson Dr. at 12th St., SW. Maryland, Baltimore through May 30 “Spoon Prints” works by Jason Bohnert, Heather Mae Erickson, Florida, West Palm Beach through May 15 “Emer- It! Fork It! Cut It Up!”; at Baltimore Clayworks, 5707 Peter Jadoonath and Jon Neuse; at The Grand Hand gence: The Resident Artist Exhibition”; at Armory Art Smith Ave. Gallery, 619 Grand Ave. Center, 1700 Parker Ave. Maryland, Glen Echo May 2–31 “30 Years in Clay: Mississippi, Biloxi May 22–August 21 “Atten- Georgia, Decatur through May 3 “Potters of the Recent Work Celebrating the Pottery Program at Glen tion to Detail” works by Lorna Meaden and Lana Roan Guild Exhibit” works by Melisa Cadell, Terry Gess, Echo”; at Glen Echo Pottery, 7300 MacArthur Blvd. Wilson; at Ohr-O’Keefe Museum of Art, 1596 Glenn Michael Kline, Suze Lindsay, Ken Sedberry, Jenny Lou Massachusetts, Boston June 13–July 20 “Hamada: Swetman St. Sherburne and Gay Smith; at MudFire Clayworks, Three Generations of Japanese Potters” works by Montana, Red Lodge May 1–31 “Buckets and Bas- 175 Laredo Dr. Shinsaku Hamada, Shoji Hamada and Tomoo Hamada; kets” at Red Lodge Clay Center, 123 S. Broadway. Georgia, Decatur May 9–30 “Parke–Peterson” at Pucker Gallery, 171 Newbury St. works by Gillian Parke and Ronan Peterson; at MudFire Massachusetts, Brockton June 6–January 3, 2010 Montana, Red Lodge June 1–30 “Butter”; at Red Clayworks, 175 Laredo Dr. “The Perfect Fit: Shoes Tell Stories”; at Fuller Craft Lodge Clay Center, 123 S. Broadway. Georgia, Decatur June 6–June 28 “Bay Area Pottery Museum, 455 Oak St. Montana, Red Lodge July 3–31 “Resident’s Posse” works by Christa Assad, Rae Dunn, Josie Jurczenia, Massachusetts, Monson June 6–20 “T-Pots and Farewell” works by Earnest Forward, Martha Grover, Sara Kagen, Mary Mar Keenan, Sara Paloma and Whitney Tings” works by Juliet Bacchas and Linda Spelko; at Ryan Olsen, Paige Wright; at Red Lodge Clay Center, Smith; at MudFire Clayworks and Gallery, 175 Laredo Dr. House of Art, 200 Main St. 123 S. Broadway. potters council potters Did you know that Potters Council now offers REAL Health Insurance for Members?

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Ceramics Monthly May 2009 86 Ceramics Monthly May 2009 87 calendar group exhibitions

New Jersey, Surf City June 27–July 15 “Mother Virginia, Williamsburg May 31–January 2, 2011 and Daughter” works by Karen Swyler and Pat Swyler; “Salt-Glazed Stoneware in Early America”; at DeWitt at m. t. burton gallery, 1819 N. Long Beach Blvd. Wallace Decorative Arts Museum, 325 W. Francis St. New Jersey, Surf City July 25–August 12 “Re- Virginia, Williamsburg through December 31 cent Work” works by Linda Shusterman and Alan “Identifying Ceramics: The Who, What and Ware”; Willoughby; at m. t. burton gallery, 1819 N. Long at DeWitt Wallace Decorative Arts Museum, 325 W. Beach Blvd. Francis St. New Jersey, Surf City May 23–June 24 “Jersey Virginia, Williamsburg through December 31 Shore Clay National 2009”; at m. t. burton gallery “Revolution in Taste”; at DeWitt Wallace Decorative and 19th Street Ceramic Studio, 1819 N. Long Arts Museum, 325 W. Francis St. Beach Blvd. Wisconsin, Madison May 1–22 “Surfaces” works New Mexico, Santa Fe June 12–July 18 “Curiosi- by Bacia Edelman, Briony Jean Foy, Yong Kim, Linda ties” works by Lindsay Feuer, Kathleen Royster Lamb Leighton, Phil Lyons, Hailey Neises and Andree Valley; Kate MacDowell and Andy Rogers; at Santa Fe Clay, at Higher Fire Clay Studio, 2132 Regent St. 1615 Paseo de Peralta. Canada, Ontario, Toronto through August 9 New Mexico, Santa Fe June 12–July 18 “The Way “Clay Canvases: The Fine Art of Painted Ceramics”; I See It” works by Gina Bobrowski and James Tisdale; at Gardiner Museum, 111 Queen’s Park. at Santa Fe Clay, 1615 Paseo de Peralta. Canada, Ontario, Toronto through July 5 “Wedg- New York, New York May 7–June 6 “No Two wood: Artistry and Innovation”; at Royal Ontario Alike” works by Andy Brayman and Ayumi Horie; at Museum, 100 Queen’s Park. Greenwich House Pottery, 16 Jones St. Germany, Berlin through August 17 “Contem- New York, New York June 11–27 “Annual Members porary Ceramics after 1989 from the Collection of Exhibition”; at Greenwich House Pottery, 16 Jones St. the KMB”; at Keramik-Museum Berlin, Schusteh- New York, New York July 2–August 1 “Summer russtr. 13. Masters Exhibition”; at Greenwich House Pottery, 16 Germany, Berlin through October 26 “Ceram- Jones St. ics from Westerwald”; at Keramik-Museum Berlin, New York, New York through August 9 “Royal Schustehrusstr. 13. Porcelain from the Twinight Collection 1800–1850”; at Germany, Berlin June 6–November 16 “Karl Sc- Metropolitan Museum of Art, 1000 Fifth Ave. heid and Gerald Weigel”; at Keramik-Museum Berlin, New York, New York May 6–August 23 “Object Schustehrusstr. 