2 Ceramics Monthly William C. Hunt...... Editor

Ruth C. Butler ...... Associate Editor

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

Mary Rushley...... Circulation Manager

Mary E. Beaver. . . . Circulation Assistant

Jayne Lohr ...... Circulation Assistant

Connie Belcher .... Advertising Manager

Spencer L. Davis...... Publisher

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Ceramics Monthly (ISSN 0009-0329) is published monthly except July and August by Professional Publications, Inc., 1609 Northwest Blvd., Columbus, Ohio 43212. Second Class postage paid at Columbus, Ohio. Subscription Rates: One year $18, two years $34, three years $45. Add $5 per year for subscriptions outside the U.S.A. Change of Address:Please give us four weeks advance notice. Send both the magazine wrapper label and your new address to: Ceramics Monthly, Circulation Office, Box 12448, Columbus, Ohio 43212. Contributors: Manuscripts, photographs, color separations, color transparencies (in­ cluding 35mm slides), graphic illustrations, texts and news releases dealing with ceramic art and craft are welcome and will be con­ sidered for publication. A booklet describing procedures for the preparation and submis­ sion of a manuscript is available upon re­ quest. Send manuscripts and correspondence about them to: Ceramics Monthly, The Ed­ itor, Box 12448, Columbus, Ohio 43212. Telecommunications and Disk Media: Ceramics Monthly accepts articles and other data by modem. Phone us for transmission specifics. Articles may also be submitted on 3.5-inch microdiskettes readable with an Ap­ ple Macintosh computer system. Indexing:Articles in each issue of Ceramics Monthly are indexed in the Art Index; on line (computer) indexing is available through Wilsonline, 950 University Ave., Bronx, New York 10452. A 20-year subject index (1953-1972), covering Ceramics Monthly feature articles, Suggestions and Questions columns, is available for $1.50, postpaid, from the Ceramics Monthly Book Department, Box 12448, Columbus, Ohio 43212. Additionally, each year’s articles are indexed in the De­ cember issue. Copies and Reprints: Microfiche, 16mm and 35mm microfilm copies, and xerographic re­ prints are available to subscribers from Uni­ versity Microfilms, 300 N. Zeeb Road, Ann Arbor, Michigan 48106. Back Issues: Back issues, when available, are $3 each, postpaid. Write for a list. Postmaster:Please send address changes to Ceramics Monthly, Box 12448, Columbus, Ohio 43212.

Copyright © 1988 Professional Publications, Inc. All rights reserved January 1988 3 4 Ceramics Monthly V olume 36, N umber 1 • January 1988

Feature Articles

Carl McConnellby Glenn Cooke ...... 23 Smits Collection...... 26 Richard Rudich: Monarchs and Miragesa review by Diane Douglas...... 28 Canadian Biennial...... 30 Functional Ceramics: Production by Phyllis Blair Clark...... 33 with Marketing Thoughts from the Functional Ceramics Workshop...... 37 Garden Treasures...... 39 John Mason A few years ago, California artist John Mason concentrated on un­ Jeanne Otis: A Color Dialogueby Beth Toth...... 40 mortared firebrick sculpture; shown here is with Making Colorant Pencils, Crayons, Chalks and Watercolors a 1978 installation at the Corcoran Gallery by Jeanne Otis...... 43 of Art in Washington, D.C. But Mason has since returned to the vessel, built on a scale Stamping Out Pottery...... 44 requiring a forklift-equipped studio as seen in the article beginning on page 46. Photo: John Masonby Mac McCloud...... 46 Paul Kennedy. Sculptured Viewpoints...... 49

A Color Dialogue Color is central to Being Professional current work by Arizona ceramist Jeanne Business Letters and Invoicesby Joe Weingarten...... 77 Otis. For more control, she even makes ce­ ramic underglaze pencils, crayons, chalks and watercolors; page 40. Departments Letters...... 7 Comment: A Brave New World for Craft WTiere to Show...... 9 by William Hunt...... 19 Questions...... 11 Film & Video...... 63 New Books...... 13 Itinerary...... 15 Classified Advertising...... 78 Suggestions...... 17 Index to Advertisers...... 80

