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SHIMPO-WEST P.O. BOX 2305 BASSETT, CALIF. 91744 DEPT. 216 SHIMPO-AMERICACORP. 6411 DRAKE AVE., LINCOLNWOOD, IL. 60645 4* The Bailey is an excellent teaching tool!

Write Jim Bailey Bailey Pottery Equipment ~ ~ Hemingway Road Brant Lake New York 12815

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"The students at Franconia "The Bailey slab machine is "The need of a college studio College explore both extremely durable and built may vary from those of a sculptural and utilitarian as- to withstand the daily use of production pottery, but the pects of clay. The Bailey slab a number of students. The Bailey slab machine is machine has proven itself to chain-driven double roller clearly an asset in both situ- be a valuable addition to our system is maintenance free ations. It is an excellent studio equipment. In fact, it and simple to operate. teaching tool and I would has changed the focus of the These slabs have a greater recommend it for every ceramic room. We have now strength and uniformity school situation." struck a balance between than those produced by a the number of students single roller system or hand- handbuilding and wheel rolling, and can tolerate a throwing. The ease with substantial amount of ma- which large consistently uni- nipulation. As a result, struc- form slabs can be produced tural problems of complex has encouraged students to forms are greatly reduced." investigate new facets in handbuilding. Even beginning students have been able to work with large scale slab constructions without the usual frustrations which accompany initial efforts. The scope of student work is Philip C Homes remarkably broader as a Ceramic Department Head result of the access to this Franconia College machine." Franconia, New Hampshire October 1977 3 The Most Copied Tool In The Industry

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o The original, there can only be one. Developed over 30 years ago, the Kemper K23 ® Ceramic Clean-Up Tool is the most copied tool in the industry today. Kemper uses only the finest stainless steel and select, smooth hardwood to produce a tool that is unequaled in quality, durability and price. Make sure your next tool is a genuine Kemper. Look for the name Kemper on the handle, after all, why not own the original, the best. Kemper... Tools That Craft The Hand. KEmPER TOOLEi ~ Kemper Mfg., Inc., P.O. Box 545, Chino, CA 9 | 710 safety

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Volume 25. Number 8 October 1977

Letters to the Editor ...... 6 Where to Show ...... 8 Suggestions from Our Readers ...... 11 Itinerary ...... 13 Answers to Questions ...... 15 Comment by Garth Clark ...... 17 p Dust Glazing by Dennis Parks ...... 23 Glenys Barton at Wedgwood ...... 28 A Workshop in Belgium b v Sylvia Hyman ...... 31 California Crafts ...... 35 Contemporary Ceramic Sculpture ...... 36 Otto and Vivika Heino by Elaine Levin ...... 38 1977 National Cone Box Show ...... 46 Resident Potters at Penland ...... 48 Production Trimming by Michael Peterson ...... 50 in response to the growing concern The May Show ...... 53 about possible adverse health effects Early Bennington Potteries by Linda Vozar ...... 54 from working with ceramics, we have Pots from Slab and Wheel-Thrown Sections expanded the line of accessories in our by Randal Benjamin ...... 58 latest catalog to include additional Vitrified Bisque by Richard Behrens ...... 62 safety equipment, write for a free copy. CeramActivities ...... 73 New Books ...... 105 Index to Advertisers ...... 106

On Our Cover Otto and Vivika Heino, potters of Ojai, California, with their salt kiln. The Heinos are featured in a profile beginning on page 38. Photo: Victor G. Bracke.

Publisher and Acting Editor: SPEXCER L. DAvis Managing Editor: W[LLIAM C. HUNT Assistant Editor: DEBORAH EDXVARDS DARBEF, Art Director: ROBERT L. CREAGER Circulation Manager: MARY RUSI-ILEY Advertising Manager: CONNIE BELCHER Editorial, Advertising, and Circulation O[[ices: 1609 Northwest Blvd., P.O. Box 12448, Columbus, Ohio 43212. (614) 488-8236 West Coast Advertising Representative: Joseph Mervish Asso- ciates, 4721 Laurel Canyon, Suite 211, North Hollywood, California 91607. (213) 877-7556 Copyright 1977 Professional Publications, Inc. eagle All rights reserved.

I.;ERAMICS .~.ION'I'Ht.y is ptthlished monthly except July and August hy Professl.nal P.hllcations Inc. -- S. L. Davis. Pres.. P. S, Emery, See.: Iti09 North~est Blvd., Colmnbus, Ohio ]3212. Imics, inc. Correspondence concerning subscriptions, renewa s, az d c a lge of address shotdd be mailed to the Circulation Department, CERAMa S .MONTHLY, Box 1214B, Colmnh.s. Ohio 43212. Second 12266 wilkins avenue Class postage paid at Athens, Ohin, C.S.A. Subscriptions: One )'ear $10; "lwo }'ears SHI; Three )'ears $25. Add $2.00 per )'ear outside t'.s.a. rockville maryland 20852 The articles in each issue of CERA'.IICS MONTItLY are indexed in the .'Dr Index and the Readrh" (301) 881-2253 (;uide to Petiodital Literature. Microfische, Itimm and '35ram microfihn copies, and xel.graphic reprints are atailable to ~.hscril)ers flora Unitersity Microfilms, 300 N. Zeeb ll.d., Ann Athm, and Michigan 18106. 3,{anuscript% photographs, graph c i us ra ions, and new~ rPh, asvs th':tl[ng x, ith ceramic air 1300 wesf 9fh sfreef are ~elcorne and ~i[l he considered for p,hlication. A hook]ct i, axailahh' x~hllotlt t-o,t to cleveland, ohio 44113 potential authors, describing procedtlres for the preparation and ,uhlui,,ion of ~t n~Hiii,cript. Send manuscripts and correspondence aholtt them to the Editol. CF.RAMIt S .~[ONIIII.Y, Box (216) 241-4767 Y2~,%, ~.'mmb~s, Ohio 43212.

October 1977 5 LETTERS

LEACH PORTFOLIO returns for my husband, a sculptor. We're Schedule SE, Form 1040. For most of us, The Leach Portfolio in your Over-The- now living in the mountains of North this is the biggest tax item, replacing the Summer Issue was great (maybe too short, Carolina, where I help quite a few crafts- Social Security taxes withheld from a wage though). I had the thrill of seeing his ex- men set up record-keeplng systems and earner's paycheck and contributed to by his hibition at the Victoria and Albert Museum prepare their tax returns. employer. Instead, the self-employed crafts- this spring and really appreciated seeing I was delighted to see the article "Crafts- man pays 7.9% of his net profit up to a some of those pieces again. Thanks! men in Business: Taxes," by Howard maximum amount of $16,000 (figured on Judy Ellen Connaughton (March CM). This part of Schedule C, Form 1040), which is credited Toronto being a craftsman is a gray area long against his account for Old Age, Survivors', SELF-EMPLOYMENT TAX neglected in most schools and courses. and Disability benefits. I'm a CM reader who became a part- A major item, tax wise, that was only Very often, a self-employed craftsman, time professional income tax preparer after mentioned in this article is the Social Se- especially in the beginning, may not have years of keeping records and doing tax curity Self Employment Tax, filed on to pay any Federal Income Tax, but will have to file an income tax return if his net earnings or profits are $400 or more. A single potter, for instance, could make a net profit of $2,000 from his own pottery and not have to pay any income tax, but his self-employment tax would be $158! This amount should have been anticipated and provided by quarterly estimated pay- ments (or by increased withholding from wages, if the potter is also employed). Since this is the "ouch" factor in many of TEACHERS the tax returns I prepare, I thought it was worth mentioning again. ]ohanna Vrana eeen Bakersville, N.C. SEPTEMBER COVER Whatever prompted you to put Jill Crowley's "Man in a Pin-Stripe Suit" in full color on the cover of your magazine? I haven't seen anything that revolting since they put plastic vomit on the mar-

ket. I'm sure that all of us CERAMICS MONTHLY readers appreciate a good joke now and then, but really, this time you have gone too far. I suggest that you send Ms. Crowley a tube of pimple cream and place this personalized photo on the cover of next month's issue. Jim Bailey Brant Lake, N.Y. COMMENTS The September issue came and it just Try Mayco Colorsyoual~ ~. There~has ~r doesn't have anything to offer. When been a More ~, ~mlL~Willl~ed ~c~of there is so much going on in the field of Glazes, UndergllumL~~lmtJ ~d Stains. ceramics, why does the only publication Wilh ~ ~ecio~ creative we have fail so miserably? time; ~ ~ work)of coming Beatrice Luker Upj~t~ff~_ color. May~~r of/~Arnerica's Farmington, Mich. ~~-, - inMi~ ~or every purpose ~in~~~~h~)geniz~d for e~ier a~li- The mag. is yeasty. I love it. cation ~ ~;q~elle:0iL Send for your free ®lor chart. Jane Upho H Portland, Ore.

Share your thoughts with other CM readers--be they quip, query, comment, or ad- ;~.-~ : ,' :: I[)~klNItipSAvsilablO !: vice. All letters must be signed, but names zvill be withheld on request. Address: The Editor, CERAMICS MONTHLY, Box 12448, Columbus, Ohio 43212.

6 CERAMICS MONTHLY The way we see it, the fewer sections, for easy moving and troubles you have starting out repairs. And our wheel is designed with your. equipment, the better so clay and water can't botch up you're going to become. Faster. inner workings. Ever. Which is why we build our And that's not all. We also electric kilns and'potter's wheel back up both our kiln and wheel the way we do. with a two-year warranty on Our kiln is multi-sided, so parts and labor. there's no uneven firing. It has a All of which explains why perfectly-fitted lid and stainless you're wise to start out with steel jacket to guard against dust, a Skutt. Because, if you're like drafts and rust. most people, you'll turn to us, And our potter's wheel is sooner or later. vibration-free, with smooth speed And as usual, the sooner, changes and power enough to the better. handle even hundred-pound For our complete catalog, throws. Without drag. write Skutt Ceramic And both are built to last. Products, Inc., 2618 Our kiln comes with extras like a S.E. Steele Street, reversible bottom to give you Portland, Oregon double life. It's even built in 97202.

October 1977 7 WHERE TO SHOW

Send your show announcements at least open to craftsmen who are residents of the FAIRS, FESTIVALS, AND SALES [our months before the event's entry dead- United States and between the ages of 18 D.C., WASHINGTON line to The Editor, CERAMICS MONTI-ILY, and 30. Work must have been executed June 29-July 9, 1978 EXPO 78 is open Box 12448, Columbus, Ohio 43212; or within the past two years. Juried by slides. to ceramists. Juried by 4 slides. Deadline: phone (614) 488-8236. Deadline: December 31. For further infor- April 15. Write: Sugarloaf Mountain mation write: Young Americans, American Works, Box 319, Poolesville, Maryland EXHIBITIONS Crafts Council, 29 West 53rd Street, New 20837. ARKANSAS, LITTLE ROCK York 10019. December 2-January 29, 1978 "Toys OHIO, LA KE~,VOOD FLORIDA, CORAL GABLES Designed by Artists Exhibition" is open to November 4-5 "Proscenium 77," a ju- November 18-20 Coral Gables Craft ceramists and enamelists. Three entries ried exhibition, is open to ceramists. $1,500 Show is open to all craftsmen. Fee: $30. permitted, juried. Fee: *5.00. $1,000 in in awards. Fee: $3.00. Deadline: Novem- Deadline: November 17. Write: Tom purchase awards. Deadline: November 11. ber 5. Write: Jayn Wells, Beck Center Chegin, Coral Gables C. of C., 50 Aragon Write: Townsend Wolfe, Director, The for Cultural Arts, 17801 Detroit Avenue, Avenue, Coral Gables 33134, or call: (305~ 446-1657. Arkansas Arts Center, MacArthur Park, Lakewood 44107. Box 2137, Little Rock 72203. WISCONSIN, SHEBOYGAN FLORIDA, DUNEnlN FLORIDA, MIAMI April 16-May 28, 1978 "American November 20 Art Harvest is open to March 6, 1978 The Arango Interna- Chairs: Form, Function, and Fantasy" is ceramists. $3,100 in cash prizes. Limited tional Design Competition, sponsored by open to ceramists. One-of-a-kind functional to 225 artists and craftsmen. Deadline: Arango, Inc. in cooperation with the Lowe chairs and non-functional works in which November 5. Write: Peggy Mateer, 542 Art Museum of the University of Miami, is the chair is seen as a purely visual and/or Mediterranean Drive, Dunedin 33528, or open to artists and craftsmen. Media: associational form will be shown. call: (813) 133-0004. Durable eating implements in any 3-dimen- June 18-August 6, 1978 "Clay from sional form, completed after 1972. $1,000 Molds: Multiples, Altered Castings, Com- FLORIDA, MIAMI BEACH award. Deadline: February 1, 1978. For binations" is open to ceramists using molds February 11-22, 1978 4th Annual Mi- further information write: Arango, 7519 to produce sculpture and other objects. ami Beach Outdoor Festival of the Arts Dadeland Mall, Miami 33156. For additional information on both exhibi- is open to craftsmen. Juried. Cash and tions write: Ruth DeYoung Kohler, Direc- purchase awards. $5.00 entry fee, plus NEW YORK, NEW YORK tor, John Michael Kohler Arts Center, 608 $25 per category. Deadline: December I. May 6-16, July 14-September 30, 1978 New York Avenue, Sheboygan 53081, or Write: Miami Beach Fine Arts Festival, "Young Americans: Clay and Glass" is call: (414) 458-6144. Continued on Page 80

NATURE BECOMES

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8 CERAMICS MONTHLY Finally. easy repair. And they're multi- A whole new line of UL sided, for even firing. listed Cone 10 kilns, from the There's a ventilated switch- company you've come to depend box, to keep components cool on. and trouble-free. A reversible Skutt. bottom slab, for double life. And It's true we've taken our a year-long warranty on both time. With good reason. The high parts and labor. temperature kiln is a problem- Plus, each and every kiln is prone creature, so we've worked backed by our 24-year o]d repu- slowly getting the bugs out. tation for quality and service. Result: a line of Cone 10 And our network of distributors, kilns, all UL listed, for safe, dur- nation-wide. able service. And all designed to Skutt's new line of Cone 10 handle high te.,nperature firing kilns: all in all, well worth the techniques, special clays, spe- wait. cial glazes. Skutt Ceramic Products, Inc. Our Cone 10's are built in 2618 S.E. Steele Street sections, for easy brick removal, !°.I ..... /!ii Portland, Oregon 97202

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October 1977 9 FROIR 8PflCE flOE

TEE;HI7OLOO COtTIES. am .11 ¸ • .."E;ERRITIIC FIBER" Ceramic Refractory Fiber is truly a space age material! Initially, Ceramic Fiber was developed and applied extensively within the aerospacei-r~!, ustry. Once recognized as one of the finest refractory materials, Ceramic Fiber branched further into industrial applications. Recently the use of Ceramic Fiber in industrial applications has far out- shadowed the aerospace applications. Thanks to our space and defense industries, we have a refractory lining that offers many advantages as an insulating ma, terial, notably low conductivity and low ;~..weight~~:, i GEIL KILNS has combined this Ceramic RefractO~ Fiber Lining with our very own d~wndraft design to produce kilns that cper- !;.~;;i;~onless fuel than ever imagined possible!

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FIND CLAY WITH USDA MAPS the capped jug is shaken and the marbles quickly loosen and help Available from the United States Department of Agriculture dissolve all the settled glaze. is a very detailed and accurate map of soil types. With its help --Eleanor M. Evans, Uniontown, Pa. we can find areas where roads have been cut through clay layers--just by looking out the car window. These outcroppings CLEAN UP IDEA are readily accessible, and a top layer of dirt does not have to Nylon net, inexpensively available at most fabric stores, works be removed. great for dozens of jobs around the pottery workshop. It can Another aspect we've found is that local clay may be better be used to sand rough spots on ware or to scrub anything with used as a glaze or glaze component. The last batch we excavated clay adhered to it--tools, wheel, piaster bats, etc. For big jobs, did throw nicely, but had so many calcium impurities, the spitouts wrap nylon net around a moist sponge to add scrubbing power. were a problem, and the fine particles of the body produced --Jan Greenwell, Richland, Wash. cracking during firing. But we discovered that this same clay made a beautiful rich olive-gold glaze without further additions FOUR WAX RESIST TECHNIQUES when fired to Cone 10. CM readers involved in discovering When decorating with wax resist, unwanted drips or splatters natural clay banks might bear in mind that some clays are can be removed effectively with a workshop propane torch. Use best used as glazes. the smallest heating tip when burning off intricate areas. --George and Nancy Wettlau[er, Skaneateles, N.Y. Children's crayons can be used for decorative resist. They require no heating, don't drip, and the resulting glaze effects can HANDBUILDING TECHNIQUE be quite attractive. Pots may be hand formed with coils or pellets arranged inside Rubber type, used in making custom stamps, is available in a bisqued bowl. The porosity of the bisque will promote quick several styles from many stationery suppliers. When glued with and even drying and the coiled ware will pop right out. epoxy to a wooden handle, the type can be dipped in wax emul- --Anne Thornton, Acton, Mass. sion and impressed on bisqueware for resist lettering. DAMP BOX Foam rubber brushes can be washed out easily after brushing Old plastic shower curtains and tablecloths, purchased from on wax emulsion, and are ideal for applying a smooth even coat. thrift shops, make inexpensive covering for a damp box made of --Doug Navarra, Minneapolis 2 x 4's. --Carol Green, Winthrop, Wash. DOLLARS FOR YOUR IDEAS MIXING SETTLED GLAZE CERAMICS MONTHLY pays up to $5 [or suggestions used. Send When storing glaze or slip in gallon plastic jugs, I drop a your ideas to CM, Box 12448, Columbus, Ohio 43212. Sorry, but handful of marbles into the liquid. Later when glaze is needed, we can't acknowledge or return unused items. FREE FREIGHT You are invited to help us cele- brate our third anniversary. In honor of the happy occasion, Kickwheel will ship Shimpo wheels and Crusader kilns anywhere within the continental USA. FREE OF ANY SHIPPING CHARGES. All orders must be accompanied by either a cashier's check or money order for our catalog list price. Please print See it for yourself. Free! your name, delivery address and phone no. Your order will be OK. send me the whole this audio-visual set to package- six separate col- be brand new and mine shipped prepaid to your door. or film-strips and audio to keep for the 885 pur- cassettes, l)lus a 64-page chase price, plus postage. Offer expires January 1, 1978. teacher's manual covering Or I can return it without New Catalog $1 a fltll semester's worth of obligation within 30 days. uctivities. 1 understand KICKWHEEL Name Mail to Skutt Educational School Ceramics Dept. POTrERY 8. SUPPLY® 2618 S.E. Steele 802 Miami Circle, NE, Atlanta, Ga. Address Street, Portland, OR 97202 404/231-2150 30324 City State Zip