13. Factory: The Art of Industrial Ceramics;” at Museum Germany, Frechen through November 22 “Work of Arts and Design, 2 Columbus Cir. of the London Group”; at Keramion Foundation, New York, Windham May 30–July 18 “Journeys Bonnstraße 12. in Clay: Contemporary Ceramics 2009” works by Japan, Tokyo through May 10 “U-Tsu-Wa” works Katheryn Battles, Susan Beecher, Marybeth Bishop, by Jennifer Lee and Lucie Rie; at 21_21 Design Sight, Steven Fabrico, Frank Georgini, Ruth Sachs, Shoshanna Tokyo Midtown Garden, 9-7-6 Akasaka Minato-ku. Snow and Joan Snyder; at Greene County Council on Netherlands, Delft through June 3 “Tulip the Arts, Main St. Vases from 12 Designers” works by Ineke Hans, Hugo North Carolina, Charlotte through June 7 “From Kaagman, Jan Kamphuis, Manita Kieft, Lotte van Laa- the Melting Pot into the Fire: Contemporary Ceramics tum, Gert de Mulder, Frans Ottink, Olav Slingerland, in Israel”; at Mint Museum of Craft and Design, 220 Wieki Somers and Norman Trapman; at Gallery Terra N. Tryon St. Delft, Nieuwstraat 7. North Carolina, Seagrove through August 1 “Dan Netherlands, Delft through June 3 “Theme Tulip” Finch and The Finch Studio Potters Exhibition”; at North works by Guido Geelen, Hanneke Giezen, Marijke Carolina Pottery Center, 233 East Ave. Gemessy, Simone Haak, Marta Nagy and Judith Rigert; Oregon, Gresham May 1–22 “Stephen Mickey and at Museum Lambert van Meerten, Oude delft 199. the SoulBuds” works by Dan Anderson, Robin Hominuik, Netherlands, ‘s-Hertogenbosch through June Ron Linn, Stephen Mickey, Donovan Palmquist, Jack 1 “The Unexpected” works by Marc Chagall, Jean Troy and Jill Warila; at Mt. Hood Community College, Cocteau, Tony Cragg, Richard Deacon, Lucio Fontana, Visual Arts Center, 26000 S.E. Stark St. Hans van Hoek, Jeff Koons, Joan Miró, Pablo Picasso Pennsylvania, Philadelphia through June 21 “Dirt and Pierre-Auguste Renoir; at Sm’s – Stedelijk Museum on Delight: Impulses That Form Clay” works by Kathy ’s-Hertogenbosch, Magistratenlaan 100. Butterly, Lucio Fontana, Viola Frey, Jeffry Mitchell, Spain, Barcelona May 19–August 30 “Villa Nurbs” George Ohr, Beverly Semmes, Arlene Shechet, Peter works by Frederic Amat, Toni Cumella and Enric Ruíz- Voulkos, Beatrice Wood and Betty Woodman; at Insti- Geli; at Museu de Ceràmica, Palau Reial de Pedralbes, tute of Contemporary Art, University of Pennsylvania, Av Diagonal 686. 118 South 36th St. Switzerland, Geneva through October 4 “Swiss Pennsylvania, Philadelphia May 1–31 “Small Ceramics 1959–2009: The New Generation”; at Musée Favors IV”; at The Clay Studio, 139 N. Second St. Ariana, Ave. de la Paix 10. Pennsylvania, Philadelphia June 5–28 “Associate Artists Group Exhibition”; at The Clay Studio, 139 N. Second St. ceramics in multimedia Pennsylvania, Philadelphia July 3–August 2 “Sixth exhibitions Annual Marge Brown Kalodner Graduate Student Exhi- bition”; at The Clay Studio, 139 N. Second St. Arizona, Surprise through May 17 “Prints and Pots: Pennsylvania, Philadelphia August 7–30 “Pitch- George Palovich Museum Fund Raiser Exhibit”; at West ers”; at The Clay Studio, 139 N. Second St. Valley Art Museum, 17420 N. Ave. of the Arts. Pennsylvania, Philadelphia August 7–30 “Made Arizona, Tempe through May31 “Potters on Paper: at The Clay Studio”; at The Clay Studio, 139 N. Selections from the Collection” works by Rudy Autio, Second St. Jun Kaneko, Richard Shaw, Peter Shire, Robert Sperry, South Carolina, Charleston May 1–June 7 “Men- Akio Takamori and Patti Warashina; at ASU Art Museum tor: Honoring the Historical Relationship Between Ceramics Research Center, Arizona State University, Master and Apprentice”; at Cone 10 Studios and Clay Mill Ave. and Tenth St. Gallery, 285 Meeting St. California, San Diego through October 18 “Masters Virginia, Williamsburg through December 31 of Mid-Century California Modernism” works by Evelyn “Inspiration and Ingenuity: American Stoneware”; at Abby Ackerman and Jerome Ackerman; at Mingei Interna- Aldrich Rockefeller Folk Art Museum, 325 W. Francis St. tional Museum, Balboa Park, 1439 El Prado. Ceramics Monthly May 2009 88 District of Columbia, Washington August New Jersey, Verona May 16–17 “Fine Art and 7–January 3, 2010 “Renwick Craft Invitational 2009”; Crafts at Verona Park”; at Verona Park, Bloomfield at Renwick Gallery of the Smithsonian American Art Ave. and Lakeside Ave. Museum, Pennsylvania Ave. at 17 St., NW. New Mexico, Santa Fe June 11–14 “SOFA West: Missouri, St. Louis May 1–June 28 “Reactions”; Santa Fe”; at Santa Fe Convention Center, 201 W. at Craft Alliance, 6640 Delmar Blvd. Marcy St. New Mexico, Albuquerque through May 29 “Ex- New York, Lockport May 29–31 “100 American pressive and Aesthetic Ends” works by Kevin Crowe, Craftsmen Festival”; at Kenan Center, 433 Locust St. Judith Duff, Gary Hootman, Dale Huffman and Jack Troy; New York, Lyndhurst May 1–3 “Spring Crafts at at Weyrich Gallery, 2935 D Louisiana Blvd. NE. Lyndhurst”; at, Route 9 Tarrytown. New York, Peekskill through July 26 “Origins”; New York, New Paltz May 23–25 “Woodstock- at Hudson Valley Center for Contemporary Art, 1701 New Paltz Art and Crafts Fair Spring Show”; at Ulster Main St. County Fairgrounds, Libertyville Rd. Ohio, Columbus May 3–June 21 “Best of 2009”; New York, Syracuse July 24–26 “Syracuse Arts at Ohio Craft Museum, 1665 W. Fifth Ave. & Crafts Festival”; at Downtown Syracuse, Colum- Oregon, Portland August 6–September 22 “Craft bus Cir. Biennial: A Review of Northwest Art and Craft”; at Pennsylvania, Philadelphia June 27–28 “2009 Oregon College of Art and Craft Hoffman Gallery, Manayunk Arts Festival”; at Manayunk, Main St. 8245 S.W. Barnes Rd. Texas, Longview June 5–7 “AlleyFest”; at Down- Pennsylvania, Philadelphia through September town Longview. 