News & Retrospect Free Workshop Listings...... 57 Eddie Dominguez...... 65 Fletcher Challenge Award Always a Different Story...... 67 Carl McConnell Porcelain teabowl with by Peter Gibbs...... 57 E. Joan Horrocks...... 67 cobalt brushwork; throughout his 30-year Piedmont Craft Fair...... 57 Cooperative Efforts in Argentina career in Australia, McConnell has exper­ NEA Deadline Reminder...... 57 by Tomas Wolff...... 69 imented with a variety of styles. Turn to Ban Kajitani Workshop ...... 71 page 23 for a retrospective look at his work. Slip Sliding Away...... 57 Building a Crafts Collection...... 58 Phyllis Hammond ...... 73 Kofi Asante...... 59 British Innovations ...... 73 The cover Wood-fired jar, approximate­ British Prices...... 75 Northwest Clay Show ...... 60 ly 20 inches in height, feldspathic Shigar- Abby Huntoon ...... 75 aki-type clay, with decorative “lip shadow” ACCA Retreat National Crafts Showroom Closes ...... 75 from an adjacent pot, by Tsujimura Shiro, by Alice Coming...... 60 Nara Prefecture, Japan; featured recently Mary Jo Bole Culinary Art in L.A...... 79 at Sugimoto Works of Art, New York City. by Annie Cantillon...... 62 Teapot: Form and Function...... 79 Chicago Vicinity Clay VI ...... 65 Picasso Ceramics...... 79 January 1988 5 6 Ceramics Monthly tentions while executing the piece. Instead few common-sense procedures seem to to­ of two or more pages of philosophy, one par­ tally elude our young people (teachers?). Af­ agraph ought to cover it. ter 45 years of potting and teaching, my health Letters Jean Calicura is as good as new. Lots more power to CM, Pleasant Hill, Calif. but please bring more hard-working studio ArtQuest Coverage potters into the magazine. Who needs all the Thanks for the photographs on ArtQuest I’m tired of letters explaining why or what long-winded sophisticated crap from non­ ’87. CM saved me the entry fee for this year represents art. If pottery has to be explained, working, nonparticipating big names who ($21 for a minimum of three slides submit­ why bother? I look forward to Ceramics don’t understand the everyday person? ted). I have used this saved money to renew Monthly for the pictures, new directions and Iris Barna my subscription and will use the remainder diversity. Tesuque, N.M. for coffee and chocolate. D. Sanborn I read only the first two paragraphs and Yakima, Wash. Avoid Barium had to stop and calculate the money gener­ Please print more glaze recipes that do not ated by this production: 5000 entries times Over the years CM has been instructive, contain barium carbonate. Many of my stu­ three slides at $7 apiece comes to about infuriating and invaluable! dents read Ceramics Monthly and want to $105,000. Did CM mean 5000 pieces? That’s Rina Schulkind use the recipes given, but a large percentage only $35,000, then. Bethesda, Md. of them contain barium, which I refuse to Did work as wonderful as Ken Ferguson’s use. Please help the large number of new get in? Why not? A simple ten-page philo­ Inspiration potters who would like to stay around longer. sophical treatise will suffice. For many years Ceramics Monthly has been Ann Dobbs And somebody should send Elizabeth a pleasure and we have appreciated [that]. It College Station, Texas MacDonald a good kilnbuilding book; then is currently more an irritation than a plea­ somebody else should send CM a guidebook sure. The magazine may represent the cur­ Fickle Fashion covering the sensible choosing of expensive rent state of craft or art, but if that is so, art An age-old art form is being reduced to full-page color photographs. If the maga­ is at a very low ebb. What is the point of the level of fashion! Trends change in a ca­ zine’s that hard up to fill space, let me know— giving exposure to so much foolishness? pricious manner due to media hype and mar­ I’ll come up with some decent slides and pho­ Wouldn’t it be better to try to lead potters in keting gimmicks. When your hair is long— tographs of my work and that of some friends. better directions than simply to report? There short hair is the vogue—you get a haircut, I wish I had some cleverly philosophical can’t be much inspiration for young potters and long hair is back! The remedy to this is comment to end with, something about the in what CM presents. The occasional inclu­ simple: move to a faraway place that nobody timeless quality of handmade, heartmade art, sion of pictures of historical pieces is a weak has heard about and do your own thing. Don’t but. .. effort to provide some such inspiration, per­ read ceramic publications—well, maybe just Greg Seigel haps, but not important, I would think, since Ceramics Monthly. Owenton, Ky. extensive and more complete treatments are Zeljko Kujundzic available in books these days. Now, a 20- Entiat, Wash. I applaud your profiles of emerging ce­ page spread of a historical style or archae­ ramic artists in the November 1987 issue. ological type of ware would be interesting Subscribers’ Comments CM is doing a great service to all up-and- and worth study. Show us more functional pottery as in the coming artists by giving these worthy artists James Carley article on Pine Mills Pottery [April 1987], national exposure. Brasstown, N.C. which also shows how people live and work Fleur Reynolds in the ceramic professions. Daly City, Calif. Show Themes Jerry A. Daniel I enjoy seeing groups of pieces on a com­ Garland, Texas What Should We Call Ourselves? mon theme (i.e., NEA grant winners, sculp­ I’d like fewer issues like November 1987. I don’t care if people call me artist or pot­ tors, Virginia potters, etc.). This allows me When you live out in the boonies, the “how ter, so long as they keep buying my stuff. to see similarities (and differences) as a group, Sherry Boyle which can be very educational. I think ed­ to” is as important as the inspirational. Jo Smith San Luis Obispo, Calif. ucation is what CM is all about! Mary L. Akers Marshall, Ark. Verbal Abuse Williamsburg, Va. I tire rapidly at the yapping of those per­ I look forward to CM’s arrival more than sons whose brains have evidently rotted and Clay Therapy any other piece of mail. When you live and can’t bear to read anything more complicated As an art therapist, working with clay is work on a small island, CM makes you feel than a simple declarative sentence. an extremely important aspect of the therapy “connected” to the rest of the ceramic com­ I enjoy a good controversy like that be­ program. My patients are delighted during munity. tween Higby and MacKenzie, the comments the time they spend in the pottery room. In Donna Kassab of Don Pilcher, and I thought Ted Randall’s fact, they sold some of their pottery in order St. Thomas, Virgin Islands writing in CM excellent and to the point, to have our CM subscription renewed. They despite the carpings of those sophomoric often get great ideas from the magazine and I don’t have to look at the news on TV to English majors from Californicatoria, who are very proud to have paid for it. know this earth is going to hell fast. I just found Ted’s sentences too long for them. I Lani A. Gerity have to open up a recent issue of CM and presume they’ve never read William Faulk­ Rutherford, N.J. look at the ceramics that are being produced ner, nor Jose Marti. today. So pay no mind to the simple folk, but Dust Problem Ridiculous G. Cohen continue to print the meaty stuff, on both I have subscribed to Ceramics Monthly Salem, Ontario sides of the question. since 1962. Some of the comments and sug­ Edwin Todd gestions really are ridiculous. Like, work­ Share your thoughts with other readers. All Puriscal, Costa Rica shops discontinued because of dust! [See the letters must be signed, but names will be May 1987 Letters column.] And what is wrong withheld on request. Address: The Editor, Let’s have less of these “cerebral” discus­ with the teacher wet mopping after class? Ceramics Monthly, Box 12448, Columbus, sions about the meaning of the potters’ in­ This is standard procedure in my studio. A Ohio 43212. January 1988 7 8 Ceramics Monthly June 1 entry deadline $12 for 1 entry; $5 per additional entry. Awards. Faenza, Italy “The Second International Quad- Send SASE to: MIA-PGS National Juried Exhi­ riennial Competition: Ceramics in the Urban Set­ bition, 1400 First Ave., N., Great Falls 59401; or ting” (March 15-May 15, 1989) is divided into call: (406) 453-4076 or 727-8255. Where to Show two categories: Section I: Proposals for future use April 1 entry deadline Exhibitions, Fairs, Festivals and Sales of ceramics in an urban setting; and Section II: Chautauqua, New York “Chautauqua 31st Na­ Works already existing. Juried by the Mayor of tional Exhibition of American Art” (June 26-July Faenza (or his delegate) and six experts in archi­ 24) is juried from slides of up to 3 entries. Fee: tecture and ceramics. $19,600 in awards (28,000,000 $5 per entry. Awards. For prospectus send SASE International Exhibitions lire). Contact: Competition Secretariat, Assesso- to: William Waite, CAA, Box 1365, Department January 8 entry deadline rato all5Urbanistica del Comune di Faenza, Via 9, Chautauqua 14722. Bowmanville, Ontario, Canada “Fourth Annual Zanelli, 4-48018 Faenza; or call: (0546) 28790. May 1 entry deadline Winter’s Harvest” (January 24-February 7) is Saint Louis, Missouri “5/10/15” (September juried from slides of up to 4 entries of work com­ 1-30) is juried from resume and slides of works pleted within the past two years. Fees: $10 for 1 National Exhibitions not exceeding 15 inches or less than 5 inches in entry; $15 for 2-4 entries. Contact: The Visual January 6 entry deadline height, nor exceeding 10 inches in diameter. Con­ Arts Centre of Newcastle, Box 52, 143 Simpson Gatlinburg, Tennessee “The Dripless Spout: In­ tact: Barbara Jedda, Craft Alliance, 6640 Delmar Ave., Bowmanville L1C 3K8; or call: (416) 623- novative Teapots” (February 27-May 21) is juried Blvd., Saint Louis 63130; or call: (314) 725-1151 5831. from slides (1-2 views) of up to 3 entries. Cash or 725-1177. January 15 entry deadline and purchase awards. Contact: Cynthia Huff, Ar- New York, New York The “12th International rowmont School of Arts and Crafts, Box 567, Gat­ Regional Exhibitions Small Works Competition” (February 6-March linburg 37738; or call: (615) 436-5860. 11) is juried from slides or hand-delivered work; January 8 entry deadline January 8 entry deadline maximum 3 entries. All entries must be less than Phoenix, Arizona “Expressions of Faith II” Bismarck, North Dakota “North Dakota Cen­ 12 inches in any dimension. Juror: C. Lamagna. (February 26-March 18) is juried from 3 slides. tennial Juried Art Exhibition” (June 1-December Fee: $5. Awards. For prospectus contact: 80 Wash­ Fee: $10. For prospectus contact: Expressions of 31) is open to residents and former residents of ington Square East Galleries, New York Univer­ Faith II, Dinah D. Alderman, 3300 W. Camelback North Dakota. Juried from slides (maximum of sity, 80 Washington Square E., New York 10003; Rd., Phoenix 85017; or call: (602) 249-3300. 4 views). $1000 best-of-show award. Contact: North or call: (212) 998-5747. January 18 entry deadline Dakota Centennial Juried Art Exhibition, Ardyce Geneva, Switzerland “Orlandi Contest” (March Carbondale, Illinois “National Clay Cup” (April Miller, 111 Sioux Ave., Bismarck 58501; or call: 16-26), a ceramic tile competition, is open to ar­ 8-May 6) is juried from 3 slides. Juror: Ron Na- (701) 223-3065 or 845-3657. chitects, graphic artists, designers, artists and le. Fee: $15. Contact: Student Center Craft Shop, January 20 entry deadline professional craftspeople. Juried from designs outhern Illinois University, Carbondale 62901; Gulf Shores, Alabama “Gulf Coast Potters Ex­ 1 1 measuring approximately 8 /2X8 /2 inches or call: (618) 453-3636. # hibition” (February 19-20), presented in con­ (21.6x21.6 centimeters). Approximately $27,000 January 29 entry deadline junction with the Alabama Clay Conference III, (SF38,000) in purchase awards (granting repro­ Harrisburg, Pennsylvania The “60th Annual is open to residents of the entire Gulf of Mexico duction rights). Compensation for other designs Juried Exhibition” (April 2-30) is juried from slides coastal area. Juried from slides. Contact: Steve chosen for manufacture determined by mutual of up to 2 entries. Fees: $12.50 per entry. Contact: Burrow, Pleasure Island Art Association, Box 695, agreement between contestant and manufacturer. Art Association of Harrisburg, 21 N. Front St., Gulf Shores 36542; or call: (205) 968-6744. Contact: Espace Orlandi, Rue Pre-de-la-Fontaine Harrisburg 17101; or call: (717) 236-1432. February 1 entry deadline 9, 1217 Meyrin 1, Switzerland. February 1 entry deadline Pocatello, Idaho “Big Sky Biennial V/Crafts” January 30 entry deadline New York, New York “Young Americans 14th (April 7-May 8) is open to residents of Alaska, Trois-Rivieres, Quebec, Canada “National National Competition” (September 14-November Idaho, Montana, Nevada, Oregon, Utah, Wash­ Biennial of Ceramics” (June 14-August 28) is open 6, then touring) is open to permanent residents of ington and Wyoming. Juried from slides of up to to all professional ceramists currently residing in the United States between the ages of 18 and 30 4 entries. Juror: Helen Shirk. Fee: $5 per entry. Canada for at least one year. Juried from slides. (born between January 1,1958 and December 31, Contact: Rudy Kovacs, Big Sky Biennial V/Crafts, $16,000 in awards. Contact: National Biennial of 1970) working in craft media. Juried from 2 slides Box 8004, Idaho State University, Pocatello 83209. Ceramics, Box 1596, Trois-Rivieres G9A 5L9; or (1 full view and 1 detail) of up to 3 entries of work February 29 entry deadline call: (819) 374-3242. completed after 1986. Student work considered only Topeka, Kansas “Topeka Crafts Competition 12” February 19 entry deadline if produced without assistance or supervision of (April 2-May 2) is open to residents of Kansas, San Angelo, Texas “The Third Annual Mon­ an instructor. Jurors: Pat Flynn, Andrea Gill, Al­ Nebraska, and the Saint Joseph/Kansas City, arch Tile Ceramics Competition” (April 21-May phonse Mattia, Richard Marquis, Nance O ’Ban- Missouri, metropolitan area. Juried from slides of 29), sponsored by Monarch Tile Manufacturing, ion. Fee: $15. Awards. Contact: Young Americans, up to 3 entries. Fee: $15. Awards. Contact: Gallery Inc., is open to residents of the United States, Can­ American Craft Museum, 40 W. 53 St., New York of Fine Arts, Topeka Public Library, 1515 W. Tenth ada, and Mexico. Juried from slides of functional 10019; or call: (212) 956-3535. St., Topeka 66604; or call: (913) 233-2040. or sculptural work created within the last two years; February 15 entry deadline March 1 entry deadline maximum 3 entries. Juror: Dorothy Weiss. Fee: Philadelphia, Pennsylvania “Invitational Artist Hobbs, New Mexico “The Six States All Media $15. Cash awards. Contact: The San Angelo Mu­ Series” (first exhibition October 9-29) is juried Juried Exhibition” (April 21-May 6) is open to seum of Fine Arts, Box 3092, San Angelo 76902; from slides. Fee: $15. For application send SASE residents of Arizona, Colorado, New Mexico, or call: (915) 658-4084. to: The Clay Studio, 49 N. Second St., Philadel­ Oklahoma, Texas and Utah. Juried from slides. April 15 entry deadline phia 19106. Juror: David Turner. $1500 in awards. For pro­ Brussels, Belgium “Cafe Noir: The European Cedar City, Utah “Celebration 47: Cedar City spectus contact: Susan Crutchfield, Community Coffee Cup” (September 23-October 8) is open to 47th Annual Multimedia Art Exhibition” (April Development, New Mexico Junior College, Hobbs residents of the 12 European Community member 14-May 6) is juried from slides of up to 2 entries. 88240. states. Juried from up to 3 slides. Entry fee: ap­ Fee: $10. Awards. For prospectus send SASE to: March 15 entry deadline proximately $18 (BF700). Approximately $1850 in Cedar City Art Committee, Iron County School Boulder, Colorado “Handworks 88” (April awards. Shown with the European competition ex­ District, Box 879, Cedar City 84720. 29-May 28) is open to artists working within the hibition will be an invitational featuring 12 coffee March 5 entry deadline Mountain time zone. Juried from up to 3 slides cups by American ceramists. Those interested in Evanston, Illinois “Artists’ Liaison 1988 Com­ of 2 works completed within the past two years. participating in the invitational may submit up to 3 petition” (first exhibition September 16-October Fee: $10 per entry. Awards. Send SASE to: Hand­ slides for consideration. For further information about 12) is open to residents of the United States and works, 1115 Pearl St., Boulder 80302; or call: (303) the competition and invitational exhibition, contact: Canada. Juried from slides. $10,000 in cash and 449-2787. Cafe Noir, The European Coffee Cup, Nils Koch, purchase awards. Contact: Artists’ Liaison, 1341 3, rue Jean d’Ardenne, 1050 Brussels. Ocean Ave., No. 61, Santa Monica, California Fairs, Festivals and Sales May 14 entry deadline 90401; or call: (213) 399-9306. Freiburg, West Germany “The Second Elisa­ March 6 entry deadline January 7 entry deadline beth Schneider Competition and Award” (Septem­ Lenexa, Kansas “Dimensions ’88” (May 13-15) Boca Raton, Florida “Have a Heart” (February ber 24-December 11) is open to all ceramic artists. is open to artists who are residents of and working 1-15) is juried from slides or photos. Send SASE Juried from photos not to exceed approximately in the United States. All work must be three-di­ to: Sally R. Williams, 1387 S.W. 12 St., Boca Ra­ 11x16 inches (30x42 cm) of up to 5 entries. Awards mensional and created during the last two years. ton 33486; or call: (305) 395-8906. and cash prizes. Contact: Galerie Schneider, Wil- Juried from slides of up to 3 entries (maximum January 15 entry deadline helmstrasse 17, D-7800 Freiburg; or call: 0761/ of 2 views per entry). Jurors: Tony Hepburn, Harrisburg, Pennsylvania “Sixth Annual Penn­ 38 24 48, 2 94 06. Matthew Kangas and Mary Vernon. Entry fee: sylvania National Arts and Crafts Show” (March $15. Approximately $4750 in awards. Contact: 25-27) is juried from 3 slides. Fee: $150 for a Send announcements of juried exhibitions, fairs, Dimensions ’88, City of Lenexa, 13420 Oak, Le­ 10X 10-foot space. Contact: Lew Kishbaugh, festivals and sales at least four months before the nexa 66215; or call: (913) 541-8592. Pennsylvania National Arts and Crafts Show, Box entry deadline to: The Editor, Ceramics Monthly, March 15 entry deadline 11469, Harrisburg 17108; or call: (717) 763-1254. Box 12448, Columbus, Ohio 43212; or call: (614) Great Falls, Montana “Past Experiences/Fu­ January 16 entry deadline 488-8236. Add one month for listings in July and ture Visions” (June 20-July 30) is juried from 2 Stevens Point, Wisconsin The “16th Annual two months for those in August. slides of up to 4 entries. Juror: D. O’Leary. Fee: Please Turn to Page 50 January 1988 9 10 Ceramics Monthly ceramics in the microwave oven?—H.S. Yours is one of our most often asked ques­ tions. While we answered this one on two Questions separate occasions some years ago in this col­ Answered by the CM Technical Staff umn, the combined answers bear repeating: CM wrote Dan R. McConnell, senior product manager for Amana Refrigeration, Inc. He responded: “The use of metal con­ Q I am interested in building a gas kiln, tainers [in microwave ovens] is generally for­ but am concerned that use of ceramic fiber bidden because the large metallic surface area insulation might pose a health risk. Are there prevents the absorption of microwave energy precautions one might take?—f. W by the food, and acts essentially as a shield. While there have been no definitive studies The reflected microwave energy travels back completed, concerns about ceramic fiber re­ to the magnetron tube causing the tube to fractories (and mineral wool) have been con­ overheat, which in turn results in long-term sidered recently by a number of sources in­ degradation and reduction in life [of the tube]. cluding the World Health Organization Only rarely is an instantaneous failure of the (WHO) which has commissioned a soon-to- tube caused by the use of metal containers. be-published study on the topic. In addition, Because of the subtle long-term effects on the a front page article in the May 12,1987 issue tube, there is a great deal of confusion about of the Wall Street Journal implies that there the use of metal containers. now exists enough evidence that those in sig­ “In general, ceramics make excellent con­ nificant contact with refractory fiber insu­ tainers in the use of microwave ovens. Ce­ lation at least should be aware of possible ramics absorb very little microwave energy risks from fiber exposure when not wearing and therefore do not heat up themselves. They an appropriate mask. Kilnbuilding is a time permit the microwave energy to penetrate the of special concern when fiber may be in the food. There is very little, if any, reflection as atmosphere in substantial quantities. in the case of metals. Currently, insulating fibers are regulated “The small amount of metal in [typical] in the U.S. as “nuisance” or nonhazardous glazes appears to have no significant effect dusts. But some scientists suspect a link with on the usability of the ceramic container. There lung cancer/silicosis and inhaling fiber. is no significant difference in reflection of One theory holds that the cancer-produc- microwave energy nor in heating effect; ing potential of fiber is a function of its phys­ therefore, glazes present no problem in the ical size and durability/longevity, rather than operation of the microwave oven and cause its chemistry. Thin, long and durable fibers no damage.” are the most suspect, as they may lodge and Exceptions to Dan McConnell’s conclu­ remain in the lungs. A variety of refractory sions are glazes which contain significant fibers meet those criteria. Asbestos, a known amounts of metal, either in the form of luster, carcinogen, bears some physical similarity to heavily reduced oxides turned to metal such ceramic refractory fiber (as do some forms as those found in some raku, or fuming. A of talc, mineral wool and fiber glass). selectively placed thin layer of tin chloride It is difficult to tell if this is fact or over- fuming/luster, however, is used to create the reaction, because ceramic fiber insulation extremely hot area on microwave browning hasn’t been around long enough to study its pans. effects on humans. Scientists generally agree The potter may test clay bodies and glazes that cancers develop 20 years or more after by placing a fired work in the microwave the first exposure to a carcinogen. oven along with a separate cup of water (in Nevertheless, research has lagged behind a glass container); turn the oven on high for the boom in ceramic fiber sales since the mid one minute. To be safe for microwave use, ’70s when this unique insulation began to the pot should feel cool and the water warm revolutionize kiln construction and fuel ef­ after this cooking. If the water is cool and ficiency. So far, two major studies have yield­ the pot is warm, the latter is absorbing mi­ ed mixed or inconclusive results, and both crowave energy and thus should not be used industry and academia are planning new re­ in such equipment. search to resolve problems with current data. Thrown ware or other circular forms prove Besides the cancer suspicion, some ceram­ ideal for microwave use. They have an ad­ ic fibers are also known to convert on firing vantage over square and oblong shapes in to cristobalite, which is linked to silicosis. that forms with corners tend to cook un­ Standard Oil’s Carborundum Division re­ evenly. You might consider producing shapes cently began labeling about 20% of their Fi- with a central tube—similar to an angelfood berfrax products, indicating a cristobalite cake pan—eliminating entirely the slower- conversion at temperatures above 1600°F. cooking center. Avoid hollow handles or a “Rather than wait for definitive proof,” porous clay body because these can trap water suggests the Center for Occupational Haz­ which gets excessively hot in the microwave. ards in its recent newsletter, ceramists “might be wise to return to old-fashioned [insulating Subscribers3 inquiries are welcome and those or hard] firebrick for kilns, or to wall off or of general interest will be answered in this encapsulate [refractory fiber] insulation.” column. Due to volume, letters may not be answered personally. Send questions to: Tech­ Qi How can I be sure my ware is microwave nical Staff, Ceramics Monthly, Box 12448, safe? Would you comment about the use ofColumbus, Ohio 43212. January 1988 11 12 Ceramics Monthly Principally a color catalog of selected works sustains itself by drawing on its traditions.” (shown one piece per large-format page), Dormer goes on to note that the collection this book begins with a short commentary can also be viewed “as being representative New Books by the artist explaining his personal “path of the demands made upon craft pottery since to the beautiful.” 84 pages, including index the second World War.... A large part of From Our Native Clay and annotated plate notes. 67 color plates. the public’s demand for pottery derives from Art Pottery from the Collections of the $30. David R. Godine, Horticultural Hall, whimsy and a love of soft kitsch. Parts of the American Ceramic Arts Society 300 Massachusetts Avenue, Boston, Massa­ collection serve such tastes well. edited by Martin Eidelberg chusetts 02115. “In a representative collection we expect to find pots that are first class, which act as Following the Centennial Exhibition in Phil­ Qing Porcelain exemplars, which set the standard for others adelphia, the American “art pottery move­ to follow. We are not disappointed. There is ment mushroomed. Imaginative methods of Famille Verte, Famille Rose by Michel Beurdeley and Guy Raindre a core of good pots which span the range of decoration proliferated, contributing to a contemporary pottery’s themes—from func­ A survey of the manufacture, distribution and heterogeneity of styles. Carved, modeled and tion in the case of Michael Cardew, to ‘art’ exportation of pottery during the Qing dy­ painted decoration, as well as the effects of in the best of Elizabeth Fritsch. This core glazing itself, were all explored. Shifts in taste nasty (1644-1912), this oversized text con­ testifies to pottery’s most important contem­ and in technological innovations further ac­ centrates on polychrome porcelains from porary function—the ability to offer delight, Jingdezhen, but also discusses wares from celerated the pattern of growth. In contrast stillness and solace.” 200 pages including list other centers such as blanc-de-chine from to the cold, formal whitewares used by the of other major crafts collections in the U. K. Dehua in Fujian province, decorated stone­ factories, art pottery workers largely made and index of makers. 16 color plates; 385 wares from Guangdong and the reddish brown their vases from the readily available, warm, black-and-white photographs. £18.95 (ap­ coarse earthenware. They painted motifs, stoneware teapots from Yixing. Through re­ proximately $32), plus £4.80 (approximately cently discovered Chinese documents, plus mainly botanical, with a broad, brushy in­ $8) postage and handling. Crafts Council, 12 the well-known accounts written by 17th- timacy that again contrasted to the frequent Waterloo Place, London SW1Y 4AU. use of precisely rendered narratives by the and 18th-century Jesuit missionaries, the big factories. The use of a painterly tech­ authors came to the conclusion that the por­ nique with nature for subject matter en­ celain trade also had a wide-reaching effect Neale Pottery and Porcelain couraged the appreciation of art pottery in on Chinese domestic and foreign policies. Its Predecessors and Successors an art-for-art’s-sake manner.” Certainly had not Emperor Kangxi recog­ 1763-1820 Published in conjunction with an exhibi­ nized in Jingdezhen a means of making mon­ by Diana Edwards tion hosted at Christie’s (New York City) last ey and gaining prestige, the pottery might One of the lesser known Staffordshire pot­ summer, this book/catalog of post-industrial have remained closed. “As a result of the teries of the 18th century was Neale & Com­ troubles that accompanied the change from Revolution pottery, from the collections of pany. “Although operating in the Wedgwood American Ceramic Arts Society (ACAS) the Ming to the Qing dynasty, the factory metier and producing a wide range of basalt was burned, pillaged and forced to close down members, provides insight into the American and variegated wares, creamwares and art pottery movement. Established in early sometime between 1673 and 1675.” Kangxi pearl wares, Neale went a step further and 1983 by Florence Barnes, the ACAS was ordered rebuilding around 1682, and “the took that quantum leap into the manufacture formed in order to unite art pottery collec­ output of the porcelain factories at Jingde­ of porcelain, a feat never achieved by Wedg­ zhen made a significant contribution to the tors, stimulate significant research, and spread wood or, for that matter, by most of the other this knowledge to the general public. “The country’s prosperity.” 316 pages including Staffordshire earthenware potters,” notes the appendixes on technical information and ACAS is an organization of passionate lovers author of this survey of Neale & Company. methods of determining authenticity, glos­ of American art pottery—vital works of art Historically overshadowed by Wedgwood, which for decades have remained hidden in sary, selected bibliography and index. 100 Neale works and other Staffordshire earth­ color plates; 280 black-and-white illustra­ attics or languished in museum basements,” enwares are now being reconsidered and tions. $125. Rizzoli International Publica­ notes William Goodman, President of the reappraised. In the text, Diana Edwards traces ACAS. Spanning four decades, from the tions, Inc., 597 Fifth Avenue, New York, New production of this English firm in reference York 10017. Centennial Exhibition in Philadelphia in 1876 to its predecessors, contemporaries and suc­ to World War I, the works are categorized cessors. into three sections: painted decoration; sculpted Building a Crafts Collection Classical Greek- and Etruscan-inspired decoration; and glazed forms. Photo notes Crafts Council Collection 1972-1985 vase forms characterize early Neale pottery, give some insight into the artist’s method of First published in conjunction with a 1985 while “invoices dating from 1774 indicate working and chosen styles. 112 pages, in­ exhibition of 800 objects from the British James Neale was selling creamwares rang­ cluding index. 100 color photographs. $49.95, Crafts Council collection (see page 58), this ing from plates, tureens and sauceboats to hardcover; $39.95, softcover. Udell Design, catalog/book is a source of reference on con­ egg cups, pickle stands, fish drains and ‘beer Inc., 34 West 37 Street, New York, New York temporary crafts in England and Wales. By Juggs [sic].’” In addition, Neale & Company 10018. far, the largest of the book’s seven sections produced medallions, figurines, Toby jugs and (about 30% of the volume) is devoted to ce­ decorative planters. From 1783 until at least The Porcelain of Brother Thomas ramics, with remarks by exhibition organizer 1790, Neale also made ware from a true hard- The Path to the Beautiful Peter Dormer: “The collection is representa­ paste porcelain which incorporated bone ash. “Some believe that art is a product of skills. tive of the divide between pots you can use “From the outset [Neale ware] was consis­ I believe that art is first an inner experience, and ceramics which you cannot. But the di­ tently finely potted, decorated or modeled, and that skills are acquired to express it.” vide is not simple. Very little of what is made inevitably less contrived and more sponta­ Brother Thomas (Thomas Bezanson) began as domestic pottery is bought for use. Fancy neous than rival Wedgwood. ...” making pots 34 years ago, six years before and aesthetics, not utility, prompt us to buy The majority of the text is devoted to iden­ entering the Benedictine Monastery at Wes­ handmade wares, and most objects, whether tifying and dating Neale wares for the col­ ton Priory, Vermont. Working in an Amer­ functional or not, end up on the mantelshelf. lector; included are appendixes of company icanized, classical Chinese tradition, he pro­ “The collection is also representative of the names and dates, and of seals and cameos. duces porcelain vessels (bowls, platters, vases) inward-looking nature of craft: pottery is a 224 pages, including bibliography and index. with glazes utilizing the range of hues de­ ghetto art which for the most part has turned 10 color plates; 186 black-and-white pho­ rived from copper and iron—celadon, tem- its back upon contemporary design and art. tographs. $65. David <£r Charles, Inc., North moku, copper red and cloud blue. The miracle is that so much good pottery Pomfret, Vermont 05053. January 1988 13 14 Ceramics Monthly tralia, 100 George St., The Rocks, Sydney, New sels; at R.S. Levy Gallery, 3 Republic Plaza, 333 South Wales, Australia 2000; or call: (02) 241 Guadalupe. 1701. Or contact: Susan Harkavy, American Craft Council, 40 W. 53 St., New York, New York 10019; Group Ceramics Exhibitions Itinerary or call: (212) 956-3717. Conferences, Tours, Exhibitions, Fairs, May 11-14 The International Academy of Ce­ California, Fresno through August 18 “Pre-Co- ramics biennial general assembly at Sydney’s lumbian Clay Sculpture”; at Fresno Arts Center Workshops and Other Events to Attend Southern Cross Hotel. Nonmembers wishing to and Museum, 2233 N. First. audit the session should contact: Musee Ariana, California, Palm Springsthrough January 6 “Fo­ 10 avenue de la Paix, 1202 Geneva, Switzerland; cus: Clay,” works by 15 artists; at Elaine Horwitch or call: (022) 33 39 44. Gallery, 1090 N. Palm Canyon Dr. Conferences May 15-20 “The Fifth National Ceramic Con­ Illinois, Chicagothrough March 6 “European Florida, Melbourne January 15-16 “The 37th ference” at the University of New South Wales in Terra-cotta Sculpture from the Arthur M. Sackler Annual Florida Craftsmen Exhibition and Con­ Kensington, Sydney, will include addresses by Collection,” 35 works dating from the 15th through ference” will include workshops and demonstra­ Yoshitaki Inui, Michael Keighery, Rudolph the 20th centuries; at Gallery 120A, the Art In­ tions. Contact: Susie Stovall, Florida Craftsmen Schnyder and Judith Schwartz, plus forums on: stitute of Chicago, Michigan Avenue at Adams Exhibition and Conference, BACAM, Box 360782, Ceramics in Architecture; Critical Writing on the Street. Melbourne 32936. Arts; the Role of the Gallery and Patronage; and Illinois, Highland Parkthrough January 15 Val New York, New YorkJanuary 28-30 “The Case Education for a Vocation in Ceramics. Registra­ Cushing and Anne Hirondelle, “The Masterful for Clay in Secondary Art Education,” a sympos­ tion fee: approximately $182 ($A260). Student Vessel.” January 23-March 5 “Pitcher, Jug, Ewer,” ium focusing on art education at the primary and registration fee: approximately $126 ($A180). includes works by Stanley Anderson, Everette secondary levels. Professionals from art education Contact: Ceramics 88, Box 128, Sydney 2001; or Busbee, Val Cushing, Patrick Dougherty, John (research scholars, teachers, school administrators call: (02) 262 2277. Frantz, Ron Gallas, Jane Lefevre, David Nelson, and ceramic artists) will address the value of work­ Charles Olson, Douglas Rankin, Will Ruggles and ing with clay for educational growth and devel­ Ken Sudberry; at Martha Schneider Gallery, 2055 opment. Registration: $95 (includes conference Tours Green Bay Rd. papers and subscription to Studio Potter). For reg­ China August 26-September 20 The Craftsmen Indiana, Indianapolis through January 15 “The istration, contact: Symposium on Clay in Second­ Potters Association’s “Tenth Anniversary Pottery American Art Clay Company’s Indiana Artists Vase ary Art Education, Center for Career Advance­ Trip” will include visits to the pottery town of Exhibition,” includes works by Vlasek Hails, Joni ment, New York University, 42 Press Building, Tong-guan, teapot potteries of Yixing, potteries Heide, Tom Keesee, Anne McKenzie Nickolson, Washington Square, New York City 10003. For reproducing traditional blue-and-white ware in Will Northerner and Rick Paul; at Patrick King further information about the conference, contact: Jingdezhen, the terra-cotta army of Xian, mu­ Contemporary Art, 427 Massachusetts Ave. Symposium, Box 70, Goffstown, New Hampshire seums and ancient kiln sites. Fee: approximately Louisiana, New Orleans January 24-March 6 03045; or call: (603) 774-3582. $3320 (£2000), includes round-trip air transpor­ “Wedgwood from the Irving Gerson Collection,” Oregon, PortlandMarch 16-19 “East Meets West: tation from London, accommodations, food and late-Victorian-era ware; at New Orleans Museum National/International,”the 22nd National Council travel. Registration deadline: July 1. For further of Art, City Park. on Education for Ceramic Arts (NCECA) con­ information contact: Christine-Ann Richards, 14a Missouri, Saint LouisFebruary 5-27 “Form and ference, hosted by Pacific Northwest College of Percy Circus, London, England WCIX 9ES; or Function: Teapots”; at Craft Alliance, 6640 Del- Art, Oregon Art Institute (which includes Port­ call: 01 833 1898. mar Blvd. land Art Museum) and Northwest Film and Video England May 10-24 “A Potter’s Tour of England” New Jersey, MorristownJanuary 15-March 1 Center, will feature exhibitions, workshops, panel will feature visits with nine potters in their studios, “Fired with Enthusiasm,” contemporary soup tu­ discussions, slide lectures, etc., plus social events historic and contemporary museums, selected reens from the Campbell Museum; at Morris Mu­ and commercial displays. Participants will include commercial potteries and a Victorian pottery still seum of Arts and Sciences, 6 Normandy Heights artists, teachers, critics, collectors, gallery person­ in operation. Fee: $2150, double occupancy, (add Road. nel, and museum professionals. For further infor­ $260 for single occupancy), includes round-trip air Pennsylvania, Philadelphia January 70-30 Jane mation contact: Frank Irby, Conference Chair, transportation from Chicago, accommodations, Gustin, large majolica platters; and Mark Pharis, Oregon Art Institute, 1219 S.W. Park, Portland many meals and guided tours. Registration dead­ functional ware; at the Clay Studio, 49 North Sec­ 97205; or call: (503) 226-4391. line: March 10. Contact: Turner Tours and Events, ond Street. Texas, Houston February 10-13 The annual 1304 Columbia St., Lafayette, Indiana 47901; or Texas, Austin January 15-March 1 “Ornamental meeting of the College Art Association (CAA) will call: (317) 423-1371. Architecture Reborn: A New Terra-Cotta Vocab­ include panel discussions, lectures and placement ulary”; at University of Texas, Huntington Art services. Contact: CAA, Department T, 275 Sev­ Gallery, Ransom Center, 21 and Guadalupe Sts. enth Ave., New York, New York 10001. Solo Exhibitions Washington, Seattle through January 10 “Clay Arizona, ScottsdaleJanuary 7-February 3 Bobby Revisions: Plate, Cup, Vase,” sculpture directly Medford, “Figures and Landscapes,” large vessels related to traditional forms by 26 contemporary International Conferences and wall plates; at Mind’s Eye Craft Galllery, artists; at Seattle Art Museum, Volunteer Park, Australia, SydneyMay 8-13 “Crafts in the Late 4200 N. Marshall Way. Seattle Center Pavilion. Twentieth Century: Social Relevance and Change,” California, Palm Springs January 8-26 Suzanne Washington, SpokaneJanuary 15-February 14 a World Crafts Council conference at the Pow­ Klotz-Reilly; at Elaine Horwitch Gallery, 1090 “Northwest Ceramics Today,” invitational featur­ erhouse Museum, will include discussions on: De­ N. Palm Canyon Dr. ing works by 35 contemporary artists; at Cheney sign, Industry, and Technology; Alternatives to In­ California, San Franciscothrough January Vi­9 Cowles Memorial Museum, Eastern Washington dividual Practice; Public Patronage and the Public ola Frey, “Recent Sculpture and Drawings”; at State Historical Society, 2316 W. First Ave. Face of Crafts in the Late 20th Century; Craft in Rena Bransten Gallery, 77 Geary at Grant. Public Places; Critical and Philosophical Frame­ Colorado, GoldenJanuary 10-February 4 Chris­ Ceramics in Multimedia Exhibitions works for Craft in the Late 20th Century; and tine Davis, colored clay vessels; at Foothills Art Ongoing Educational Models, including the Center, 809 15th St. Alabama, Birmingham January 31-March 27 changing role of museums, research, and conser­ Florida, JacksonvilleJanuary 12-February 16 “Perspectives: Angles on African Art,” includes vation. Events coinciding with the conference in­ Lewis Snyder, pottery; at South Gallery, Florida terra-cotta objects; at Birmingham Museum of Art, clude a series of craft symposia at the Canberra Community College, 11901 Beach Blvd. 2000 Eighth Ave. School of Art (April 10-May 7) and weekend Florida, Tampa through January 14 Peter Kuent- Arizona, Mesa January 15-February 4 “Surface workshops (May 14-15 and 21—22) sponsored by zel, “Boat Works,” abstracted clay vessels; at Gill- Intrigue,” national juried exhibition focusing on the Potters’ Society of Australia. Flight arrange­ man Stein Gallery, 3105 Bay to Bay Blvd. texture; at Galeria Mesa, 155 N. Center. ments may be made through Travel Advisors of Idaho, Ketchum through January 30 Richard Arizona, Phoenix through January 9 “Two- Seattle: $1046, Los Angeles to Sydney (fares for Kugler, “Recent Ceramic Sculpture”; at Gail Sev­ Views,” includes polychrome landscapes by N. connecting flights to Los Angeles are additional). ern Gallery, 620 Sun Valley Rd. Skreko Martin; at Beth O’Donnell Gallery, Suite Departure dates from Los Angeles: April 29 or New York, New Yorkthrough January 9 Albert 64, Saint Philip’s Plaza, 4340 North Campbell May 6. Return dates to Los Angeles: May 15 or Green, “Clay—A Glaze Master’s Approach,” Avenue. May 22. To reserve seats contact: Victoria Well­ stoneware and porcelain; at Frank Caro Gallery, through January 17 “Third Biennial Native man, Travel Advisors, Fourth and Pike Building, 41 E. 57 St. American Fine Arts Invitational,” works by 11 Seattle, Washington 98101; or call: (206) 624-5357. through January 22 Ursula Morley-Price, por­ artists representing tribes from Canada and the For further information about the conference, con­ celain; at Graham Gallery, 1014 Madison Ave. at United States, through March 6 “What Is Native tact: Michael Keighery, Crafts Council of Aus- 78 St. American Art?”; at Heard Museum, 22 E. Monte Ohio, CantonJanuary 17-March 6 Beth E. Lin- Vista Rd. Send announcements of conferences, tours, exhi­ denberger, “Sculptural Ceramics”; at Canton Art California, Fair Oaks January 8-February 2 Two- bitions, juried fairs, workshops and other events at Institute, 1001 Market Ave., N. person exhibition including works by Alfred least two months before the month of opening to: Pennsylvania, Philadelphia January 15-February Sampson Pierson; at Artworks Gallery, 10239 Fair The Editor, Ceramics Monthly, Box 12448, Co­ 12 Syd Carpenter; at the Clay Studio, 49 North Oaks Blvd. lumbus, Ohio 43212; or call: (614) 488-8236. Add Second Street. California, La Jolla January 16-February 24 one month for listings in July and two months for Texas, Austin through January 9 Gordon McVay, “Super Bowl,” includes works by Gail Kendall, those in August. sgraffito-decorated earthenware platters and ves­ Please Turn to Page 52 January 1988 15 16 Ceramics Monthly from ½-inch plywood that is accurate and To make the right or obtuse angles re­ easy to assemble; and the separated wood quired for four-, five- and six-sided forms, pieces can be drilled and hung out of the way alter the angle, in the three cross members, Suggestions when not in use. Following the plans below, to 90°, 108° and 120° respectively, and pro­ from our readers simply cut two A sections and three B sec­ ceed as before with a board dropped in on tions, and assemble. Equal thickness boards each side .—Rod Joyce, Davenport, Iowa