October 1977 11 Introducing the NEW Brent . . . IlCU'l( x 'u(:k Our all-steel handextruder can now be mounted to either a wall or a heavy table, and has a new steel endcap which is easy to remove and clean. If you've never used a handextruder, you'll be amazed at the variety of shapes you can create. Simply fill the 4 inch diameter steel tube with up to 10 pounds of clay, pull the handle, and use the extrusion for handles, twists and braids, moldings, cups or coils. You can use clay dies you make and fire yourself, or blank steel dies are available from the factory. See one of our dealers or write for our free brochure at 128 Mill Street, Healdsburg, CA 95448.

i ITINERARY Send Itinerary announcements at least of ceramics by David Davison; at the Car- Lower Gallery, Indiana University Art seven weeks be/ore the month o[ opening ter Gallery of the Arts and Science Center. Museum. to The Editor, CERAMICS MONTHLY, Box 12448, Columbus, Ohio 43212; or phone NEW MEXICO, TAOS KANSAS, LAWRENCE (614) 488-8236. through October 22 Ceramics by Rick through October 31 23rd Kansas De- Dillingham. signer Craftsman Exhibition; at the Stu- EVENTS October 29-November 26 Raku by Billie dent Union Exhibition Gallery, University Wahers; both at Clay and Fiber Gallery. of Kansas. MICHIGAN, CEDAR October 14-16 "Interaction '77," the PENNSYLVANIA, PITTSBURGH MARYLAND, BALTIMORE North Central Region American Crafts through October 6 "77 Pots 77" by October 1-30 Ceramics by Raya Bue- Council, in conjunction with the Michigan Warren MacKenzie. ding, Betty Down, and Betty Fisher; at the Crafts Council, presents a conference on October 9-November 3 "Round Pots," Potter's Guild of Baltimore. the exploration of mutual concerns of by Ronald Pivovar. craftsmen. Keynote speaker will be Paolo November 6-December l Ceramic works MASSACHUSETTS, BOSTON Soleri. Write: Gawayne and June Dart, by Roger Zellner; all at The Clay Place, through December 31 Ancient Indian 41855 North Drive, Canton, Michigan 5600 Walnut Street. Terra Cottas; at the Museum of Fine Arts. 48188. VIRGINIA, LEESBURG NEw YORK, NEW YORK MASSACHUSETTS, LEXINGTON October 1-29 Functional handbuih stone- October 29-30 The Second Interna- October 1-30 "Exhibit in Clay," works ware by Barbara Lane; at Whistle Walk tional Craft Film Festival, sponsored by by 15 members of the Lexington Arts and Craft Gallery, 13 S. King Street. New York State Craftsmen, Inc., with Crafts Society, ceramics guild. partial funding from the National Endow- December 3-21 December Sale of the ment for the Arts, includes films on tradi- GROUP EXHIBITIONS Lexington Arts and Crafts Society; both at 130 Waltham Street. tional and contemporary crafts; at the ALABAMA, TUSCALOOSA Fifth Avenue Cinema. A benefit premiere November 18-December 3 6th Annum MASSACHUSETTS, NEVCBURYPORT is scheduled for October 20 at the Japan Alabama Crafts Council Juried Members House. For further information write: In- October 14-November II "Casseroles Exhibition; at the Gallery, Ferguson Cen- and Covered Jars," ceramic works by ternational Craft Film Festival, New York ter, University of Alabama. State Craftsmen, 27 West 53rd Street, New North Shore Potters; at the Craft Resource Center, Newburyport Public Library. York 10019, or call: (212) 586-0026. CALIFORNIA, CLAREMONT October 4-3l "The Claremont Clay PENNSYLVANIA, UNIVERSITY PARK MASSACHUSETTS, YARMOUTH PORT Spectrum" includes work by John Fass- through October 31 Old King's High- November 3-5 llth Annual Super Mud binder, Harrison McIntosh, and Paul Sold- Conference. Guest artists will be Wayne way Galleria Juried Prize Exhibition, inner; at Griswold's Art Gallery, 555 W. eludes ceramics; at the Galleria, 358 Old Higby, David Middlebrook, Susan Peter- Foothill Blvd. son with Maria Martinez and family, King's Highway, Route 6A. David Shaner, and Robert Winokur. For CONNECTICUT, NEW HAVEN MICHIGAN, DETROIT further information write: Ron Avillion, November 12-December 23 The Crea- The Pennsylvania State University, 410 November 5-December 8 "Clay Man- tive Arts Workshop, Inc. Ninth Annual hattan," works by 6 New York City clay Keller Building, University Park 16802, or Exhibit-Sale, including glass and ceramics; call: (814) 865°7557. artists; at the Detroit Center for Contem- at the Creative Arts Workshop Gallery, 80 porary Crafts. Audubon Street. ONE-MAN SHOWS MICHIGAN, KALAMAZOO CALIFORNIA, OAKLAND DELAWARE, WILMINGTON October 16-November 27 "Contempo- through October 6 An exhibition of November 13-December 31 Contempo- rary Ceramics: The Artist's Viewpoint," porcelain by Scott Malcolm; at Holy rary Crafts Exhibition 1977; at Delaware includes the works of 24 artists; at Kala- Names College, Kennedy Art Gallery. Art Museum, 2301 Kentmere Parkway. mazoo Institute of Arts, 314 S. Park St. CALIFORNIA, SAN FRANCISCO FLORIDA, ORLANDO MISSOURI, ST. Louis October 1-3l Ceramics by Chris Unter- October 9-November 6 The Florida November 6-30 "Pottery To Live With/ seher. Craftsmen Annual Juried Exhibition; at Fibers For Many Uses," with functional November 1-30 Ceramics by Vernon Loch Haven Art Center. ceramics by Wilda Swift; at Craft Alliance Patrick; both at Quay/Ceramlcs Gallery, Gallery, 6640 Delmar Boulevard. 560 Sutter Street. GEORGIA, ATLANTA November 21-December 17 An exhibi- October 16-December 1 Annual Juried NEW JERSEY, CLINTON tion of ceramics by Ban Kajitani, at Tri- Show of the Georgia Designer Craftsmen, October 30-November 27 An invita- angle Gallery, 251 Post. Inc., includes ceramics; at the Dana Fine tional craft show, includes ceramics; at Arts Gallery, Agnes Scott College. Hunterdon Art Center, Center Street. MARYLAND, ANNAPOLIS October 1-31 "Clay and Fibers" by Sue HAWAII, HONOLULU NEw JERSEY, LAYTON Taylor; at Thought Gallery, 76 East St. through October 29 An exhibition of through November 13 "The Gourmet's ceramics by Carol Abraham, Frank Beaver, Choice," an exhibition of crafts involving MONTANA, BILLINGS and Thomas Kerrigan. the preparation and serving of food; at October 9-28 Ceramics by John Take- November 4-December 3 Ceramics by The Gallery, Peters Valley Craftsmen. hara. Donna Polseno, Robert Sperry, and Patti October 30-November 23 Ceramics by Warashina; both at Following Sea Gallery, NEW JERSEY, NEWARK Frances Senska; both at Gallery '85, Emer- 1441 Kapiolani Blvd. through October 26 New Jersey De- ald Drive. signer Craftsmen, Inc., juried members INDIANA, BLOOMINGTON show; at the Newark Museum, 43-49 NEW HAMPSHIRE, NASHUA through October 8 "Italian Majolica Washington Street. October 21-November 27 An exhibition from Midwestern Collections"; at the Continued .on Page 65

October 1977 13 the most versatle kickwheel yet

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14 CERAMICS MONTHLY Answers to QUESTIONS Conducted by the CM Technical Stair THE NATIONAL SLIDE REGISTRY OF AMERICAN ARTISTS AND CRAFTSMEN Besides being a potter, I am a lapidary and it occurred to me recently, a[ter grinding and polishing lapis lazuli stones and NOW ACCEPTING SLIDES FOR THE YEAR 1978 cleaning silicon carbide and mineral sludge [tom the settling tank, that I could use this waste material in glazes. What is your The Registry's Slide Library and viewing facilities opinion ?--B.H. located in downtown Washington D.C.,are easily accessible to federal agencies involved in the arts,museums, architects Lapis lazuli is mainly composed of lazurite, Na 4 5A13Si:~O1~S, interior des gners, art dealers and buyers. but also hauynite, (Na,Ca)4 sA16Si6024(SO4); iron pyrite; and sodalite, Na4AI~SiaOa2CI. This azure blue mineral in powdered Artists and Craftsmen working in ALL MEDIA are welcome to be represented in the Slide Registry form has historically been an artist's pigment, producing ultra- AS SPACE PERMITS marine blue. The potter inclined to experimentation could dry the ground residue and add it to glaze or overglaze as a colorant To register send: percentage. Silicon carbide from the grinding wheel may cause 1. Five slides of recent work labeled as to size, local reduction and the sodium content could somewhat increase medium and your name 2. Name. address and phone number on a separate sheet glaze flow. Sulfur and chlorine in lapis lazuli calls for good venti- 3. Annual registration fee of $5.00 (check or money order) lation around the kiln. Since grindings are a waste product in lapidary work, many To: ground, mixed minerals may be found in the workshops of stone- The National Slide Registry of cutters or from rock shops. Calcining these materials is a good American Artists and Craftsmen first step in their successful use. 806 FIFTEENTH STREET N.W. WASHINGTON D.C. 20005 After trying Richard Behrens's basalt clay bodies that were published in the June 1975 issue, I [ound the most workable at Cone 6 was "Basalt Body III," substituting Red Horse Clay (or Alberhill), [or the red clay: BASALT BODY III (Cone 6) Manganese Dioxide ...... 6% Nepheline Syenite ...... 2 Red Iron Oxide ...... 16 Bentonite ...... 3 Red Clay ...... 40 Kaolin ...... 18 Kentucky Ball Clay ...... 15 l OOe/o I tried the body substituting local sewer pipe clay [or the red clay, which also worked well, but had di[[iculty in glazing. Even experimenting with several Cone 6 recipes, I got craters and large pinholes and the clay sometimes cracked during cooling, even a day or two alter firing. Unglazed, the basalt body works well. Any help in solving this problem would be greatly appreciated. --E.G. Richard Behrens replies, "The basalt body has different properties from the 'normal' potting body and is somewhat similar to Parian with its high flux content. Basalt is usually used in the unglazed state because of its tendency to be self-glazing, and this phenomenon is the result of the presence of large quantities of iron and manganese oxides, which also release significant oxygen that may cause blisters, pinholes, or craters. A lack of 'fit' can cause the cracking. Because of the unusual body composition, a normal glaze would probably not do for basaltware. But the following recipe may be used as a base for experimentation: 18o0 ° in 15 minutes Tired of waiting for pots? GLAZE FOR BASALTWARE (Cone 015) Try something spontaneous and exciting... RAKUI Peach Valley Frit 3134 (Ferro) ...... 26.4% Pottery has a kiln designed especially for RAKU. Constructed of a steel shell and "vacuum-formed" Insolation which is rigid and durable. Frit 25 (Pemco) ...... 43.6 Inside dimensions are 16" x 24". Lightweight -- only 18 ibs, which Lithium Carbonate ...... 9.9 makes it easy to lilt oft pots. it's portable, so take it with you to the Kaolin ...... 6. ! beach, the mountains, even the desert. Included with the kiln is a brass Flint ...... 14.0 needle valve. 10it high-pressure flexhose, venturl bumer for propane and RAKU instruction manual. 100.0% This is applied to a Cone 6 fired pot and subsequently retired to FIrlng Times 1st fldng: 20-40 rains. Cone 015." I Consocut ve tidngs: 10-20 mlns. Shipping: All subscriber inquiries are given individuhl attention at CM; Peach Valley Pottery East of Rockies Rt. 1 Box 101 $10.00 and, out of the many received, those o[ general interest are New Castle, Colorado 81647 West of Rockies selected for answer in this column. Direct your inquiries to the 303/984-2246 $ 5.06 Questions Editor, CERAMICS MONTHLY, BOX 12448, Columbus, Ohio 43212. Please enclose a stamped, self-addressed envelope.

October 1977 15 Meet your WCS Distributor in San Diego, Calif. Way-Craft Alberta Ceramic Supply Ltd. Char Mar Ceramics Frankrin Gallery Mile High Ceramics Inc. Seattle Pottery Supply Inc. 11565 149th St. 2126 N. Stone 105 N. Beaver 1155 S. Cherokee 400 E. Pine St. Edmonton, Alberta CANADA Tucson, AZ 85705 Flagstaff, AZ 86001 Denver, CO 80223 Seattle, WA 98122

Anhowe Ceramic Supply Inc. Clay Gallery Hill Brothers Model Ceramics Inc. Shep Stoneware Supply 3825 Commercial St. N.E. 1001 S. 4th St. West 4450 N. 42nd St. 4351 Akron-Cleveland Rd. Route 1 Box 365 H Albuquerque, NM 87107 Missoula, MT 59801 Phoenix, AZ 85019 Penninsula, OH 44264 Arroyo Grande, CA 93420

Capital Ceramics Creative Ceramics Supply V.R. Hood Company Northern Gate Ceramics Sherry's Ceramic Supply Co. 2174 S. Main 2556 Unit A Albatross Way 301 S. Salado St. 124 Olympic Rd. 948 Washington Salt Lake City, UT 83115 Sacramento,Calif. 95815 San Antonio, TX 78207 Fulton, CA 95018 San Carlos, CA 94070 CECAS Enterprises, Inc. Interstate Stone & Block Ohio Ceramic Supply Inc. Shop of Art 29 E. 555 Batavia Rd. Eagle Ceramics 3300 Crater Lake Highway P.O. Box 630 26 E. University Dr. Warrenville, IL 60555 12264 Wilkins Ave. Medford, OR 97501 Kent, OH 44240 Tempe, AZ 85281 Rockville, MD 20852 Ceramic & Craft Supply Eagle Ceramics Kickwheel Pottery & Supply ParamountCeramics Six G's Workshop 490 Fifth St. 1300 W. 9th St. 802 Miami Circle, NE 220 N. State St. 313 Main Ave. San Francisco, CA 94107 Cleveland, OH 44113 Atlanta, GA 30324 P.O. Box 463 Moorhead, MN 56560 Fairmont, MN 56031 Ceramics Hawaii Ltd. L&R Specialties The Sounding Stone 620 C Cooke St. Estrin Mfg. Ltd. 202 E. Mr. Vernon Pat's Ceramics 555 Osborne St. South Honolulu, HI 96813 1916 Fir St. P.O. Box 309 7901 Old Seward Hwy. Winnipeg, Manitoba Vancouver, B.C., CANADA Nixa, MO 65714 P.O. Box 3-3763 CANADA R3L 2B3 Ceramic Store Inc. V6J 3B3 Anchorage, AK 99501 706 Richmond Leslie Ceramics Stewart's of California Houston, TX 77006 Evans Ceramic Supply 1212 San Pablo The Potter's Center 16055 Heron Ave. 1518 S. Washington Berkeley, CA 94706 210 Myrtle St. La Mirada, CA 90638 TM Wichita, KS 67211 Boise, ID 83706 Iml| llml ~JmJ ~ f~ Marin C.... ics & Candles Potter,s Studio Valley Potter's Guild 23 Simms St. 642 N. Fulton 417 High St. San Rafael, CA 94901 Fresno, CA 93728 Eugene, OR 97401 Marjon Ceramic Shop Richarcls Pug Mill Way-Craft 3418 N. 24th St. 8065 S.E. 13th St. 394 Delaware WCS Pottery Equipment & Supplies Phoenix, AZ 85016 Portland, OR 97202 Imperial Beach, CA 92032 Westwood Ceramic Supply Co. 14400 Lomitas Ave., City of Industry, Ca. 91744 Dept. 313 WCS Catalogues available for $1.50, redeemable with purchase of $10.00 or more.