30 “The Art of Japanese Craft: 1875 to the Present”; Texas, Lubbock through May 3 “Lubbock Arts at Philadelphia Museum of Art, 26th St. and the Ben- Festival”; at Lubbock Memorial Civic Center, 1501 jamin Franklin Pkwy. Mac Davis Ln. Pennsylvania, Reading May 10–June 14 “Land- Virginia, Chantilly May 1–3 “Sugarloaf Craft scape and Industry Juried Exhibition”; at GoggleWorks Festival”; at Dulles Expo Center, 4320 Chantilly Center for the Arts, 201 Washington St. Place Center. Texas, Houston through July 3 “Literally Figura- Canada, Toronto August 9–12 “Fall 2009 Gift tive” works by Juliellen Byrne; at Houston Center for Show”; at Toronto Congress Centre and Toronto Contemporary Craft, 4848 Main St. International Centre, 650 Dixon Rd. Wisconsin, Racine through August 2 “Go Figure!: England, Bovey Tracey June 5–7 “The Con- The Human Form in RAM’s Collections”; at Racine Art temporary Craft Fair”; at Devon Guild of Craftsmen, Museum, 441 Main St. Riverside Mill. England, Bovey Tracey July 11–August 30 “Token England, London, Chelsea May 15–17 “Col- Values”; at Devon Guild of Craftsmen, Riverside Mill. lect 2009”; at Saatchi Gallery, Duke of York’s HQ, England, Bovey Tracey July 4–September 13 King’s Rd. “Summer Exhibition”; at Devon Guild of Craftsmen, Spain, Barcelona August 7–9 “International Ceram- Riverside Mill. ic and Pottery Fair”; at Museu de Cántir D’Argentona, England, Devon, Bovey Tracey May 9–June 21 Plaça de l’Església 9. “Cup”; at Devon Guild of Craftsmen, Riverside Mill. England, London June 18–September 20 “Be- workshops yond Bloomsbury: Designs of the Omega Workshop 1913–1919”; at The Courtauld Gallery, The Courtauld Institute of Art, Sommerset House, Strand. Arizona, Tuscon October 24–25 “The Functional Pot: Tips, Tools and Techniques,” presentations by Bill vanGilder. Fee: $130; $115, members. Southern Ari- fairs, festivals and sales zona Clay Artists, PO Box 44218, Tuscon, AZ 85733; [email protected]; www.sa-clayartists.org; (520) California, Lincoln though May 2 “ClayFest”; 615-9581. at Lincoln Arts Center, Lincoln Arts/Beermann Plaza, California, Berkeley June 13 “Warren MacKenzie 540 F St. Workshop and Round Table Discussion.” Fee: $100. California, Ojai June 13–14 “Mad Potters Tea Contact Sandy Simon, Director, TRAX Gallery, 1812 Party”; at Libbey Park, 510 Park Rd. Fifth St., Berkeley, CA 94710; [email protected]; Colorado, Boulder through May 3 “Boulder Potters’ www.traxgallery.com; 510-540-8729 . Guild 40th Annual Spring Sale”; at Boulder County California, Mendocino May 8–10 “Surfaces: Finish- Fairgrounds, Hover and Nelson Roads. ing Techniques,” presentations by Bill Shinn. Fee: $250. Connecticut, Guilford July 16–18 “Guilford Art Contact Linn Bottorf, Mendocino Art Center, 45200 Little Center Craft Expo 2009”; at Guilford Art Center, 411 Lake Street, Mendocino, CA 95460; [email protected]; Church St. http://www.MendocinoArtCenter.org; 800-653-3328. Maryland, Arnold May 2 “Spring Sale”; at Gloria California, Mendocino May 16–17 “Heads Dei Church, 461 College Pkwy. and Hands: The Anatomy of Expression,” presenta- Massachusetts, South Dartmouth June 20 “The tions by Cynthia Siegel. Fee: $175. Contact Linn Watershed Benefit Gala Wood Fire Raffle and Auc- Bottorf, Mendocino Art Center, 45200 Little Lake tion”; at Gustin Ceramics Studio and Gallery, 231 Street, Mendocino, CA 95460; [email protected]; Horseneck Rd. http://www.MendocinoArtCenter.org; 800-653-3328. Massachusetts, Walpole May 1–3 “Potters Place California, Mendocino May 23–25 “Creating Spring Show and Sale”; at Potters Place, 127 B Old Ceramic Instruments,” presentations by Ernesto West St. Hernandez-Olmos. Fee: $250. Contact Linn Bot- Minnesota, St. Croix Valley May 8–10 “17th Annual torf, Mendocino Art Center, 45200 Little Lake Studio Tour and Sale”; at Minnesota Potters of the Upper St., Mendocino, CA 95460; [email protected]; St. Croix River Valley, 41421 Ferry Rd., Sunrise. http://www.MendocinoArtCenter.org; 800-653-3328. Nebraska, Omaha June 26–28 “Omaha Sum- mer Arts Festival”; at Downtown Omaha, Gene Colorado, Arvada September 5–6 “Tradition and Leahy Mall. Innovation,” presentations by Takashi Nakazato. Fee: New Jersey, Cranford May 30–31 “Spring Noma- $160. Contact Bebe Alexander, The Arvada Center hegan Park Fine Art and Crafts Show”; at Nomahegan for the Arts and Humanities, 6901 Wadsworth Park, Springfield Ave. Blvd., Arvada, CO 80003; [email protected]; New Jersey, Hillsborough June 20–21 “Spring www.arvadacenter.org; 720-898-7239. Brookdale Park Fine Art and Crafts Show”; at Brookdale Georgia, Decatur May 2–3 “From Flat to Form Park, Watchung Ave. to Function,” presentations by Sandi Pierantozzi. Ceramics Monthly May 2009 89 calendar workshops

Fee: $245. Contact Luba Sharapan and Erik Haa- Minnesota, Grand Marais May 30–31 “Loosen- gensen, directors, MudFire Clayworks and Gallery, 175 ing Up,” presentations by Robert Briscoe. Fee: $25: Laredo Dr., Decatur, GA 30030; [email protected]; students, $50. Contact Holly Beaster, Grand Marais www.mudfire.com; (404) 377-8033. Art Colony, 120 3rd Ave. W, Grand Marais, MN 55604; Georgia, Savannah May 25–29 “Sculpting the Female [email protected]; www.grandmaraisartcolony.org; Torso,” presentations by Melisa Cadell. Fee: $625. Contact (218) 387-2737. Judy Mooney, Wildacres Retreat, 220 E.46th St., Savannah, Minnesota, Minneapolis May 2 “Cynthia Con- GA 31405; [email protected]; 912-443-9313. sentino Demonstration.” Fee: $45; members, $40. Indiana, Bloomington May 2–3 “Naked Raku and Contact Sarah Millfelt, Deputy Director for Program- Saggar Firing,” presentations by Allyson May. Fee: $175. ming, Northern Clay Center, 2424 Franklin Ave. E, Min- Contact Allyson May, Stoney Creek Pottery, 1 E. Dux- neapolis, MN 55406; [email protected]; bury Dr., Bloomington, IN 47408; [email protected]; www.northernclaycenter.org; (612) 339-8007. www.stoneycreekpottery.com; (812) 219-4871. Mississippi, Natchez May 16 “Spraying Glazes Maine, Deer Isle August 30–September 5 “Pots: Workshop,” presentations by Conner Burns. Con- Ideas and Making,” presentations by Linda Christianson. tact Donna Jones, Natchez Clay, 101 Clifton Ave., Fee: $390. Contact Candy Haskell, Haystack Mountain Natchez, MS 39120; [email protected]; School of Crafts, PO Box 518, Deer Isle, ME 