Squeegeed Floors Sweet Cure Rather than using a window squeegee [see I recently read that white sugar has been “Dustless Floor Cleaner” in the April 1985 applied directly onto infected, hard-to-heal Suggestions], we use a large squeegee that is injuries, burns, ulcers, etc., with an amazing the size of a shop broom. Ours was pur­ success rate. Having frequent problems with chased at a salvage operation for a nominal cracked skin and dermatitis on my hands, I fee, but they should also be available at in­ took some of my regular hand cream, mixed dustrial or janitorial supply outlets. We also in as much powdered sugar as possible and use this squeegee in combination with damp put it on in the evening as usual. I’m defi­ sawdust (free from a wood shop next door). nitely hooked on my new mix. Probably hon­ Voila! No dust; however, we always wear ey would work also, but oh so sticky!— Mar- masks when doing any sweeping in the stu­ gareta Warme, North Vancouver, B.C. dio.—J. Ganz, Lynnwood, Wash. A Quick Measure Adding Tailings to Glazes Etch small marks every ½ inch along the Interesting glaze results can be obtained top of your straight throwing ribs for a quick by adding the tailings from lapidary/gem- measurement when seated at the wheel .—Bo stone polishing to a glaze batch. Among the Lyons, Platte City, Mo. final polishing ingredients are silicon car­ bide, which is often used for local reduction Dollars for Your Ideas in electric kilns, and cerium oxide, which Ceramics Monthly pays $10 for each sug­ will give a good, stable high-fire yellow.— dropped in on either side of the resulting gestion published; submissions are welcome Joe Faragher, Camphill Farm, South Africa angle will then accurately support two joined individually or in quantity. Include an illus­ slabs. Should the slabs stick to the boards, tration or photo to accompany your sugges­ Joining Slabs cover each board with canvas or cloth, sta­ tion and we will pay $10 more if we use it. Joining two slabs at a specific angle while pling it to the edges; pieces of a discarded Send your ideas to CM, Box 12448, Colum­ supporting both sides can be clumsy and dif­ bed sheet leave less pattern and are less ex­ bus, Ohio 43212. Sorry, but we can't ac­ ficult, but you can make a support device pensive to replace. knowledge or return unused items.

January 1988 17 18 CERAMICS MONTHLY Comment

A Brave New World for Craftby William Hunt

This article does not quote the critical painting and sculpture); at worst it is teacher to museum curator, has been pronouncements of (alphabetically) pure discrimination. groomed to be in bed with these and Clement Greenberg, Robert Hughes or In the art of earlier centuries, we note other fundamentally ridiculous ideas of Donald Kuspit. It comes as close as pos­ the medium bias changing from the the current art world, and few have en­ sible to ignoring those of Hilton Kramer, dominance of earth oxides on cave walls gaged in a personal revolution to change too. What’s more, it speaks against fol­ them. It takes a lot of courage to go against lowing those outside of craft who simply “Such traits are proof of the the significant flow of the “system.” No don’t care about us, or those who might wonder gallery owners have sought un­ want to have some control over us; and larger phenomenon of our field's trained and graffiti-gifted artists as an many of those within who are often cast inferiority complex, which is alternative to the same old academy-of- the-in. One suspects that if there were as leading us.* unnecessary\ mostly unearned This odd custom of following in the sufficient original aesthetic thinking, a craft world has produced at least two and harmful” lot more diversity in objects and ideas, generations of craft artists who have been even seeming chaos, would dominate. Few hustling to make their work acceptable to stone sculpture, in and out of a lin­ want to think too completely about that, to New York, to art or craft publications, gering supremacy of “functional” reli­ to examine, to challenge. And in this to some guru of craft, or to what they gious objects in bronze and other metals, context, perhaps the main problem with perceive as the “art world.” Misguided of tempera and the fresco, long before craft is that most of the art world’s his­ in a variety of ways, most of these pleas- the 17th century’s broad dissemination torians, dealers, critics and movers know ant-enough folks lack a sense of histor­ of the techniques of oil painting. His­ little about craft media, and will avoid ical perspective and often undervalue their torically, these fashions for specific me­ them as long as there is a chance of personal aesthetic radar. dia appear unavoidable, stemming as they showing their ignorance. Such traits are proof of the larger do from a variety of cultural/architec­ For example, in a recent lecture titled, phenomenon of our field’s inferiority tural pressures. However, they cloud the “Where are we now? Art and Criticism complex, which is unnecessary, mostly real aesthetic issue, which is not what in the 1980s” presented before the Na­ unearned and harmful. Most craftspeo­ medium is supreme, but that there are tional Council on Education for the Ce­ ple see this inferiority being solved by few “amazing” works in any medium. ramic Arts, critic Hilton Kramer didn’t recognition and money—roots of an in­ The world still needs more great art/ even mention a clay-related word! Not creasing number of craft evils. Things craft (take your pick). And media dis­ “ceramics,” “potter,” “ceramic art,” “clay,” were more artistically honest, interest­ crimination has cost civilization a lot of nothing. ing and creative when there was a lot both. What’s worse is that this ignorant Why? I suspect that this is sympto­ less recognition and money in the field. practice continues to do so. matic of a larger phenomenon: that there That’s not to say there aren’t good re­ Consider another fundamental bias: are careers protected and a great deal of sults from the added income; just that that it is quality and only quality aes­ money to be made if aesthetic leaders it’s not free. thetics that are sold at the top of the Likewise, this article speaks against gallery world; that a work’s value is de­ some of the most outrageous ideology termined only by the yardstick of aes­ “There are significant odds put forward by the mainstream art world thetics. If that were true, why do the against small objects costing less for the unchallenged consumption of those latest big art objects typically cost more in “crafts.” Fundamental ideas, such as, than small ones by the same contem­ and large ones more if price reflects “Media or materials have no signifi­ porary artist? It sounds oddly like by- value and aesthetics are the cance; it is only quality and content that the-pound aesthetics, doesn’t it? There standard of value” matter.” Well, is there a more obvious are significant odds against small objects medium bias than the one for paint on costing less and large ones more if price anything flat: canvas, wood, Masonite? reflects value and aesthetics are the stan­ just keep their mouths shut about their It is after all this specific bias for paint­ dard of value. In fact, if aesthetics really craft deficiencies. The art movers (and ing that has kept it the art form of art determined value, artists and dealers shakers) sell aesthetic expertise, the forms for so long. Let us recognize this would regularly price work in a manner promise of aid for acquiring good taste bias for what it is—at best it shows fur­ that might seem frivolous to the general along with good investments, and they ther historical ignorance (the history of public—even more frivolous than to­ simply can’t take the risk of even re­ art is much more than an account of day’s gallery pricing which resembles motely appearing not to know what trade in pork bellies more than valuation they’re doing—a definite risk when *While no one interested in the more compulsive aspects of aesthetic worth. dealing with craft. of philosophy will miss that this argument approaches Nearly everyone, from collector to Art schools, staffed by well-meaning that classic fallacy of “poisoning its own well,” there really is no better way to illustrate the problem and create a dealer to artist to art historian to college art historians and studio faculty, help climate for dialogue. art professor to elementary school art foster craft-ignorance-presented-as-craft- January 1988 19 20 CERAMICS MONTHLY ... Comment and FTV alone ought to be the center­ just part of the progression of visual me- piece of a modern art education, if real­ dia-ism. I expect we’ll see a potter on ity is the test of what should be learned. the Tonight Show eventually. Won’t that rejection through spineless, me-too-ism. Film/television/video is full of sights and be mainstream? And mainstream is where From Yale to Peaudunque U. they have colors not so different from the power the old art used to be when it spoke to a need to define what the art world is, once produced by the imagery and un­ regular people, often illiterate people so they can teach it, and thus they take blemished hues of the Sistine Chapel (that’s much less than tenth grade), about the path of least resistance by following ceiling; but FVT is more available, more God and the saints, heroes and kings. ARTnezvs, Artforum (for the more dar­ dynamic because of its vast potential for Or even before, when it brought a sense ing) or Art in America as if these mag­ individual access, motion and sound. In of magic to hunters painting on cave walls. azines are the true, real art of now. In this new “art world,” craft also plays a It’s worth noting that these old arts fact, by the time art reaches such pages, major role as another easily accessible were rather functional and connected to it is by definition redirected or em­ form of expression and artistic contact. the people. And the essence of function balmed (even if magazines could show As do fashion and architecture. And in is not that it waters down aesthetics (as the full art of the departed moment rath­ has been preposterously repeated ad er than the best hype-ers). "... in the late 20th century\ nauseam). Rather it is an aesthetic which Few in the ivy-covered halls really want is humanistically focused. In an age of to take on the system that has attempted it is accessibility rather than self-interested art, often made without so zealously and insidiously to form them exclusivity which makes the regard for its viewers, functional art is into well-read, comfortably tenured au­ deeply concerned with its audience—the tomatons or has provided the ladder of visual media tick ” people, their needs, emotions, and sen­ achievement which they can readily see sibilities. All the new art—FTV, archi­ and which they have so faithfully climbed. the late 20th century, it is accessibility tecture, fashion and craft are largely But the system has emphasized second­ rather than exclusivity which makes the functional arts, that is, seeking to serve hand knowledge of art/craft over direct visual media tick. Even vastly appreci­ some immediate need of the people be­ knowledge. ated individual paintings such as the yond simply eliciting a feeling, express­ Craft artists have been a bit too re­ Mona Lisa are known today and so val­ ing something, creating beauty or the laxed and even smug as well. How many ued almost entirely because of accessible like. That functionality binds people to­ more mindless clones, whether earrings copies reproduced in textbooks and on gether in a common experience—not such or oil lamps, must we endure? Where T-shirts or postcards, not by visiting the a bad idea in an age when so much en­ are the new functional forms? Who con­ Louvre to see a dimly lit, roped-off, Mona ergy has been expended on the problems tinues to push until they reach the realm under glass. Is it any wonder in our fast- of alienation. of awe? Who even spends much time on paced world, that people want their crafts Art or the visual media have a way a single piece anymore? So many works also as similes—stylish, like the ones in of tapping the power of a culture, what­ are simply the result of some quick tech­ magazines and on TV? ever that power may be, and offering it nical trick that looks good. Where is the The new visual media continue even up from special people who produce it new aesthetic movement that could have though the old art world dismisses them to the people at large, even without schools sprung from our field? for their often significant lack of quality, to teach its appreciation or foster its goals. In the meantime, the world has comprehension levels rising to the heights Frankly, I think things are getting back changed so drastically that art has hon­ of a tenth grade education, and bad taste. on cultural track, and there are signs of estly ceased to be a meaningful cultural Never mind that a vast quantity of old a new craft which speaks directly to our category. Rather, those tired concepts of art did the same in spades. In the old amazing culture from the mainstream and the new, quality has not become any easier to find, just more broadly distrib­ .. the essence of function is not “Craft artists have been a bit uted when it does occur. Of course, the price for this is that aesthetic trash is that it waters down aesthetics too relaxed and even smug as well broadly distributed, too. Well, it’s a free (as has been preposterously How many more mindless clones, country and we can be (and are) selec­ tive. For every level of appreciation there repeated ad nauseam). Rather it whether earrings or oil lamps, is someone making that level of art— is an aesthetic which is must we endure?” always. If you find yourself depressed about/ humanistically focused” by all this, don’t be. Depression is un­ art (commercial art, craft, fine art, ap­ founded in this case. Overall, the out­ rather than from some festering back­ plied art, decorative art) have been come is rather good. The art world seemed water of Zen, abstract expressionism or blended by the culture (which has a way stalled out anyway, not exactly produc­ SoHo. of doing things without expert permis­ ing Van Goghs or Rembrandts or even Regardless of where you stand on sion) into a nameless broader field I’ll Pollocks anymore. Maybe the events of what’s to be made in craft, if you hate call Visual Media. The “new” major our time weren’t exactly right. But to­ change, I suspect you’re really going to medium in the real world is not paint­ day, as always, it is a free-for-all slug hate what’s ahead. But if you feel ex­ ing. The latest movement is not neo- fest between interested players, includ­ citement at the new, the unseen, the di­ whatever. For better or worse, the num­ ing craftspeople, for the attention of the versity of the future, then welcome to a ber one medium is film/television/video people—who in the long run are not easily brave new world for craft. (FTV), anointed not by a bevy of critics fooled. So discovering craftspeople and but by popular demand—the same de­ their work in Better Homes and Gar­ The author William Hunt is a potter mand that once anointed painting. FTV dens is really not such an unusual event, and the editor of Ceramics Monthly.

January 1988 21 II CERAMICS MONTHLY Carl McConnell by Glenn Cooke

Carl Mc Connell is very much a pot­ most prominent Queensland potter of his house for classes, which he con­ ter’s potter. His career in Queensland, his generation, was still teaching hand- ducted from 1954-56. Australia, has extended over more than built earthenware methods at this pri­ For a young craftsman with a family, 30 years and through a vast diversity of vate school. Harvey’s death the next year life was not particularly easy in these styles, and what is striking about marked a transition which led Mc­ years. The full appreciation of the qual­ McConnell’s work is the “rightness” of Connell to the dominating influence of ities of handmade pottery had not quite every piece: the sense of proportion, the Bernard Leach. “I first read the book (A arrived, so to support a growing family, quality of glaze, the balance of each piece. Potter's Book) in 1946,” McConnell said. his production at this time was earth­ While McConnell is enware and quite com­ highly vocal, he shuns os­ mercial in intent: slip-cast tentation in his pottery. oil bottles, leaf dishes, wall Within the context of his ornaments and toothpick total production, an im­ holders. But he also found age emerges of the cha­ time for first experimen­ meleon which blends with tal stonewares then por­ its background, almost celains. self-effacing. McCon­ By 1955, McConnell nell’s shapes are tradi­ was concentrating on tional; there is nothing wood-firing stoneware. He extraneous. They link constructed a small, with the continuity of the downdraft, wood-burning past. McConnell makes kiln on a block of land in no apology for this: he says the outer Brisbane suburb he has been “reliving the of Pinjarra Hills. Later, a pottery processes from ra- house was built and he ku to high-fired porce­ moved his family to Pin­ lains.” There are so many jarra Pottery (where he possibilities, “a lifetime continued to experiment isn’t long enough to ex­ with high-fire glazes). His plore them all.” interest then developed Although he has lived into robust wheel-thrown in Queensland for a third forms which reflect the of a century, McConnell Carl McConnell of Queensland, Australia, more “earthy” character was born in Chicago in is often regarded as “a potter*s potter. ” of ’60s ceramics. 1926. There he studied Production ware was design, sculpture, ceram­ one of McConnell’s ics, modeling and crafts at the Chicago “It changed my whole outlook on clay greatest strengths. Throwing a hundred Art Institute and at art schools in Dallas and gave me a new direction. I started mugs was no feat, as the “brain gets down and Memphis. During the war, he served firing with wood and discovered the to your fingertips and you make the in the U.S. Navy and, when stationed beautiful effects from this and also the shapes without knowing.” He once de­ in Brisbane in 1945, married Bunny hard work required to achieve them. It scribed pottery as a job you could tackle Pearson. Returning to the States with introduced me to the use of various plant seven days a week and not be bored. his bride the following year, he attended and wood ashes in glaze composition, Regarded as the outstanding practi­ the Advertising Art School in Pitts­ but more than anything it made possible tioner of single firing in Australia, he burgh. Later, he enrolled at the Billy the transition from earthenware to first saw the technique in use while he Hon School of Cartooning in Holly­ stoneware and later to porcelain.” was in China with the U.S. Navy in wood. Then in 1948, after assessing the High-fired stoneware was then a new 1945. McConnell was attracted to its possibility of developing an artistic life direction in Australian ceramics and appropriateness, as it allows better unity in Queensland, McConnell returned with McConnell was the first practitioner in of form and decoration,because the lat­ his wife and infant son. Queensland. In 1952, he became a part- ter takes place while the pot is leather Upon enrolling at the Central Tech­ time instructor in sculpture at the col­ hard. “Once you have bisque fired, you nical College, his major interest was in lege, but resigned two years later to set often have forgotten how you intended sculpture, but McConnell quickly re­ up his own pottery and school in Nor­ to decorate the piece,” he says. alized that depending on such a liveli­ man Park. He had acquired a kerosene- In 1961, when McConnell produced hood was risky, and he began to con­ fired Revelation kiln (a then-popular, a series of promotional mugs for Brit- centrate on ceramic studies with Hatton pot-burner-fired, studio kiln) and it was tan’s Brickworks at Oxley, he became Beck. At that time, L. J. Harvey, the a simple matter to convert the lounge of interested in their salt-glaze firing of ag- January 1988 23 McConnells tivo-chambered kiln at Pinjarra Pottery, circa 1961.

Top Salt-glazed stoneware bottle, 6 ½ inches high, fired on its side on clay-filled seashell supports.

Middle Flask, 6 inches in height, salt-glazed stoneware; exhibited at Faenza in 1976.

R ight Oil cruet, 6 inches high, glazed earthenware, 1967.