16 CERAMICS MONTHLY COMMENT Ir. LYII'IPIC KILNS A Need For Ceramics Criticism by Garth Clark Olympic Gold Medal 28

From ]uly 5-I0, one of the first inter- the quality of this feedback to the national courses on modern ceramic artist is in direct proportion to the history was held at Bennington Col- integrity, vision, and knowledge of the lege, Vermont. Presented by Garth critics. If one peruses the art journals Clark, British art historian and critic, it is quite apparent that the quality 'i the keynote lecture, offered here in varies from drudge-like academicism summary, raised a number of ques- to dilettante esotericism. Scholarly tions concerning ceramists. For further levels are low, and transient values information on the lecture series, see high. But this is not the time to pages 77 and 79.--Ed. scourge the art critics. Rather, I believe that there is a relationship be- THZS COURSE is one of the first of its tween the level of art that is shown, kind. In an art which conceptually and the level of academic support it has been liberated for 100 years, that is given. The better the academics, is a telling statement. It is an indica- the better the art. Some can escape tion of the state of academic support this dictum but it remains true. And in ceramic art. The term academic so. each genre must concern itself has, however, acquired an unfortunate with the quality of its academic sup- connotation in areas of the arts and port system. one must question whether or not it Let us now turn from the respect- is wise to bring academicism to an art able areas of fine art, painting and which has thrived without its support. sculpture, to the maverick, ceramics. However, the negative response to The need for cogent and informed MODEL 2827 academia in the arts is simply an out- criticism is as high in this area. Yet growth of the love/hate marriage be- what are the standards? At the mo- tween words and images, and not an ment a number of attitudes and The huge Olympic Gold Medal 28 is a dream come true for the indication that the marriage is bank- schools exist in reviewing ceramics. busy shop owner dr business rupt. The interplay between writer First, one has the "Artsy-Craftsy" involved in commercial firing. and artist has been with us for cen- school that becomes faint at the sight A width of 28¼ inches and turies and like many apparently war- of celadon or temmoku, enthuses over depths of 27 and 31~ inches give ring couples, could nonetheless not glaze trickles and nit-picks over the kiln volumes of 10 and 11.67 cubic live happily without each other. In the generosity of the kiln. It is a romantic feet respectively. The advanced past this link tended to be poet and approach to clay that spills over into design of the Olympic Gold Medal artist, but with a shift in the educa- sentiment--and as Herbert Read has 28 enables cone 8 firings with the tion base and the growth of art criti- pointed out--"sentiment has no place same 47 amp., 240 volt power cism, the great historians such as in art." Sentiment is simply release, a requirement of the 23 inch series. Roger Fry, Sir Herbert Read, Harold pouring out. Art is two things at once, It's now possible for you to Rosenberg, Greenberg, and others both a release and a tightening and increase your firing load by more have supplanted this role of the poet. holding in. The other school is the than 43% without an increase in The situation is to a degree incestuous. "Half Baked Esotericism" school that electrical consumption or any At its worst it produces a mutation of peppers its comments with vague, un- sacrifice in firing performance. the creative process, at its best it adds substantiated quotes drawn from fine to the artist's vision, his appreciation art textbooks in an attempt to link of his own and others' work and so clay to fine art orthodoxy. They extends his conceptual vision. At the make the primary mistake of amateur same time the caustic nature of fine art historians, confusing "similar" for Division of art criticism keeps the fine artist's "same." They also ignore the fact that HAUGEN MANUFACTURING, INC. house in order. Poor craftsmanship ceramics is very much a genre of its 2222 North Pacific St.-Seattle, WA 98103 and tired imagery can draw the wrath own and that without the pretentious Phone (206) 632-01 20 of the critic. Poseurs can be exposed borrowing of secondhand kudos from and charlatans revealed. Of course Continued on Page 19

October 1977 17 North Star also makes a complete line of conventional Electric Wheels, Standup Production Wheels, Jigger Wheels and Plaster Wheels. Write, Call or see your nearest dealer. SEATTLE, WASHINGTON ELK GROVE, ILLINOIS ANCHORAGE, ALASKA Spencer Pottery, 5021 S. 144th 98168 A.R.T. Sfud;o, 921 Oakton 60007 Pat's Ceramic & Pottery SuppJy DALLAS, TEXAS TAMPA, FLORIDA 7901 Old Seward Hwy. 99502 Earth & Fire, 9719 Brockbank 75220 Potter's World, 4930 Distribution Drive 33619 MIAMI, FLORIDA NIXA, MISSOURI COEUR D'ALENE, IDAHO Bennett Pottery Supply, 7201 S.W. 48th Terrace 3315S L&R Specialfies, 202 Mr. Vernon 65714 Pauper's Purse, 2425 Government Way ELLENWOOD, GEORGIA SANTA ANA, CALIFORNIA HAINESPORT, NEW JERSEY Delta Clay Company, 5273 Highway 42 30049 Aardvark Clay & Suppiles, 1400 E. Pomona 92705 Creek Turn Ceramic Supply, Route 38 08036 PITTSBURGH, PENNSYLVANIA PORTLAND, OREGON RICHMOND, VIRGINIA Blakely Ceramic Studio & Supply, inc. Art Pak Products, 8100 N. Denver 97217 Earthworks, Inc., 2309 W. Main St. 23220 1500 Evergreen i5209 MERCER, PENNSYLVANIA SALEM, WEST VIRGINIA WINNIPEG, MANITOBA The Burns Company, RD 4 16137 Salem Pottery Supply, 179 Valley St. 26426 The Sounding Stone, 555 Osborne St. SAN FRANCISCO, CALIFORNIA PORTLAND, MAINE Western Ceramics, 1601 Howard St. 94103 Portland Pottery, 40 Exchange St. 04111

18 CERAMZCS MONTHLY COMMENT wrong but unable to pinpoint and cor- York Times but to recognize that the Continued [rom Page 17 rect its cause. critic is in every discerning eye. Each What does one require of a ceramic time you consciously applaud or reject painting and sculpture, they could arts critic today? First of all, most a form or line, even in an everyday justify work more strongly out of ce- ceramists work with asides and refer- object, you are a critic. The more that ramics' own, long and proud tradition. ences to the traditions of materials, critic sharpens his perceptions, the Furthermore, one is finding the and so a knowledge of ceramic art his- greater his value as teacher, communi- same development that has largely led tory is essential. Secondly, many ce- cator, and maker. to deterioration of adventure and ramists also function within fine art When looking at ceramic art with invention in English ceramics--the mainstreams or on the fringe. The the eye of a critic, objectively we ex- buddy system. Reviews tend too often ceramic art historian should therefore amine the standards of each of the to be written by friends; exhibitions also know contemporary art history periods and against these standards, include the juror's chosen circle. There in the broadest sense possible. And whatever our taste preferences, we will is a fallacy that one must know the then lastly, but by no means least, the value the work. Intuitively we will man or woman before one can write critic will require the abstract quali- select what we feel to be best of its about their objects. The result is that ties of all good commentators: objec- kind, but always retaining the integrity writing in the area of ceramics is too tivity, intuition, and integrity--quali- to reject art and artists, no matter frequently a self-congratulatory exer- ties not unlike those expected of the how intimidating the credentials, if cise and exhibitions too often have no artists themselves. through a combination of intuition spirit other than being a get-together I do not suggest that everyone and objectivity, we cannot in all hon- of friends. become a critic or historian in the esty believe in the aesthetic presented. In many ways that is a betrayal of conventional sense. Some will be exer- Ceramics has reached a position of the artist/critic relationship. The critic cising these functions under different heightened sophistication, technical is supposed to be the person who tells titles as a teacher, or if you are an virtuosity, and enlightenment. It is you the truth that even your best artist, as a self-appointed critic of your time that the academic support grows friends won't tell. If he doesn't, the own work and that of your contem- to equal the high standards being set chances are everyone else remains poraries. Therefore, I would like you by artists and so sustain the standards silent and the artist carries around his to think of the critic not as an ivory that have been won in 100 years of creative halitosis, sensing something tower figure at a desk of the New change, adaptation and growth.

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Edmonton, Alberta MOUNTAIN VIEW CERAMIC glazes and Bisq-Stains of unchanging Box 630, 2861 State Route 59. Kent ALLAN CERAMICS LTD CENTER. INC. excellence, including the newest RUTHE" CERAMICS 2404 South Queensway Rural Route 1. New Washington 4712 Dayton Blvd., Chattanooga decorator shades and sparkling bright Prince George, British Columbia VILLAGE CERAMIC STUDIO SINGER CERAMICS CARPENTER CERAMICS Christmas colors. 8112 Blue Ash Road, Cincinnati 952 Main Street, Nashville 2926 8 Avenue North THE VILLAGE CERAMIC STUDIO TWIN CITY CERAMICS. INC. • MOLDS Lethbridge, Alberta SUPPLY. INC. 2516 Volunteer Parkway, Bristol Over 500 different designs for every CERAMIC SUPPLY DEPOT 278 East Ma,n Street. New Lebanon TEXAS 837B 50th Street East purpose. Look for the new 1977 OKLAHOMA BATEMAN CERAMICS Saskatoon, Saskatchewan Christmas designs! And remember the CERAMIC COTTAGE 716 Pierce Street, Dallas CLAY CASTLE CERAMICS LTD popular Tiny Molds and Hobby Molds 748 South Wheeling. Tulsa BATEMAN CERAMICS 185 South Court Street for your own use or prepackaged g~fts! DOLLIE'S CERAMICS & PORCELAIN 6615 East Lancaster, Fort Worth Thunder Bay, Ontario (Consult the Duncan 1977 Fall & Winter LAURINE BROCK STUDIO 3011 South Shields Bou(evard COBEQUID CERAMICS. LTD Mold & Product Catalog,) Oklahoma City 1651 West Woodlawn Avenue, San Antonio 43-47 Forrester Street C. C. CERAMICS Truro, Nova Scotia • BRUSHES OREGON 4343 Kostorvz Avenue, Corpus Christi ISLAND CERAMIC SUPPLIES Manufactured to Duncan's specifications CLARKE'S CERAMICS CERAMIC ART & ANTIQUE SHOP Island Highway. 2 Miles South of Nanalmo 1585 Juniper, Junction City for exact and proper application of all 2004 Allen Drive, Wichita Falls Nanaimo, British Columbia DOBE DEPOT, INC. Duncan color products. (See the THE CERAMIC PEEPLES JONASSON CERAMIC SUPPLY LTD complete selection in the Duncan Brush 2809 Southeast Stark Street, Portland 718 Avenue C, Abernathy 267 Maryland Street PENNSYLVANIA THE HOBBY SHOP Winnipeg, Manitoba Information Brochure.) AMEIGH'S CERAMIC STUDIO 911 North Mockingbird Lane, Abilene 108 CERAMIC DISTRIBUTOR LTD. • KILNS HOUSE OF CERAMICS Rural Route -I¢ 1 1910 Roosevelt Avenue, Williamtport The most-wanted Christmas giftf With a 1818 College Hills. San Angolo 100 Mile House, British Columbia THE ART SHOP wide variety of sizes and 240 or 208 2660 Trenton Road. Levit'town HOUSTON ARTS & CRAFTS. INC REGINA CERAMICS LTD. voltage, Duncan Kilns offer advanced BECKER CERAMIC SUPPLY 1435 Westheimer. Houston 1733 McAra Street COMPANY INC LOMA CERAMICS, INC. Regina, Saskatchewan designs and features, and are constructed 426 L,ncolnway West, New Oxford 907 Lomaland Drive, El Paso TERRA CERAMIC SUPPLIES LTD. with the finest materials available for BELL'S CERAMIC ARTS INC, 518 42nd Avenue Southeast years of reliable service. (Refer to UTAH Calgary, Alberta 725 Route 15 N., Dillsbur 9 CAPITAL CERAMICS, INC. Duncan Kiln Catalog.) UNICERAM. INC. CERAMIC GROVE GIFT SHOPPE 2174 South Main Street, Salt Lake City • CERAMICS, THE WORLD'S 109 12th Avenue, Juniata-Altoona 4070 St-Dems CERAMICS BY LAFORCE. INC. VERMONT Montreal, Quebec MOST FASCINATING 1 Mile West on Route 220, Avis VERMONT CERAMIC SUPPLY CENTER THE VILLAGE CERAMICS LTD. HOBBY MAGAZINE 451 West Street, Rutland 148 Newbold Court CUSTOM CRAFT CERAMICS A great selection of decorating projects 70 South Street, Washington London, Ontario every month, complete with full-color DUN-CAR INC. VIRGINIA THE VILLAGE CERAMICS LTD. DILL-HAWK CERAMICS, INC, P.O. Box 212, Route 322, Du Bois Box 350. Rural Route 1 Kars, Century Road photos and step-by-step directions. Plus Route 2, Box 436, Highway 117, Roanoke ELSIE'S CERAMICS, FLOYD SCHEIB, INC. Manotik, Ontarm feature articles on techniques, methods, M-C STUDIO, INC, 669 East Main Street, Hegins THE VILLAGE CERAMICS LTD. correct product use, helpful hints, glaze 4115 Hopkins Road, Richmond ELSIE'S CERAMICS OF WHITEHALL. INC. 25-10 Connell Court combinations and more! Gift sub- POTTERY ART STUDIO, INC. 331 Grape Street, Whitehall (Allentown) Toronto, Ontario 4401 KiJlam Avenue. Norfolk scriptions are perfect for hard-to-please ETTORE'S CERAMICS PUERTO RICO friends and always appreciated! 175 East Boot Road. West Chester WASHINGTON CASA DEL BARRO. INC Duncan's holiday wishes for you are KOCH'S CERAMICS CERAMIC ARTS. INC, Final Carte Fedenco A. Costa = 1047 expressed by our products - 624 Grove Avenue. John~town West 38 Third Avenue, Spokane Urb. Industrial Tres Monptas, Hato Rey LE BOEUF FINISHING PRODUCTS & CERAMIC ARTS. iNC. CONSISTENT QUALITY CERAMIC SUPPLY 404 South Second Street, Yakima Also distributors in the following South Ma,n Street, Mill Village CERAMIC HUT NATIONALLY ADVERTISED foreign countries: LIBERTY BELL CERAMICS, INC. 3996 Valley Highway # 9, Deming LOCALLY AVAI LADLE 4511 North Broad Street, Philadelphia LLOYD'S CERAMICS AND POTTERY AUSTRALIA ICELAND MITCHELL'S CERAMIC SUPPLY 318 Westlake Avenue North, Seattle BELGIUM JAPAN CORPORATION MILLER'S CERAMtCS COLOMBIA NEW ZEALAND 57 Noble Avenue, Pittsburgh 4828 Pamfic Avenue, Tacoma DOMINICAN REPUBLIC PANAMA SNEDDON'S CERAMIC STUDIO ENGLAND PHILIPPINES Appledale Road, RD # 1, Norristown WEST VIRGINIA MULLENS CERAMIC SHOP FRANCE VENEZUELA SUNSHINE CERAMICS, INC. 1011 Moran Avenue, Mullens GREECE Route 307, Rural Delivery 3. Moscow TODD'S CERAMIC SUPPLY, INC. RHODE ISLAND 2029 Poplar Street, Kenova CERAM-ART STUDIO TOWN & COUNTRY ARTS & CRAFTS 3101 East Main Road. Portsmouth One-half rode on Crooked Run Road off For further information write to: LOUIS' CERAMIC SUPPLY COMPANY Route 19 at Gore, Clarksburg DUNCAN CERAMIC PRODUCTS 114 Smithfield Avenue, Pav~ucket P.O Box 7827, Fresno, CA 93727 October 1977 21 DELIVERED PRICES DELIVERED PRICES

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22 CERAMICS MONTHLY Dust Glazing by DENNIS PARKS

ARCHAEOLOGISTS SPECULATE that even before the thir- were thus compounded accidentally from the ash of wood teenth century, a medieval potter would commonly fill firing. While it is difficult to know how these historic a loosely woven sack with powdered galena, hold it above potters felt about this, I have always been impressed with greenware, still shiny wet with slip, and shake a fine rain the surviving ware. of lead ore onto the ware. During firing, the lead-fluxed My first approach was to attempt reproducing these silica in the slip melted to form a bright, clear, low-fire effects in an oil-fired kiln by pre-dusting wood ash on glaze. While the effects of repeatedly breathing lead dust glazed pots before loading. While in the early stages there must have been debilitating, certainly the hazards to the were some aesthetic qualms about artificially reproducing user contributed further to the technique's demise. historic wood firing accidents, with time the results be- But traditional wood-fired pottery was a more impor- came less intimidating. Questions arose like "What shapes tant inspiration in my experiments with dust glazing. For and surfaces are enhanced by dust glazes? What pieces are examples, look at early American folk potter)- or Japanese better dipped, brushed, or sprayed?" Over the years, in Tamba ware. The lips and shoulders are sometimes cov- various Cone 10 firings, I have experimented with sprin- ered with a natural dusting of ash; the resultant glazes kling a variety of organic ashes: lemon wood, eucalyptus, trash, mixed hardwood, aspen, chokeberry, and sagebrush. Dust glazes or their components may be screened [rom Each of them melted and united well with my glazes, and many local earth sources. they also proved to be full-fledged glazes when dusted

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October 1977 23 Dry dusting may be used alone (above, left) or i~t c.mbh~.~.,~,, z.~th otltcr gla:es (above, right).

In wet dusting, the form is first dipped in liquid such as dextrin, then dusted with an 80-mesh screen for a flypaper effect. Note t/~¢ ~[~a~z dip lin, normally a.,c ciat~'d uit/~ c.Tzr'entional glazing.

24 CERAMICS MONTHLY Thrown dinner plate with dry dusted sagebrush glaze, 11 inches in height, by the author. Individual glaze materials require various thicknesses o[ application [or success[ul dust glazing: the ash shown below should be applied to a depth o[ approximately 1/16 inch.

alone on raw clay--some rough, some smooth and shiny. Perhaps the best of these is sagebrush ash which when used alone melts to a bright utilitarian glaze. A logical extension of this idea was to move from the traditional effects of ash to dusting standard glazes in the dry form; then metallic oxides, portland cement, and plain ordinary dirt were tried, and all fired to Cone 10. The only experimenting I have done at temperatures below this range was dusting Gerstley borate on raku ware. It melts the silica on the surface of the clay and forms a smooth clear glaze. As with any such technique, the aesthetic results were dependent on intangibles as much as on the process or materials selected. Since in all the experiments the dusted particles melted and adhered, giving a newer, broader palette of surface treatments, I was encouraged; and the simplicity of an 80-mesh sieve as the only glazing tool was refreshing. Some limitations did emerge: contact with hazardous compounds can be more easily avoided when glazes are in a liquid state. I never use them for dusting. Breathing airborne particles of even the non-toxic materials is un- healthy. It is certainly advisable to wear a protective mask. The unfired glaze surface is fragile and can be damaged by the slightest contact including curious insects, or even over it. This allows overall distribution depending on how wind and weather. But all of these circumstances can be a piece is held or turned. Wet dusting increases the num- avoided or circumvented. ber of glazing possibilities in geometric proportions to the Off and on for the last eleven years the dusting tech- number of dusts available. For example, I have three basic nique has been part of my work. Now I probably dust glazes and four dusts which will work alone (dry) or in at least half of the ware, and with familiarity, some minor combination (wet). This provides seven glazes to start advantages have come into focus: many of the dusting choosing from, and twelve rich variations. agents are free; dry materials take up less shelf space A modification of wet dusting is the substitution of an and are easier to store than fluids; dry dusting adds no organic non-glaze substance in place of the liquid glaze, moisture to a pot, and on single fired work this means for a flypaper effect. This allows the application of pure the piece does not experience the stress of expansion (and dust in specific areas and on difficult shapes. For the chance of cracking) during glaze application. liquid medium, I have used canned milk, Karo syrup, There are two basic methods of dust glazing: dry dust- wheat paste, and dextrin, with a preference only for what ing we have discussed as the sieving of powders directly is handy. The dusts are simply sifted as decoration or as on a dry clay surface. The shape of the work determines the whole glaze, as long as the liquid remains wet and the amount of glaze that will stay in place. Flat ware, sticky on the surface of the ware. pots with broad shoulders, and pots with handles or While none of these techniques are revolutionary, there spouts are most receptive. But with wet dusting the shape is nevertheless a naturalness and an uncontrived quality is not a limitation. This variation takes advantage of the with dust glazing that offers wide variation in the ful- temporary viscosity of a shiny wet surface. Immediately filling of personal objectives--results that may comple- after dipping or pouring a liquid glaze, the dust is sieved ment the intentions of the potter.