04627; www.natchezclay.com; 601-660-2375. [email protected]; www.haystack-mtn.org; Mississippi, Natchez June 22–27 “Participation (207) 348-2306. Workshop,” presentations by Emily Reason. Fee: Maine, Monroe May 22–25 “Introduction to Pot- $450. Contact Donna Jones, Natchez Clay, 101 Clifton tery,” presentations by Squidge Davis. Fee: $450. Contact Ave., Natchez, MS 39120; [email protected]; Squidge Davis, Starflower Farm & Studios, 941 Jackson www.natchezclay.com; 601-660-2375. Rd., Monroe, ME 04951; [email protected]; Mississippi, Ridgeland September 19–20 “Vessels www.starflowerfarmstudios.com; (207) 525-3593. Form and Function Demonstration Workshop,” presen- Maine, Portland May 9 “Improve your Throw- tations by Conner Burns. Fee: $125. Contact Craftsmen’s ing Skills,” presentations by Peter Jones. Fee: $60. Guild of Mississippi, 950 Rice Rd., Ridgeland, MS 39157; Contact Portland Pottery, 118 Washington Ave., www.mscrafts.org; (601) 856-7546. Portland, ME 04101; [email protected]; Nevada, Incline Village June 13–14 “Handmade www.portlandpottery.com; (207) 772-4334. Brushes,” with Glenn Grishkoff. Fee: $250. Contact Maryland, Baltimore May 2–3 “Throwing and Sheri Leigh O’Connor, Sierra Nevada College, Lake Altering Workshop: Throw, Facet, Stretch, Dart!,” Tahoe, 999 Tahoe Blvd. Incline Village, NV 89451; presentations by Neil Patterson. Fee: $220; members, [email protected]; www.sierranevada.edu; $200. Contact Mary K. Cloonan, Exhibitions Director, 775-881-7588. Baltimore Clayworks, 5707 Smith Ave., Baltimore, Nevada, Incline Village June 22–26 “Fast Fire MD 21209; [email protected]; Pottree,” presentations by Randy Brodnax and Don www.baltimoreclayworks.org; (410) 578-1919 ext. 18. Ellis. Fee: $525.Contact Sheri Leigh O’Connor, Si- Maryland, Frederick May 2–16 “Multi-Chambered erra Nevada College, Lake Tahoe, 999 Tahoe Blvd. Wood Kiln Firing,” presentations by Kevin Crowe. Fee: Incline Village, NV 89451; [email protected]; $300. Contact Joyce Michaud, Hood College Ceramics www.sierranevada.edu; 775-881-7588. Program, 401 Rosemont Ave., Frederick, MD 21701; Nevada, Incline Village July 6–10 “As the Wheel [email protected]; www.hood.edu/academic/art; Turns: Beginning Wheel-throwing Techniques and (301) 696-3456. their Creative Application,” presentations by Marc Maryland, Frederick May 2, 9, 16 “Multichambered Lancet. Fee: $525. Contact Sheri Leigh O’Connor, Kiln Wood Firing,” presentations by Kevin Crowe. Fee: Sierra Nevada College, Lake Tahoe, 999 Tahoe Blvd. $300. Contact Joyce Michaud, Hood College Ceramics Incline Village, NV 89451; [email protected]; Program, 401 Rosemont Ave., Frederick, MD 21701; www.sierranevada.edu; 775-881-7588. [email protected]; www.hood.edu/academic/art; Nevada, Incline Village July 13–17 “Alternative (301) 696-3456. Firing with Precision and Abandon,” presentations Maryland, Frederick May 29–31 “Alternative by Charlie and Linda Riggs. Fee: $525.Contact Kilns and Firings,” presentations by Pamela Theis. Fee: Sheri Leigh O’Connor, Sierra Nevada College, Lake $185. Contact Joyce Michaud, Hood College Ceramics Tahoe, 999 Tahoe Blvd. Incline Village, NV 89451; Program, 401 Rosemont Ave., Frederick, MD 21701; [email protected]; www.sierranevada.edu; [email protected]; www.hood.edu/academic/art; 775-881-7588. (301) 696-3456. Nevada, Incline Village July 18–19 “Color, Massachusetts, Catham September 20–21 Surface, Text: Color and Screen Printing on Handbuilt “Altered Forms and Murals,” presentations by Frank Clay Forms,” presentations by Nancy Selvin. Fee: $250. Matranga. Fee: $75 non-member 1 day; $120, 2 Contact Sheri Leigh O’Connor, Sierra Nevada College, days. Contact Cape Cod Potters, Inc., Box 76, Ca- Lake Tahoe, 999 Tahoe Blvd. Incline Village, NV 89451; tham, MA 02633; [email protected]; [email protected]; www.sierranevada.edu; www.capecodpotters.org; (508) 255-1732. 775-881-7588. Massachusetts, Monson May 9 “Workshop in Nevada, Incline Village July 20–24 “Set Your Raku Firing,” Fee: $150; members, $120. Contact Table,” presentations by Bill van Gilder. Fee: $525. Linda Spelko and Juliet Bacchas, Juliet Rose Gallery Contact Sheri Leigh O’Connor, Sierra Nevada College, and Studio, 191 Reimers Rd., Monson, MA 01057; Lake Tahoe, 999 Tahoe Blvd. Incline Village, NV 89451; [email protected]; www.julietrosegallery.net; [email protected]; www.sierranevada.edu; (413) 596-9741. 775-881-7588. Massachusetts, Stockbridge June 22 to June 26 New Jersey, Layton May 16–17 “Basic Wheel “Advancing Your Style and Skill on the Potter’s Wheel,” Working: You Can Do It,” presentations by Matt presentations by Ellen Grenadier. Fee: $500. Contact Burton. Fee: $260. Contact Jennifer Brooks, Peters Cindy Kelly, Program and Marketing Manager, IS183 Valley Craft Center, 19 Kuhn Rd., Layton, NJ 07851; Art School, PO Box 1400, 13 Willard Hill Rd., Stock- [email protected]; www.petersvalley.org; bridge, MA 01262; [email protected]; www.is183.org; 973-948-5200. 413-298-5252 x105. New Jersey, Layton May 23–25 “China Paint- Minnesota, Grand Marais May 16–17 “Majolica Tile: ing: Water Based Mediums,” presentations by Paul Explore the World of Color,” with Karin Kraemer. Fee: Lewing. Fee: $335. Contact Jennifer Brooks, Peters $135. Contact Holly Beaster, Grand Marais Art Colony, 120 Valley Craft Center, 19 Kuhn Rd., Layton, NJ 07851; 3rd Ave. W, Grand Marais, MN 55604; [email protected]; [email protected]; www.petersvalley.org; www.grandmaraisartcolony.org; (218) 387-2737. 