24 CERAMICS MONTHLY PHOTOS: RAY FULTON, COURTESY OF THE QUEENSLAND ART GALLERY

Stoneware bread crock, 16 inches in height, xxnth combed decoration, lightly salted, by Carl McConnell, circa 1962. ricultural pipes. After research, he be­ ical demands of stoking for two days. He pottery and produced some excellent gan a period of experimentation; built a tried converting the kilns to oil, kerosene work, but ceased salt glazing in 1979 in salt kiln at the Thrumster Village Pot­ and coal dust before settling on gas. the admirable, though unfounded, belief tery in Port Macquarie, Northern New McConnell later remarked, “When I was that he was effectively reducing acidic South Wales; then, because he had de­ younger, my kiln was wood fired. That’s air pollution. cided to build a larger kiln at Pinjarra the best kind of kiln you could ever have. By the early ’80s, the necessity of pro­ Pottery, he began using his wood-fired, The wood ash contributes to the color duction potting for a livelihood took on two-chambered kiln for salting experi­ of the finished pot—it’s natural and it’s a less urgent note as McConnell’s father, ments. With their success, he built a 6- right. But it’s damned hard work. Now who had made contact after many years’ cubic-foot, kerosene-fired salt kiln. my kiln is gas fired. It is efficient. It’s separation, provided him with a living Equipped with a vacuum cleaner to pro­ easily controlled, but it doesn’t give a allowance. Then, with his father’s death vide the draft, it quickly and evenly in­ potter the same satisfaction.” in 1983, McConnell inherited a large creased temperature to 2550°F (1400°C). The period from 1975 marked one of income. “Now I just want to sit on a A back injury in 1966 marked the end the most productive in McConnell’s ca­ heap of clay and make pots that people of his wood firing, because of the phys­ reer. He built another salt kiln at his can use and love.” A January 1988 25 Smits Collection

A COLLECTION of contemporary ce­ a coffeepot (1955) by Peter Voulkos; California. Also included are works by ramics assembled by Howard and Gwen porcelain bottles by Laura Andreson; ceramists from Europe and the East, such Laurie Smits (San Marino, California) and slip-decorated stoneware bowls by as Michael Cardew, Lucie Rie and Hans was acquired recently by the Los An­ Harrison McIntosh. Coper, of England; and Shoji Hamada geles County Museum of Arts. Notable The vessel is dominant among the of Japan. in its representation of California ce­ 1960s and 70s works in the collection. Though a reflection of the Smits’s taste, ramists, the collection contains 182 works However, with several, such as Viola the collection also serves as something dating from the early studio ceramics Frey’s “Journey Teapot” (1970), the of an international historical survey. Its movement in the 1950s to the present, artist’s interest lay in transcending the range of selections reveals changing in­ with the majority produced during the boundaries of tradition, sometimes only fluences and interrelationships between last five years. Among the examples of alluding to function. American and international aesthetics in earlier works are a “Pilgrim Bottle” (cir­ Despite its strong West Coast repre­ studio ceramics of the past three and a ca 1950) by Gertrud and Otto Natzler; sentation, the collection is not limited to half decades. A

26 Ceramics Monthly PHOTOS: COURTESY OF THE LOS ANGELES COUNTY MUSEUM ART

Far left “Pilgrim Bottle13 inches in height, earthenware A bove Sculptural teapot, 12 inches in height, by Linda with crater glaze, by Gertrud and Otto Natzler. Gunn-Russell, Great Britain; from the Howard and Gwen Laurie Smits collection of 182 contemporary ceramic works. Dating Left “Journey Teapot,” 14 inches in height, glazed from the 1950s, the works were recently acquired by the Los earthenware, by Viola Frey. Angeles County Museum of Arts. January 1988 27 Richard Rudich: Monarchs and Mirages

a review by Diane Douglas

RICHARD Rudich is fascinated by the dividuals, particularly with individuals last days of the great European dynas­ as emblems of the state. However, they ties. With the demise of monarchs and are not meant to commemorate their monarchies early in this century, came subjects but rather to evoke a particular a radical new social and political order time and establish relevance to our pres­ in which power was institutionalized in ent circumstances. It is the very obscu­ popular governmental structures, roy­ rity of the images which interests me; alty became obsolete, and social class lines most of these imposing symbols are for­ dissolved and reformed. gotten and have become a kind of his­ In parallel fashion, the turn of the torical debris. The work is about change century brought about revolutionary in political and social status, deperson­ changes in the visual arts. When cubism alization and displacement.”

challenged the authority of one-point Rudich’s portraits are momento mori) perspective painting and sculpture, con­ harbingers of death, and therefore it is ventional rules for figure representation no coincidence that the subjects are posed were destroyed. Our holistic way of so formally and stiffly, and that their viewing the world became fractured to names and titles appear in the back­ accommodate simultaneous and diver­ ground like words on a tombstone. gent perspectives. Unlike the solemn, monochromatic Exhibited recently at the Chicago background of tombstones, however, the Center for Ceramic Art (formerly Lill backgrounds of Rudich’s reliefs are live­ Street Gallery), Richard Rudich’s bas- ly and colorful. They command atten­ “Queen and Croum Prince #7,” glazed relief portraits address both of these rev­ tion in a way that vies with the figures and painted ceramic relief, 23 Vi inches olutions. They depict a historical and represented. In particular, their use of in height, by Richard Rudich, New York. visual world on the eve of cataclysmic checkered floor tile and architectural His work concentrates on the last days of change—the source of their poignancy. elements to show perspective is remi­ the great European dynasties, often Kings, princes and royal sisters are por­ niscent of some Italian Renaissance conveying subtle interpersonal trayed with fine clothes and stately de­ painting. This deliberate adaptation of relationships and complex individual meanor. They emanate timeless author­ a 15th-century stylistic convention rein­ attitudes through classical low-relief ity. Yet we are only too aware that their forces Rudich’s theme of visual time dis­ techniques. Rudich*s work combines a authority was not timeless. placement. The result is a sense of con­ slightly primitive style with sophisticated “In these reliefs,” Rudich commented, fusion, interchangeability, of something typography to produce tension between “I am trying to describe the dilemma of not just right. viewer, subject and the medium. historical and visual anachronisms. The These portraits are disturbing and ee­ political order of Europe was about to rie. They remind us of the precarious- change but the old structures persisted ness of history, both personal and uni­ with illusory prestige. The reliefs are versal. They are portraits of life on the portraits insofar as they deal with in­ brink. ▲

28 CERAMICS MONTHLY PHOTOS: D. JAMES DEE, SARAH WELLS, COURTESY OF O.K. HARRIS WORKS ART

"Prince, Princess ivith Son #3,” 23 inches in height, glazed and painted. January 1988 29 Canadian Biennial

"Triangular Vessel,” approximately 9 inches in height, low-fired, by John Ikeda, Saint Bemardin, Ontario.

FEATURED in the second ceramics na­ After a general look at all the submitted Calgary. A $2000 people’s choice award tional of Trois-Rivieres, Quebec, were works, individual selections were made (based on votes cast by the public during 32 works by 20 Canadian artists. The “with results accepted by consensus. A the exhibition at the Galerie d’Art du competition’s 367 entries were reviewed second selection was agreed on after fur­ Parc in Trois-Rivieres) went to Yves by Henri Barras, director of Place des ther discussion. Final selection was made Bluteau, Rosemere, Quebec. Arts in Montreal; ceramists Jean Bia- by majority vote.” From Trois-Rivieres, the exhibition gini, Cadenet, France; Rick Hirsch, West Because no single entry was “felt to traveled to the Grand Theatre de Que­ Newbury, Massachusetts; Robin Hop­ be significantly more outstanding than bec; to Toronto for display at the George per, Victoria, British Columbia; and Pe­ the other works,” the jury decided not R. Gardiner Museum of Ceramic Art; ter Lane, Cringleford, England. to award a first prize, but instead gave then back to Quebec for its final pre­ “The process first required agreement $2000 prizes to Paul Mathieu, Mon­ sentation at the Galerie d’Art Stewart on the criteria, which are essentially treal; Johanne Populus, Saint-Jean-de- Hall Art Gallery in the town of Pointe- concerned with quality,” the jury noted. Matha, Quebec; and Garry Williams, Claire. A

30 CERAMICS MONTHLY Left “The Argument,” 2 feet in height, handbuilt terra cotta, by Constant Albertson, Como, Quebec.

Far left “You Are What You Eat, ” approximately 4 feet in length, by Lucinda Dyke, Montreal. Her imagery “is the idea of a figure or figures constricted by a form. The figure is usually an animal, commonly a victim of circumstance and human production. ”

“Legacy Cup, ” 53 inches in height, terra cotta, by Garry Williams, Calgary. “I have been exploring the concept of man versus nature, the similarities and differences betiveen the two. Instinct versus intellect has formed the basis for all my recent ivork. By bringing together in one piece the comparison of correlations and contrasts, I can create unexpected combinations of color, shapes and ideas, and achieve a greater awareness of my own circumstance. ”

January 1988 31 “Duo/Duel, ” 2 feet square, clay with mixed media, by Yves Bluteau, Rosemere, Quebec; winner of the people's choice award in the second Canadian “National Biennial of Ceramics. ”

R ight “Sheep Box,” 8 inches in height, by Lucinda Dyke.

Far right “Blue Boy,” terra cotta, 53 inches in height, by Garry Williams.

32 Ceramics Monthly “FruitPlatter16 inches in diameter, glazed earthenware with stenciled slips, by Vaughn Smith, Columbus; $120.

Editor’s Note: For the past 13 years, an ex­ national workshop (with workshop leaders each one. “Do you work in specific cycles, hibition simply titled “Functional Ceramics” John Leach, Jane Peiser, Todd Piker, and and are there parts of these cycles that you has been held annually at the College of discussion panelists Libby Bruch, Bill enjoy more than others? Wooster, in Ohio, then at the city’s Wayne Campbell, Jo Ann Stevens and myself) held In the following essay, Phyllis Blair Clark Center for the Arts. A major showcase for in conjunction with the show. discusses some realities of being a production the work of studio potters throughout the As in previous years, the exhibition or­ potter in the 1980s and offers answers dis­ nation, the 1987 version of this event focused ganizers sought not only to present the work tilled from the potters’ replies. on defining and showing the working breadth of participants, but also to seek to document of production potters, giving their output sig­ potters’ ideas about their craft: “What is it This is the idyllic image with which we nificant exhibition space and continuing the that keeps you motivated, keeps you inter­ have become acquainted: a production dialogue between potters through an inter­ ested, and keeps you creating?” they asked potter sits in a studio in a secluded area,

Far left Stoneware teapot, 9 inches in height, by Brad Pekoe, Millington, Illinois; $70.

Middle left Wood-fired stoneware jar, 10 inches high, by Todd Piker, Cornwall Bridge, Connecticut.

Left Porcelain covered bowl, 7 inches in height, by Eve Fleck, Yellow Springs, Ohio; $40.

January 1988 33 quietly throwing at the wheel, while to a throwing or firing schedule. And ly different. What keeps them interested outside the window there are peaceful there are the deadlines, deadlines, dead­ and keeps them creating? fields, singing birds and lovely flowers. lines—always hanging over the produc­ Working in cycles of throwing 6 to 60 But when we enter the real scene, we tion schedule. So why do these potters pieces or perhaps several kiln loads; or find the idyll has a few problems here persist in trying to earn a livelihood this starting with a particular item that sets and there. way? What keeps them going? the tone for a cycle, then watching the Certain basic concerns affect every We have explored various concerns of work become stronger with the intro­ potter trying to make either a partial or numerous potters throughout the years duction of new forms and materials, keeps complete livelihood from daywork. Some of “Functional Ceramics” shows. For this excitement and motivation at a high lev­ of these concerns are obvious at a glance: exhibition we looked at potters who are el for several of the exhibition’s partic­ How do you transport materials? Are in production, be it a one-person or a ipants. But while some of the work is there any nearby sources of equipment? one-family operation, or a larger pottery done in small series, the emphasis for Where can you get fuel? But there are employing others. Those represented in all is on quality; craftsmanship is a pri­ other things that the casual observer the 1987 show are full-time potters with mary consideration, easily exceeding might miss, decisions about marketing few having additional sources of income; concerns for quantity. Forming the clay for instance: Should you enter shows and the work shown was selected from into “unique forms that still function” (which ones?) or should you rely on shops their production ware. remains an ongoing challenge. Creating and galleries? How can you make con­ But how do we define production? something tangible from imaginings tact with appropriate ones? Then there Certainly there is no requirement for an brings joy to one of the participating art­ are more immediate details: Should assembly-line approach to turn out mul­ ists, while the challenge of a particular stacking the kiln, fixing the sink or a tiples, or that repetitive steps be taken phase of work or control of a difficult trip to town for packing boxes be next? endlessly to create repetitive pieces. Many glaze keeps another intrigued and de­ When does the person whose first love full-time potters still work in quantities termined to master the medium. is clay actually get to work with clay? of one-of-a-kind ware; others find ex­ Great physicality is demanded of pot­ While the potter can plan, a broken water citement and challenge in working with ters. Like farmers, they must be masters pipe or wet weather never pays attention multiples, each the same, yet each slight­ of multiple trades, and many shared in-

34 CERAMICS MONTHLY Left Covered jar, 5 inches in Below right Nerikomi porcelain height, porcelain, by Guy Weible, vase, 10 inches high, by Jane Peiser, Belleville, Illinois; $45. Penland, North Carolina; $1000.

Below Slab-built stoneware Bottom left "Cats and Birds Platter, ” decanter, 11 inches in height, and 16 inches in diameter, earthenware goblet set, by Madelyn Ricks, xvith slip, by Jacqueline Cohen, Lansing, Michigan; $60. Columbus; $125.

Bottom right Earthenware bowl with stenciled slips, by Vaughn Smith; $55. PHOTOS: CRAIG JAY CLARK, JOHN CORRIVEAJ

January 1988 35 Below Wood-fired teabowl, Bottom left Porcelain serving set, 4 ½ inches high, by Dan Heekin, pitcher 10 inches in height, by Guy Kalamazoo, Michigan; $40. Weible; $100 (pitcher and four mugs).

Below right Bowl with carved rim, Bottom right Porcelain bottle with 9 inches in diameter, porcelain, by crystalline glaze, 10 inches high, by Bill Campbell, Cambridge Springs, Satian Leksrisawat, Louisville; $100. Pennsylvania; $20. Opposite page Stoneware canisters, to 10 inches high, by Keith Herklotz, Wellington, Ohio; $95 (set).

36 CERAMICS MONTHLY ner feelings about their work. One en­ joyed the contrast “between the physical Marketing Thoughts from the Functional Ceramics Workshop process of throwing and forming the clay with the contemplative nature of deco­ Marketing, that mysterious art/science, ing something to react against, if that is rating forms.” A feeling of freedom “en­ is commonly defined as “an aggregate of their interest. Even those who feel su­ hanced the creative spirit” of a couple functions involved in transferring title perior to the tastes of the market could working together, freedom which as pot­ and in moving goods from producer to not feel so righteous without it. ters fascinated them and which they had consumer including such skills and pro­ Marketing is inevitable for profession­ not found in other media. cesses (among others) as buying, selling, als: While supplying one’s relatives and Jane Peiser seems to speak for every­ storing, transporting, standardizing, fi­ oneself with ceramics is not marketing, one when she said: “Making a living as nancing, risk bearing and supplying if one continues to produce, one even­ a producing potter is for me a never- market information.” tually markets after all the aunts and ending balancing of skill, necessity, in­ For every potter; marketing influences uncles have enough ware and the house tegrity, standards, reality, problems, are strong: Whether recognized or not, is full. Thus marketing cannot be es­ challenges, success, pride, failure, en­ for better or worse, the marketplace is caped by the serious potter. thusiasm, uncertainty, inspiration, doubt, a major influence on what potters make. Quality marketing is not inevitable: principle, compromise, and on and on. It often tells us what art is, what craft There is no requirement that one must It’s challenging, changing work and I is, what is popular, what lasts, what sells, market efficiently or successfully. Many am happy to be in it.” what’s important, what is filled with in­ have proved that well; some with plea­ tegrity and what is scuzzy. The market sure in it, others with pain. In fact, some The author Phyllis Clark is a staff is not just the mainstream of K-Mart, of us hate the commercial side of ce­ member of the College of Wooster; Ohio, Corning and Tupperware; it involves ramics so much that we really don’t want and has been exhibition coordinator of every institution that sells, no matter how to be too good at it. And marketing often the annual CfFunctional Ceramics” obscure or how public. And even for those is seen with moral implications in the workshop and exhibition since its incep­ who don’t like what the market tells them, art and craft world. Each artist/potter tion in 1974. its presence still affects them by provid­ must eventually address these implica-

January 1988 37 tions and their effect on one’s art/craft and one’s self-image. Will the market beat a path to your door: The Great Craft/Art Marketing Debate is between those who feel that if the work is good enough, the market will come to you; and those who don’t believe that. The former is a variation of the “better mousetrap” adage. The others see the number of artists as being so large, and the machinery of sales so preoccupied as to preclude recognition by artists of merit without their making significant overtures to the marketplace. That’s a variation of the don’t “light a candle and put it under a bushel” adage. It’s odd that no social scientist has done much hard research on these principally belief-driven concepts. Doubtless both have some merit. Many older craftspeople, who are now quite well known, easily let the market A bove Wheel-thrown porcelain teabowl, Below Stoneware platter with trailed come to them. Often they were one of a 4 ½ inches in height, with clear glaze decoration, 13 ½ inches in diameter, by very few significant producers in their liner and thick, ribbed slip, ivood fired, Jonathan Kaplan, Bowmansville, field, and that made them universally by Dan Heekin; $40. Pennsylvania; $75. interesting, newsworthy and collectible. They established themselves during the years before there were so many pro­ ducers and so could adopt the former rather than the latter marketing plan. And even today, makers attached to sig­ nificant craft/art institutions, who his­ torically have gained added exposure and reputation from their institution, also are prone to let the market come to them. Others, however, are left to consider the Great Craft/Art Marketing Debate and to choose wisely. The relationship between price and marketability: There are four kinds of craft/art. 1. Work that can be marketed at its current price. 2. Work that can’t be marketed because it is overpriced in relation to its quality. 3. Work that can’t be marketed because it is underpriced in relation to its quality. The too-low price directs the work to the wrong mar­ ket, even though another market seg­ ment would be interested. (There’s more work like this than you think.) 4. Work that can’t be marketed because nobody wants it at any price. Work like this is rare, because consumers are diverse.

38 Ceramics Monthly Garden Treasures PHOTOS: COURTESY OF THE SOCIETY ARTS AND CRAFTS

Thrown-and-carved, red earthenware platter with terra sigillata, 27 inches in diameter, by Steve Erspamer, Saint Louis.

D eeply carved earthenware platters profane symbols. Although the issues dealt John Fazzino, Providence, Rhode Is­ and covered jars by Steve Erspamer, Saint with are serious in nature, there is a land; porcelain tea sets with floral glaze Louis, were among the objects on view certain element of humor which is also imagery by Naomi Kestenbaum, New in a recent exhibition of “Garden Trea­ involved. Often, the starting point for a Bedford, Massachusetts; acrylic-painted sures” at the Society of Arts and Crafts given work will be a familiar story or porcelain “succulents” by Christine Knox, in Boston. In his work, “the drawn line, image from our culture which is then Northampton, Massachusetts; glazed whether carved or painted with a com­ slightly altered in order to produce an garden seats by Eric O’Leary, Meriden, bination of glazes and terra sigillatas, unsettling and yet familiar image—kind New Hampshire; raku rabbits by Jean strives to describe the form,” Erspamer of a ‘what’s wrong with this picture’ Stevens-Sollman, Bellefonte, Pennsyl­ remarked. “The images make reference feeling.” vania; and floral-decorated porcelain to Oriental and Romanesque art in a Also featured in the exhibition were planters by Junie Tew, Concord, Mas­ language of ‘mix and match,’ sacred and large, carved earthenware planters by sachusetts. A January 1988 39 Jeanne Otis: A Color Dialogue

by Beth Toth

IN HER CURRENT porcelain wall work, ored paper I use when designing. After Sometimes, though, my mind gets changed Jeanne Otis is searching for relation­ that, I was able to just dive in with these because I discover a wonderful, playful ships, points of contact, better ways of refined colors; most of the time the ideas shape and it may say it has to be yellow; understanding colors and how they work came from the color swatches them­ no other color will do. So then the dom­ together. selves. I was so enthralled with this new inant color becomes something new. Color became the source of content clay body, I was even drawn to the scraps. Interviewer: Many people think that and energy in her ceramics around 1975 I could pick them up and think, “Gee, your wall forms are very controlled, in­ when she moved to Tempe, Arizona that’s an interesting shape.” I’d look at tellectually approached, especially in the (where she is a professor at Arizona State a shape, then it would say to me that it way you use line, shape and color to University). Having lived most of her needed to be red or yellow or blue—it direct the viewer’s eye. life in the Midwest, she was intrigued just dictated that. Otis: No, I don’t think about that. I’m with the Southwest’s subtle browns, Interviewer: So that’s when your color not thinking structure. I’m not thinking beiges, and the blues/greens that are “dialogue” began? composition—just basic balance. I can quiet, but more vibrant for the clarity Otis: I’m not sure I know when that move things just a hair this way or that of the light they reflect. She began to started. But now I rely a lot on gut feel­ way, and it will make a big difference. experiment with new ways of treating ings. When designing a new piece, I start What I enjoy are the subtle surprises, the ceramic surface, ways that allowed by looking at the colors and asking my­ the colors that float on those edges. I a more painterly approach than on her self, “How much of this do I want?” I love texturing the surface, which has led previous vessel work. As color became sit where there’s good natural light and to the curved edges. Instead of having a more important, she gave up the concept put paper colors together, figure out which curved line in the middle of the piece, of functionality in favor of surface. should dominate. I play with the shapes, it’s much more interesting on the edge. Last fall I had an opportunity to talk cover up parts, move them around. As long as the clay doesn’t warp or crack, with Otis about her work and what mo­ why not? That’s the amazing thing about tivates her “color dialogue”: clay, there are always new possibilities that you can’t get with any other me­ Interviewer: You seem to have entered dium. a new period of interest in color. What Interviewer: In your latest series—the happened? five pieces commissioned for Hughes Otis: Color communicates—it changes Aircraft Corporation—you used a lot of my life, my moods. In earlier pieces, I new shapes. Did you just start by cutting was interested in the softer desert colors, paper? but I was hampered by the clay body I Otis: You know where I found some of was using, not being able to get very those shapes? I was sort of stuck. I didn’t interesting shapes without unacceptable like the forms I was using and my scraps losses. Then I changed the body and weren’t interesting either. As a result, I found that I could do all kinds of pre­ started going through some ceramics viously difppult things, and refire over magazines just to look for negative spaces. and over. That allowed me to start So, many of the new shapes come from thinking about new color possibilities. the negative spaces around pots and in I made a couple of pieces based on handles. I am intrigued with the drips some sketches done at an international that glazes make, the flashing from sag­ symposium I attended in Utah, and was gar firing. Those are strong shapes and very disappointed in the fired results. they are more natural to me than going That’s when I decided to refine the colors, to a home furnishings magazine or have real control over what was coming something that’s more mass-produced. out of the kiln. So I did color tests that Ceramic artist Jeanne Otis in her Also, some of the new shapes come were formulated to exactly match col­ Tempe, Arizona, studio. from a fishing trip I took to Kinnick-

40 CERAMICS MONTHLY PHOTOS: LES LAWRENCE, DAN VERMHJJON

Detail of “Veiled Luminis” (the whole work is shown inset, 55 inches in length), porcelain wall form, with slips and under glazes, fired to 2200° F.