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26 CERAMICSMONTHLY Opposite page The effect of conventionally poured glaze is easily approximated when canned milk, Karo syrup, wheat paste, or other viscous liquid is applied. Dust is then rifted over the form and the particles stick to the wet clay surface. Below Glaze, slip, or most any organic, viscous liquid may be applied as decoration and dusted with dry glaze or an Below The fired mugs, complete with a decorative individual glaze material. The form may be additionally thumb print, by the author. dust-glazed overall, or dipped in the usual manner.

October 1977 27 neoclassical taste in the field of ceramics just as eigh- Glenys Barton at Wedgwood teenth-century Meissen represents the spirit of the rococo. From the days of its founder, the first Josiah, Wedgwood has maintained its reputation for wares which were not only . . . rational . . . in their approach to form and to ornament, but in the techniques by which they CONTINUING a well-established tradition, Glenys Barton were made. As John Mallet suggests in his essay, the was invited by Wedgwood (England) to become their notion of a modern craft potter being, so to speak, let artist-in-residence, using the facilities of the factory for a loose in the Wedgwood factory, aroused feelings of trepi- year to create sculpture. The collaboration continues the dation as well as of excitement .... ceramist's work in bone china, the material she chooses "It occurs to me now that no one who knew Glenys to exploit for its whiteness, precision, and translucency. Barton need really have felt.., anxiety. It was clearly the The Crafts Advisory Committee, London, exhibited the opportunity she needed, (and) . . . to understand this, one finished works from June 15 to July 30, and Wedgwood has to know something of the nature of her previous work, intends to produce limited editions of the sculpture. since the pieces made at Wedgwood are a direct develop- In a review for the exhibition, Edward Lucie-Smith ment of (that). Though she made her initial reputation in commented "The historian of art inevitably associates the the environment of the 'craft revival' which has been name of Wedgwood with neoclassicism. Indeed, Wedg- taking place in recent years, chiefly under the auspices of wood is par excellence the representative of the rise in the Crafts Advisory Committee, she was, almost from the

"']ungian Shadow II,'" polished bone china with partial glaze and ceramic

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28 CERAMICS MONTHLY beginning, a kind of outsider. For her, ceramics (has) always been primarily a medium for sculpture--for the embodiment of forms which were, in turn, the embodiment of abstract ideas: about isolation, about loneliness, about man's relationship to his environment. Her experiments were carried out with an almost fanatical concern for precision--since, without technical precision, it was impossible for her to achieve the purity of formal relation- ships which she had in her mind's eye .... "In fact, Glenys Barton's aims coincided almost exactly with those which had been pursued by the firm of Wedg- wood since its foundation; they both wanted the foreseen, regular, predictable result which would express a concept already fully formed before the piece was ever modeled or went into the kiln. The strange thing is, indeed, that the pieces exhibited here seem in many respects to return to neoclassical origins, and to express ideas and concepts which have been lying more or less dormant in modern art .... (Glenys) Barton's concern with the figure and "Time at Yagul,'" bone china, hand-polished, "'Man Diagram IV," press-cast bone china with partial tran~[cr-printcd, 7 inchc~ in heio~ht. ,glaze and ceramic trar~[er~, 111/2 inche~ in height.

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October 1977 29 • i

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"'Monte Alban I," bone china, 14 inches in height. "Jungian Shadow I," bone china with transfers, 11 inches in height. + ..... particularly with the male nude, can, for example, be directly related to the work of Blake and Fuslei .... "I don't want, however, to suggest that the work shown represents nothing but the revival of a perhaps eccentric aspect of a long-past style. What we discover is a feeding in of multiple experiences and ideas which is characteristic of the best kind of modernism .... "In these pieces, if one looks at them carefully, there is a constant awareness of space not merely as space, but as what is best called 'territory.' . . . "Since a number of bases are circular, the figures who stand or sit on them necessarily call to mind the image of Vitruvian man, inscribed by Leonardo, and also by other Renaissance draughtsmen such as Francesco di Giorgio, >! :i~: within the boundaries of a perfect circle. "The image of Vitruvian man calls attention to the essentially humane element in Glenys Barton's art. She has taken the resources industry has generously put at her disposal, and used them to call attention to something we are in danger of forgetting--that art, like industry, is made for man, and not the other way about. These are epigrammatic statements about ideas and problems which at one level or another are meaningful to everybody."

30 CERAMICS MONTHLY A Workshop in Belgium by SYLVIA HYMAN

TEACHING A CERAMICS WORKSHOP in the basement of a accepted, having been assured that the students all under- Belgian castle, sleeping on the top floor, ninety-five steps stood some English. Translation into French did become up, feasting daily on sumptuous food prepared by a occasionally necessary when an unexpected problem arose French chef, and transporting raw pots forty kilometers from the challenge of calculating weights, measures, and to a wood-fired beehive kiln were all part of a unique temperatures--such as converting "a half pound of salt summer experience for me. per cubic foot of kiln space" into its equivalent in kilo- It was also a new experience for everyone who was grams per cubic meter, and to change my thinking about involved in the art workshops at Roumont Castle in the firing temperatures from Fahrenheit to centigrade. forested Ardennes Mountains. The ceramics classes were Classes were offered in weav- . ~ held in three large basement ing, watercolors, serigraphy, ~~-'~ rooms. The equipment con- body movement, yoga, nature sisted of seven kick wheels, nu- study, and ceramics. "Having [ ~ . '" ~ merous tables, and a small workshops is a new idea on the electric kiln. There was ample g ~,i, ~ ~" j~~ space for the students enrolled. Continent,"denbosch-Frankinet, said Denise artist, Van- ce- ,.~ ~ -~ : Thetive wasworkshop's to introduce primary the objec-use of ramist, and founder of the .,e ~~~~ school. "When we leave (for- ~_2~ high-fire clays and glazes since mal education) we're by our- ~ i ~ ': :~1 ~ aa, i!~.: , , most of these potters had been selves and just trying to find I~ working with earthenware and information in books." |~: ~ m .i~ !!': ,i rlb :: : ~7-, commercial glazes. Recognizing the need for ~I ~~"n ': ~ I distributed copies of fa- continued learning, Denise, a vorite Cone 10 /1260°C or graduate of the Brussels Na- ~ ~j.,~,:~ ~ lw .... ~ ':' 2300°F) glaze recipes, slips, tional School of the Arts, be- Roumont Castle, the workshop location, and clay body formulas to the gan teaching classes at her workshop students, including home/studio in the village of Rochehaut. Demand became tile following batch recipes using American materials: greater each year until a nonprofit school, "Maison Basic Matt Glaze (Cone 10, reduction) Artisanale de Rochehaut," was formed. It has flourished Dolomite ...... 31.9% • . . "but," said Denise, "my studio, it's very small so the Whiting ...... 8.7 students were working all over the place . . . in my house, Soda Feldspar (Kona F-4) ...... 26.1 outdoors, in the street, in the garage, and throughout the Kaolin ...... 26.1 village. People were coming from France, Holland, and Flint ...... 7.2 Luxembourg and it was hard to find places for them to stay." She tried to find a large building that would house ioo.o~ all the classes and dormitory rooms . . . "But it was not Medium Orange-Brown Glaze (Cone 10, reduction) easy to find . . . and then last year I was thinking there Bone Ash ...... 2.9% are so many castles that are a problem now for people Talc ...... 3.9 who own them . . . and if we put our problems together Whiting ...... 20.4 we could find a way." Denise presented her idea to Baron Potash Feldspar ...... 49.5 Copp6e who, with his wife and family, lives in Roumont Kaolin ...... 23.3 Castle (near Ochamps). He agreed to rent the unused 100.0% portion for summer classes and the top floor of the castle Add: Red Iron Oxide ...... 3.9% as accommodations for sleeping. Ruffle ...... 3.9% The first workshop at the castle was held early in the spring of 1975, but the summer program actually began Deep Orange-Brown Glaze (Cone 10, reduction) on July 1 with different courses being offered for one or Cornwall Stone ...... 17% two weeks during the next two months. Each week there Whiting ...... 17 were from twenty-five to thirty-five students enrolled, with Zinc Oxide ...... 3 the summer's total around 200. About half lived in the Potash Feldspar (Custer) ...... 48 castle while the others camped nearby or commuted. Ball Clay ...... 9 I had met Denise in 1973 when we were participants Kaolin (Calcined) ...... 6 in the International Ceramics Symposium in Memphis, 100% Tennessee. Later she invited me to teach a two-week Add: Red Iron Oxide ...... 6% ceramics workshop. Although I spoke no French, I Ruffle ...... 4%

October 1977 31 Decorating Slip for Wet Clay, Greenware, or Bisque Plum Glaze (Cone 10, reduction) (Cone 10, reduction) Dolomite ...... 4.4% Borax ...... 5% Whiting ...... 11.0 Nepheline Syenite ...... 25 Zinc Oxide ...... 1.0 Ball Clay ...... 20 Cornwall Stone ...... 46.0 Kaolin ...... 20 Kaolin ...... 13.3 Flint ...... 30 Flint ...... 24.3 100% loo.o% Add: Chromium Oxide ...... 1.0 to 3% Add : Bentonite ...... 2.0% or Cobalt Carbonate ...... 0.5 to 1% Red Iron Oxide ...... 11.3% or Rutile ...... 6.0 to 10% Copper Blue Glaze (Cone 10, reduction) Celadon Green Glaze (Cone 10, reduction) Barium Carbonate ...... 36.6% Dolomite ...... i ...... 6% Lithium Carbonate ...... 2.0 Whiting ...... l0 Nepheline Syenite ...... 47.3 Zinc Oxide ...... 2 Ball Clay ...... 6.6 Potash Feldspar (Custer) ...... 50 Flint ...... 7.5 Ball Clay ...... 12 100.0% Flint ...... 20 Add: Copper Carbonate ...... 2.0% 100r~ Mix with enough water for proper glazing consistency.

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32 CERAMICS MONTHLY Black Glaze (Cone 10, reduction) we had to make substitutions. The available clays were Dolomite ...... 5% a light stoneware which was combined with ehamotte Whiting ...... 6 (grog) and a black earthenware used by local potters. Potash Feldspar (Custer) ...... 67 The proportions were pure guesswork---one kilo of the Kaolin ...... 5 earthenware to four of stoneware. It was a very workable Flint ...... 17 body, and salt fired to a warm brown in the wood-fired 1005~ kiln. Some experimental clay bodies were tried, using Add: Cobalt Oxide ...... 2% kaolin dug from a nearby pit as the base. Red Iron Oxide ...... 8% Large forms were made the first week to allow drying time before our scheduled firing on the following Wednes- Rhodes #36 Glaze (Cone 10, reduction) day. Students worked in their accustomed techniques, and Dolomite ...... 15% while few tried new methods, they observed those of Whiting ...... 10 others--one of the greatest benefits of a workshop. Cornwall Stone ...... 40 Meanwhile, kiln construction was nearing completion, Kaolin ...... 25 and because wood is plentiful in the Ardennes, or "be- Flint ...... 10 cause it's romantic to do a wood firing," Denise wanted 100% to use this fuel to reach stoneware temperatures. Her husband Paul had drawn plans, made calculations, and But access to many of the raw ingredients was limited supervised the construction. and since the natural clays and feldspars were different, The twelve-inch-thick kiln wails were made of forty-

Left Ware made during the workshop's first week was placed on the castle's huge kitchen stove to hasten drying.

Above The forested locale provided slabwood for stoneware firing.

Right The workshop's beehive salt kiln with cast-in-place, refractory dome and firebox arch. The castle's basement contained kick u.heels, a small Students, [amiliar with earthenu,are, prepared u,orks /or electric kiln, and student workspace. stoneware [irin.a~, including Cone lO electric reduction.

three per cent alumina brick set on poured, reinforced one-half inches in length were placed in the vacant space, concrete while the dome was formed (in place) of cast- and the door quickly closed. As the twigs burned, smoke able refractory. The ware chamber was about three cubic escaped around the door and through the vent. meters or thirty-five cubic feet. After the initial firing, Twigs were placed on the shelf four more times, at the size and construction of the firebox were changed 1200 °, 1225 °, 1240 °, and 1250°C (Cone 9) and the kiln because its depth required the wood to be thrown in was turned off after reaching Cone 10 (1260°C or with too much force and it was difficult to clean the ash 2300°F). It took about two hours to go from 1180 ° to pit. During this firing we added a few more courses of 1250°C with the twigs inserted every thirty minutes. brick to the top of the chimney and would have height- Total firing time was around nine hours; the kiln was ened it more if we could have safely reached higher. The opened twelve hours later. Temperature was gauged by a kiln as planned and built was not intended for salt glazing wall-mounted electric pyrometer rather than by cones, and had no salting ports so the peepholes were used at the as the Seger brand and others which are in general use back of the kiln and in the door. in Europe are not equivalent to Orton cones. It was Daily rains during the first week slowed the drying of less confusing to work with centigrade measurement. large pots, but on Tuesday of the second week we loaded Although reduction shortens the life of electric elements, everything into the van and took it to the kiln site. By the process may nevertheless be worthwhile because the 7:30 P.M. the door was bricked. Denise and a student glazes had attractive surface and color qualities different stoked the kiln through the night while the rest of us from those obtained from a gas reduction firing. went back to our castle lodgings. By Friday some of the door bricks had been removed, We were at the site early the next morning and had a revealing a fine glaze from the ash as well as the salt, long, hot day of alternate jubilation and disappointment and a good clay color. However, when more of the door as the firing temperature rose and stalled. The kiln never was removed, we saw that the bag wall had collapsed quite reached Cone 9 but we salted anyway, starting at from stoking against it. Some ware was cracked and pots 8:30 P.M. and continuing for two hours, using fifteen under the peepholes contained unvaporized salt. But kilos (twenty-five pounds) of salt. The test rings had a there was enough good ware remaining to take back to good glaze and color. We were exhausted and nearly out the castle for a respectable mini-exhibition. of wood, so the kiln was shut down. The following morning when Denise and Paul drove While the beehive was cooling, we used the electric kiln me to my bus in Brussels, we discussed the problems we the next day for a raku firing and for a Cone 10 reduction had had with the kiln and the changes that needed to be firing with glaze test rings which each student had pre- made and decided that on the whole it was a good first pared. This front-loading kiln had a one-cubic-foot cham- firing. Denise commented on the wood, noting that oak ber vented at the back. The test rings were placed on had not been satisfactory because it smoldered more than three shelves and a space left open on the top one, at the it flamed, and left too many coals. Pine and birch had front near the door, where twigs would be placed when burned to ash and produced longer flames. the temperature reached Cone 5 (1180°C or 2156°F) As we talked I looked out at tile now familiar country- which took about six hours. At that time the kiln door side and appreciated it more deeply. It had been a great was opened and, using tongs, two twigs about two and experience, this workshop in Belgium.

34 CERAMICS MONTHLY California Crafts

"THI-; TVXTH B]v~X,','IAI~ ExHmmOX" of works by Cali- fornia craftsmen was presented at the E. B. Crocker Art Gallery, Sacramento, through April 10. Of the 158 works displayed, 37 were in the ceramic medium. According to Ruth A. Holland, exhibition chairman, "When Creative Arts League of Sacramento sponsored the first California Crafts show, the crafts movement in California was just beginning to gather momentum. In organizing that exhibition, entries were solicited almost on an individual basis and over half the objects submitted were selected for the show. For (the current exhibition), works came pouring in from all over the state and less than 17 per cent . . . could be included .... Statistics such as these attest to the burgeoning growth of crafts in California, but a more important distinction arises in terms of quality. Whereas, in 1959, it was relatively easy to separate the so-called 'arts' from 'crafts,' this no longer is possible. Craft objects have become three-dimensional art, far removed from the conventional definition of a craft item as work designed to serve a function." Top Cup and saucer set, porcelain, each 4 inches in ...... height, by Kay Nelson, Healdsburg.

Right Wheel-thrown platter, Above Raku vessel, 12 oxide decoration, 20 inches in height, by inch diameter, by Rory Nakata, Mark Eaton, //" Sacramento. Fresno. f/

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October 1977 35 Contemporary Ceramic Sculpture

AN EXHIBITION OF sculptural styles in clay was presented at the William Hayes Ackland Memorial Art Center, the University of North Carolina, Chapel Hill, in spring. According to a catalog statement by Louise Hobbs, "Ceramists are conscious of the concerns of modern painting and sculpture. Although they have reacted strongly against styles dictated by New York, their work tends to relate to mainstream movements in both, as well as com- menting on and playing off of traditional craft concerns." Selected by Mike Cindric, assistant professor of art at UNC, "Contemporary Ceramic Sculpture" consisted of forty-four works by twenty-seven artists, including Kent DaWalt, Stephen de Staebler, Tony Hepburn, Steven Kemenyffy, Marilyn Levine, Malcolm T. Magruder, Donna L. Nicholas, Jacquelyn Rice; John Roloff, and David Tell. A number of important objects were lent by Braunstein/Quay gallery and the Hansen Fuller Gallery, Above "Classical Re[erence," stoneware and wood, 34 both of San Francisco; the Fendrick Gallery, Washington, inches in height, by John H. Stephenson, University o] D.C. ; and the O.K. Harris Gallery, New York City. Michigan, Ann Arbor.

Below, left "'Dutchman," terra cotta, 44 inches in height, by Peter Vandenberge, Cali[ornia State University, San Francisco.