973-948-5200. Ceramics Monthly May 2009 90 New Jersey, Layton May 29–31 “Ceramic Science for the Artist,” presentations by William Carty. Fee: $335. Contact Jennifer Brooks, Peters Valley Craft Center, 19 Kuhn Rd., Layton, NJ 07851; [email protected]; www.petersvalley.org; 973-948-5200. New Jersey, Layton May 29–31 “Sculpture from the Wheel,” presentations by Anne Currier. Fee: $335. Contact Jennifer Brooks, Peters Valley Craft Center, 19 Kuhn Rd., Layton, NJ 07851; [email protected]; www.petersvalley.org; 973-948-5200. New Jersey, Layton September 5–7 “Fire Runs Rampant: Open Studio,” presentations by Bruce Dehnert. Fee: $460. Contact Jennifer Brooks, Peters Valley Craft Center, 19 Kuhn Rd., Layton, NJ 07851; [email protected]; www.petersvalley.org; 973-948-5200. New Jersey, Metuchen May 18–21 “Mystic May Mandalas,” presentations by Linda Vonderschmidt-LaS- tella. Fee: $125. Contact Linda Vonderschmidt-LaStella, Earthsongs Studio, 242 Amboy Ave., Metuchen, NJ 08840; [email protected]; www.claysongs.com; 732-906-4137. New Jersey, Metuchen September 14, 15, 21 “Reconsidering Raku,” presentations by Linda Vonderschmidt-LaStella. Fee: $60. Contact Linda Vonderschmidt-LaStella, Earthsongs Studio, 242 Am- boy Ave., Metuchen, NJ 08840; [email protected]; www.claysongs.com; 732-906-4137. New Jersey, Metuchen October 12,13,14,21 “Timeless Tiles,” presentations by Linda Vonderschmidt- LaStella. Fee: $100. Contact Linda Vonderschmidt-LaS- tella, Earthsongs Studio, 242 Amboy Ave., Metuchen, NJ 08840; [email protected]; www.claysongs.com; 732-906-4137. New Mexico, Abiquiu May 11–17 “Micaceous Pottery: Big Pots,” presentations by Camilla Trujillo. Fee: $275. Contact Ghost Ranch, HC 77 BOX 11, Abiquiu, NM 87510; [email protected]; www.ghostranch.org; (505) 928-8539. New Mexico, Abiquiu September 28–October 4 “Micaceous Pottery and Fall Traditions of North- ern New Mexico,” presentations by Camilla Trujillo. Fee: $275. Contact Ghost Ranch, HC 77 BOX 11, Abiquiu, NM 87510; [email protected]; www.ghostranch.org; (505) 928-8539. New Mexico, Santa Fe May 2–3 “Paper Clay for Sculpture,” presentations by Judy Nelson-Moore. Fee: $200. Contact Avra Leodas, Santa Fe Clay, 1615 Paseo de Peralta, Santa Fe, NM 87501; [email protected]; www.santafeclay.com; 505-984-1122. New Mexico, Santa Fe May 16–17 “Contem- porary Approaches to Traditional Japanese Decora- tion,” presentations by Betsy Williams. Fee: $200. Contact Avra Leodas, Santa Fe Clay, 1615 Paseo de Peralta, Santa Fe, NM 87501; [email protected]; www.santafeclay.com; 505-984-1122. New York, Port Chester May 2–3 “China Paint- ing with Water Based Mediums,” presentations by Paul Lewing. Fee: $200. Contact Reena Kashyap, Executive Director, Clay Art Center, 40 Beech St., Port Chester, NY 10573; [email protected]; www.clayartcenter.org; (914) 937-2047, ext. 221. North Carolina, Bakersville May 25–29 “Basic Glaze Chemistry and Raw Materials,” presentations by John Britt. Fee: $500. Contact John Britt, John Britt Pottery, 154 Sparks Rd., Bakersville, NC 28705; [email protected]; www.johnbrittpottery.com; (828) 467-5020. North Carolina, Bakersville August 31–Septem- ber 4 “Basic Glaze Chemistry and Raw Materials,” presentations by John Britt. Fee: $500. Contact John Britt, John Britt Pottery, 154 Sparks Rd., Bakersville, NC 28705; [email protected]; www.johnbrittpottery.com; (828) 467-5020. North Carolina, Brasstown May 3–9 “Wheel Throwing Mastered At Last,” presentations by Patrick Esmonde. Fee: $512. Contact Sue Fruchey, John C. Campbell Folk School, One Folk School Rd., Brasstown, NC 28902; [email protected]; Ceramics Monthly May 2009 91 calendar workshops www.folkschool.org; (828) 837-2775 ext. 122 or Fee: $600. Contact Les Manning, Artistic Director, His- 1-800-FOLK-SCH. toric Clay District, 713 Medalta Ave. SE, Medicine Hat, North Carolina, Brasstown May 10–16 “Creative Alberta T1A 3K9, Canada; [email protected]; Ways with Colored Clays,” presentations by Chris Camp- www.medalta.org; (403) 529-1070. bell. Fee: $512. Contact Sue Fruchey, John C. Campbell Canada, British Columbia, Creston May 12- Folk School, One Folk School Rd., Brasstown, NC 28902; 16 “Seven Alternative Raku Firing Techniques,” [email protected]; www.folkschool.org; (828) presentations by Eduardo Lazo. Fee: $285. Contact 837-2775 ext. 122 or 1-800-FOLK-SCH. Maggie Leal-Valias, Wynndel Mudders, 156 E Lakev- North Carolina, Brasstown May 17–23 “Raku iew Arrowcreek Rd., Creston, BC V0B 1G8, Canada; Alternative Firings,” presentations by Joe Frank McKee. [email protected]; (250) 866-5674. Fee: $512. Contact Sue Fruchey, John C. Campbell Folk Canada, Ontario, Haliburton May 4–9 “Pottery School, One Folk School Rd., Brasstown, NC 28902; Contemporary Design and Traditional Technique,” [email protected]; www.folkschool.org; (828) presentations by Jessica Steinhauser. Fee: $319.16. 837-2775 ext. 122 or 1-800-FOLK-SCH. Contact Shelley Schell, Haliburton School of The Arts, North Carolina, Brasstown May 31–June 6 “Ex- Box 839, 297 College Dr., Haliburton, Ontario K0M ploring Cone 6 Glazes,” presentations by Lucy Hamilton. 