Detail of “Cordovan Echo ” (inset, 48 inches in length); each slab section was first coated with a Vi6-inch-thick layer of slip, then impressed with various textures, accented uuith extruded colored porcelain and slip trailing, bisqued, drawn on with underglaze pencils, sometimes lightly clear glazed to brighten colors, then fired to 2200°F, and often refired for additional effects. January 1988 41 “Nightwalker, Nightwalker, ” “Spectral Dance” (detail above ), 48 inches in height, colored 45 inches in height, porcelain with porcelain wall sculpture, with colored-slip and under glaze-pencil extruded, trailed and drawn patterns, fired flat to 2200°F in elements (detail above ), an electric kiln. “Each of us has by Jeanne Otis. “It’s very our own way of seeing things. important to go with gut-level There are so many possibilities, ” feelings about colors—what remarked Jeanne Otis. “I’m just they’re doing, how they’re trying to open up new vistas relating. ” through color. ”

innick Lake this past summer. I started ing, I never had much beyond “this is out there in furniture, wallpaper, cloth­ drawing rocks—which are flat up there. the color wheel.” Just the basics. ing and everything else. I think the whole It’s funny though. Those sketches looked But it’s not that I’m thinking about country is focused on color, but I find so naturalistic when I drew them; they theory or what I “ought” to be doing that sometimes it’s being done in a bor­ looked like rocks. But when I cut them with colors. It’s very definitely a mood ing and predictable way. And typically, out of paper, they looked like art deco. kind of thing used to communicate. it’s sort of blatant. They’re just colors; Interviewer: Are there any other influ­ Interviewer: Yes, but is there some rea­ it’s just a purple or a yellow or a tur­ ences on your work that you can put son you choose the specific colors you quoise together. I find it more exciting your finger on? choose? to create a kind of whimsical tickle out Otis: People used to ask me about my Otis: The current colors belong very much of color with some surprises. early influences and I would consis­ to this phase in my life. In another one, Each of us has our own way of seeing tently mention Josef Albers. But in purple might have been very depressing. things. If I tell people that I’m going to hindsight, I really don’t know Albers’s Right now, it’s exciting. It’s a daring put certain colors together for a piece, theory. I just respond to what he has color, a risk taker, and more urban. It’s they may respond, “That sounds terri­ done with color relationships. And I ap­ very important to go with gut-level feel­ ble.” But when they see the work, it’s a preciate the work of Victor Vasarely, ings about colors—what they’re doing, different story. There are so many pos­ Kenneth Noland—all those people who how they’re relating. sibilities. I’m just trying to open up new did wonderful things with the interac­ I can’t say that I’m not influenced by vistas through color—for myself and tion of color. But as far as formal train­ my environment and the colors that are others. A

42 CERAMICS MONTHLY Making Colorant Pencils, Crayons, Chalks and Watercolors by Jeanne Otis

Underglaze pencils, crayons, chalks and “watercolors” may be made from a porcelain slip based on 50% white ball clay, such as the following: Porcelain Base Slip Custer Feldspar...... 25% SPG #1 Ball Clay...... 50 Flint...... 25 100% Add: Macaloid...... 3% Colorant (maximum) ...... 15% and 1700°F, depending on the desired hardness. The fired leads Mix with approximately 35% water. Sodium silicate (lcc per 100 can then be placed in a drafting pencil for use. A Koh-i-nor #48 grams of dry mix) added to the water will slightly deflocculate the (available from most any art or drafting supply store) will hold slip, improve green strength and help intensify some colorants. leads up to ½ inch in diameter. Commercial stains or stains made from your own recipes, oxides Crayons, chalks and watercolors made from the same colored and carbonates, may be used as colorants. The colorant addition porcelain slip are used in the dry, unfired state. should be three to five times the amount normally used to color a To make chalks, simply form the plastic slip into squares or slip. The more colorant added, the darker and more intense the rounds and let them dry. They should be rather thick to prevent pencil or crayon will be. However, using more than 15% will cause breaking easily when in use. a loss of plasticity, thus making it difficult to form the pencils. Watercolor cakes are made by hand-forming squares. When dry, Once the slip has dried to a workable state, it is loaded into a they may be moistened on the surface and used like ordinary artists’ small, hand-held, clay extruding gun. Then the plunger is replaced, dry watercolors. depressed and “pencil leads” formed. The extrusions are cut to For crayons, combine a dry batch of slip with commercial wax 1- to 2-inch lengths. When dry, the leads are fired between 1500° resist; do not add sodium silicate. Form crayons, and air dry.

January 1988 43 Stamping Out Pottery

In recognition of the country's studio pottery movement, stamps featuring pots by Hans Coper, Elizabeth Fritsch, Bernard Leach and Lucie Rie were issued recently by the British Post Office; shown above is a first-day cover sent by London potter Colin Pearson.

Ceramic works have appeared on a commissioned three photographers to dividuality and, in equal measure, use variety of the world’s postage stamps, design stamps. At first the plan was to and beauty, were what Leach and his though usually the pottery depicted is use images of Leach pots for the whole many followers, who mainly worked in ancient, the style national and the maker set; however, a decision to update them the country, aspired to. The pots they anonymous. But on October 13, 1987, involved depicting works from younger made combined elements from both the British Post Office released four new generations. The final selection of sub­ English and Oriental traditions. stamps of particular interest. The sub­ jects was made by the Post Office. “After World War II, fresh influences ject matter is work by 20th-century pot­ The stamps were issued in 1987 be­ from European modernism and a feeling ters Hans Coper, Elizabeth Fritsch, cause: “It is appropriate that the strength for Greek and Roman forms were brought Bernard Leach and Lucie Rie. and vigor of the studio pottery movement to British pottery by Lucie Rie and Hans The idea of stamps recognizing con­ in Britain should be celebrated on the Coper, both refugees from Nazism. They temporary potters was first recommend­ centenary of the birth of Bernard Leach. worked together for many years and ed “many years ago” by Victor Margrie, With Shoji Hamada, Leach set up a pot­ taught in various London art schools. former director of the Grafts Council; tery in St. Ives that epitomized the spirit Coper in particular led pottery into forms yet it was just two years ago that the of resistance against the industrializa­ which, although still worked on the wheel, Post Office approved the suggestion and tion of all the objects of daily life. In­ were more complex and sculptural.

44 Ceramics Monthly “The following generation has pur­ make their work so mainstream that four Postal Service, Washington, D.C. 20260- sued the sculptural tendency. Elizabeth of their colleagues have been so honored. 6753. Why don’t we all drop them a note Fritsch, a student of Coper’s, makes pots We often said that their work looked suggesting a group of stamps commem­ which are less about function and more good enough to eat; perhaps it is enough orating the important contributions of about contemplation. She builds her pots for the public to consider it good enough American ceramists/potters/clay sculp­ up by hand and paints them with ab­ to lick. William Morris must be smiling, tors? If CPAs, lacemakers, the United stract patterns in subtle colors which can wherever he is. Way and blue jays have had their own change the way you see the form. Potters in the United States sensing U.S. stamps in recent years, why not us? “The best studio potters have found a the image or idea of “why not us” de­ What the heck, we’ve got Robert Arne- balance between the demands of func­ veloping in either their right or left brains son, Ruth Duckworth, Karen Karnes, tion and of self-expression. The ratio may be interested in how such a com­ Warren MacKenzie, Toshiko Takaezu, may be altered, but use and beauty are memoration develops within our own Peter Voulkos and on and on. still there, even if in different forms.” postal service: The Citizens’ Stamp Ad­ Surely American potters have done as Congratulations are fully due British visory Committee will consider recom­ much for the country as lacemakers or potters, generally, for succeeding where mendations made in writing to them certified public accountants. Let’s see, others around the world have failed to c/o Stamps Information Branch, U.S. Pete’s birthday is on January 29. ... ▲ January 1988 45 Glazed stoneware vessel, 34 inches in height, by John Mason.

John Mason by Mac McCloud

When John Mason was asked recently Mason, like Peter Voulkos with whom out: “There was a period in the ’50s and what had prompted his return to the ce­ he was associated in 1955 at the Otis ’60s when I was actively producing both.” ramic vessel, his answer was thoughtful Art Institute in Los Angeles, had begun The special relationship of the vessel and typically direct: “I never ‘left’ pot­ his work in clay by an active commit­ to sculptural concerns is highlighted in tery. From my earliest encounters with ment to traditional wheel-throwing Mason’s latest series of slab-built stone­ clay, I have always maintained a respect techniques. At Otis, however, Mason, ware urns. Among these are a number and commitment to the history of pottery Voulkos and others were attracted to the of almost monumental containers whose and to the discipline of clay.” sculptural potential of clay, and within subtle decoration and glazing evoke the The question arose naturally, for a short time began investigating the dy­ geometric explorations and motifs ex­ Mason’s growing national recognition namics intrinsic to the wheel-throwing plored in Mason’s “Hudson River Se­ as a sculptor had, perhaps, begun to method, as well as the “inside/outside” ries,” the well-cataloged series of fire­ eclipse his earlier achievements as one possibilities of the container as a form. brick structures constructed in 1977-78. of the “radical” ceramists of Southern For these artists there was never any As critic Jeff Kelly observed, John California. In the 1950s “renaissance” “barrier” between pottery and sculpture. Mason is a principal figure in the group of clay on the West Coast, all the con­ Often they freely moved back and forth of artists who approach art as a subjec­ temporary concerns of sculpture and on parallel tracks, each of the disciplines tive “research science,” which is to say painting were focused in the ceramic arts. informing the other. As Mason points that they submit to the rigors of a math-

46 Ceramics Monthly

Mason in his Los Angeles studio. Work surfaces and shelving in the background are designed for forklift access.

ematical logic. The “Hudson River Se­ mentary and austere purity of a plainly ity, the clean geometry, the intrinsic unit ries” forms were site specific, geometric glazed cube. value of the common firebrick, he began structures arranged in alternating, In 1967, after moving into his present an exploration of architectonic sculp­ stepped platforms or ramps. These were spacious studio in downtown Los An­ ture, an inquiry which culminated in the organized on mathematical/diagram­ geles, Mason began experiments with “Hudson River Series.” matic dynamics developed from the ar­ the most basic of all geometric concepts: Today, Mason continues his investi­ ticulation of a primary geometric unit, the module. It might be said that in the gation of works based on architectonic the square (two adjacent firebrick), within ’60s the module was in the air of art. logic with this new series of stoneware the given architectural space. Serial imagery, minimal art, the varia­ vessels. Exhibiting a controlled range of The application of a mathematical or­ tions and extrapolations of mathemati­ configurations, these containers resonate der in sculpture and ceramics has been cal logic caught the imagination of a with the artist’s lifelong engagement with part of Mason’s evolution as an artist. number of artists. the interaction of the expressionist ca­ As early as the 1960s, he concentrated The overwhelming logistical and pabilities of clay and the parameters of research on the use of clay to construct technical problems of handling and fir­ abstracted mathematical concepts. massive sculptures. (Technical achieve­ ing massive clay structures initiated If all this sounds overly intellectual, ments included the firing of solid clay Mason’s search for a new way to express it is thoroughly brought down to earth pieces nearly 18 inches in thickness.) his ideas, which were increasingly in­ by Mason’s control of clay and glaze. From functional, free-wheeling, “ex- volved with architecture and public space. The formal elements coalesce into a dy­ pressionistic” forms, he moved toward Several monumental wall forms had been namic, compelling and dignified state­ pure, basic shapes: the cross, the X and defined by the necessity of modular con­ ment, vivifying once again Mason’s au­ even, in one unified thrust, the rudi­ struction. Then, drawn to the availabil­ thority within the ceramic process. A

48 CERAMICS MONTHLY Sculptured Viewpoints

“There are many directions to explore tween and around the objects is impor­ in clay. It is important to open myself tant. They are frequently empty, but to this era and this moment, and to use hopefully provide a context. The objects the material freely,” observed Keiko Fu- themselves are abstracted. Images of kazawa, whose work together with that vesselness, toolness or objectness are used of Joanne Hayakawa, Sana Krusoe, to try to create a dialogue with the re­ Norma Paley and Porntip Sangvanich flections—implications from a central was exhibited recently in “Sculptured source. Notes and letters are used as a Clay: Viewpoints” at Contemporary Im­ way to record the trail of thoughts or ages in Sherman Oaks, California. “I poignant moments.” really enjoy the inconsistencies and mys­ Krusoe, in turn, often begins “with a tery of clay and glaze,” Keiko continued. recognizable image or premise (spoon, “The teabowl is still a dominant part of armor), and works back to its essence, my work, although I do not treat it in paring down, cutting away the unessen­ a traditional way any more. My interest tial. I feel that there should be a neces­ now is in making environmental pieces sity, perhaps an urgency implicit in the using both figurative and abstract ex­ work. I am seeking a kind of expression pression.” that asserts and denies itself, that pulls Abstraction is also a key element in and pushes, that moves and is still. “The Object—The Memory, ” stoneware works by Joanne Hayakawa and Sana Each artist sees a combination of per­ with china paints and lusters, 46 inches Krusoe. Hayakawa’s inspiration comes sonal history, environment and circum­ long, by Joanne Hayakawa, San Diego. “from memories of moments in my life. stance in her work. But “what ulti­ Elements of those moments are collected mately takes place between the viewer Top Untitled form, 12 inches square, and shelved in situations where they cast and the work,” Krusoe noted, “depends low-fired clay and glazes, by Keiko shadows or reflections. The space be­ on what the viewer brings to it.” A Fukazawa, Los Angeles.

“Horns, ” burnished and pit fired, by Sana Krusoe, Claremont, California.

January 1988 49 ... Where to Show Continued from Page 9

Festival of the Arts” (March 27) is juried from 5 slides. Send SASE to: Festival of the Arts, Box 872, Stevens Point 54481. January 18 entry deadline Birmingham, Alabama The fifth annual “Mag­ ic City Art Connection” (April 9-10) is juried from slides. Jurors: Faye Gold and Michael Lucero. Fees: $85; $25 for new talent. $12,500 in awards. For prospectus contact: Magic City Art Connec­ tion, Operation New Birmingham, Suite 501, Commerce Center, 2027 First Ave., North, Bir­ mingham 35203; or call: (205) 254-2626. Gaithersburg, Maryland The 13th annual “Spring Arts and Crafts Fair” (April 15-17) is juried from 5 color slides, including 1 represen­ tative of booth display. Booth fees: $150—$225. For further information send three stamps (66^) for postage to: Deann Verdier, Sugarloaf Mountain Works, Inc., 20251 Century Blvd., Germantown, Maryland 20874; or call: (301) 540-0900. Gaithersburg, Maryland The 13th annual “Au­ tumn Crafts Festival” (November 18-20) is juried from 5 color slides, including 1 representative of booth display. Booth fees: $175—$250. For further information send three stamps (66^) for postage to: Deann Verdier, Sugarloaf Mountain Works, Inc., 20251 Century Blvd., Germantown, Mary­ land 20874; or call: (301) 540-0900. Gaithersburg, Maryland The 11th annual “Winter Crafts Festival” (December 9-11) is jur­ ied from 5 color slides, including 1 representative of booth display. Booth fees: $150-$250. For fur­ ther information, send three stamps (66^) for post­ age to: Deann Verdier, Sugarloaf Mountain Works, Inc., 20251 Century Blvd., Germantown, Mary­ land 20874; or call: (301) 540-0900. Timonium, Maryland The 11th annual “Spring Crafts Festival” (April 29-May 1) is juried from 5 color slides, including 1 representative of booth display. Booth fee: $200. For further information send three stamps (66^) for postage to: Deann Verdier, Sugarloaf Mountain Works, Inc., 20251 Century Blvd., Germantown, Maryland 20874; or call: (301) 540-0900. Timonium, Maryland The 12th annual “Mary­ land Crafts Festival” (October 14-16) is juried from 5 color slides, including 1 representative of booth display. Booth fee: $250. For further infor­ mation send three stamps (66^) for postage to: Deann Verdier, Sugarloaf Mountain Works, Inc., 20251 Century Blvd., Germantown, Maryland 20874; or call: (301) 540-0900. Manassas, Virginia The eighth annual “Vir­ ginia Crafts Festival” (September 23-25) is juried from 5 color slides, including 1 representative of booth display. Booth fees: $150-$250. For further information send three stamps (66^) for postage to: Deann Verdier, Sugarloaf Mountain Works, Inc., 20251 Century Blvd., Germantown, Mary­ land 20874; or call: (301) 540-0900. January 27 entry deadline Atlanta, Georgia The “1988 Arts Festival of At­ lanta Artist Market” (September 10-18) is juried from 4 slides (3 of works and 1 of display). Entry fee: $15. Booth fees: $175 for September 10-13; $230 for September 14-18; or $400 for all nine days. $12,000 in awards. For further information contact: Artist Market, Arts Festival of Atlanta, 1404 Spring St., NW, Suite 1, Atlanta 30309; or call: (404) 885-1125. January 29 entry deadline New York, New York “The 12th Annual Amer­ ican Crafts Festival” (July 2-3 and 9-10) is juried from 5 slides. Entry fee: $10. Booth fee per week­ end: $330-$360 for a 10x7-foot or 10X 10-foot space. For further information send SASE to: Bren­ da Brigham, American Concern for Artistry and Craftsmanship, Box 650, Montclair, New Jersey 07042; or call: (201) 746-0091. New York, New York “Fifth Annual Autumn Crafts Festival at Lincoln Center” (August 20-21, 27-28 and September 3-5) is juried from 5 slides. Entry fee: $10. Booth fee: $340 per weekend for a 10x10-foot space. Send SASE to: Brenda Brigh­ am, American Concern for Artistry and Crafts-

50 Ceramics Monthly manship, Box 650, Montclair, New Jersey 07042; Columbus, Ohio “Columbus Arts Festival” (June or call: (201) 746-0091. ¾ 3-5) is juried from 3 slides. Entry fee: $10. Booth January 31 entry deadline fees: $150-$ 180. Contact: Cleve Ricksecker, Co­ Baton Rouge, Louisiana The 15th annual lumbus Arts Festival, 55 E. State St., Columbus “FestForAll” (May 20-23) is juried from slides. 43215; or call: (614) 224-2606. Juror: Verne Stanford. Cash and purchase awards. February 20 entry deadline Fee: SI 10. Send SASE to: River City Festivals As­ Croton-On-Hudson, New York “Clearwater’s sociation, 427 Laurel St., Baton Rouge 70801; or Great Hudson River Revival” (June 18-19) is jur­ call: (504) 344-3328. ied from 5 slides. Booth fee: $75 for a 10x10-foot February 1 entry deadline space. Contact: Clearwater’s Great Hudson River Atlanta, Georgia “The Fifth Annual Jubilee Revival Crafts Committee, Joan Silberberg, RFD Southern Festival of the Arts” (May 19-22) is 2, Pudding St., Carmel, New York 10512. juried from slides. Contact: Cobb County Arts and Lockport, New York “Kenan Craft Festival: 100 Cultural Affairs Department, 224 Lawrence St., American Craftsmen” (June 3-5) is juried from Marietta, Georgia 30060; or call: (404) 428-2787. slides. Jurors: Carol Barclay, Shirley Rosenthal, Evansville, Indiana “Ohio River Arts Festival” Thomas W. Stender and Carol Townsend. Fee: (May 7-8) is juried from 3 slides. $2500 in cash $10. Contact: 100 American Craftsmen, Kenan and purchase awards. Entry fee: SI0; booth fee: Center, 433 Locust St., Lockport 14094; or call: $50. Contact: Connie Buck, Evansville Arts and (716) 433-2617. Education Council, 16½ S.E. Second St., Suite February 25 entry deadline 210, Evansville 47708; or call: (812) 422-2111. Salt Lake City, Utah The 12th annual “Utah Frederick, Maryland The “14th Annual Fred­ Arts Festival” (June 22-26) is juried from 5 slides. erick Craft Fair” (May 20-22) is juried from slides. Entry fee: $10. Booth fee: $300. Contact: Rebecca Entry fee: $10; booth fee: $200-$300. Contact: Heal, Utah Arts Festival, 168 West 500 North, Noel Clark, National Crafts Ltd., Gapland, Salt Lake City 84103; or call: (801) 322-2428. Maryland 21736; or call: (301) 432-8438. March 1 entry deadline Westbury, New York “Holiday Crafts Fair at Old Riggins, Idaho “Salmon River National Art Westbury” (July 2-4) is juried from 5 slides. Booth Show” (April 22-24) is juried from slides of up fees: $250-$295. Contact: Scott and Neil Rubin­ to 3 entries. Juror: W. Reese. Fee: $8 per entry; stein, Quail Hollow Events, Box 825, Woodstock, $21 for 3. For prospectus send SASE to: Rachelle New York 12498; or call: (914) 679-8087. Hamell, Box 338, Riggins 83549. Woodstock, New York Seventh annual “New Paltz Evanston, Illinois “Fourth Annual Evanston/ Spring Art & Crafts Fair” (May 28-30) is juried Glenbrook Hospital’s American Craft Exposition” from 5 slides. Booth fees: $275-$325. Contact: Scott (September 8-11) is juried from 5 slides. Fee: $15. and Neil Rubinstein, Quail Hollow Events, Box Contact: Christine Robb, 530 Willow Rd., Win- 825, Woodstock 12498; or call: (914) 679-8087. netka, Illinois 60093; or call: (312) 446-3395. Woodstock, New York Seventh annual “New Paltz Saint Paul, Minnesota The 16th annual “Min­ Fall Art & Crafts Fair” (September 3-5) is juried nesota Crafts Festival” (June 25-26) is juried from from 5 slides. Booth fees: $275-$325. Contact: Scott 4 slides. Fee: $10. Booth fee: $125 for a 12x12- and Neil Rubinstein, Quail Hollow Events, Box foot space. Send SASE to: Minnesota Crafts Coun­ 825, Woodstock 12498; or call: (914) 679-8087. cil—Festival, Suite 308, 528 Hennepin Ave., Min­ Memphis, Tennessee “Spring Craft Show” (April neapolis, Minnesota 55403; or call: (612) 333- 8-10) is juried from 5 slides. Juror: Karen John­ 7789. son Boyd. $5000 in cash and purchase awards. March 11 entry deadline Entry fee: $10. Booth fee: $100. Contact: Niles Guilford, Connecticut The “31st Annual Guil­ Wallace, Student Activities Center, UC 405, ford Handcrafts Exposition” (July 14-16) is jur­ Memphis State University, Memphis 38152; or ied from 5 slides. Jurors: Angela Fina, James call: (901) 454-2035. Gagnon, Lorraine Jackson, Linda Kaye-Moses and February 6 entry deadline Robert McNally. Fee: $15. Cash awards. Contact: Pittsburgh, Pennsylvania “The 1988 Three Fernn Hubbard or Joyce Wright, Guilford Hand­ Rivers Arts Festival” (June 3-19) is open to artists crafts, Box 589, 411 Church St., Guilford 06437; residing, working or studying in Delaware, Mary­ or call: (203) 453-5947. land, New Jersey, New York, Ohio, Pennsylvania, March 14 entry deadline Virginia, West Virginia and Washington, D.C. Syracuse, New York “The 18th Annual Syracuse Craft and sculpture categories are juried from 3 Arts and Crafts Festival (July 15-17) is juried slides per entry (2 full views and 1 detail). Jurors: from 5 slides per medium. Entry fee: $5. Booth Vicky Clark, Dan Dailey and Michael Monroe. fee: $105. Contact: Downtown Committee of Syr­ Artists’ market category is juried from 6 slides (5 acuse, Inc., 1900 State Tower Building, Syracuse representative of work and 1 of display). Jurors: 13202; or call: (315) 422-8284. John Brice, Sande Deitch, Howard Lieberman March 15 entry deadline and Linda Metropulos. Entry fee: $15 first cate­ Madison, Wisconsin The “30th Annual Art Fair gory; $10 per additional category. Booth fees: on the Square” (July 9-10) is juried from 4 slides. $185-$210. $20,000 in cash and purchase awards. Entry fee: $12. Booth fee: $160. Contact: Art Fair Contact: Three Rivers Arts Festival, 207 Sweet- on the Square, Madison Art Center, 211 State St., briar St., Pittsburgh 15211; or call: (412) 481- Madison 53703; or call: (608) 257-0158. 7040. April 1 entry deadline February 12 entry deadline Clinton, Iowa “Art in the Park” (May 14-15) Rochester, New York “The Lilac Art Show” (May is juried from 5 slides. Awards. Fee: $40 for a 14-15) is juried from slides. Fee: $85. Cash awards. 10X 12-foot space. Contact: Carol Glahn, Clinton Contact: Arts for Greater Rochester, 335 E. Main Art Association, Box 132, Clinton 52732; or call: St., Rochester 14604; or call: (716) 546-5602. (319) 259-8308. February 14 entry deadline April 8 entry deadline Worcester, Massachusetts “The Worcester Cen­ Evanston, Illinois “Ninth Annual Fountain ter for Crafts 18th Annual Craft Fair” (May 20-22) Square Arts Festival” (June 25-26) is juried from is juried from 5 slides. Fee: $15. Booth fees: $165 slides. $3000 in awards. Contact: Evanston Cham­ for a 10x10-foot space; $195 for a 10x10-foot ber of Commerce, 807 Davis St., Evanston 60201; corner space. Contact: Worcester Center for Crafts, or call: (312) 328-1500. 25 Sagamore Rd., Worcester 01605; or call: (617) Garrison, New York The “19th Annual Arts and 753-8183. Crafts Fair” (August 20-21) is juried from slides. February 15 entry deadline Entry fee: $5. Booth fee: $150 for a 10X 10-foot Indianapolis, Indiana “Indianapolis Art League’s space. Send SASE to: Garrison Art Center, Box 4, 18th Annual Broad Ripple Art Fair” (May 21-22) Garrison 10524; or call: (914) 424-3960. is juried from 3 slides per medium. Fee: $40. Con­ April 20 entry deadline tact: Indianapolis Art League, Marge Beal, 820 Greensburg, Pennsylvania “Westmoreland Arts E. 67 St., Indianapolis 46220; or call: (317) 255- and Heritage Festival” (July 1-4) is juried from 2464. slides or photos of up to 4 entries. Fee: $20. $9000 Ann Arbor, Michigan “Ann Arbor Street Fair” in cash and purchase awards. Contact: Olga Gera, (July 20-23) is juried from 5 slides per medium. Westmoreland Arts and Heritage Festival, De­ Fee: $15. Contact: Street Art Fair, Box 1352, Ann partment of Recreation, Box 203, R.D. 12, Arbor 48106; or call: (313) 994-5260. Greensburg 15601; or call: (412) 836-1703.