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36 M ..... Above "'Raku Vessel Form," clay, 18 inches in diameter, by George Timock.

"Porcelain Construction," cast porcelain with Below "'Snake Train," earthenware with underglazes, 6 decals, 9~2 inches in height, by Richard Shaw, [eet in length, by Bill Stewart, State University College, San Francisco Art Institute. Brockport, New York. Otto and Vivika Heino by ELAINE LEVIN

FOR THE PAST THIRTY years, the careers of Vivika and plies and three kilns--two gas, one electric--for bisque Otto Heino have taken them from coast to coast several and luster glaze firings. The carport is taking shape as times with stops in the midwest and Canada. Their some° another area for two kilns (one for crystalline glazes), what nomadic life has ceased, they insist, with the pur- while a catenary arch, downdraft salt kiln sits on the patio chase of a house, studio, and pottery shop in southern just beyond. Otto built the latter in five hours. Kaowool California. As plans for each part of their new establish- and chicken wire cover the outside firebrick while the ment have materialized, they have begun to feel a perma- inside already has a fine brown texture from salt. The nent part of West Coast crafts. recipes for Otto's salt bodies are: Although the Heinos are far from their previous studio Otto's Brown Salt Glaze Body (Cone 10, reduction) in New England, the lilt in Otto's soft Connecticut accent Cedar Heights Bonding Clay ...... 50% is a reminder of where they began, an area that has con- Missouri Fireclay ...... 50 tinually lured them back between assignments elsewhere. Their home in Ojai--a small community cradled between 100% the mountains northwest of Los Angeles has its own Add: Kingman Feldspar ...... 3% pottery history. The house was built by Beatrice Wood, Medium Grog ...... 3% a ceramist whose luster glazes are well known and who Otto's White Salt Glaze Body (Cone 10, reduction) added rooms as she sold pots. The Heinos met "Beato" XX Sagger Clay ...... 60% when they came to California to teach in 1952. Years later Kentucky Ball Clay ...... 20 she wrote them about her plans to move at a time when Potash Feldspar ...... 10 the Heinos, then living in New Hampshire, knew they had Flint ...... 10 to make a change. They had outgrown the space in their 100% Hopkinton studio with no room to expand. Fuel prices both for firing kilns and artificially drying pottery were Some of his salt-glazed ware, he willingly admits, shows becoming exorbitant. The prospect of another stern New a relationship to its New England forbears with its gray, England winter combined with their other needs con- textured surface and cobalt slip designs. vinced them it was time to consider alternatives. In three Across the covered patio from the studio is their redeco- moving vans they crossed the country with 29 tons of rated shop. Vivika energetically designates the changes workshop shelving, glaze materials, a kiln, kiln shelves, made by Otto's carpentry, verifying her claim that "Otto several wheels, four tons of clay, as well as their personal can do anything he puts his mind to." Large windows possessions. and white walls have opened the previously dark interior, On moving into the new studio much had to be giving the rooms a light and airy feeling. Vivika's delicate changed to provide for their way of working. Otto with bottles in copper reds and bright yellows, along with her his skills as a carpenter began by designing space for covered boxes and thinly thrown temmoku bowls, grace separate drying, bisque, and glazing areas. Consequently the shelves in the small entry room. On the floor opposite, the spacious room does not seem crowded with its three a contrast in size and texture, sit Otto's rough-surfaced, wheels and two large worktables. There is easy access to tall vases and deep bowls. A collection of well-crafted a patio where another large table for wedging provides wood boxes, used during an earlier age in New England Otto with a view of the valley and the surrounding moun- for coffee beans, now support handsomely thrown pottery. tains as he works the clay. In between the shelves of In one corner, a child's old wood desk serves pottery sales unfinished ware is Otto's collection of New England while reminding the Heinos of their antique-hunting days wrought iron farm tools, their distinctive shapes forming in New Hampshire. a graceful pattern against the white walls. Following are recipes for some of the glazes seen on the A small room adjoining the studio contains clay sup- shop shelves or favored by the Heinos:

38 CERAMICS MONTHLY "L

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Above The Heinos" shop window looks out on a night. blooming cereus i ",ed#, .*" cactus.

Right A rough- sur[aced stoneware vase by Otto, approximately 17 inches -- in height, with "Vivika" s Semi- Matt Glaze" oDer a~ iron stain.

~ •~ ~-:~:':~"y;~ .~ ~! . i ~, ~,: •-~ ~, ~ ~ : .... ~, :_-~;~,~::~ The outdoor dining area and pazi,). l'i~'ika alzd ()Its, at ti,', /~t[*~.

Vivika's M Glaze (Cone 10, reduction) Otto's Black Slip (Cone 10) Colemanite ...... 6.3% Kentucky Ball Clay ...... 100% Dolomite ...... 5.6 Add: Manganese Dioxide ...... 5% Nepheline Syenite ...... 50.9 Cobalt Oxide ...... 5% Edgar Plastic Kaolin ...... 3.9 Red Iron Oxide ...... 5% Talc ...... 15.0 Flint ...... 18.3 Vivika's Majolica Glaze (Cone 10, reduction) 100.0% Barium Carbonate ...... 2.5% This recipe is especially good over iron, cobalt, and Albany Whiting ...... 12.5 slips. Zinc Oxide ...... 2.0 Kingman Feldspar ...... 52.3 Vivika's Alfred Celadon (Cone 10, reduction) Zircopax ...... 9.1 Flint ...... 21.6 Whiting ...... 19.6% Buckingham Feldspar ...... 27.5 100.0% Edgar Plastic Kaolin ...... 20.0 Add: Bentonite ...... 1% Flint ...... 32.9 This recipe is good with glaze stains and iron oxide, with chrome over raw glaze, especially when fired in reduction. 100.0% Add: Red Iron Oxide ...... 1% The shop's display attests to \.'ivika's firmly stated This recipe is a clear glaze without the iron addition. criteria for excellence: "Our pots have life. They don't just sit there." The search to achieve this quality, for Semi-Opaque C Glaze (Cone 10, oxidation or reduction) Otto, led him to discard joining pots to attain the large size he sought. Generally a quiet, reserved person, Otto Barium Carbonate ...... 8.5% becomes animated when he discusses throwing. If you Whiting ...... 3.7 throw a pot all in one piece, you get "one live pot instead Zinc Oxide ...... 4.7 of two dead ones," he insists. The initial wedging of their Buckingham Feldspar ...... 65.8 clay is vital to the throwing procedure. Otto takes at Tennessee Ball Clay (:g: 1) ...... 9.2 least forty-five minutes to prepare clay and frequently Flint ...... 8.1 only ten minutes to throw a 75-pound bowl or vase that 100.0% will require little trimming. The speed of pulling the form and the right amount of tension on the clay contribute to Vivika's Semi-Matt Glaze (Cone 10, reduction) capturing the freshness of the only art form, Otto points Colemanite ...... 11.5% out, that deals with "live" material. Dolomite ...... 7.3 Otto's method of throwing has evolved over the many Kona F-4 Feldspar ...... 40.9 years he has worked to master his craft and discipline Tennessee Ball Clay ( # 1 ) ...... 7.2 his skill. He began more than twenty-five years ago with Talc ...... 14.0 Vivika as his first teacher. She had studied at Alfred Uni- Flint ...... 19.1 versity and the California School of Fine Arts. In the late 100.0% 1940's she was teaching ceramics for the League of New If 1% black nickel oxide is added, a light green results; Hampshire Arts and Crafts when Otto returned from duty 3% produces a dark green. with the Air Force in England to use his G.I. Bill studying

40 CERAMICS MONTHLY ~*. "~ ; "~'

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Otto's roughly textured, deep bowl, 16y2 inches-in height, sto n~------~a,a~r~',a'i'~th--a~ppIc~cood ai~h glaze"

~v~oun~azns provtae a oac~arop [or the 1-1emos" stucho, shop, Wheels ,~tand side by side in t/ze naturally and home in Ojai, Cali[ornia. lighted studio. October 1977 41 ceramics. The Heinos were married in 1950, two years were among those who held workshops and showed movies before they first moved to California. of their St. Ires Pottery in England. Sdetsu Yanagi, The Ojai establishment is the second studio and shop founder and director of the Folk Art Museum in Tokyo, the Heinos have had in California. In 1952, Glen Lukens, came to the University of Southern California, as did head of the ceramics department at the University of Marguerite Wildenhain who had established a reputation Southern California, asked Vivika to take over his re- for outstanding craftsmanship at her Pond Farm work- sponsibilities during a sabbatical. Vivika had been Lu- shop in northern California. kens's lab assistant during her student days so her return To serve the increased need for an exchange of ideas was to familiar territory. She accepted Lukens's offer, and opportunities to exhibit work for all crafts, Vivika expecting to stay for a year or two, but instead remained became a board member and helped organize the South- at the university for three years with Otto teaching also. ern California Designer Craftsmen. As interest and need As they were planning to return to their Hopkinton home continued to expand, Vivika became a trustee for the and studio in 1955, Chouinard Art Institute offered Vivika southwestern region of the American Crafts Council, the opportunity to reorganize the ceramics department, traveling to these states to encourage and organize craft making California their home for another eight years. groups, similar to the work she had performed for the During that time they remodeled a nearby store into a League of New Hampshire Arts and Crafts. The ACC studio and began selling their pottery directly to the held its first National Conference at Asilomar, California, public. They met the skepticism of friends and associates in 1957 with the Heinos taking an active part in panel with a positive attitude that a pottery shop could survive, discussions with craftsmen from around the country. and were rewarded with commercial success at a venture Eleven years in California, when thev had expected to which other potters had tried and failed. The Heinos' stay for two, may have made Vivika and Otto especially Hoover Street studio was as encouraging to their students receptive to an offer in 1963 for Vivika to teach at the as was their teaching since it proved that one could Rhode Island School of Design in Providence. The house actually make a living producing pottery. The studio/shop and studio in Hopkinton had been rented, waiting for was also Otto's first opportunity to refine his art, working their return. After Vivika taught a summer session at the almost full time while Vivika taught. During the summer University of Wisconsin, the Heinos continued east to they alternated, with Otto teaching and Vivika producing Providence, setting up a studio not far from the School of pottery. Among their commissions were 700 reproductions Design. While Vivika directed the ceramics department, of ancient ware for the movie, "The Egyptian." Otto established their studio/shop and when that was The 1950's in southern California was the right place going well, they began to visit their New Hampshire home and the right time for ceramists. It was a period of intense on weekends. Since the Rhode Island assignment was for activity, excitement, growth, and change with a unique two years, they planned to return to New Hampshire as combination of artists and talented students all located production potters, re-opening their studio and home in in and around Los Angeles. Peter Voulkos was teaching at Hopkinton in 1965. Otis Art Institute in 1954, sharing a studio with John The Heinos had developed a pattern for their lives, with Mason, sharing ideas with Ken Price, Paul Soldner, Vivika taking short term teaching assignments in between Michael Frimkiss, and Henry Takemoto. Laura Andreson working with Otto, who maintained their studio and headed a fast-growing ceramics department at the Uni- pottery production. Although Otto had enjoyed teaching versity of California, while Richard Petterson chaired the at the university, working long and hard on his own department at Pomona College. As teachers they recog- pottery became more important to him. For Vivika, an nized the need to broaden students' vision. Their classes energetic extrovert, the rewards of teaching (whether con- met with world-renowned ceramists who came to Los structing a ceramics department out of four bare walls or Angeles to lecture. Bernard Leach and Shoji Hamada conducting a workshop), continued to attract her, re-

''51 .~ .

W Left Otto at the outdoor wedging table.

Below, far left The Heinos" 30-cubic-loot, downdra[t salt kiln, with door bricks stacked alongside on a movable skid.

Below, left Otto's pots dry on studio shelving, which also serves as storage [or bats.

Below Vivika's stoneware plaque, approximately 14 inches square, with her semi-matt glaze and an iron wash over [ern stenciling. T¸

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maining an important aspect of her life. Ready to share ing her craft, she called the Highway Department and everything she knows with students, she believes, "What was told she could have the tunnel clay if she could haul you give away you have forever; what you keep to yourself it off---which she proceeded to do. you lose." Long after they have left her classes, students Memorable anecdotes about past experiences come call her; they follow the Heinos' change of address, easily to Vivika, although both Heinos are uninterested in frequently appearing at the studio, welcome to stay for yesterday's achievements. "To dwell too much on what long discussions on all aspects of their lives, and to find you've done can be sterile," they agree. The past has been a place for their sleeping bags. Although Ojai is hardly on preserved by the many museums who own their ceramics, the main road, students as well as across-the-country by the more than 200 exhibits that have shown and trans- friends continue to visit, making the Heinos feel they are ported Heino works from Honolulu to Washington, D.C., living on the crossroads of the world. from Prague to Tokyo. They have also earned their share The excursion Vivika planned for her students during of awards, not the least of which is a silver medal from the a two-year assignment at the Sheridan College of Design International Ceramic Exhibit in Ostend in 1959. in Ontario, (between 1968 and 1970) is but one example Heino ceramics will continue to be represented in ex- of her enthusiasm for people and teaching. In four days hibits but what interests them more from the vantage time she bussed her 31 charges to the studios of a local point of thirty years as potters, is the vision of their career glassblower, a weaver, several production potters, craft being in its third phase. Vivika described the first as find- galleries, the Everson Museum in Syracuse (home of the ing and learning one's craft; the second as mastery; the National Ceramic Exhibition) and the Bennington Pot- third as being a professional--working full time at one's tery. In between daily bus rides, the group feasted on the craft. For her the third phase has run concurrently with Heinos' cooking, and slept on borrowed cots scattered all teaching assignments since setting up her first production around the Hopkinton house, studio, and barn. As one of pottery studio in San Francisco just before Pearl Harbor. the group enthusiastically wrote, "We are all indebted to Since then, activities involved with ceramics organizations Vivika Heino who mothered the whole thing into exis- and educational projects connected to the art have at- tence . . . Vivika, we salute you." tracted her, contributing another dimension to her work. The Heinos' method of work continues to be to take Teaching and leading activities involved with ceramics an idea as far as it can go, producing a series of related organizations and educational projects connected with the objects until all possibilities are exhausted. They continu- art, have always attracted Vivika. Each commitment has ally experiment with glazes and clay. They work mainly contributed to what she brings to her work, while decreas- in porcelain and stoneware, using five different clay bodies ing the amount of time she has been able to devote to it in the latter medium. The base recipe for their clay is: exclusively. Although she frequently responds to the call to run a Heino Stoneware (Cone 10, reduction) workshop or participate in a symposium, Vivika spends Missouri Fire Clay ...... 65 parts most of her time in the studio. She has been immersed Kentucky Ball Clay ...... 20 with Otto in work for architects, creating glazes for cinder Potash Feldspar ...... 3 blocks, decorator tiles for bathrooms, kitchens, and wall Grog ...... 3 panels, planter and ash trays for commercial buildings, To this they add Cedar Heights Redart clay at 5, 10, 15, chalices and altar vases for churches, as well as indi- or 20 parts for deeper shades of red. vidually made ceramics for their 10 country-wide outlets While discussing the different clays they have used over and their Ojai shop. Their ceramics are signed "Vivika the years, Vivika laughingly recalled the 1940's in San and Otto" regardless of the initial creator. In spite of their Francisco when she was helping Henry Varnum Poor with opposite dispositions and distinct personalities, in the a post office mural. She noticed good clay was being re- quality of their work they are in agreement, a condition moved from a tunnel where the Golden Gate Bridge was once described by a midwestern writer as a union of "art under construction. Hardly shy when it comes to advanc- and heart."

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Opposite page Otto's stoneware, and (left) Vivika's porcelain are carefully arranged for sale in their retail shop.

Above Gray salt-glazed plate with cobalt blue slip-trailed design, 14~2 inches in diameter, by Otto.

October 1977 45 1977 National Cone Box Show

JURIED BY STUDIO POTTERS Marj and Richard Peeler, the j: • 1977 National Cone Box Show opened in March at the University of Kansas, Lawrence. Restricted by one novel criterion, works were required to fit within the dimensional confines of a standard Orton cone box (3 x 3 x 6 • i 2 inches). A broad spectrum of styles was selected for the exhibition--functional ware in miniature, humorous works, sculpture, funk art, precious or jewel-like objects, and plays on the cone or cone box idea. Some were full- sized (cups, goblets, vases, stones, popcorn, pencils) and others were miniatures of life-sized objects (tea sets, dinnerware, or tiny human figures). Of the more than 900 entries, 294 were accepted. From these, approximately 100 have been chosen for a traveling exhibition which was first presented in June at the National Council On Education for the Ceramic Arts conference in Greeley, Colorado; then at the National Ceramic Manufacturers Association meeting, St. Louis; and at the American Ceramic Society Whitewares conference in Bedford, Pennsylvania. For further information on scheduling of the traveling show, contact James Nabors, Continuing Education Building, University of Kansas, Lawrence, Kansas 66045. Sponsored jointly by the university and the Edward Orton, Jr. Ceramic Foundation, the show was established to encourage and exhibit works of excellence, providing a competitive atmosphere for miniature ceramics.

Works are shown in approximate scale to the ruler above. 6. "'Lustereo Box," salt-glaze stoneware with luster, by Richard Burkett, Bainbridge, Indiana. 1. "Would You Store Panty Hose Here Jar?'" underglaze pencil and brushwork on glazed whiteware, by Geff Reed, 7. "'Sleeping Cone," unglazed porcelain, cone, and fiber, Columbia, South Carolina. by ]ames Chaney, Kutztown, Pennsylvania. 2. "'Bottle and Cork," wheel-thrown with cast appliqug, by Edmee Mclntosh, Lambertville, New Jersey. 8. "'Blue-Gold Tea Set," wheel-thrown, miniature teapot and nesting cups, by Cindy Hoffman, Denver. 3. "'For Rings and Flower Things," wheel-thrown, fluted, glazed vase and covered jar, by MeI Clark, Lamoni, Iowa. 9. "'Set of Two Jars," wheel-thrown with carved lids, 4. "Rhino," handbuilt, unglazed stoneware with cone by Donald Frith, Champaign, Illinois. horns, by Carl Johnson, [nterlochen, Michigan. 10. "'Last of the Wild Mountain Hoopooes," handbuilt, 5. "'Ceramic Extracts," underglaze pencil and perforations glazed stoneware with wood base, by Virginia Bohart, on slab surfaces, by Georgia Strange, Bloomington, Ind. Missoula, Montana.