1S0, Canada; [email protected]; Fee: $512. Contact Sue Fruchey, John C. Campbell Folk www.HaliburtonSchooloftheArts.com; (705) 457-1680. School, One Folk School Rd., Brasstown, NC 28902 ; Denmark, Skælskør May 11–20 “Cross Draught [email protected]; www.folkschool.org; (828) Kiln.” Fee: $85. Contact Ane Fabricius Christiansen, 837-2775 ext. 122 or 1-800-FOLK-SCH. Guldagergaard International Ceramic Research Ohio, Cincinnati May 1–2 “Molds, Modelling Center, Heilmannsvej 31 A, Skælskør, 4230, Den- and the Narrative Figure,” presentations by Nan mark; [email protected]; www.ceramic.dk; 45 Smith. Fee: $250. Contact Lisa Merida-Paytes, Gal- 5819 0016. lery Director, Funke Fired Arts, 3130 Wasson Rd., Denmark, Skælskør June 27–28 “Sculpture in Cincinnati, OH 45209; [email protected]; Public Space: Seminar,” presentations by Christie www.funkefiredarts.com; (513) 871-2529. Brown, Akio Takamori and Wenzhi Zhang. Fee: $161; Pennsylvania, Little Meadows July 18–19 “Big two days, $94. Contact Ane Fabricius Christiansen, Pots–Forms, Hunches and Risks,” presentations by Kevin Guldagergaard International Ceramic Research Crowe. Fee: $275. Contact Ruth Cohen and Archie Center, Heilmannsvej 31 A, Skælskør, 4230, Den- Johnson, Mud and Fire Potters, 1552 Bowbridge Rd., mark; [email protected]; www.ceramic.dk; 45 Little Meadows, PA 18830; [email protected]; 5819 0016. www.mudandfirepotters.com; 570-623-3335. Denmark, Skælskør August 17–26 “Woodfire Tennessee, Smithville May 8–10 “Plates and Plat- Marathon.” Fee: $627. Contact Ane Fabricius ters,” presentations by Melody Tiemann. Fee: $250. Con- Christiansen, Guldagergaard International Ceramic tact Gail Gentry, Appalachian Center for Craft, 1560 Craft Research Center, Heilmannsvej 31 A, Skælskør, 4230, Center Dr., Smithville, TN 37166; [email protected]; Denmark; [email protected]; www.ceramic.dk; 45 www.tntech.edu/craftcenter; (615) 597-6801. 5819 0016. Tennessee, Smithville May 15–17 “Glaze Tech- Greece, Skopelos Island September 10–25 “Mia niques: Beyond Dipping and Pouring,” presentations Muse,” presentations by Suzy Birstein. Fee: $1800. Con- by Susan DeMay. Fee: $250.Contact Gail Gentry, tact Gloria Carr, Skopelos Foundation for the Arts, PO Box Appalachian Center for Craft, 1560 Craft Center 56, Skopelos Island, 37003, Greece; [email protected]; Dr., Smithville, TN 37166; [email protected]; www.skopart.org; (604) 737-2636. www.tntech.edu/craftcenter; (615) 597-6801. Greece, Crete, October 2010 “Greek Island Ce- Tennessee, Smithville September 11–13 “Drinking ramics Excursion.” Contact Denys James, Discovery Vessels,” with Melody Tiemann. Fee: $250. Contact Art Travel, 182 Welbury Dr., Salt Spring Island, British Gail Gentry, Appalachian Center for Craft, 1560 Craft Columbia V8K 2L8, Canada; [email protected]; Center Dr., Smithville, TN 37166; [email protected]; www.denysjames.com; (250) 537-4906. www.tntech.edu/craftcenter; (615) 597-6801. Italy, Tuscany June 23–July 7 “Wood-Fired Terra- Tennessee, Smithville September 18–20 “Im- cotta in Italy,” presentations by Don Davis. Fee: $2700; proving Wheel Throwing Techniques,” presentations $2400, student. Contact Don Davis, East Tennessee by T.J. Edwards. Fee: $250. Contact Gail Gentry, Appalachian Center for Craft, 1560 Craft Center State University, Dept. of Art and Design, Campus Box Dr., Smithville, TN 37166; [email protected]; 70708, Johnson City, TN 37614; [email protected]; www.tntech.edu/craftcenter; (615) 597-6801. www.spannocchia.com; (423) 439-7864. West Virginia, Huntington May 15–17 “Poetic Jamaica through May 2 “Ceramics in Jamaica,” Objects,” presentations by Michaelene Walsh. Fee: $225; presentations by Doug Casebeer, Randy John- members, $195. Contact Huntington Museum of Art, 2033 ston, Jan McKeachie-Johnston and David Pinto. McCoy Rd., Huntington, WV 25701; [email protected]; Fee: $2,850. Contact Doug Casebeer, Anderson www.hmoa.org; (304) 529-2701 ext. 21. Ranch Arts Center, PO Box 5598, Snowmass Vil- Wyoming, Jackson Hole May 29–30 “Wheel lage, CO 81615; [email protected]; Pots: The Basics and Beyond,” presentations by Bede www.andersonranch.org; (970) 923-3181. Clarke. Fee: $275; members, $250. Contact Sam Morocco October 28–November 15 “Morocco Ex- Dowd, Art Association of Jackson Hole, 240 S Glen- cursion.” Fee: $3175. Contact Denys James, Discovery wood, Jackson, WY 83002; [email protected]; Art Travel, 182 Welbury Dr., Salt Spring Island, British www.jacksonholeworkshops.org; 307-733-6379. Columbia V8K 2L8, Canada; [email protected]; Wyoming, Jackson Hole July 10–12 “Archi- www.denysjames.com; (250) 537-4906. tectural Ceramics,” presentations by Marcia Selsor. People’s Republic of China, Beijing, Shanhai, Fee: $210; members, $185. Contact Sam Dowd, Suzhou, Xian and Yixing June 15–29 “Ceramic Art Art Association of Jackson Hole, 240 S Glenwood, Tour of China,” presentations by Xiaosheng Bi. Fee: Jackson, WY 83002; [email protected]; $3600. Contact Joyce Michaud, Hood College Ceramics www.jacksonholeworkshops.org; 307-733-6379. Program, 401 Rosemont Ave., Frederick, MD 21701; Wyoming, Jackson Hole September 17–19 “Ce- [email protected]; www.hood.edu/academic/art; ramics: Color and Design,” presentations by Donna (301) 696-3456. Rozman. Fee: $290; members, $265. Contact Sam Switzerland, Ticino, Gordola November 2–7 Dowd, Art Association of Jackson Hole, 240 S Glen- “Saggar Firing, Sulfates,” presentations by Patty wood, Jackson, WY 83002; [email protected]; Wouters. Fee: $750. Atelier Cirkel and Toepferschule, www.jacksonholeworkshops.org; 307-733-6379. Via San Gottardo 3, Gordola, Ticino 6596 Switzerland; Canada, Alberta, Medicine Hat May 14–24 “Kiln [email protected]; www.toepferschule.ch; 091 Building Workshop,” presentations by Aaron Nelson. 745 3495. Ceramics Monthly May 2009 92 Soldner Clay Mixers by Muddy Elbow Manufacturing