January 1988 51 ... Itinerary ries from China’s Past: Han Dynasty Pictorial Tomb Reliefs and Archaeological Objects from Sichuan Continued from Page 15 Province, People’s Republic of China”; at Walters Art Gallery, 600 N. Charles St. James Krafty and Yoshiro Ikeda; at Gallery Eight, Massachusetts, Boston through January 10 “At 7464 Girard Ave. the Table,” dining tables and place settings, in­ California, Mill Valleythrough January 9 “In a cludes tea sets by Kendra Conn, dishes by Kathey Folk Tradition”; at Susan Cummins Gallery, 32 Ervin, and casseroles by Jan Schachter; at the So­ Miller Ave. ciety of Arts and Crafts, 175 Newbury St. California, San Diegothrough May 8 “Souvenirs January 19-June 30 “Massachusetts Craftspeo­ to Science: The Eclectic Collector,” artifacts from ple,” includes clayworks by Steve Branfman, Pa­ 1380-1350 B.C., includes pottery and tile frag­ tricia Fay and Nancy Gilson; at Signature, Dock ments; at San Diego Museum of Man, 1350 El Square, North St. Prado, Balboa Park. Massachusetts, Chestnut Hill January 19-June January 15-March 5 A group show with clay- 30 “Massachusetts Craftspeople,” includes day- works by Jeri Au, residual-sawdust-fired porce­ works by Steve Branfman, Patricia Fay and Nancy lain; John Hopkins, architectural sculpture com­ Gilson; at Signature, Mall at Chestnut Hill. bining organic and geometric imagery; Patricia Massachusetts, Duxbury through January 17 Smith, slip-cast and slab-built porcelain vessels Three-person exhibition including neriage func­ and wall forms; and Lana Wilson, porcelain forms tional ware and large-scale sculpture by Makoto with high-fired metallic salts; at Wita Gardiner Yabe; at Art Complex Museum, 189 Alden St. Gallery, 535 Fourth Ave. Massachusetts, Hyannis January 19-June 30 California, San Francisco through January 31 “Massachusetts Craftspeople,” includes clayworks “La Cocina Mexicana,” culinary utensils from by Steve Branfman, Patricia Fay and Nancy Gil­ Mexico, through January 31 “Pre-hispanic Arti­ son; at Signature, Village Market Place, Stevens facts”; at the Mexican Museum, Building D, Fort Street. Mason Center, Laguna and Marina Blvds. Michigan, Detroitthrough February 28 “The Art through March 29 “Paths to Enlightenment: Saints that Is Life: The Arts and Craft Movement in and Bodhisattvas,” Buddhist figures from China, America, 1875-1920”; at the Detroit Institute of India, Japan, Korea and Southeast Asia; at Asian Arts, 5200 Woodward Ave. Art Museum of San Francisco, Golden Gate Park. Missouri, Warrensburg January 19-February 19 California, Santa Barbara through January 8 “Greater Midwest International III,” juried craft “Soup Tureens from the Royal Palaces of 18th- exhibition; at Central Missouri State University, Century Europe”; at McCormick Gallery, Santa Clark St. Barbara Museum of Art, 1130 State St. New Jersey, Montclairthrough January 7 7 “New California, SausalitoJanuary 24-31 “Design ’88: Jersey Arts Annual: Clay and Glass Exhibition” An Exhibition of Contemporary Crafts”; at Bau- through July 31 “The Eagle and the Raven Speak: lines Craftsman’s Guild, Schoonmaker Point. Highlights from the Native American Collection,” Colorado, Denverthrough January 24 “Head­ works by artists from Alaska, California, the East­ hunters and Spirit Watchers: Ancestor World of ern woodlands, the Great Lakes region, the North­ New Guinea,” ritual objects of the Sepik region; west coast, the Great Plains and the desert South­ at Denver Art Museum, 100 W. 14 Ave. Pkwy. west; at Montclair Art Museum, Bloomfield and Connecticut, Stamford through January 27 S. Mountain Aves. “Contemporary Cutouts,” 37 mixed-media objects New York, Albany through April 2 “Furniture created in the past decade by 16 American artists, and Decorative Arts from the Permanent Collec­ includes works by Michael Lucero; at Whitney tion”; at Albany Institute Galleries, Albany In­ Museum of American Art, Fairfield County, One stitute of History and Art, 125 Washington Ave. Champion Plaza. New York, Binghamtonthrough March 31 “Peo­ D.C., Washington through January 31 “Masters ple of the Longhouse: Iroquois and Woodlands,” of Ceremony: New Judaica by Contemporary De­ prehistoric Indian artifacts from Broome County; signers,” functional Jewish crafts; at B’nai B’rith at Roberson Center for the Arts and Sciences, 30 Klutznick Museum, 1640 Rhode Island Ave., NW. Front St. through March 6 “Lost and Found Traditions: New York, Brooklynthrough January 25 “Magic Native American Art 1965-1985,” contemporary in Miniature: Ancient Egyptian Scarabs, Seals and traditional American Indian art, includes pottery; Amulets.” through May 30 “Progressive Taste: at Renwick Gallery, Smithsonian Institution, Decorative Arts 1885-1985,” over 30 craft and Pennsylvania Ave. and 17 St., NW. industrial-design works; at the Brooklyn Museum, through September 30 “Nomads and Nobility: Art 200 Eastern Pkwy. from the Ancient Near East,” ceremonial and New York, Ithaca January 26-March 13 “Stories functional works; at Arthur M. Sackler Gallery, from China’s Past: Han Dynasty Pictorial Tomb Smithsonian Institution, Pennsylvania Ave. and 17 Reliefs and Archaeological Objects from Sichuan St., NW. Province, People’s Republic of China”; at Herbert January 9-February 6 Two-person show includ­ F. Johnson Museum, Cornell University. ing pottery by Lisa McWhirter; at Jackie Chalk- New York, New York January 12-28 “Alfred ley Gallery, 3301 New Mexico Ave., NW. University Graduate Students Exhibition” Feb­ January 31-June 12 “The Human Figure in Early ruary 2-25 Greenwich House Pottery “Annual Greek Art,” 67 works from the ninth through the Faculty Exhibition”; at Jane Hartsook Gallery, fifth centuries B.C., includes terra-cotta sculptures Greenwich House Pottery, 16 Jones St. and vessels; at National Gallery of Art, Fourth St. January 21-March 4 “Projects and Proposals,” a at Constitution Ave., NW. New York City Percent for Art Program exhibi­ Hawaii, HonoluluJanuary 24-February 26 “Third tion, documenting the relationship between art and Annual International Shoebox Sculpture Exhibi­ architecture in contemporary urban environment, tion”; at University of Hawaii Art Gallery, 2535 includes nine medallions by Donna Dennis; ab­ The Mall. # stract murals for the Staten Island Children’s Zoo Illinois, Chicago through March 6 “Artists Who by Amanda Jaffe; a three-acre brick paving design Teach: Southern Illinois University at Carbon- for the Police Plaza by Valerie Jaudon; and a tile dale”; at State of Illinois Art Gallery, 100 W. Ran­ and mosaic design for the interior walls of P.S. 7 dolph St., Suite 2-100. in the Bronx by Justin Ladda; at City Gallery, January 8-February 6 Two-person show with New York City Department of Cultural Affairs, porcelain vessels by Harris Deller; at Esther Saks 2 Columbus Circle. Gallery, 311 W. Superior St. New York, Scarsdale through January 6 “Craft- Iowa, Ames through January 25 “Clay/Fiber works Celebration ’87,” works by over 60 Amer­ Show”; at the Octagon Center for the Arts, 427 ican artists; at Craftsman’s Gallery, 16 Chase Rd. Douglas. New York, White Plains through January 15 Louisiana, New Orleans through January 10 “A “American Crafts ’87,” multimedia works by over Kaleidoscope of Art: The Sunny and Roussel Nor­ 30 artists; at Carroll-Condit Galleries, 210 Ma- man Collection,” over 250 works from the 16th maroneck Ave. through the 20th centuries; at New Orleans Mu­ North Carolina, Winston-Salemthrough Janu­ seum of Art, City Park. ary 24 “Ten Years of the Southeast Seven”; at Main, Maryland, Baltimore through January 10 “Sto­ Overlook and Open Air Galleries, Southeastern

52 Ceramics Monthly Center for Contemporary Art, 750 Marguerite Dr. with Curtis Benzie. Fee: $60. March 19-20 Work­ Square, North St., Boston, Massachusetts 02109; Ohio, Cleveland through January 15 “DePaul, shop with George Timock, slab construction and or call: (617) 227-4885. Moseley, McWeeny,” mixed-media sculpture show, surface decoration through multiple low firings. New York, New YorkJanuary 25-29 “Throwing includes abstract forms by Michael T. Moseley; Fee: $85. May 21-22 Low-fire workshop with Dave for Form” with Mary Roehm. Fee: $165. January and large figurative works by Charles McWeeny; Gamble, underglazes, and surface decoration. Fee: 26 Slide lecture with Mary Roehm. Fee: $5. Con­ at Spaces, 1216 W. Sixth St. $60. Contact: Clay Factory, 804 S. Dale Mabry, tact: Jeff Cox, 92nd Street Y, 1395 Lexington Ave., Ohio, Delaware through January 6“Faculty Ex­ Tampa 33609; or call: (813) 872-8819. New York 10128; or call: (212) 427-6000. hibition,” includes works by Rinda Metz; at Lynn Illinois, Palos HillsMarch 19 Ron Mazanowski, February 27 “The Art of Clay: Indian Terra Cot­ Mayhew Gallery, Humphrey’s Art Hall, Ohio handbuilt, slip-cast sculpture. Fee: $15. Contact: tas,” includes illustrated talks by Vidya Dehejia, Wesleyan University, S. Sandusky St. Center for Community and Continuing Educa­ “Terra Cottas and Temples: An Historical Sur­ South Carolina, Greenvillethrough January 31 tion, Moraine Valley Community College, 10900 vey”; Louise Cort, “Sacred Pots for Sacred Rice: Three-person show, includes clayworks by Mi­ South 88 Avenue, Palos Hills 60465; or call: (312) Temple Potters of Orissa”; and Stephen Inglis, chael Simon; at Greenville County Museum of 371-3800. “Pottery and Power in Contemporary South In­ Art, 420 College St. Massachusetts, Newton February 5 Raku dem­ dia.” Fee: $30; members, $20 (optional Indian lunch Texas, San Angelo January 14-February 24 onstration with Steve Branfman; at the Potters Shop. $20). Contact: The Asia Society. 725 Park Ave., “Narrative Images: Folk Art and Related Contem­ Contact: Gretchen Keyworth or Karen Garland, New York 10021; or call: (212) 288-6400. porary Art”; at San Angelo Museum of Fine Arts, Signature, Dock Square, North St., Boston, Mas­ March 4 Larry Bush, lecture on the historical, 704 Burgess St. sachusetts 02109; or call: (617) 227-4885. conceptual and technical basis for thrown func­ Virginia, Alexandria January 5-February 1 Massachusetts, Northfield January 23 Wall work tional ware. Fee: $5; members, $4. March 5 Work­ “Forms in Clay,” works by members of the Ce­ construction with Patricia Fay. Contact: Gretchen shop with Larry Bush, thrown functional ware ramic Guild; at Scope Gallery, Torpedo Factory Keyworth or Karen Garland, Signature, Dock and design elements. Fee: $25, members, $22. Art Center, 105 N. Union St. Washington, Bellingham through January 17 “The Seventh Northwest International Art Com­ petition,” works by residents of British Columbia, Oregon and Washington; at Whatcom Museum of History and Art, 121 Prospect St. West Virginia, Charleston through February 7 “West Virginia Juried Exhibition”; at the Cultural Center, Capitol Complex, downtown. Wisconsin, Sheboyganthrough January 24 “Bat­ ter Up,” exhibition of edible and inedible birthday cakes celebrating the center’s 20th anniversary; at John Michael Kohler Arts Center, 608 New York Avenue.

Fairs, Festivals and Sales Florida, Key WestJanuary 30-31 The third an­ nual “Arts Explo ’88 Craft Show,” juried craft fair; at Mallory Square, Whitehead St. Florida, Marathon January 16-17 “Fourth An­ nual Florida Renaissance Faire,” crafts with a 16th- century theme; at Marathon Community Theatre, 427 89th St.

Workshops California, Walnut Creek March 12 “David Sha- ner: What Pots Are All About,” sponsored by Clay Arts Guild. Fee: $30, includes potluck. Contact: Walnut Creek Civic Arts Education, Box 8039, Walnut Creek 94596; or call: (415) 943-5846. Connecticut, BrookfieldJanuary 30 “Developing a Marketing Plan for Your Art” with Wanda McPhaden. February 6 “Business Presentation and Workshop for Artists” with David Tisdale. Feb­ ruary 27 “Color and Mason Stains Workshop” with Lori Laplin. March 6 “Slide Jury Workshop: Cri­ tique for Craftspeople” with David Egan. Fee per workshop: $70; members, $60. Contact: Brookfield Craft Center, Box 122, Brookfield 06804; or call: (203) 775-4526.^ Connecticut, Middletown January 25-29 Work­ shop with Makoto Yabe. March 7-11 Workshop with Jack Troy. Contact: The Wesleyan Potters, Inc., 350 S. Main St., Middletown 06457; or call: (203) 347-5925. Connecticut, South NorwalkMarch 5 “Self-Pro­ motion and Communication Skills Workshop” with Stan Siegel. Fee: $70; members, $60. Contact: Brookfield SoNo, Brookfield Alley, 127 Washing­ ton St., South Norwalk 06854; or call: (203) 853-6155. ¾ D.C., WashingtonMarch 10 “Future of Contem­ porary Craft: Possible Directions” with Sara Bo- dine and Michael DuNas. Fee: $5; reservation re­ quired. Contact: Anton Gallery, 2108 R St., NW, Washington, D.C. 20008; or call: (202) 328-0828. Florida, Coral GablesFebruary 19-20 Workshop with Don Reitz. Contact: Mindy Shrago, Met­ ropolitan Museum School, 1212 Anastasia, Coral Gables 33134; or call: (305) 922-3484. February 25-26 Lecture and workshop with Judy Moonelis. Fee: $10, for non-University of Miami students. Contact: Mark Alexander, Christine Federighi or Ron Fondaw, University of Miami, Coral Gables 33134; or call: (305) 284-2542 or 284-5470. Florida, Tampa January 23 Porcelain workshop January 1988 53 ... Itinerary

Contact: Alexandra B. Trub, Greenwich House Pottery, 16 Jones St., New York City 10014; or call: (212) 242-4106. New York, West Nyack February 7 “Hands-On Throwing Workshop” with Rosemary Aiello. Fee: $40. March 27 Ancient Japanese raku firing methods with Rosemary Aiello. Fee: $40. Contact: Jennifer S. Fiske, Rockland Center for the Arts, 27 Greenbush Rd., West Nyack 10994; or call: (914) 358-0877. North Carolina, Winston-SalemJanuary 23-24 Production pottery demonstration, lecture and slide presentation with Cynthia Bringle. Fee: $65. March 26-27 Weekend workshop with Don Reitz, in­ cludes demonstrations, lecture and slide presen­ tation on engobes, sculpture, slab work and throw­ ing. Fee: $80. For further information contact: Noel Rhodes Scott, Sawtooth Center for Visual Design, 226 N. Marshall St., Winston-Salem 27101; or call: (919) 723-7395. Ohio, WoosterApril 21-23 Virginia Cartwright, folding, layering and inlaying colored clays; Robin Hopper, glaze and color development, plus deco­ ration, design and surface enrichment; and Rich­ ard Zakin, clays, glazes and electric kiln firing techniques. Fee: $65; $30, full-time students. For further information contact: Phyllis Blair Clark, 102 Oakmont Ct., Wooster 44691; or call: (216) 263-2388 or 345-7576. Oregon, Portland February 6-7 “Electric Kilnbuilding,” with Gary Slone; each student will build and take home a small electric kiln. Fee: $114; $108, members. Contact: Becky Banyas Koach Oregon School of Arts and Crafts, 8245 S.W. Barnes Rd., Portland 97225; or call: (503) 297-5544. Pennsylvania, Philadelphia January 22 “The New Functional Ceramics,” discussion with Jane Gustin and Mark Pharis. Contact: Jimmy Clark, The Clay Studio, 49 N. Second St., Philadelphia 19106; or call: (215) 925-3453. Tennessee, Gatlinburg March 6-11 “Electric Kiln Ceramics—Low Fire” with Richard Zakin. March 13-18 “Electric Kiln Ceramics—High Fire” with Richard Zakin. March 20-25 “What is Decora­ tion?” with Jim Lawton. March 27-April 1 “Func­ tional Pottery” with Michael Simon. Contact: Cyn­ thia Huff, Arrowmont School of Arts and Crafts, Box 567, Gatlinburg; or call: (615) 436-5860. Texas, Austin February 27 Demonstration and lecture with Janet Leach. March 4-6 Hands-on workshop with Janet Leach. Contact: University of Texas, Art Department, Don Herron, Austin 78712.; or call: (512) 471-1711. Texas, Fort WorthJanuary 13 “Buddhist Sculp­ ture in India, China and Japan,” lecture by Mar­ ilyn Ingram, will examine Buddhist sculpture through aesthetic, political, religious and societal factors. Contact: Kimbell Art Museum, 3333 Camp Bowie Blvd., Box 9440, Fort Worth 76107; or call: (817) 332-8451. Texas,Tyler January 29-31 Wood firing work­ shop with Gary Hatcher. Contact: Department of Art, The University of Texas, 3900 University Blvd., Tyler 75701; or call (214) 566-1471, ext. 289. Vermont, MiddleburyJanuary 19-23 “What Pots Are All About,” a hands-on workshop with Mon­ tana potter David Shaner. Contact: Beth Hale, Vermont State Craft Center at Frog Hollow, Mill St., Middlebury 05753; or call: (802) 388-3177. Virginia, Front RoyalJanuary 22-24 Workshops with potter and Ceramics Monthly editor William Hunt; studio potter Byron Temple; and financial analyst and business consultant Marta Oyhenart. Fee: $110, includes 6 meals and 2 nights lodging; $55, workshops only. Registration deadline: Jan­ uary 5. Contact: Blue Ridge Arts Center/4-H Center, Box 1101, Front Royal 22630; or call: (703) 635-7171.

International Events Canada, Alberta, Edmonton January 15-March 4 “Going for Gold,” juried Canadian ceramics ex­ hibition, in conjunction with the Calgary Winter Olympics; at the Alberta Potter’s Association, 7056 D Farrell Rd., SE.