46 CERAMICS MONTlILY 3 4

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/ Resident Potters at Penland

THE MINT MUSEUIVI, Charlotte, North Carolina, presented in May "Containers and Ceremonial Vessels," an exhibition devoted to the works of William Brouillard, David Keator, and Edward O'Reilly. These, the resident potters at Penland School of Crafts, a private non-profit organization in Penland, North Carolina, displayed a variety of functional forms. William Brouillard works in stoneware, using dark glazes and white slip. Edward O'Reilly and David Keator, both involved with porcelain, have often worked in proximity to each other, but simi- larity of their production was revealed only in an occa- sional shared glaze. While Edward achieves glaze effects that often appear as landscapes, David depends more on incising and applied clay decoration.

48 CERAMICS MONTHIA" 'i

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Above, left Thrown ceremonial chalice, porcelain, 6 inches in height, by David Keator. Above Thrown and carved covered jar with cranes, porcelain, celadon glaze, 11 inches in height, by David Keator. Far left Thrown container with concave lid, porcelain, landscape-like glaze decoration, 9 inches in diameter, by Edward O'Reilly. Left Slab cut platter with wax resist decoration, glazed stoneware, 14 inches in width, by Bill Brouillard.

October 1977 49 TRIMMING is as important to the potter as throwing and Production Trimming glazing. The four techniques described in this article should decrease losses in the production studio, and in by MICHAEL PETERSON addition, be of use to the potter with smaller output. Centering pots and anchoring them individually is time consuming and often frustrating. But foam rubber bats. when used as a supporting surface for footing wide-mouth forms, can eliminate these difficulties. The foam may be bought from a local discount store in a two-inch thick 2 x 4 section, then cut in 12-, 14-, and 16-inch disks. These are glued onto circular particle board bats with Elmer's glue or an equivalent. Finally, with the bat in place on the wheel head, concentric circles are drawn with an indelible, felt-tlpped marker to serve as references for centering ware of various diameters. The soft, spongy bat may also

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1.7"u,o-inch-thick foam rubber may be cut u'ith scis.~ors 3. The center o/the foam is excised [rom a bat u'hen in various sizes for bat making. used for trimming inverted lids. 2. The [Gain is glued on a correspondingly cut particle 4. Circles are drawn with a marker as the wheel rotates; board disk with holes drilled for bat pins. a [Grin is held in place with moderate finger pressure.

50 CERAMICS MONTHLY be adapted for trimming lids with knobs by excising a When throwing a chuck, use fairly stiff clay. Trim it if two-inch hole at its center. necessary to fit inside the inverted pot and drape it with Footing on a foam bat requires no anchoring except a plastic to enlarge the chuck when multiples differ in moderate downward pressure with a finger in the center diameter. An inverted pot is placed on the properly sized of the rotating foot. When trimming plates, an additional chuck which was thrown to almost fill the inside diameter. one-inch thick foam disk is useful to support the bottom The form is lightly tapped into center, and like the foam and prevent it from bowing inward. bat method, finger pressure on the bottom keeps the form Among the forms most successfully footed on foam bats in center. are large bowls, hanging planters, and shapes with altered But for monumental pots, neither the foam bat nor the rims. But small-mouth, or lightweight ware requires an- chuck are wholly reasonable production techniques. In- other trimming technique. stead these works are thrown on standard pinned bats and Chucks of plastic clay provide adaptable support for removed from the wheel still attached. Cover the upper footing small multiple shapes. Tea bowls, goblet tops, and portion with plastic to reduce evaporation in this region cups are but a few production possibilities which, with this which tends to dry first. Then after the base of the form method, may be trimmed each day by the hundreds. is sufficiently dry, bat and pot are placed back on the

5. An additional disk of foam may be used to support 7. ~l'hen the pot is inverted on the chuck, its base is zhe base of a wide, flat shape. fully supported and in center for trimming. 6. A plastic clay chuck may be thrown to closely fit the 8. The chuck may be draped with plastic sheet to adapt interior volume of production ware. its diameter to variations in a series of forms.

October 1977 51 \

Above, left A large pot is thrown on a pinned bat and set aside. IVhen su[[iciently dry, the outside wall may be trimmed within an inch o/the bat and the thickness checked with a needle tool. Then the final clay may be undercut or trimmed and the completed [orm sliced [ree with a wire.

Left, An alternative to trimming is to/acet the foot with a cheese cutter or potato peeler; note the plastic tips on one peeler have been remoz'ed for easier access to the clay wall.

Above A/lat-bottomed mug was thrown with a thick-u,alIed body and completely trimmed with [aceting. A pulled handle was then attached to complete the shape. wheel head while pins make recentering unnecessary. The a cheese slicer is excellent for larger surfaces, and some form is trimmed from the outside after checking the thick- brands even allow adjustable thicknesses. When using ness with a needle. Clay is removed from the wall as these tools the pot should be relatively firm, and the arm needed, leaving about one inch at the bottom untrimmed. action quick and sure. The most common problem is When the desired thickness has been achieved, the final taking too much clay, but this may be counteracted by one inch is removed and the pot cut from the bat with a purposely throwing ware more thickly. Well-sliced forms wire. If the form is still soft across the bottom let it dry will have an overall even thickness in cross section which somewhat and then proceed to trim the bottom as the rim is especially important for hot beverage or food containers. rests on a foam bat. Production trimming techniques offer a variety of pos- An alternative to trimming is to facet ware by slicing. sibilities for the potter's repertoire. Each method has its For small forms, use a potato peeler--the double handled own assets, and when properly used can help give your variety works best. It usually takes two slices to complete ware an efficient yet distinct character. one facet holding the left hand on the inside of the pot and rotating the form until it returns to the first facet. About the Author Michael Peterson is a [ull-time studio While a potato peeler is limited to a width of one inch, potter in .IIissoula, Montana.

52 CERAMICS MONTHLY The May Show Six ARTISTS and craftsmen from Ohio's Western Reserve lence in craftsmanship; and Gary Spinosa--special men- have won awards in the Cleveland Museum of Art's fifty- tion, sculpture. eighth annual May Show. The exhibition, held July 13 In conjunction with the May Show, a retrospective of through August 21, consisted of 199 objects by 161 artists museum purchases drawn from previous years was pre- selected fi'om a field of nearly 1,800 entries. Works were sented July 13 through September 12. For further infor- juried by members of the museum's professional staff, and mation on the retrospective, see pages 83 and 85. Douglas Schultz, curator at the Albright-Knox Art Gal- lery, Buffalo. This was the first year in which slides were Below, left "Trussed Teapot," stoneware, 12~ inches in used for the initial screening of entries, with 556 chosen height, by Sue Keebler. for further jurying. Below "'Night Music, Opus Nine, Number One and Among the accepted ceramists was Sandra Amitay, lec- Number Two," stoneware with underglaze stain, turer in art at The University of Akron, who was awarded 8 and 6 inches in height respectively, by Sandra the $1,000 prize in crafts for two pyramid-related shapes Amitay. $I,000 azt,ard [or crafts. titled "Night Music, Opus Nine, Number One and Num- ber Two." Other ceramists receiving awards were Sheri Bottom "'Sensual Sewer Pipe, Number Eight," salt-glazed Farbstein--special mention, crafts; Sue Keebler--excel- stoneware, 26 inches in heigl~t, by Gary A. Schlappal.

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October 1977 53 Early Bennington Potteries by LINDA \'OZAR

POTTERIES seem to be an inherent business in Bennington, Bennington area. Red earthenware clay was dug at Nor- Vermont. The town has boasted four major ones, and two ton's farm and used in forming functional redware. While of the most renowned traditional, functional potters in these two clays comprised the majority of Norton's pro- the history of American ceramics--John Norton and duction, he also made Rockingham ware--a white earth- Christopher Fenton. enware, richly glazed in a mottled enamel brown some- The Norton Pottery, in continuous production from times with blue, orange, and yellow spattering. 1793 to 1894, was founded by Captain John Norton, a Although the Norton Pottery existed for 101 years, the Revolutionary War veteran. Along with his son and Fenton Pottery, in existence for only eleven years (1847- nephew, he produced functional salt-glazed stoneware-- 1858), was the more active and experimental in glaze including large crocks, jugs, and water coolers. The pot- technology. Christopher Webber Fenton married John tery's stoneware clay was shipped up the Hudson River Norton's granddaughter and first located in the north on barges to Troy, New York, and then distributed to the wing of the Norton Pottery. But after a brief partnership

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54 CERAMICS MONTHI+Y Right Salt-glazed stoneware jug with cobalt blue trailed slip, and excised spigot hole, 23 inches in height, thrown at the Norton Pottery, 1850-59. Below Norton potters, Bennington, pa, C~ Vermont, 1866. Below, right "'Bennington Lions," [lint enamel, two basic [orms were produced, with [urther variation oOe o[ the mane [rom a simple modeled sur[ace to the "'coleslaw" e[[ect; Fenton Pottery, 1849.

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October 1977 55 with his brother-in-law, Christopher Fenton began an Flint enamel, so called because of the clay's high flint independent workshop in 1847. The Fenton Pottery is content and its resemblance to enameled metal, was often thought to be the most dynamic among the nine- patented by Fenton in 1849. The rights were concerned teenth century New England ware producers, and Fenton only with the method of glazing in which bisque was first himself is credited with the discovery of American Parian, given a transparent coat, then powdered colorants were Rockingham, and flint enameled wares. placed in a small perforated box and sprinkled over the Parian ware, a hard, unglazed soft-paste porcelain, was surface---leaving some body color exposed. an important technical achievement, and Fenton used Other types of clay objects produced by Fenton were plaster molds to produce a variety of figures, ornaments, marketed under the names of "scroddled ware (with and decorative functional works with this clay body. The variegated patterns of partially wedged clays in brown and resuhs were translucent, highly vitreous, and with a fine- cream), common yellow ware, common whiteware, mor- grained surface. tarware, and graniteware." Like Parian, Rockingham ware imitated European At various times in the history of the pottery, Fenton's objects. Rockingham glaze was spattered by dipping a firm was also known as "Fenton's Works, U.S. Pottery paddle into the glaze barrel, then striking it on the edge Company, and Lyman, Fenton, and Co.," and all of these of the vat. The spatter fell haphazardly on ware rotating names at one time or another appeared on the production. below, and thus there was much variation in the character What is most remarkable about these potteries is the of these works. From 1835, nearly every sizable pottery in variety of objects they offered and the quantity of success- the eastern United States produced Rockingham style ful invention and experimentation, making Bennington objects in response to its great popularitv. among the most famous sites in American ceramic history.

Below An elaborate stoneware water cooler, Right Two salt-glazed stoneware crocks with slip approximately 23 inches in height, by J. and E. decoration in traditional cobalt blue, thrown at the Norton, 1850-59. Norton Pottery, 1850-59. Both the eagle and the lion designs are unusual and rare; the impressed numeral 4 Below, right Parian basket~ and eu'er with applied clay belo~c the potter), stamp denotes the number o[ gallons decoration, produced by the l", ~.'t,~ l',.t:, ,'.. 1,747-5,'),.

56 CERAMICS MONTHLY f

Right Flint enamel loot warmer, approximately 14 inches in height, by Fenton Pottery, 1847-58; [illed with hot water or hot sand and placed beneath the bedcovers. Below Book bottles, [lint enamel and Rockingham ware, produced in a variety o[ sizes at the Norton Pottery, 1849-58. These [lasks were popular novelty items and sometimes bore impressed titles like "'Hermit's Li[e'" and "'Su[[ering & Death."

October 1977 57 Pots from Slab and Wheel-Thrown Sections by RANDAL BENJAMIN

CFRAMIC ~A'ORKS combining slab and wheel-thrown sec- construction is then centered and firmly attached with tions offer the opportunity to extensively vary form clay wads to the wheel head; an opening is then cut in the while providing flat areas for surface decoration. I work top of the revolving form with the needle tool. Next, the primarily with porcelain, but any clay will suffice, pro- thrown cylinder is trimmed if needed, roughly centered vided it is well wedged. over the opening, and securely attached to the slab A paper or cardboard template is cut to the desired shoulder. Since this thrown neck is moist and consistently shape and placed on a quarter-inch-thick slab. The thick, it may be easily thrown in place to a complimen- pattern is outlined with a needle tool, and the process tary shape. repeated as many times as there are faceted sides. When Handles are pulled and attached; a lid may be thrown the slab sections are nearly leather hard, edges should according to design considerations. The form is then be scored, slip applied, and the sides firmly pressed to- set aside for slow drying. gether and lightly paddled to secure the seams. After When completed, shapes combining slab and wheel- adding a slab foot and shoulder, the form may be further thrown sections offer the potter a variety of form con- shaped and the seams integrated. trasts. By varying the proportions of the sections, this Next a small cylinder with uniform half-inch-thick technique lends itself to many functional forms and the sides is thrown and removed from the wheel. The slab possibilities for personal expression will evolve.

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1. Paper or cardboard can be used as a pattern 2. The scored edges of the leather-hard walls to cut out identically shaped sides. are coated with slip and firmly pressed together.

58 CERAMICS MONTHLY ,- & l ~i!~

3. In the same nzanner, a slab base is attached to the 4. Body seams are firmly welded and the walls inverted form, and the seam completely closed. smoothed with a rib, then the base is trimmed.

5. A uni[orm, one-hall-inch-thick cylinder is thrown 6. The handbuilt [orm is closed with a slab, centered on and cut [rom the wheel head. the wheel, and secured with clay tabs.

October 1977 59 • ~. • J

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7. A~ the a'].cl turt~,, a hoh i, ~ ~t ir~ tl. top ,~/ 8. The still-moist throwTz cylinder i, centcrcd over the slab [orm. the cutout.

11. Handles can be added to the neck alter it has 12. Here the handles are pulled in place [rom become as [irm as the slab body. short, [lattened coils.

60 CERA~.CS MONTHLY k% S /

9. The cylind~'r is ~ccurely attached to the shoulder 10. With reduced lubrication, the neck is gently [rom both sides o[ the wall. thrown to a complimentary shape.

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13. In addition to pulled handles, the [orm lends 14. The author's completed pot, with applied clay and itsel[ to a variety o[ decorative treatments. trailed slip decoration.

October 1977 61 mililiters of the solution to 100 grams Vitrified Bisque of dry glaze). Some texts mention as much as 0.05% calcium chloride. by RICHARD BEHRENS When applying flocculated glaze on an extremely vitrified body, application will be aided by warming the ware or through the addition to the glaze of gum tragacanth, or other vegetable gum (except gum arabic which tefids to work against the floc- culating effect). Some experimentation to establish functional procedures will enable the artist-potter to successfully glaze even highly vitrified ware. A lower firing, porcelaneous clay BISQUEWARE is characterized by a mi- er temperature after glaze application. body may serve to illustrate the vitri- nute capillary structure which behaves On the other hand, the ceramic in- fied bisque technique: much like a wick. The porosity of dustry has often found it expedient to such ware is greatly influenced by bisque fire to a considerably higher VITREOUS WHITEWARE BODY (Cone 41 the degree of vitrification (glassiness) temperature than in subsequent glaze Kentucky Ball Clay achieved in firing the body. Vitrifica- firings. The logic behind this tech- (OM ~4) ...... 70% tion results in partial or total filling of nique is the nearly total removal of Potash Feldspar ...... 15 the clay pores with magma from the gasses held in the body before glaze Talc ...... 10 molten substance of the body. With is applied. This helps eliminate faults Flint ...... 5 low-fire bisquing, only a limited quan- such as pinholing and cratering which 100% tity of pores will fill, while at higher sometimes result when body gasses The batch should be well mixed when temperatures most or all of the pores pass through molten glaze. In addi- dry and slaked in quantities roughly may be sealed, rendering the body tion, the higher temperature bisque proportionate to 500 mililiters of water waterproof. alters the relationship of glaze/body to each 1,000 grams of body. After Consistency of bisque firing time fit, sometimes reducing crazing. wet mixing, the clay may be dried and temperature is important when Using vitrified bisque offers the ad- somewhat on plaster bats and aged standardized glaze results are desired. vantages of being able to use bright for a week before use. colorants or low-fire glazes on a very Body porosity can have a major effect A few glazes to fit this body are on certain glazes and thus bisque fir- strQng, dense clay and stacking or offered here, and these may be colored ing may prove decisive in glazing supporting the bisque during the more with metallic oxides, carbonates, or Success. strenuous high firing. commercial stains according to per- Determination of wet glaze density, Bisque firing to vitrification is not sonal preference. before use, can be helpful to the ce- a simplistic solution to all glaze prob- ramist, and generally it may be stated lems and indeed requires additional that porous ware requires a thinner care in glaze application. The reduced GLAZE I (Cone 014) A bright clear glaze glaze than a more vitrified body. porosity of the body resists glaze ab- Lithium Carbonate ...... 9.9 clc While the potter can judge the con- sorption--a situation often resolved in Frit 14 (Hommel) ...... 26.3 sistency of glaze by touch or visual in- industry by spraying or through floc- Frit 25 (Pemco) ...... 43.6 spection, a somewhat more precise culation of the glaze when dipping or Kaolin ...... 6.2 method is to establish its specific grav- pouring. Flint ...... 14.0 ity by floating a calibrated glass hy- Flocculation thickens the glaze, caus- drometer in the glaze and reading the ing it to adhere more readily. While 100.0% scale on the hydrometer stem. (Wine some recipes tend to gel naturally GLAZE II (Cone 061 shops and ceramics suppliers are two (those with quantities of ash, coleman- A clear glaze sources of hydrometers). When the ite, aluminum sulfate, Epsom salts, or Gerstley Borate ...... 22.8% bisque body is quite porous, a specific other electrolytes) flocculation may be Frit 25 (Pemco) ...... 42.6 gravity for the glaze as low as 1.3 may successfully carried out in other glazes Kaolin ...... 34.6 prove satisfactory. With extremely by the addition of small amounts of lOO.O% porous ware, a dip into water may calcium chloride in recipes which con- partially fill the pores so the glaze tain sufficient clay. For this purpose GLAZE Ill (Cone 061 application will not be too thick. Ware a 1% solution of CaCI2 is made by A paHerned marl' glaze bisqued more completely should re- dissolving one gram of the compound Gerstley Borate ...... 20.6% quire a glaze with a specific gravity in 100 mililiters of water. Thus each Sodium Silicoflouride ...... 32.3 of 1.6 or greater. mililiter of solution will contain 0.01 Whiting ...... 6.9 The potter usually fires his ware grams of calcium chloride. For every Kaolin ...... 17.5 twice; first to bisque, typically between 100 grams of dry glaze, 0.02% of the Flint ...... 22.7 Cone 08 and 04, then again to a high- chloride is required for flocculation (2 100.0%

62 CERAMICS MONTHLY GLAZ| IV {Ceae 1} A rnaH glaze Whiting ...... 19.8% Frit 14 (Hommel) ...... 30.0 Nepheline Syenite ...... loo.o%50.2 Add : Bentonite ...... 2.0% GLAZE V (Cone 061 A clear glaze Magnesium Carbonate ...... 3.4% Frit 14 (Hommel) ...... 41.6 Potash Feldspar ...... 12.2 Wollastonite ...... 17.1 Kaolin ...... 10.6 Calcined Kaolin ...... 15.1 100.0% To each of the previous recipes, 0.02 c~ calcium chloride (in relation to dry glaze) should be added to the batch.