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Ceramics Monthly May 2009 93 classiﬁed advertising Ceramics Monthly welcomes classifieds in the following categories: Buy/Sell, Employment, Events, Opportunities, Per- PotteryVideos.com – DVD’s with Robin Hop- sonals, Publications/Videos, Real Estate, Rentals, Services, Travel. Accepted advertisements will be inserted into the per, Gordon Hutchens and Graham Sheehan. first available print issue, and posted on our website (www.ceramicsmonthly.org) for 30 days at no additional charge! Video Workshops for Potters at all levels of ex- See www.ceramicsmonthly.org/classiﬁeds.asp for details. perience. Choose from 21 titles. (800) 668-8040; [email protected]. buy/sell Tom Turner’s Pottery School. For details, see www.tomturnerporcelain.com; or call (828) 689- For Sale: Big Soldner mixer and Big Bluebird mixer. 9430. real estate Good shape. Best reasonable offer. In Colorado. Call Showroom & fully-equipped Studio for sale in (719) 488-3691 or email [email protected]. miscellaneous Las Cruces, New Mexico. 3,000 sq. ft. building and adjoining commercial lot. 275K firm. Principals only. New! billandlizhunt.com Toll free (877) 525-3334. Pok-o-Maccready summer camp, in the Lake Champlain area, is looking for donated or eco- nomically priced equipment in order to expand opportunities Working Pottery and Consignment Art Gal- their ceramics program. Please contact Kelly at lery established 30+ years with 30+ artists. [email protected]. Acclaimed pottery. Exceptional workshops. Beautifully situated in upscale, historic, down- Steven Hill Pottery at Center Street Clay; town Stuart, Florida. For more information visit centerstreetclay.com. www.rare-earth-pottery.com/4sale. employment

Studio Potter needed to manage pottery. Summer workshops with David Stabley in his Potter’s Dream: Eaton, NH! Passive solar post-and- Full time, paid position. Please contact house/studio in rural northeastern PA. Learn slab beam contemporary home and studio on 18 wooded [email protected]. construction and his carving and finishing tech- acres. Four bedrooms, two baths, screened porch, niques. For more information: www.stableys.com deck, organic garden. Separate gallery and guest- or phone (570) 784-8606. house, sunny studio, 20 years strong onsite sales. Apprentice / Internship. Small production pottery Large gas kiln rolls beautifully on track into studio. in northwest Montana seeks motivated individual for $349,900. Contact Alex: (603) 986-5910, alex@ one-year position starting end of August. 40 hours/ Mid-Coastal Maine Potter’s Retreat. Beautiful alexdrummondrealty.com. Available immediately. week in exchange for studio space (includes materi- ceramics studio/living space on 110 acres. Woods als and firing), room and board, monthly stipend, trails, swimming pond, private lessons and critiques/ gallery sales. Check www.whitefishpottery.com for group workshops. Nearby ocean and sailboat. Santa Fe, New Mexico Artist Compound. Home, more details about applying. www.starflowerfarmstudios.com; (207) 525-3593. studio, guesthouse in spectacular setting. 5000+ sq. ft. on 1.5 acres IN TOWN. Fully equipped events high fire studio, spacious rentable guesthouse. Idyllwild Arts Summer Program offers week-long Artistically designed home. $1,370,000. Contact workshops in ceramics including Hot Clay with Ingrid [email protected] for pictures and information. Radca Ceramics: Handmade Architectural Ceram- Lilligren, Cynthia Consentino, Marc Digeros, Rosette ics for Indoors & Outdoors. Corporate & Private Gault, Eduardo Lazo, and Paul Lewing; general Commissions Accepted. Master Classes in Throw- Ceramics; and traditional Native American Pottery ing & Altering Techniques. www.TomRadca.com. 1790s Farmhouse/Pottery Studio in East Top- (Hopi-Tewa and Santa Clara). All skill levels. Other sham, VT. Modernized, exposed beams, 6 bed- 15216 Grove Rd., Port Washington, Ohio 43837. courses available in sculpture, painting, metals, (740) 498-4303. rooms, 2-1/2 baths, 2-acre yard surrounded by textiles, mixed media and more. Campus located river w/beach; 1450 sq. ft. fully-equipped studio, in the mountains of Southern California. For informa- 30 cu. ft. firing chamber, gas fired. Potential rental tion and course catalog, call (951) 659-2171, ext. income. $349,000. (802) 439-6903. “Handbuilt.” Philadelphia, PA, September 17-19, 2365, or email [email protected]. Web site: 2009 – Demonstration, Inspiration, Conversation. www.idyllwildarts.org. Handbuilding Conference to benefit CERF. Dem- Affordable home/studio for sale in upstate onstrators: Hayne Bayless, Sandi Pierantozzi, Lisa New York, 6 acres on the Hudson near Saratoga Naples, Holly Walker. Guest Speaker William Daley. Live on-site at Pottery West in Las Vegas, NV Springs. Operational pottery for 35 years. Studio: www.sandiandneil.com. with a private room for $500 a month. Includes 3 spacious rooms + finished gallery. House: utilities and 24-hour access to Pottery. Hands-On 3bedroom/1bath, deck, washer/dryer, woodstove. Sculpting Workshop with Amy Kline June 26 - 28th. Must see. Price Reduced, $150,000. (518) 692-7742. Summer 2009 – Nantucket Island School of Visit potterywest.com; email [email protected]; www.BrendaMcMahonCeramics.com/info/sale.html. Design & The Arts. Artisans Workshops in Ceram- call (702) 987-3023. ics, Textiles, Jewelry and Painting. Plus Creativity & Design: Environment & Studio and Cultural Ex- rental pressions: Interdisciplinary Curriculum, integrated publications/videos with Ceramics Studio @ Seaview Farm. Living, Ceramics Studio Rental at artist co-op/Art Cen- Harbor Cottages. PDPs; credit available, affilia- Tom Turner’s 2-day workshop, 4-disc DVD set. ter. Located in North San Diego county, Califor- tion Mass College of Art, Boston. www.nisda.org., To order, see www.tomturnerporcelain.com; or call nia; 10 miles from the beach. See our web site [email protected], (508) 228-9248. (828) 689-9430. www.nottinghamarts.org for photos and information.