54 CERAMICS MONTHLY Canada, Alberta, Red Deer January 10-February 21 “Studio Ceramics in Alberta III, 1964-1984 (Alberta Clay Comes of Age)”; at Red Deer and District Museum and Archives, the Recreation Center, 45 St. and 47 Ave. Canada, British Columbia, VancouverFebruary 1-19 “Pottery Workshop” with Peter Daniels. Contact: Peter Daniels, 13008 109th Ave., Surrey, British Columbia, Canada V3T 2N5; or call: (604) 584-2742. Canada, New Brunswick, Fredericton March 18-20 “A Life in Clay,” workshop with Karen Karnes. Contact: The New Brunswick Craft School, Old Military Compound, Box 600, Fredericton E3B 5H1; or call: (506) 453-2305. Canada, Ontario, Bowmanville January 24- February 7 Fourth annual “Winter’s Harvest 1988,”; at the Mill Gallery, 143 Simpson Ave. Canada, Ontario, TorontoMay 27-29 “A Week­ end with Wayne Higby and Jerry Rothman,” in­ cludes demonstrations, lectures, slide presenta­ tions, Fusion: The Ontario Clay and Glass Association’s annual general meeting, trade fair, gong show and clay Olympics. For further infor­ mation contact: Fusion: The Ontario Clay and Glass Association, 140 Yorkville Ave., Toronto M5R 1C2; or call: (416) 923-7406. Canada, Quebec, Montreal through January 9 “The Christmas Fair,” includes sculpture, jewelry and functional ware; at Centre des Arts Visuels, 350, avenue Victoria. England, Bath through January 25 “The South Bank Show,” multimedia exhibition including clay works by Annie Doherty, Hammie and Kate Malone; at Hitchcocks’, 10 Chapel Row. England, Londonthrough January 10 Mexican craft exhibition, includes pottery; at Royal Festival Hall, the South Bank Centre, South Bank. England, MiddlesboroughJanuary 9-February 7 “David Garland: Ceramics Reviewed at the Crafts Council”; at Cleveland Crafts Centre, Victoria Rd. England, Norwich January 9-February 14 “The New Spirit: Innovation in British Craft and De­ sign”; at Norfolk Museums Service, Castle Mu­ seum, Norfolk. England, Nottinghamthrough January 10 “Not­ tingham Crafts Open,” juried exhibition; at Castle Museum, the Castle. France, Le Mans January 15-March 13 “Con­ temporary Ceramics”; at Ville du Mans, Palais des Congres et de la Culture, Cite Cenome. France, Paris through January 16 Luc Chape- lain,“Totems”; at Galerie Alain Oudin, 28 bis, boulevard Sebastopol. through January 31 “Life, Power and Death in Ancient Peru”; at Musee de l’Homme, Palais de Chaillot, place du Trocadero. through February 15 “The Garden of Porcelain,” Chinese ceramics from the fourth century B.C. through the 17th century; at Musee Guimet, 6 place d’lena. France, Uze through January 6 Gisele Buthod- Garcon, raku; at Galerie Utopie, 3 passage du Marche. Italy, BolognaFebruary 19-22 “Arte Fiera 88,” international contemporary art exposition, in­ cludes “The Fourth Arte Fiera Ceramics Salon,” “Contrast in Ceramics,” “Christie’s Auction: Con­ temporary Ceramics,” “(State of Art in Europe) France ’88,” “USSR: New Directions,” “Mu­ seums Outside Italy” and “New York Young Art­ ists”; at Bologna Fairgrounds. Netherlands, Deventer January 3-30 Four-per- son exhibition including works by Johan Broe- kema. January 31-February 28 Two-person show with works by Mick Arnup from the United King­ dom and Katie Lorand from the Netherlands. March 6-April 3 Works by German ceramists Thomas Naethe, Rolf Overberg, Rita Ternes and Antje Wiewinner; at Kunst and Kermiek, Korte Assenstraat 15. Switzerland, Morgesthrough January 10 Chris­ tian Hadengue, raku; at Galerie de Couvaloup, 1 rue de Couveloup. Wales, Aberystwyth through January 30 Geof­ frey Swindell, “Ceramic Series”; at University College of Wales, Penglais. West Germany, Diisseldorf through January 10 “Moroccan Ceramics”; at Hetjens-Museum, Deutsches Keramikmuseum, Schulstrasse 4. January 1988 55 56 Ceramics Monthly came with Maltby’s determination that not for years; his “Just Teasing,” approximately one but two pots deserved the top prize; and 10 inches in height, with wax resist followed the new sponsor rose graciously to the oc­ by applications of sulfates before firing to News & Retrospect casion by providing an extra $5000 in prize stoneware temperature, has a misty gray matt money. surface with strong white flashes of the un­ Both winners had taken the prize before, derlying porcelain. another unprecedented aspect. Steve Full­ That potters are beginning to feel at home Free Workshop Listings mer, Nelson, won in 1986; and Chester Neal- with a multitude of firing techniques was ie, Auckland, was the 1982 winner. evident in the large numbers of raku-, pit-, The 1988 Summer Workshops listing will Maltby’s choices reflected work from quite saggar-, salt- and wood-fired pieces. John be published in the April issue of Ceramics different parts of the ceramic spectrum, and Maltby was not the first judge to note the Monthly. Summer schools, colleges, univer­ his refusal to choose just one winning piece absence of functional ware. It is a regrettable sities, craft institutions and workshops are stemmed from his feeling that it would be invited to furnish information by February fact that if a piece can be used, its value tends wrong to elevate one type of work at the to be placed far lower than that which can 8 about their programs in ceramics. Please expense of another. Chester Nealie’s work is be categorized as “art.” It’s not surprising include the workshop name or description, wood fired over a period of days in an an- then, that potters are moving away from con­ level of instruction, location, opening and ventional techniques toward more lucrative closing dates of sessions, names of instruc­ agama. Steve Fullmer’s is low fired on the floor of a diesel oil kiln, surrounded by char­ (and interesting) methods. A potter doesn’t tors, languages spoken, availability of live-in accommodations or camping, fees (plus what coal, sawdust, salts, sulfates, etc. When the need to be poor to retain his/her integrity. they include), and where to write or call for glaze begins to flux, more materials are blown or thrown onto strategic spots. details. Captioned photographs from last year’s Piedmont Craft Fair workshops are welcome and will be consid­ The merit awards also reflect the judge’s interest in a variety of firing methods and The 24th annual “Piedmont Craft Fair” ered for publication. Send information and in Winston-Salem, North Carolina, featured photos to: Summer Workshops, Ceramics surface treatments. “Platter for Blacksmith’s Lunch,” by Bruce Martin, Hastings, was an­ works by 115 artists-craftspeople from Monthly, Box 12448, Columbus, Ohio 43212; throughout the Southeast. Among the ceram- or call: (614) 488-8236. other anagama-fired piece; while “Temple of Hera,” by Bronwynne Cornish, Auckland, was overfired to the point of disintegration. Fletcher Challenge Award Maltby described it as a piece which the pub­ by Peter Gibbs lic may not appreciate, but which potters The development of ceramic art in New would understand. Zealand has been a bootstrap process. Pro­ The two other merit awards were for con­ tected for decades from competition with Asia trolled works: Australian Derek Smith, Tas­ and other outside sources, the tableware in­ mania, combined pure geometric form and dustry has been able to keep its prices at a design without rigidity or harshness; the gold level where the humble potter could compete. lines of decoration curve around the bowl’s Combined with a lack of opportunity within interior before flattening out onto the rim the educational system, a network of studio where they fade from view. Nelson potter Royce McGlashen has been working around potters has developed operating both urban Soup set by Plummer and Ellenbogen and rural workshops, and selling their work the concept of the teapot as sculptural form ic objects on display was this stoneware soup through a multitude of craft shops and gal­ tureen and bowls set by first-time exhibitors leries. Rebecca Plummer and Jan Ellenbogen, Pen- The development of skills and techniques land, North Carolina. necessary to satisfy an increasingly discern­ New at this year’s fair was the Crafts­ ing public has led many potters to work out­ men’s Choice Gallery, a showing of work side the functional idiom which was the basis submitted by each of the 300 exhibiting for their livelihoods during the sixties and members of Piedmont Craftsmen (including seventies. A prime stimulus and yardstick for those not otherwise participating in the fair). this development since 1978 has been the Fletcher Brownbuilt Pottery Award. Orga­ nized by the Auckland Studio Potters group, NEA Deadline Reminder the award moves into its second decade with The last day to apply for National En­ a change of sponsor to the parent company, dowment for the Arts (NEA) visual artists Fletcher Challenge. fellowships in sculpture or crafts is quickly The tradition has always been for the judge approaching. Deadlines are February 12 for to come from outside New Zealand, although sculpture; and March 15 for crafts. with the increasing flow of international en­ Potters and ceramic artists interested in tries this no longer assures anonymity for the applying for a $5000, $15,000 or $25,000 entrants. This year’s judge was English pot­ grant may request guidelines and application ter John Maltby. His charge was to choose forms by writing: Visual Arts Program/Fel­ suitable pots for an exhibition of quality from lowship Guidelines, National Endowment over 300 entries; to choose works of merit Royce McGlashen’s “Just Teasing” teapot for the Arts, 1100 Pennsylvania Avenue, for special mention; and to choose one piece Northwest, Washington, D.C. 20506; or by to take the $5000 award. calling: (202) 682-5448. Maltby, winner himself of a gold medal You are invited to send news and photo­ at Faenza in 1975, broke all traditions set graphs about people, places or events of Slip Sliding Away by previous judges. He selected the largest interest. We will be pleased to consider exhibition yet, 125 pieces. (In 1984, judge them for publication in this column. Mail With the recent depletion of Hammill & Don Reitz had it down to just over 70.) At submissions to: News and Retrospect, Gillespie’s stockpile, Albany slip has vir­ the same time, the 1987 merit award count Ceramics Monthly, P.O. Box 12448, tually disappeared from glaze pantries across was low, just four as compared to an average Columbus, Ohio 43212. the country. Sure there are a fortunate few of nearly nine. Still, the most dramatic change who bought a large supply just before word January 1988 57 ... News & Retrospect

got out, and some folks living in upstate New York can still find deposits in road cuts, but the majority of potters who relied on Albany slip for many of their standard glazes feel like they’ve lost a close friend. Hammill & Gillespie had marketed Al­ bany slip for over 100 years. For some time the biggest buyers were makers of ceramic insulators, then there was a brief surge in sales with the crock pot craze of the ’70s. But by the ’80s everyone had a crock pot, and mining Albany slip became less and less cost effective. The slip is still there (most of the city of Albany, New York, is built over de­ posits), but getting to it economically remains a problem. In fact, there has been no ongoing mining for years. Instead, a pit was dug down to the clay. If everything went well (no rain and the walls held up), a large amount was removed (maybe ten truckloads) and transported to processing. Then the pit was filled in to meet environmental regulations. Since its stockpile ran out last summer, Hammill & Gillespie have fielded numerous inquiries from studio potters, and the staff is not unsympathetic to their situation. Ac­ cordingly, Hammill & Gillespie are “work­ ing toward finding a substitute.” In the meantime, potters across the coun­ try are testing their own local, surface clays (sometimes adding a little cobalt or man­ ganese, iron or other metal oxides), hoping to match what was a standard in American daywork. Over the years Albany slip clay has changed from the original brown liner found in crocks all over the northeastern U.S., going in and out of slight changes, but re­ maining a basic ingredient in some of the best of the studio glazes and colorants, par­ ticularly in oxidation firing. A generalized percentage analysis for glaze calculation of Albany slip clay circa 1960s is: CaO 5.8, Fe2O3 5.2, K2O 3.2, MgO 2.7, Na 2O 0.8, Al2O3 14.6, TiO 2 0.4, SiO2 57.6, loss on ig­ nition 9.7. Ceramics Monthly will continue to seek news relevant to the demise of Albany sup­ plies and welcomes suggestions of substitu­ tions tested. But if the historical record is used to suggest future events, direct substi­ tutes for complex ceramic materials are rare­ ly (if ever) found. Complex materials are only approximated by mixes of other, more simple compounds, and so something is lost each time an old, faithful glaze material goes out of production.

Building a Crafts Collection “Building a Crafts Collection,” an exhi­ bition of nearly 200 of the approximately 800 works collected by the British Crafts Council during the past 14 years, was on view at the Holburne Museum in Bath, England, through December 13. Strongest in works by artist- craftspeople of the interwar years (1920-40), the collection includes reference books, doc­ uments, photographs and working notes as

58 CERAMICS MONTHLY 7 ½ -inch stoneware bottle by Bernard Leach well as pottery, textiles, furniture and cal­ ligraphy. Established in 1971, the Crafts Council receives an annual grant from the British government (£2.2 million for 1987/88) to support the work of artist-craftspeople in England and Wales. Its collection is currently housed at the Crafts Council’s Gallery and Resource Centre near Piccadilly in London. The earliest objects in the collection were purchased for touring exhibitions, but in 1975 acquisition was given a more formal status

15-inch pitcher by Michael Casson with the establishment of a Purchasing Com­ mittee composed largely of practicing crafts­ people. Pieces are bought individually and in groups to show as fully as possible the work of a maker, or a particular craft trend. Photos: Ian Dobbie.

Kofi Asante Traditional African pottery by Kofi As­ ante, Kumasi, Ghana, was featured at the Wesleyan Potters Gallery in Middletown, Connecticut, through November 7. Current­ ly a lecturer in ceramics at the University of Science and Technology in Kumasi, Asante has worked in commercial potteries and in­ dustrial ceramic firms in England, and has January 1988 59 ... News & Retrospect

been a consultant to several ceramics com­ panies in Ghana. “My current exploration in clay involves primarily the use of African traditional sym­ bolic forms and motifs based on proverbs, folklore, historic events, nature and person-

Ghana potter Kofi Asante ality,” Asante commented. “Each piece was slab built with its individual vision in my mind. As I finish working on each piece, it must match or exceed my mind’s expecta­ tions. “In keeping with African traditions and culture, I have extensively decorated more than 80% of the surface on each. The designs are all traditional African symbols, with trib­ al undertones.”

Northwest Clay Show “Clay Works,” an exhibition of stoneware vessels by Anne Hirondelle, beehive-inspired forms by Jim Kraft, colorful caricatures by Debra Norby, tall, narrow vessels by John Page, textured wall forms by Geoffrey Pa- gen, trompe l’oeil assemblages of found ob­ jects by Richard Shaw, and surreal figures by Patti Warashina, was on view at Foster/ White Gallery in Seattle through November

"Mime Diptych” by Anne Hirondelle 29. Characteristic of the works shown by Anne Hirondelle, “Mime Diptych,” 12½ inches in height, features two thrown and extruded vessels on a lacquered base. Photo: Roger Schreiber.

ACCA Retreat by Alice Corning The Association of California Ceramic Artists (ACCA) recently held a three-day re­ treat at the Point Bonita Outdoor and Con-

60 CERAMICS MONTHLY ference Center in the Marin Headlands, where approximately 75 members partici­ pated in raku and pit firings, and attended slide lectures by guest artists Ron Nagle, Oakland, and Jeff Mincham, Cherryville, Australia. The pit firings took place in several 55- gallon steel drums. Into each was poured an initial layer of sawdust, to 1 foot in depth. Next, a single layer of bisqueware was set on top of the sawdust, and dusted with a mixture of sawdust, rock salt, copper car­ bonate and nickel sulfate. Finally, wood was laid on top of the pots, up to and beyond the rim of the drum. The fires were lit and, with continual stoking, burned vigorously for three hours. Then the drums were covered and left to smolder and cool overnight. The results: good reduction and color variation. Three portable kilns, 2 feet in height and 2½ feet in diameter with slightly domed roofs, were set up for raku firing. Two were of sheet metal, while the third was made from welded wire fencing (1X2-inch mesh). Lined with 1-inch-thick 2400°F fiber insulation, they had venturi burners and were fired with propane. After some initial difficulty reach­ ing temperature, the bag walls were adjusted and 1850°F was reached in a half hour. Mincham oversaw the raku glazing and firing. He prepared three of his basic glazes, plus several copper matts: Raku Base Glaze 1 Borax...... 5.3% Gerstley Borate...... 63.2 Nepheline Syenite ...... 10.5 Ball Clay...... 10.5 Kaolin (not plastic)...... 10.5 100.0% Add: Tin Oxide (optional) ...... 10.5% This glaze responds well to copper additions or washes.

Raku Base Glaze 2 Lead Bisilicate Frit...... 82.22% Whiting...... 2.22 Kaolin ...... 11.11 Flint...... 4.45 100.00% Add: Tin Oxide...... 11.11% Yields good crazing, but does not withstand in-kiln reduction well. As with all lead-con- taining recipes, it should be formulated and used only by those with a strong knowledge of ceramic chemistry and studio hygiene.

Raku Base Glaze 3 Leadless Frit 3134 (Ferro)...... 85.71% Ball Clay...... 14.29 100.00% Add: Zirconium Oxide ...... 14.29% With copper (maximum 10%), gives a good blue.

Copper Matt Stain 1 Barium Carbonate...... 35% Copper Carbonate...... 65 100% To 1 cup of the copper matt stain, add about January 1988 61 ... News & Retrospect

1 spoonful of one of the base glazes. Spray on ware. Yields flashes of red-orange with heavy in-kiln reduction. Copper Matt Stain 2 Barium Carbonate ...... 60% Lithium Carbonate...... 10 Copper Carbonate...... 30 100% To a cup of Copper Matt Stain 2, add about a spoonful of one of the base glazes. Apply by spraying. Gives good oranges with heavy in-kiln reduction. Copper Matt Stain 3 Barium Carbonate ...... 30% Lithium Carbonate...... 20 Copper Carbonate...... 50 100% To 1 cup of the previous stain, add a spoonful of one of the base glazes. Apply by spraying. Yields green-yellow flashing with heavy in­ kiln reduction. Following heavy reduction, the pots were removed from the kilns with tongs, set inside newspaper-filled trash cans for a brief pe­ riod, then lifted out while still hot for oxi­ dation, and finally hosed down with cold water to fix the subtle red, orange and violet colors.

Mary Jo Bole by Annie Cantillon Metamorphosis or the successive inter­ “Municipal Urn, 5” feet in height changing of form is the theme explored in looking the Cuyahoga River’s rich bottom the organic, architectural cartoons of familiar land, now a field of steel mills. Some of the city scapes by Cleveland ceramist Mary Jo mills are still spewing smoke, but many are Bole. Often ideas are drawn from her urban decomposing along the riverbank. surroundings; she works in a studio over- Please Turn to Page 65