As this issue goes to press, CM has learned o[ the author's death, on September 6, after a brie[ EQUIPMENT illness. Richard Behrens will be SYSTEMS remembered [or his extensive contributions o[ clay and glaze FOR THE knowledge to ceramists throughout the world, by way o[ articles, POTTER books, correspondence, and personal contact. His involvement PARTS AND SERVICE with CERAMICS MONTHLY began MAINTAIN ED in 1962, and thereafter he pub- ON ALL PRODUCTS lished more than 100 topics in the SINCE 1949 fields o[ clay and glazes, in addi- WH EELS-- MIXERS-- EXTRUDERS tion to the CM handbooks Ce- OVER 6000 UNITS NOW IN USE ramic Glazemaking and Glaze Projects. See your local supplier or Richard Behrens was a true gen- contact Ted Randall at: tleman. His kindness took many [orms, and perhaps is exemplified in his answering o[ letters received [rom ceramics enthusiasts around the world--taking time to reply equally to the simplest or Randall' most complex technical questions. POTTERY,INC~ Behrens recipes, spanning the BOX 774, ALFRED, NY 14802 lull range o[ firing capability, TELEPHONE: 1607) 587-5455 have been used widely and many have become standards in the field. In the months ahead, CM NAME will present the remainder o[ the author's unpublished manuscripts. ADDRESS Richard Behrens did under- graduate and graduate work at CITY STATE ZIP the University o/ Cali[ornia; he taught and researched ceramic TELEPHONE ["]WHEELS materials and technology at Cali- F] MIXERS [ornia College o[ Arts and Cra[ts. PLEASE SEND ME INFORMATION ON: [] EXTRUDERS [] ACCESSORIES 1 October 1977 63 PERMANENT ELECTRIC DRIVE BUSHINGS! $12.50

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64 CERAMICS MONTHLY ITINERARY Continued [rom Page 13 NEW JERSEY, WESTFIELD November 6-9 "Creative Crafts '77/' an exhibition of works by 150 professional craftsmen, includes ceramics; at Temple % Emanu-El, 756 East Broad Street.

NEW MExico, LAS CRUCES November 27-December 16 Amano, crafts exhibition; at New Mexico State EXT University. & HANDLE MAKER A time saving must for professional potters. NEW YORK, BROOKLYN Ideal for schools. Easily makes handles, October 3-14 An Invitational Ceramic foot rims, kiln furniture, tubes, mirror Exhibition includes the work of Ka Kwong frames, pots without a wheel and many other Hui, Susan and Steven Kemenyffy, Sylvia forms. Saves many times its cost in a few months of use. Solid steel construction, Netzer, Jeff Schlanger, Bob Winokur, Mik- lifetime guarantee. Extruder, one-inch round hail Zakin, and others; at Higgins Hall die, and two blank dies with instructions galleries, Pratt Institute. $70.00 F.O.B. Scott Creek.

NEW YORK, HASTINGS-ON-HuDsON The New Extruder Die Kit makes over SO October 23-November 30 "Fiber and shapes. Solids, hollow tubes from 1" to 2~h '' Clay" Invitational; at the Gallery, Hastings in diameter. Squares, cylinders, triangular tubes Creative Arts Council. or any combination. Blank dies available to cut your own shapes for beads, handles, tiles, flutes, etc. Complete set of 12 dies, inserts NEw YORK, NEW YORK and bracket $32.00 F.O.B. Scott Creek. October 3-14 An invitational ceramics exhibition including work by 22 artists, in Patent Pending Add 6% sales tax in Calif. Send check or money order to: conjunction with a Graduate Ceramic Show; at Pratt Institute, Higgins Hall. SCOTT CREEK POTTERY October 18-November 5 A group show 482 Swanton Rd.Davenport,Ca.95017 (408)426-5091 includes ceramic sculpture by Marian E. Held; at Gallery 84, 1046 Madison Ave.

NEW YORK, PITTSFORD October 16-November 1l An exhibition including the recent porcelain work of Katherine Denison, Saric Gallery, 50 State Street.

NEw YORK, SARATOGA SPRINGS October 7-30 Crafts exhibition includes the work of Bruno LaVerdiere and Bob Turner; at the Hathorn Gallery. Take a tip from the experts... NEW YORK, SCARSDALE use the Orton 3 Cone System. through October 20 "Fourth Anniver- sary Exhibit," including stoneware by Rick This dependable system is used by advanced and Eileen Schlag, raku by Susan Wechsler, hobbyists and professionals to get dependable and blown glass by Kent Ipsen; at The firing re~,ults time after time. Craftsmen's Gallery, 16 Chase Rd. You will get greater enjoyment from your NEW YORK, SYRACUSE hobby, have a better product, discover your October 7-November 6 "American Crafts kilns personality and better understand the for the White House," an exhibition of effect firing has on your ware. handcrafted tableware, including glass and The Orton 3 Cone System uses three cones in ceramics; at the Everson Museum of Art, sequence. The "Guide Cone" is one number 401 Harrison Street. cooler and the "Guard Cone" one number hotter than the "Firing Cone". NORTH CAROLINA, CHARLOTTE through December 10 "The North State When the Guide Cone starts to bend, your ware Pottery Company: 1924-1959," an exhi- is approaching maturity. Deformation of the bition of ceramics produced near Sanford, Firing Cone tells you that firing is atthe correct North Carolina by traditional potters; at point. Bending of the Guard Cone indicates the Mint Museum of History, 3500 Sham- "The Great Duck Kiln Goddess", by Douglas Baldwin, that you have exceeded the best point in the rock Drive. from the 1975 National Cone Box Show. Shown with time temperature relationship. Orton Self Supporting Cones OHIO, COLUMBUS through November 4 The Beaux Arts Designer/Craftsman '77; at the Columbus Gallery of Fine Arts, 480 E. Broad St.

OHIO~ MARIETTA October 29-November 27 The 6th Marl- Continued on Page 67

October 1977 65 1L :r

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66 CERAMICS MONTHLY ITINERARY five Artists of the Southeast," an exhibition the Arts and Humanities, 6901 Wadsworth Continued [rom Page 65 with ceramics; at Hunter Museum of Art. Boulevard. etta College Crafts National Competitive TENNESSEE, MEMPHIS CON NEGTICUT, GUILFORD Exhibition of Crafts and Sculpture. November 1-30 Marietta College Crafts October 2-November 13 "Craftwear- November 5-December 3 Marietta Col- National '75 Touring Exhibition; at The ables" includes ceramic jewelry; at Guil- lege Crafts National '77; both at the Fine Memphis Academy of Arts, Overton Park. ford Handcraft Center. Arts Center, Marietta College. TEXAS, AUSTIN FLORIDA, COCONUT GROVE OHIO, WOOSTER Ceramic October 23-December 4 "Ancient Cross- November 19-20 28th Annual through October 9 Faculty Show, in- League of Miami Fair; at Carrollton eludes ceramics. roads: The Rural Civilization of Classical of ceramic ware, School, 3747 Main Highway. October 7-November 6 Exxon Collection Italy," an exhibition and drawn of Contemporary Pueblo Indian Pottery; vases, votive figurines, photos of a tile factory, kiln, and FLORIDA, DUNEDIN both at the Wooster Art Center Museum, reconstrtlctions civilization; November 20 Art Harvest, arts and The College of Wooster. cemetery of the Greco-Roman at University of Texas, Michener Gallery. crafts fair; at Fisher Field. PENNSYLVANIA~ JENKINTOWN FLORIDA~ MILTON through November 15 Porcelain by VIRGINIA, ALEXANDRIA October l-2 Santa Rosa Art Association 23 "Kiln Harvest" Nancy Merchand, Venessa Obten, and through October Art and Crafts Festival; at the Milton stoneware works by Valerie Yardley; at The Craft Connection, with porcelain and High School grounds. 122 Old York Road. members of the Washington Kiln Club; at Scope Gallery, in the Torpedo Factory, FLORIDA, PENSACOLA PENNSYLVANIA, PHILADELPHIA King and Union Streets. November 5-6 5th Annual Great Gulf- November 6-December 4 "Clay Man- coast Festival, includes crafts; at historic hattan," works by 6 New York City clay Seville Square. artists; at the Works Gallery. FAIRS, FESTIVALS, AND SALES ARKANSAS, LITTLE ROCK FLORIDA, SARASOTA SOUTH CAROLINA, GREENVILLE November 10-13 5th Annual Arkansas October 8-November 13 "Thirty-five November 18-20 The Ringling Mu- Arts, Crafts and Design Fair; at Little an exhibition seum's 6th Annual Crafts Festival; at the Artists of the Southeast," Rock Convention Center. with ceramics; at Greenville County Mu- museum. seum of Art. COLORADO~ ARVADA FLORIDA, SEBRING TENNESSEE, CHATTANOOGA October 8-29 Colorado Artist Craftsmen November 12 Sidewalk Art Festival, in- November 29-]anuary 8, 1978 "Thirty- Annual Show; at the Arvada Center for Continued on Page 69

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68 CERAMICS MONTHLY ITINERARY ville Crafts Festival; at the Mississippi rary Crafts; at the Lausche Building, Ohio Continued [rom Page 67 Trade Mart. State Fairgrounds. eludes ceramics; downtown Sebring. MONTANA, HELENA OHIO, LAKEWOOD October 28-30 Helena Arts Council October 23-30 First Annual Exhibition GEORGIA, AMERICUS Electrum VI Juried Show; at the Civic of Pottery and Sculpture; at The Clay October 22 9th Annual Americus Side- Center. Pit, 15723 Madison Avenue. walk Show; in downtown Americus. NEW HAMPSHIRE, PORTSMOUTH November 4-5 "Proscenium 77," arts GEORGIA~ ATLANTA November 11-13 Christmas Fair; at and crafts fair; at the Beck Center for November 11-13 The Atlanta Craft Guild Shops and South Meeting House. Cultural Arts, 17801 Detroit Ave. Fair; at the Downtown Atlanta Civic Center. NEW JERSEY, MADISON PENNSYLVANIA, LANCASTER November 19-20 "Evolution of Crafts," November 3-5 Conestoga Valley Chap- GEORGIA~ MACON the annual Fall Craft Show and Sale; at ter, Pennsylvania Guild of Craftsmen, 5th November 19-20 The Page] Arts South- Fairleigh Dickinson University. Annual Fall Sale; at Park City Mall. eastern Arts and Crafts Festival; at the Macon Coliseum. NEW JERSEY, SEWELL PENNSYLVANIA, PHILADELPHIA October 1-31 An exhibition of ceramics November 4-6 The Philadelphia Craft GEORGIA, SOPERTON by C. Michael Smyser; at Gloucester Show, sponsored by the Women's Com- November 5-6 5th Annual Million Pines County College. mittee of the Philadelphia Museum of Art; Arts and Crafts Festival; in h'a Park. at Historic Memorial Hall, West Fair- NEW YORK, LONG ISLAND mount Park. INDIANA, PERU November 18-20 3rd Annual Harvest November 11-12 3rd Annual Arts and Crafts Festival; at Nassau Coliseum. RHODE ISLAND, PROVIDENCE Crafts Festival; at the Circus Festival November 5-6 Show of Hands; at the building. NORTH CAROLINA, RALEIGH November 25-27 1977 Carolina De- Jewish Community Center, 401 Elmgrove Avenue. MAINE, BRn)GTON signer Craftsmen Fair; at Scott Pavilion, October 15 The Foliage Season Craft State Fairgrounds. TENNESSEE, KNOXVILLE Fair; at the Fryeburg Academy. NORTH CAROLINA, WINSTON-SALEM October 18-22 The Craftsman's Fair of MAINE, CARIBOU November 4-6 14th Annual Piedmont the Southern Highlands, exhibition and October 15-16 Caribou Arts and Crafts Crafts Fair; at the Memorial Coliseum. sale; at the Civic Coliseum. Festival; at Caribou Armory. OHIO, COLUMBUS TENNESSEE, MEMPHIS MISSISSIPPI, JACKSON December 2-4 The Ohio Designer November 18-20 Mid South Arts and November 18-20 The 1977 Chimney- Craftsmen Winterfair of Fine Contempo- Continued on Page 71

But then comes

MPP SLAB ROLLER & TABLE

Price: Just $245 for roller alone, $350 with table, F.O.B. our shop. Construction: Solid steel throughout. Consistency: Perfect slabs avery single time. Thick- ness easily duplicated...... vu,,~ ,u, Versatility: For unlimited textures, pass anything through roller with clay: rope, leaves, cork, press molds, The Giffin Grip TM is a device for centering and holding a leather- etc. Tapered slab easy. hard pot for trimming, It's a time saver, allowing you to spend more of your time creatively. The Giffin Grip is a simple, direct solution to Any thickness to 2 in., any width to 24 Capacity: an age old problem. It carries a one year unconditional guarantee. in., any length you have room for. The Giffin Grip -- $132.00 plus shipping. Fits standard 12 and 14 Guarantee: One full year on workmanship, parts, inch wheels. even satisfaction. No strings attached. Contact your local pottery supply distributor, or write (including Shipping: We ship all over the world. We can ship the brand name of your wheel). Giffin Earthworks Box 4057 directly to you. All orders shipped within five days. Boulder, Colorado 80306 Write For Free Brochure With Complete Information, Or See One Of The Dealers Listed On Page NORTH STAR giffin grip EQUIPMENT

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October 1977 69 I !

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70 CERAMICSMONTHLY ITINERARY at the Richmond Arena, 2911 N. Boulevard. WISCONSIN, SHEBOYOAN Continued [rom Page 69 June 19-July 1, 1978 A two-week mold- WORKSHOPS making/casting workshop for professional Crafts Show/Sale; at Cook Convention craftsmen and advanced graduate students Center. IDAHO, SUN VALLEY October 3-November 25 An 8-week will be conducted by ceramists Richard workshop with Robert Sperry. Notkin and Jack Earl, and industrial mold- TENNESSEE, OAK RIDGE makers and experimental casters. For addi- October 27-30 "Functional Wheel Ce- November 4-6 The Foothills Craft tional information, write: Ruth DeYoung Guild, llth Annual Fall Show and Sale; ramics," a workshop with Robert Sperry; Kohler, Director, John Michael Kohler at the Civic Center. both at Sun Valley Center for the Arts and Humanities, Box 656, Sun Valley 83353. Arts Center, 608 New York Avenue, She- boygan 53081, or call: (414) 458-6144. TEXAS, AMARILLO December 2-4 Yuletide of Arts and NEw YORK~ SCARSDALE FOREIGN Crafts; at the Amarillo Civic Center. October 16 "Clay Whistles," a workshop CANADA~ ONTARIO, BURLINGTON with Rita Sherman. For further informa- October 20-21 The Artisan's Guild of tion write: The Mid-Westchester YM- TEXAS, CORPUS CHRISTI Hamilton, 17th Annual Sale; at the Royal YWHA, 999 Wilrnot Road, Scarsdale November 12-13 27th Arts and Crafts Botanical Administrative Building, 680 10583, or call: Wayne Kartzinel at (914) Fair '77; at the Memorial Coliseum. Plains Road West (Highway 2). 472-3300. TEXAS, EL PASO CANADA, ONTARIO, CAMPBELLVILLE October 15-16 7th Annual Kermezaar, OHIO, WOOSTER October 8-30 "Gargoyle," with func- arts and crafts festival; at E1 Paso Civic April 23-26 Functional Ceramics Work- tional and non-functional ceramics by Center. shop, with Brian Van Nostrand, Alan Wayne Cardinalli. Opening night will Myers, Don MacKenzie, and additional feature a ceramic puppet show; at 1846 TEXAS, HOUSTON participants to be announced. A film about I.og House Gallery. December 2-4 The Houston Craft Fair; Gerry Williams, "An American Potter," at the Downtown Houston Civic Center. will be shown. Write: Phyllis Clark, As- CANADA, ONTARIO, DON MILLS sistant to the Museum Director, College of November 11-13 Oxfam 7th Annual VIRGINIA~ CHARLOTTESVILLE Wooster, Wooster 44691, or call: (216') Craft Fair; at Civic Garden Centre, Ed- October 21-22 "Court Days in Old 264-1234 extension 388. wards Gardens, 777 Lawrence Avenue E. Charlottesville . . . A Craft Festival"; in historic old town. OREGON+ PORTLAND ENGLAND, LONDON October 3-30 Recent works by Erik through October 22 "Pots to Put Things VIRGINIA, RICHMOND Gronborg, in conjunction with a lecture In," an exhibition of domestic ware by November 18-20 The Second Annual and workshop series; at Contemporary British potters; at the Crafts Advisory Richmond Craft Fair; includes ceramics; Crafts Association, 3934 S.W. Corbett Ave. Committee Gallery, 12 Waterloo Place.