Ceramics Monthly May 2009 94 Whidbey Island 3 bedroom home plus studio and Master Kiln Builders. 26+ years experience de- travel showroom. 2 full baths, oak floors, loft, surrounded signing and building beautiful, safe, custom kilns by fields and forest views of Puget Sound and Mt. for universities, colleges, high schools, art centers Craft & Folk Art Tours — Ecuador, Romania, SW Bal- Rainer. Landscaped with raspberry patch, fruit trees. and private clients. Soda/salt kilns, wood kilns, raku kans, South Africa, Christmas in Oaxaca (Mexico), Includes garden maintenance, water/sewer. $1,600 kilns, stoneware kilns, sculpture burnout kilns, car Myanmar (Burma), India, Guatemala, Central Asia, monthly; first, last and deposit. Available April 1. kilns and specialty electric kilns. Competitive prices. Morocco. Small, personalized groups. Craft World Non-smokers, pets possible. Contact Peter Wolf at Donovan. Phone/fax (612) 250-6208. Tours, 6776CM Warboys, Byron, NY 14422. (585) (360) 929-7799; [email protected]. 548-2667; www.craftworldtours.com.

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Ceramics Monthly May 2009 95 Comment owning a form by Jack Troy

In the summer of 1972, a visitor to my booth ringers in horseshoes or hitting that little and observations go on a little sabbatical, at an art fair raved about the recent visit she circle on a dartboard, all the while knowing and body-awareness heightens. It’s as if had paid to several potteries in the Seagrove, it wasn’t anything I’d ever do again unless I some aspect of our self yearns to find its North Carolina, area and suggested I look came back. “Throwing to the mark,” you own expression apart from obeying con- into it. “It’s like nothing you’ve ever seen,” might call it; training eye and hand—which scious orders. When that happens, the pots she said. “It’s better than anything you’ve aren’t easy learners, but have great potential— change. Since only an expert with an agenda ever seen! It’s more real than what goes on to perform in sync with will. can possibly throw 100 matching bottles, in college ceramics studios.” The following While there is no way to measure the the potter experiences many nuances of the month, I showed up at the Jugtown Pot- experience of that day, my training delivered form—width, height, resolution—all the tery outside Seagrove, North Carolina, in a something vitally important—a permanent, while gaining confidence that will invest VW van with a tent, sleeping bag itself as only experience can, in and potter’s wheel, having made future work. arrangements to work there for a The more you enter into a long Looking at 100 bottles in profile while, doing what might be needed, campaign of exploring the inner always leads to reaching out for and simply experiencing daily life in certain pieces and inevitably, to a traditional pottery. character of even a simple form, discussion: “What does this one I remember looking through the the more completely and excitingly say about balance? Asymmetry? vocabulary of forms in the sales cabin Stability?” “Why does this shallow and noticing the confidence with it reveals itself with each new S-curve make the bottle look taller which they had been made, how sim- realization of the wheel. This is what than the one next to it that’s the ple most were, how easily they might my life is: for me this is what it means same height but more bulbous?” have been cast instead of thrown. “How can this piece look so heavy, But the longer I looked and handled to be a potter.—Michael Cardew yet feel so light?” “Isn’t it amazing the cups, bowls, pitchers and other (A Potter’s Companion, Ron Larson, Park Street Press, Rochester, VT. 1993) how, without even trying, you’ve pieces made for daily life, the more made the feet so precisely similar? they revealed of human, touch-based Does that make you feel comfort- investment—unlike clay whose life-blood has intricate refinement to my nervous system—a able or robotic?” “Can you remember which been sucked into plaster molds. currency to spend or invest in work having pieces you thought hard about, and which I asked Vernon Owens what forms they nothing to do with wrens or their houses. It seemed to make themselves?” “Which ones, if could use, and he suggested I make some was the equivalent, in its way, of the many any, do you intend to fire, and why?” “What wren houses—a form I’d made with some thousands of chord progressions musicians would you have left if you recycled everything regularity. (In much of North Carolina, play in practice and that underlie and infuse you made from this exercise?” “wren” is a two-syllable word—“ray-un,” the best of their performances. To own a form is, in a way, to become said fast.) I set to work and by lunch-time When I taught on a regular basis, about “pregnant” with it in some neurological way. had 44 of them, with holes and perches, on every five years or so, students with a particu- We retain the power to manifest it in our ware boards. Vernon looked them over quite lar keenness to learn throwing would stand work, not necessarily the way a queen bee carefully. “Well,” he said, “I guess we can use out among the others, and I’d inquire if they’d lays cloned eggs, but by investing something this one, and this one, and . . . that one over ever thought about choosing a form and of that deep-seated experience in whatever we there, and, uh, maybe these two,” and went making 100 of them. (About every ten years, choose to make. 38 years ago I came to own on about his business. Though I’d been mak- one of these students would take me up on the form of those wren houses. These days, ing pots for only ten years, I’d made dozens it.) Often the objects were bottles—enclosed I have the feeling that in some sense I am of wren houses and knew birds would have forms requiring no trimming—usually made happily owned by every form I have studied nested in any of the 39 I was about to wedge from roughly 1- or 1½-pound balls of clay. seriously, and they embody whatever fluency up, but they weren’t Jugtown wren houses, The idea was to keep every one, with no helps articulate my work in clay. and I was working at Jugtown. thought to decorating or firing any of them. After lunch, with a Jugtown wren house in They were forms to inform the former. the author a member of Ceramics Monthly’s front of me, I did what many of the ceramics There always seems to be a variable editorial advisory board, and a frequent con- teachers, whom I’m glad I never had, would point—different for each person—when a tributor to CM, Jack Troy makes pots and writes have abhorred: I threw one after another of rhythm develops in the throwing, perhaps in Huntingdon, Pennsylvania. For further those Jugtown wren houses, as if pitching when the most intense conscious thoughts information, see www.jacktroy.net.

Ceramics Monthly May 2009 96