Mary Jo Bole coil building architectural forms in her Cleveland studio

62 Ceramics Monthly Film & Video

Tozan A Second Home “I do not think that temperature, reduction or oxidation conditions are the only factors [affecting the pots in a wood-fired kiln],” says Japanese potter Yukio Yamamoto. “Though it is invisible, time is also essential.” When firing his noborigama (chambered climbing kiln) in Himeji, Japan, he maintains a du­ ration of heat with precise stoking. Invited to the United States for an exhibition of his work, Yamamoto decided to make an addi­ tional contribution to American ceramics with the construction of a massive climbing kiln. This video documents the building and fir­ ing of that Tozan-style noborigama at North­ ern Arizona University, Flagstaff. Among the ceramic luminaries shown are kiln tour di­ rector Don Bendel, stokers Don Reitz, Paula Rice and banjo player Jim Leedy. Understanding of the video is significantly harmed by production problems (conceptual, audio and visual); the low-quality sound­ track is particularly distracting. Visually, the presentation lacks a significant mix of wide views to go with narrow and medium scenes, sometimes leaving the viewer with the feeling of looking through a keyhole, blocked from seeing the full activity. The video would be of interest to a wider audience had there been more informative narration or voice-over explanations. There certainly were plenty of opportunities during long, deadly stretches of unexplained action accompanied by wind and traffic noises. Yet even these are a welcome respite from the annoying, occasional flute “music”—the same old breathy, aimless staccato substituted for missing content in films or videos having anything to do with art generally. These na­ sal flute peeps are requisite for films on Ori­ ental ceramics. Much more descriptive and revealing (giv­ ing the viewer a sense of “you are there”) are the heavy thuds as the earth foundation is tamped and the rhythmic breathing of the firing kiln. Anyone who hasn’t experienced the latter will be amazed. Given the video’s handicaps, those having a knowledge of kilnbuilding (with an interest in observing patiently) will gain a sense of what it was like to be there during the build­ ing and firing of a massive kiln. While some of the kiln simply appears (for example the large shed), shown/discussed are a range of construction processes from design consid­ erations to preparing the foundation to brick­ laying. But the best part is the discussion/ view of stoking—a complex and coordinated activity on a kiln this size. And at the very least, this video is the first time we’ve seen Don Reitz in a supporting role. 53 minutes. Rent $35; sale $100 Beta or VHS, $150 ¾- inch videocassette. The Video Mark, De­ partment 132, Box 11904, San Francisco, California 94101. January 1988 63 64 Ceramics Monthly ... News & Retrospect er objects that have been created in the past. So often we have seen the medium of clay Continued from Page 62 used in limited ways. I find it exhilarating to experience these pieces, and, as a whole, Freely subjugating the rectilinear to her I’m very pleased with the exhibition and the curvilinear intent, Bole coil builds her work. attitude which it expresses. It gives both Two earthenware clay bodies are used: one professionals and young people an oppor­ with grog and nylon fiber for the majority tunity to show their emotions and innova­ of the structure; and another with no temper tions in the medium.” for surface detail. Construction is in inter­ Siler noted that “the vast majority of the locking sections so that cantilevered elements pieces employed personal vision and person­ can be achieved. al imagery, and were sculptural in emphasis. The separate sections are bisqued and glaze fired, then assembled. “I treat the glazes like intaglio printing,” Bole observed. “If a glaze comes out crawled or pitted or blistered, I apply another glaze into the grooves, wipe off the excess and refire.” If a glaze is not rich enough, she will apply a crawling or drier glaze and refire, thus cre­ ating islands of color floating on top of the first glaze. “Hopefully, the form, color and impact of surface detail are seen on closer examination.” The viscous and organic thrust of Bole’s work tends to relate spacially more to its own parameters than to any attempt to describe a relationship with its surroundings. Its en­ vironment has already been realized; its in­ tent presupposed and contained. Photos: Dan Meyers. Phil Schuster’s "Kohler Company...” Chicago Vicinity Clay VI There were very few functional or straight pot entries. This is the pool from which we The sixth annual “Chicago Vicinity Clay” drew the participants. I considered the func­ exhibition was presented at both Lill Street tional work of several potters early in the Gallery and the State of Illinois Art Gallery judging procedure, but because there was so in Chicago. Featured were primarily sculp- little, I thought those pieces would simply stick out like a sore thumb.... [Also], a large floor piece looked very good but it was so large that it would have easily taken up half the gallery. (I should say it deserved half of the gallery.) However, I felt accepting this piece would jeopardize the opportunity of 15 or 20 people to participate in the show. The best of this body of work is a lively and per­ sonally expressive selection of ideas in con­ temporary ceramics.” Shown from the exhibition are “Uninvited I,” 27 inches in length, porcelain, by Bonnie Katz; and “Kohler Company Product De­ Bonnie Katz’s “Uninvited I” velopment Dept.,” 18 inches in height, earth­ enware, by Phil Schuster. tural works by 50 ceramists residing within a 250-mile radius of Chicago. The jurors for this competition were Ree Eddie Dominguez Schonlau, founding director of the Bemis “Eccentric Gardening,” an exhibition of Project/Alter native Work Site in Omaha, “functional ceramic landscapes” by Eddie Nebraska; and Patrick Siler, an associate professor of art at Washington State Uni­ versity, Pullman. Both observed a trend to­ ward larger scale and freer personal expres­ sion among the entries: “It is so gratifying to see such fresh work in the ceramics field,” Schonlau commented. “For so long our attitudes toward clay have been prescribed to us. In my experience in the field, I always look toward the artist who is pushing limits of expression. Those pieces— the ones that show curiosity—are always the most interesting to me. Also, the new sense of scale that is involved in the work expresses a desire to leave the confined format of small­ Setting:<( Dinnerware as Flower Garden” January 1988 65 66 Ceramics Monthly ... News & Retrospect circa 1880. Having worked at Sevres until coming to England in 1870, Solon (1835— 1912) is credited with introducing pate-sur- pate (raised) slip decoration at Minton and Dominguez, Roswell, New Mexico, was fea­ Company in Stoke-on-Trent. Usually de­ tured at the Allrich Gallery in San Francisco picted in white against a deep colored ground, recently. In “Dinnerware as Flower Gar­ his motifs were mainly human figures, vaguely den,” handbuilt, wheel thrown and carved classical or Renaissance in character. earthenware, bisqued to Cone 02, then Brooklyn Museum associate curator Kev­ brushed with commercial glazes and fired to in Stayton suspects the scene on this flask Cone 06, the various elements can be sepa­ rated into a dinner service for four, complete with soup bowls, plates, tumblers, even salt and pepper shakers. “I was the youngest of nine kids and in a family of that size, everything had to be func­ tional. My art is an extension of that,” says Dominguez. “The use of metaphor in the objects challenges their function, but it is in their utility that the pieces come alive.” Shown concurrently with the exhibition in San Francisco was an installation of Dom­ inguez’s “The Bedroom,” a mixed-media grouping of bedroom furnishings, at the Ros­ well Museum and Art Center, where he was awarded an artist-in-residence grant. “I was trained as a ceramic artist, but have always been interested in other areas of art,” Dominguez commented. “It has been a dream of mine for several years to create a life-size bedroom installation in which I could control Flask with decoration by Marc Louis Solon a complete environment, using objects that “relates to the ‘selling of cupids’ imagery, are familiar to, yet challenge the viewer. The which is classical in source, but filtered bedroom project satisfies my need to make through late 18th-century France. Such im­ objects as large as life and also use contrast­ agery is discussed by Robert Rosenblum in ing materials and processes. The underlying Transformations in Late Eighteenth-Cen­ intent of this work is the combination of purely tury Art (Princeton, 1967). Although the slain, aesthetic concerns with purely functional ob­ sacrificial cupid image on the Pell flask is jects. clearly a somewhat different story, it seems “Important to my work is the continuous to be close in spirit to the ‘selling’ series.” struggle to combine Hispanic art, folk art, Photo: courtesy of the Brooklyn Museum. contemporary crafts and fine art. It is this struggle that has inspired the relationship between [my] objects. The work has become E. Joan Horrocks a collage of furniture, fiber, paint, light, met­ Wall hangings and folding screens incor­ als and ceramics. In essence, the bedroom is porating multiple raku elements by E. Joan a functional still life.” Photo: Jacques Cres- Horrocks of State College, Pennsylvania, were saty, courtesy of the Allrich Gallery. featured recently in a solo exhibition at the University League Gallery of Princeton University (New Jersey), and in “Crafts 21,” Always a Different Story a juried national at Penn State Univer- A collection of European ceramics, do­ nated to the Brooklyn Museum by the Rev­ erend Alfred Pell during the early 20th cen­ tury, was on display recently. A wealthy collector, the Reverend Pell amassed some 10,000 pieces of English and Continental ware, including early examples of Meissen, Chelsea and Worcester porcelain. At his death in 1924, the collection was divided among ten institutions, including the Metropolitan Museum of Art, the Art Institute of Chicago and the Wadsworth Atheneum. At the Brooklyn Museum, Pell’s gift “provided an impetus for the collecting of decorative arts and his legacy forms a notable part of our Raku “Soft Geometry xvith String" holding,” according to research associate sity. For “Soft Geometry with String,” 26½ Caroline Mortimer. inches in length, a series of similar modules Among the more unusual works shown was slab built, highlighted sparingly with (unusual in that the decorator never repeated oxides and glazes, and smoked. a design) was this Minton flask, approxi­ Recipient of an Award of Distinction in mately 10 inches in height, porcelain, with the Penn State competition, “Nude Study,” low-relief slip imagery by Marc Louis Solon, a 34-inch-high table screen consists of January 1988 67 68 CERAMICS MONTHLY ... News & Retrospect are deserts in the northwest bordered by Bo­ livia, jungles in the northeast bordered by Brazil, flat plains (pampas) in the center and cold, rocky, wind-swept tundra in the south. Its people are mostly of European descent, with a mix of Indian. “There is a need to revitalize the Indian culture,” says Chuny who, like many of the people around Salta, has Indian ancestors. “Pottery had religious importance and was used in many ceremonies. Many of the an­ cient pots had human or animal forms and were painted with symbols.” “The land doesn’t come from the man; the man comes from the land,” says Osvaldo, the leader of the cooperative. Like the symbology on ancient Indian pottery, which always showed reverence for the earth and its crea­ tures, one of Osvaldo’s yuros (jars) shows a potter emerging from the side of the vessel as if born of the clay.

1Nude Study,” raku screen asymmetrical crackle-glazed slabs framed with walnut. Horrocks describes her work as “somewhat whimsical no matter how serious I try to be.”

Cooperative Efforts in Argentina by Tomas Wolff Making pottery has a social purpose, ac­ cording to Chuny Orejero and his colleagues who live near the city of Salta in Northern Argentina. Together they are a cooperative Wine urn outside artisans’ market in Salta of six potters (adults shown from left are All the members of the Salta cooperative Chuny Orejero, Zarella Orejero, Osvaldo (named Winananpaj, which means “to grow” Cassina, Ramon Palma, Hugo Nadalino and in the local Quecha language) coil build their Ruben Reynaga) whose main purpose is to ware from a red-brown clay dug from the preserve the Indian heritage of their region. nearby Andes Mountains. Decoration is with Like the United States, Argentina is a colored slips, no glaze. After burnishing, the country of diverse lands and people. There ware is wood fired in primitive adobe kilns,

Potters of the Winananpaj cooperative in Salta, Argentina January 1988 69 70 Ceramics Monthly ... News & Retrospect three shops in the city sell local pottery. There simply isn’t a big enough market for local pottery, yet. The feature which impresses an outsider most about Argentine potters is their ability to work together. There is a real sense of camaraderie brought about, no doubt, by economic necessity. This contrasts markedly, it seems, with North American potters and ceramic artists who are often expected to “go it alone.” Some people even see cooperation between artists as antithetical to “pure” art. These Argentine examples of group efforts illustrate, though, that individual expression and cooperation with other artists do not have to be mutually exclusive. Ban Kajitani Workshop Ohio ceramist Ban Kajitani, of the Co­ lumbus College of Art and Design, con­ ducted a neriage/nerikomi workshop at The Mendozas beside their mood-fired kiln Rancho Santiago College in Santa Ana, Cal- usually of fairly small size (8 to 10 cubic feet). North of Salta, near the Bolivian border, is San Salvador de Jujuy (Jujuy for short). There, two brothers, Mario Rene and Miguel Segundo Mendoza, with help from their extended family, produce pots and slip- painted figures representing the Kolia In­ dians of Northern Argentina. Up the road from their shop stands the Mountain of Sev­ en Colors, where natural slip materials are collected. The brothers also fire their work in a small wood-burning kiln; it takes ap­ proximately 18 hours to reach red-orange heat inside. In the city, too, potters find it more con­ venient to band together in cooperatives. The members of Artesanos de Alfar of Buenos Aires use clay in a variety of more modern approaches, low- and high-firing glazes in electric kilns. Kilns, materials and space are Ban Kajitani demonstrating neriage expensive, and working together is necessary ifornia, as part of the school’s annual “Art for survival, especially considering the eco­ Week Festival” activities. During the daylong nomic environment in Argentina today. session Kajitani demonstrated press molding Most of the independent potters in Buenos layers of colored clay (nerikomi) into a 3- Aires make a living teaching. Only two or foot-diameter bisqued bowl, throwing col-

Jujuy's Mountain of Seven Colors where potters collect slip-decorating materials

January 1988 71 72 Ceramics Monthly ... News & Retrospect the Flushing Gallery in Flushing, New York. The large, unglazed, reduction-fired stone­ ware forms were coil and slab built in series. “The ritual of work begins with buying a ored clay vessels at the wheel (neriage), and ton of dry clay,” Hammond explained. “Next, constructing large, sectional, colored clay I assemble six to eight dollies in preparation sculpture. for the construction. Starting requires six For his clear-glazed, colored-clay work, 1-inch-thick by 2-feet-wide oval slabs with Ban (pronounced with an “ah” sound like 5-inch-diameter circles cut from the centers. the capital of West Germany) utilizes vari­ The purpose of the circles is to accommodate ations of the following recipes: metal flanges for 1-inch threaded pipes that White Stoneware Body (Cone 10) Custer Feldspar...... 8.5% A.P. Green Fireclay ...... 50.0 Kentucky Ball Clay (OM 4) ...... 33.0 Flint...... 8.5 100.0% Porcelain Body (Cone 10) Kona F-4 Feldspar...... 25 parts Nepheline Syenite ...... 13 Bentonite ...... 2 Kaopaque...... 45 Flint...... 17 102 parts The following are among the color vari­ ations possible with oxide and/or stain ad­ ditions: Black: Chromic Oxide...... 20% Cobalt Oxide ...... 10% 8-foot “Caryatidsunglazed stoneware Manganese Dioxide ...... 40% serve as central supports for what will be Red Iron Oxide ...... 30% 8-foot-tall sculptures. The cores, oval cyl­ inders, are then handbuilt. The only tools I Brown: use are a wooden paddle for shaping and part Red Iron Oxide ...... 6% of a saw blade for blending the coils. Yellow: “Working in series is exciting, and going Mason Yellow Tin Vanadium Stain . . 8% from piece to piece gives a nice rhythm to Yellow Ocher...... 6% the building process. Correct timing is es­ sential; the wet clay needs to set up before Green: more clay can be added. Mason Bermuda Green Stain...... 8% “My 60-cubic-foot gas kiln is 36 inches The following clear glaze recipe may be high; therefore, the work is built in sections. used over the previous colored clays; it should Rims are built strong enough to hold the next be applied thinly: section, and paper is placed between the sec­ tions for easy separation. Hieroglyphs are Clear Glaze imprinted with lace, nuts and bolts. I call (Cone 10) them hieroglyphs because they are symbols Whiting ...... 20% of a language, not a dead one but the lan­ Custer Feldspar...... 40 guage of today. Kentucky Ball Clay ...... 25 “The process takes about five weeks. Fin­ Flint...... 15 ishing the sculptures is a very demanding 100% time. I need to keep the stoneware leather hard. But this is the time when the working Rancho Santiago faculty member Patrick dialogue with clay becomes most exciting.” Crabb noted: “Ban’s works speak of the nat­ Photo: Howard Goodman. uralness of clay, the intrinsic qualities of the colored clay process. The striations of color in his vessels are reminiscent of the various British Innovations clay deposits seen on the sides of cliffs.” “Throughout Britain, young designers are leering at the face of conventional design. It amuses the young to do this and it gets them Phyllis Hammond noticed by [the rest of] us. [We] are the noses— Columnar/figurative sculpture by New truffle seekers, hacks, curators, editors, in- York ceramist Phyllis Hammond was exhib­ sinuators of new fashion and incinerators of ited recently at Montgomery College in the old,” writes Peter Dormer (author of The Rockville, Maryland; at Rockland Center for New Ceramics: Trends and Traditions) in the Arts in West Nyack, New York; and at his introductory essay for “The New Spirit: January 1988 73 74 Ceramics Monthly ... News & Retrospect Christmas bargains at London shops and galleries: Clive Bowen, Jane Hamlyn or Andrew McGarva pitchers: £17—£19 ($30.91-$34.54). Innovation in British Craft and Design,” a Andrew and Joanna Young salt and pepper Crafts Council touring exhibition of work by shakers: £2.20 ($4) each; salt cellar: £1.30 young artists. ($2.36). “The dominant emotion of the new spirit Dart/Tchalenko “Leopard” egg cup: £2.20 is nostalgia,” Dormer continues, “and its main theme is ritual. There are many references: ($4).

Abby Huntoon Earthenware vessels by Abby Huntoon, Portland, Maine, were among the objects by approximately 40 American craftspeople on display at Art 54 Gallery in Soho (New York

Raku vessels,slip cast, by Christine Constant industrial, literary, old colonial, hippyesque travel tour and 1960s art revival. Much of the work is figurative, but if you try to infer a plot, your brain may be frustrated by the absence of either symbolism or narrative. The meaning could change according to the con­ text. “A lot of the new spirit thrives on ambi­ guity, which is the play pit of the creative young. Theirs is an optimistic state because ambiguity is the delicious condition which generates the emotion of expectation. Am­ biguity is as malleable as clay.” Photo: Pat­ rick Shanahan, courtesy of Crafts Council.

British Prices Pricing is always a hot topic of discussion among potters and ceramic sculptors. Nearly everyone wants to know just what the market will bear these days. The following are gavel prices (including 34-inch “Double-Spouted Vessel" a 10% buyer’s premium) paid for 20th-cen­ City) through October 11. Shown from the tury studio ceramics sold at Christie’s and exhibition is “Double-Spouted Vessel,” 34 Sotheby’s auctions in London during the past year; all dollar equivalents are approxima­ inches in height, handbuilt, with blue-green glaze. Photo: courtesy of Winston & Com­ tions based on current rates: Hans Coper large “Thistle Vase”: £30,800 pany. ($56,000); early manganese matt vessel: £38,500 ($70,000). National Crafts Showroom Closes Bernard Leach large earthenware jar: The final days of 1987 saw the closing of £2420 ($4400); stoneware bowl with fish the National Crafts Showroom, a highly vis­ decoration: £1760 ($3200). ible New York wholesaling outlet supported Shoji Hamada teapot: £935 ($1700); square by the Society for Art in Craft of Pittsburgh. stoneware bottle: £1540 ($2800). [See the December 1985 CM.] Opened near­ Michael Cardew plate: £1100 ($2000). ly four years ago “to foster the growth of the Lucie Rie stoneware vase: £528 ($960); modern craft industry,” the showroom was porcelain bowl: £990 ($1800). intended to become an artist-owned coop­ Elizabeth Fritsch stoneware “Spout” pot: erative within three years, but remained £1200 ($2180); stoneware “Optical” pot: heavily subsidized by the association. £2420 ($4400). While the Society felt its project was wor­ Ewen Henderson vase: £1100 ($2000). thy, the showroom failed because of “increas­ John Ward stoneware vase: £220 ($400); ing operating costs, coupled with a minimal bowl: £550 ($1000). commission rate structure that resisted es­ The retail market for “standard ware” is calation.” another world entirely. Competition from “Each sale cost us money,” said director mass-produced ware usually keeps prices low. Norbert Nelson. Though sales had increased Britain’s Crafts magazine found some real Please Turn to Page 79 January 1988 75 76 Ceramics Monthly Business Letters and Invoices

Being Professional

by Joe Weingarten

As CRAFTSPEOPLE, we are profession­ strange set-up. Despite the fact that the graphs. If you need a lot of details, they als in the making of handmade objects, work was well designed, the dealer was should appear as attachments. Why short regardless of whether we do one-of-a- compelled to send the entire order back. paragraphs? Remember, the people kind or production work. However, many In both of these cases the craft artists reading the letter may not have all the who pride themselves in their craft, hurt had hurt their professional images and time in the world, or they may get 50 themselves through paperwork—a de­ their income, even though their work letters in response to an advertisement tail with more importance than many of was good. for showing with their gallery. A good us think. Let’s look at being professional from letter can be read in a few moments. If A proposal for an architectural in­ another viewpoint: Say, you received two they need more details, they will look at stallation sent to a large corporation on requests in the mail today for your cat­ your attachments. A long letter is more three-hole, loose-leaf paper may not be alog, but you have only one copy left. likely to go on the “to do” pile of mail, given serious review, even if it is a great Both requests say exactly the same thing: which may not be reviewed during this design. An invoice that can’t be read won’t “I saw your work at the craft fair and century. A good way to gauge the quality encourage new orders or even getting will make some purchases as soon as I of your correspondence is to wait a day paid on time. To write this article, I asked receive your catalog.” One is typed on and then read it as if you were the per­ a gallery owner to show me the best ex­ stationery and the other is handwritten, son receiving the letter. amples of the worst paperwork she had hard to read and on dirty notepaper. Some Another part of being professional is received. of you may want to go with the underdog understanding business and how to op­ The first was from a glass artist—I here, but I would send my last catalog erate in a business world. Don’t overfill couldn’t figure out how much anything to the typed address. The other one might an invoice form as our previous potter cost. The gallery owner told me she was never get a catalog, even if I had many example. If you need more than one form, convinced he wrote his invoices this way copies. use it. And, when dealing with big cor­ to cover up the difference between what The impression your paperwork makes porations, follow their invoicing instruc­ he was sending and what she had or­ is very important. But it’s not necessary tions. Sometimes they may ask for three dered. “Each time,” she contended, “his to spend a lot of money on invoices, sta­ copies of an invoice. If you only send invoices came in with different hand­ tionery, and everything else. two, it can cause a long delay in getting writing, but you couldn’t make any of You can get blank invoices at most paid. Believe it or not, they may even them out. I guess it’s his policy.” She business supply companies and type your write you a letter asking for another copy quit dealing with him and has since found name in the blank area. However, for of your invoice rather than making a other glass artists to represent. only a few dollars more, a specialized copy on one of the hundred copy ma­ The next example of bad paperwork commercial printer will imprint your chines they own. came from a potter. He did have a print­ name and address on stock forms. Two Today, large customers often ask for ed invoice, but handwrote his product such printers are Stationery House, Inc., a federal tax ID number. If you do not description and price. When he had filled 1000 Florida Avenue, Hagerstown, have one, give them your Social Security up the page, instead of getting another Maryland 21741, (800) 638-3033; and number. My invoices now have my fed­ invoice form, he listed more items and New England Business Service (NEBS), eral ID number printed on them. prices up the sides. To get more items 500 Main Street, Groton, Massachu­ If you ship your items, think about in, he wrote smaller and smaller, to the setts 01450, (800) 225-9540. Many small buying preprinted mailing labels. Again, point of illegibility. Even if you could printers can also help you with this type it doesn’t cost much, and it is part of the read what was written, the descriptions of form printing. Or, if you own a com­ overall look of professionalism. made little sense; and not one of the pots puter, an invoice-generating software The main point to remember is that had a price or identification tag. There package will let you print your own. your paperwork should look like your was no way to figure which price went A business letter is the way many new craft—professional in all respects. What’s with which pot. Then to add to the galleries, shops, etc., first see you, but it more, for a reasonable price you can get guessing game, he had a terms box that is not necessary to send specially de­ printed invoices, address labels, station­ left the gallery owner even more bewil­ signed, high-cost stationery to make a ery which will help you look like the dered. Evidently, he was setting up a good impression. (Once again, commer­ businessperson you are. time payment plan whereby if she paid cial printers can meet the need until you now she deducted 50% of the price, and become rich and famous.) Clarity is what The author A frequent contributor to if she waited a year she paid the full is important. A good letter should not Ceramics Monthly, foe Weingarten re­ price. Nowhere did he explain this exceed two, maybe three, short para­ sides in Dayton, Ohio. January 1988 77 78 Ceramics Monthly ... News & Retrospect with underglaze and clear glaze, by Laney Oxman. Photo: Richard Rodriguez. Continued from Page 75

steadily over the years, the 15% commission Teapot: Form and Function paid by craftspeople didn’t come close to cov­ The contemporary ceramist’s fascination ering the escalating costs of doing business, with the teapot as a form was the focus of and the consensus among the staff, partici­ “The Teapot: Form and Function,” an ex­ pating craftspeople and the society’s board hibition featuring interpretations by 25 art- of directors was that the commission rate couldn’t be raised. The National Craft Showroom was an el­ oquent spokesperson for the full-time craft artist, but there have been doubts all along because the altruistic project lacked sufficient profit motive to make it financially successful long term. Additionally, wholesale fairs have cut deeply into the showroom’s mainstream market. If a shopowner could go to the Bal­ timore ACE craft fair, why visit a smaller selection of work in New York? Neverthe­ less, the showroom leaves a vacuum in the day-to-day New York marketing scene, but at present no other group or individual has stepped forward to fill the void.

Culinary Art in L.A. The seventh annual presentation of “Cu­ linary Art” at del Mano Gallery in Los An­ geles featured clay work by Marek Cecula, 17-inch stoneware teapot by Dennis Meiners New York City; Ken Horvath, Escondido, ists from the United States and Canada, at California; Karen Kozlow, Graton, Califor­ Artworks Gallery in Seattle through Novem­ nia; Jeff Longtin, Minneapolis; Michael ber 30. Shown above is a slab-built stone­ ware teapot, 17 inches in height, reduction fired by Dennis Meiners, Portland, Oregon.

Picasso Ceramics More than 70 ceramic vessels by Pablo Picasso were on view at Jane Kahan Gallery in New York City through November 30. Picasso is said to have found an interest in clay in 1947; on and off during the next dec­ ade he spent considerable time at the Ramie 17-inch “Black Grid Plate” by Uko Morita family pottery in Vallauris, France, where Lambert, Santa Cruz, California; Uko Mor­ he experimented with shapes and decoration ita, Brooklyn; and Laney Oxman, Reston, within the brightly glazed earthenware tra­ Virginia. Included were serving pieces and dition of the region. Many of his designs dinnerware designed for both food and en­ from this period were then marketed as lim­ tertainment aspects of fine cuisine. Shown ited editions, as was this 21%-inch vase, “Gros from the exhibition are “Black Grid Plate,” Oiseau, Picasso” (Large Bird), dated 1953. 17 inches in diameter, by Uko Morita; and a 10V4-inch dinner plate, white earthenware

Black and white plate by Laney Oxman fGros Oiseau, Picasso, ” 21 ¾ inches high January 1988 79 80C eramics Monthly