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Would you believe that all of the items pictured above can be yours . . . end get you started enameling . . . for only $72.95? Yes, that's correct, Thompson's catalog introduces a new package consisting of an electric kiln (inside dimensions -- 5" wide, 7" deep, 4" high) and including a CAREFULLY SELECTED group of enamels, metal shapes and supplies . . . everything you need to start enameling immediately . . . for only $72.95, plus shipping charges. Send your order today wlfh payment for prompt shipment. The new Thompson catalog, along with its famous Color Guide is waiting for you . . . just mall the coupon and it wll be on FEATURING REWARD'S its way . . . absolutely FREE. HART ART SATIN &MATrE ...... Thomas ¢. Thompson Co. Dept. CM-10 -- 1539 Old Deerfield Rood 19 Beautiful Colors Highlond Pork, Illinois 60035 [] Enclosed is payment for new kiln package. rewarcl ceramic color mfrs.,inc. (Illinois residents add 5~o sales tax.) [] Please rush FREE Thompson Catalog. 314 hommoncls ferry rd. glen burnie, incl. 21061 Nome "Imitated... but never duplicated" Address City. _ State Zip

October 1977 71 MAKE YOUR OWN KILN Save money.., add flexibility with Johnson burners Johnson has gas burners to meet all kiln sizes and tem- Simply add Johnson burners and kiln refractory as your perature requirements. They are made of rugged cast iron needs change. with heavy brass valves. They are easy to install and op- Cut your investment. Look into Johnson burners now. erate, and best of all, the cost of a "custom-made" kiln They are available in two basic types: (1) Atmospheric with Johnson burners is a small fraction of the cost of a -- recommended for small kilns and kilns with low tem- manufactured model. perature requirements; and (2) Power (blower operated) The size of your "custom-made" kiln is easy to enlarge. -- recommended for larger kilns.

How to choose the right burners for your "custom-made" kiln: Figure the volume of your kiln in cubic feet by multiplying internal length by width by height. For example, a kiln two feet square and three feet high would be 12 cu. ft.

Exact number and type of burners and burner locations will depend on kiln construction, size and temperature requirements. The examples shown here are typical. For factory recommendations, send interior kiln dimensions, wall construction and top temperature required.

Johnson Adjustable Power uurners The most popular type for ceramic studios and art departments, these rugged burners are equipped with powerful, quiet Johnson blowers with continuous duty motors, and heavy brass shut-off valves. Specially designed flame retention nozzle allows for wide adjustment of gas input and easy flame adjustment for obtain- ==3x ing desired reducing and oxidizing atmospheres. On large kilns two or more burners, or torch tips with manifold, can be used for uniform distribution of heat.

BURNER TOTAL BLOWER TORCH GAS INPT. SHPG. WT. PRICE NUMBER LGTH. MTR. SPECS TIP BTU/HR. LBS. W/SAFETY* 321 30" 1/3 H.P. 1~" 200,000 42 $353.00 CONT. DUTY 342 30" 1/3 H.P. 2" 400,000 45 $358.00 CONT. DUTY 323 34" 1/3 H.P. 2 -- 1½ " 400,000 75 $472.00 CONT. DUTY W/MFLD. 343 34" 1/3 H.P. 2" 800,000 120 $675.00 CONT. DUTY , 345 I 34" 1/3 H.P. 2--2" I 800,000 150 $795.00 CONT. DUTY W/MFLD, e *SAFETY EQUIPMENT FOR: 321,342,323 -- Thermocouple System w/Baso Pilot, therrnocouple, Baso Switch and solenoid, 343, 345 -- Fireye Flame Safeguard System with flame rod and spark ignition, Flame Safeguard System w/spark ignition is available for all burners at . . . $298.00 per torch tip. mmmmm

Johnson high volume blowers with continuous Johnson 1-1/2" Venturi Tube with duty motors Retention Nozzle and Valve These rugged, compact blowers, devel- These cast iron Venturis, when oped by Johnson, havea reputation for equipped with Johnson retention delivering constant, high volume air nozzles and heavy brass valves, give pressure plus quiet operation. Blower perfect combustion for extra effi- housings are sturdy aluminum for long ciency. Complete with accurate, life. Burner Assemblywith II mini t~id~y-LU-idUJU~t rill ,~IIULL¢31;~ WILll }JUOl- tive locks. Can be used singly or in BLOWER TYPE MAX. BTU* NUMBER MOTOR CAPACITY PRICE gangs depending on kiln size and temperature requirements. Length, 12031151/3 volthP" 400,000 Btu/hr. $210.00 incl. valve -- 14-1/4"; Gas input -- 75,- $228.00 000 btu/hr. Price w/Valve, Ret. 1204 1151/3 volthp. 800,000 Btu/hr. Note: Burners also supplied for kilns firing from two sides. I Nozzle and Safety System -- $91.00. i *Capacity based on proper burnersize.

Johnson also makes a complete line of crucible furnaces for melting bronze, aluminum and other soft metals. Or for metal bending and forging, select Johnson forge furnaces. b Johnson Since 1901 Gas Appliance Company Cedar Rapids. Iowa 52405 72 CERAMICS MONTHLY CERAMACTIVITIES people, places, and things SUPER MUD CONFERENCE in transit, or at fairs and exhibitions in Lorene Nickel contributed wheel-thrown The 11th Annual Super Mud Con/er- the United States or Canada. "Fantasy Mugs," 3V2 inches in height, ence will be held again this year at The The plans may be obtained individually. with added extruded handles and green Pennsylvania State University, University For further information write: ASI, 13975 umber pastel stain sprayed over an enamel Park, November 3 through 5. The "Four Connecticut Avenue, Silver Spring, Mary- glaze. Lorene Nickel commented, "Form is Masters" workshop series, planned for the land 20906, or call: (301) 460-0300. most important, glazing next. My work is conference, will include exhibitions by generally meant to be used, though I con- Wayne Higby, David Middlebrook, David DETWILER/NICKEL sider visual impact to be of more im- Shaner, and Robert Winokur. Also sched- The Gallery at Sans Regret, Boston, portance." uled is Susan Peterson with American In- presented a collaborative exhibition of por- dian potters--Maria Martinez and family, celain work~ by l.orene Nickel and Joseph ARTISTS AND~TAXES who will demonstrate their traditional fir- The National Conference on Artists and ing techniques. For additional information Taxes was held in Washington, D.C. write: Ron Avillion, Pennsylvania State during April. As part o[ the program, Joan University, 410 Keller Building, University Mondale, wile o[ the Vice President, was Park 16802, or call: (814) 865-7557. invited to speak, and the [ollowing address was delivered on her behal[.--Ed. LAKE SUPERIOR '77 American artists--writers, performers, The Third Biennial International Craft painters, sculptors, photographers, musi- Exhibition, Lake Superior '77, was pre- cians, craftspeople--are important nation- sented at the Tweed Museum o[ Art, Uni- al resources, a statement which I suspect versity o[ Minnesota-Duluth through May will draw no argument in this forum. Everywhere I traveled during the cam- paign and since the inauguration in Janu- ary, I have been struck by the hunger of the American people for the arts in all its forms, and this hunger can only be satisfied by people with the talent and the discipline to create. Therefore, whatever assistance can be given by the federal government to America's cultural community serves the larger public good. This responsibility is keenly felt by this administration, for just as the desire for the arts has never been greater, so too the needs of the artists have grown in propor- Joseph Detail, ~ tion to the demand for their work. Let me Detwiler, through April 7. The Connecti- quote to you from one of the mar~, many cut artists displayed slip-cast porcelain letters I have received regarding the plight functional forms and modular wall sculp- of the American artists. This one is from tures. Shown from the exhibition is Joseph Hank Jensen of Marshfield, Vermont. "In 1968 I won a $10,000 sculpture commission. After the costs of materials and all expenses, I had just enough on which to Jimmy Reynolds live modestly during the two summers it 8. Sponsored by the Duluth Art Institute, took to construct the sculpture. And last the exhibition included 450 works by 331 summer, I built a large piece under a artists in all craft media. CETA grant. I was paid a salary of $125 Award winning ceramists included Mary a week (before taxes and deductions) out Coss, Ypsilanti, Michigan, for her untitled of which I had to purchase $400 worth of porcelain and muslin wall piece, and Drea materials for the project. Last year a G. Howenstein, Edinboro, Pennsylvania, painting of Jackson Pollock's which had for a clay and batiked cloth work, "Land- been purchased for $1,500 in 1950, was scape with Ski I." Shown from the exhibi- sold for an estimated $2 million. Of that tion is an incised crackle-glazed raku form, original price of $1,500, Pollock received 12 inches in height, by Jimmy Reynolds, less than $1,000... Fortune magazine esti- Sweden. Lorem Ni~l.cl mates that there are 107,000 visual artists Detwiler's "Triangular Teapot" with ex- working in this country and only 4,000 CRAFTSMEN'S INSURANCE truded spout, and glossy transparent glaze, actually support themselves from it. In A comprehensive package of group in- 7y~ inches in height. The artist "inten- effect, our artists are working as inden- surance plans, sponsored by the American tionally avoid(s) symbolism, mysticism, tured servants to our national heritage." Crafts Council, has been developed by and sentimental recollection" in his work. Mr. Jensen has stated simply and elo- Association and Society Insurance Corpo- quently what I read in the hundreds of other letters I receive each week from ration. Four plans are available to crafts- Send news and photos about people, artists. While the work of the Endowments men--major medical, hospital indemnity, places, or events o[ interest. We will be continues to grow, while public and pri- life insurance, and a studio policy. pleased to consider them [or use in this vate support for the arts continues to de- Under the latter, the craftsman is pro- column. Send items to: CeramActivities, velop, the needs of American artists still tected against the loss of both finished and CERAMICS MONTHLY, Box 12448, Co- far exceed the aid available to them. unfinished works, materials, tools, and lumbus, Ohio 43212. supplies whether in the home or studio, Continued on Page 74

October 1977 73 YOU ASKED FOR IT CERAMACTIVITIES YOU GOT IT Continued from Page 73 A PROFESSIONAL QUALITY PORTABLE GAS KILN, Like birth and death--so the clich6 FULLY ASSEMBLED, AT A PRICE YOU CAN AFFORD. goes--taxes are something that touch all THIS KILN FIRES TO CONE 10 USING NATURAL OR of us, even the transcendent spirit of art- PROPANE GAS AND MAY BE ADJUSTED FOR ALL TYPE FIRING ists. Sometimes a mundane, practical matter like taxes can not only add to the QUICK STAINLESS financial burdens of American artists, but, STEEL BANDS even worse, engender a cynicism or despair ECONOMICAL that stifles creativity. To aid the artists FIRING who suffer under the present tax structure 4 BURNERS is to directly subsidize, not just the indi- PORTABLE FOR vidual, but the cultural life of the entire LIGHT WEIGHT EVEN FIRING country. In this connection, I'd like to SECTIONS outline for you some of the aspects of the artist and tax situation to which this REVERSIBLE PILOT LIGHT administration is giving close study. 1. Artists' donations o[ their works to BOTTOM SYSTEM cultural institutions. As you know, under FOR WITH SAFETY the Tax Reform Act of 1969, the Internal DOUBLE LIFE : SHUTOFF VALVE Revenue Code of 1954 was amended to reduce the deduction available for the We incorporate the most contemporary of designs charitable contribution of certain appreci- to give you an economical Kiln without leaving ated property and capital gain property. behind the quality & dependability you'll need. As a result of this amendment, under present law when an artist or writer do- Model C-4.5 cu. ft. C-7 cu. ft. C-10 cu. ft. nates his or her works to a non-profit Inside Dimn. (D24xH 18) (D24xH27) (D28xH27) institution, the allowable deduction is com- puted by reducing the fair market value Price $345.00 $425.00 $545.00 of the work by the amount of the appre- Write for brochure. ciation of such property. Therefore, the artist may only deduct the cost of the The Contemporary Kiln Co. materials used to create the work from -- P.O. Box 13585, Sacramento, Ca. 95813 adjusted gross income, while a collector or dealer who contributes the same work to a non-profit institution may generally de- duet the fair market value of the work from adjusted gross income. Although the artist's work is evaluated at the mere cost of materials during the FREE BUILDING INSTRUCTIONS artist's lifetime for tax deduction purposes, the same artistic work is valued at 100% of fair market value for estate tax purposes. The result is that under present law an artist is faced with the alternative of [ eku Kil,, selling or donating the artistic works without the attendant tax benefits during his or her lifetime or subjecting the heirs to We will send you the COATING estate tax liability for the full fair market CEMENT and CERAMIC FIBER value of the creative works which have become part of the estate. INSULATION for building a 30 Another problem which may have arisen BECKY HOLDS THE RAKU BUILDING ¢jallon drum Raku Kiln for from amendment of this section of the INSTRUCTIONS AND IS SHOWING Code is that non-profit institutions such THE DURABLANKET-r M $34.00 plus shipping as museums, universities, and libraries have reported a substantial reduction in donations of creative works to them since the OUR SUPER STRONG CERAMIC FIBER BLANKET IS passage of the 1969 Act. There may be some link between the two. EASY TO WORK WITH. WE ALSO HAVE MANY 2. Estate Taxes. Under existing law, OTHER CERAMIC FIBER PRODUCTS FOR THE POT- federal estate tax generally must be paid TER. WE ARE ABLE TO SHIP WITHIN ONE DAY OF nine months after a person's death. Under this law, artists' estates, which are taxed RECEIPT OF YOUR ORDER. (WE ARE CARBORUNDUM'S on 100% of their fair market value, incur POTTERY REPRESENTATIVE) an immediate and heavy tax liability. In order to satisfy this liability, estates frequently must put a large part of the artists' work promptly on the market. In addition to adversely affecting the interests of the heirs, this practice can have a detri- SUPERAMICS mental effect on the value of the works Pre,,0.°, ,,,3.O..OA..0IXIEHI.HWA,,. 335B' themselves. However, under the Tax Reform Act of 1976 when an estate of a person who has died after December 31, 1976, consists

74 CERAMICS MONTHLY Ceramics Monthly Quality Handboo largely of an interest in what is termed a "closely held business," certain provi- Schools. Libraries. Craft Centers sions of the law permit portions of the estate tax attributable to the closely held business to be paid out over 15 years. GLAZE PROJECTS Hopefully, these provisions may increas- by Richard Behrens. This unique ingly be applied to artists' estates. book covers the formulation and application of a variety of LEAD- 3. Deduction [or expenses attributable FREE glazes in all firing ranges. An to business use of homes. Previous to pas- invaluable tool for those who like to sage of the Tax Reform Act of 1976, a experiment with glazemaking. In- portion of the expenses incurred for main- cludes a special glossary of mated- als which is an excellent reference tenance of a taxpayer's residence which source. 64 pages $3.00 was also used in connection with his or THROWING ON THE her trade or business could be deducted POTTER'S WHEEL from adjusted gross income. This per- by Thomas Sellers. A complete manual on how to use the potter's mitted artists, writers, musicians and danc- wheel. Covers all basic steps from ers who maintained studios or workshops wedging clay to making specific in their homes, while holding down other shapes. Clearly describes every detail using step-by-step photo tech- employment for their main income source, nique. 80 pages $4.00 to deduct a portion of the residence ex- COPPER ENAMELING penses in connection with the studio or by Jo Rebert and Jean O'Hara. workshop. Recognized as the best in basic in- It now seems that such deductions struction, this elaborate handbook has over 200 photographs. Rec- would no longer be permissible, and I am ommended by leading enamelists sure you will want to discuss thoroughly and teachers. 64 pages $2.00 the issues raised for artists by this change in the law. 4. Fellowship exemptions. At present, artists' fellowships are tax exempt up to $3,600 a year. I know that inflation has probably made the $3,600 figure restrictive and that artists will be interested in discussing exemption for an amount cor- related more closely with present living POTTER'S WHEEL PROJECTS expenses. edited by Thomas Sellers. The All of these issues will be considered projects in this handbook provide by the administration as part of its com- CERAMIC GLAZEMAKING step-by-step instructions on a vari- by Richard Behrens. This text will e~ of special throwing techniques. prehensive study of the tax code. We prove valuable to all those who Wind bells, lamps, bird houses and should be hopeful but not naive in our want practical information on for- feeders, musical instruments and expectations. Adjustments to the present mulating and using glazes. Batch teapots are a few items you'11 find recipes in all firing ranges are in- presented. 64 pages $2.00 tax structure will result in losses to the cluded, and many special glaze- federal budget, and, therefore, they will CERAMIC PROJECTS making techniques are covered. edited by Thomas Sellers. An out- be given the closest scrutiny by all the 64 pages $3.95 standing selection of projects for federal officials responsible for this coun- DECORATING POTTERY the classroom, home and studio. try's fiscal well-being. by F. Carlton Ball. This book ex- Each project introduces a different plores easy methods of decorating method of working in clay. Foun- My particular concern is that, in the ttery with clay. slip and glaze. rains, planters, jewelry, bottles and midst of the enormous numbers of prob- ~ ose who lack skill and confi- several other unique items arepre- lems that must be considered when con- dence in drawing and painting will sented. 64 pages $2.00 find special pleasure in discovering templating tax reform, the case for the these decorating techniques. BRUSH DECORATION artist be given a fair hearing. To help 64 pages $3.00 FOR CERAMICS by Marc Bellaire. A fascinating achieve this goal, I plan to meet soon at UNDERGLAZE DECORATION book on the use and care of the Vice President's house with federal of- by Marc Bellaire. This complete brushes. Shows how to make de- handbook has all the answers on signs for decorating ceramics using ficials responsible for policy in this area~ materials, tools and technique. people directly responsible for changing just three basic brushes--the Step-by-step projects are profusely watercolor, liner and square this country's tax structure and repre- illustrated. A practical guide for the shader. Excellent manual for be- sentatives of the cultural community. beginner. 64 pages $3.00 ginners. 64 pages $3.00 Sometimes it is easier to understand and consider an issue when the issue is given we PAY POSTAGE tangible form. A person-to-person exchange will, I hope, help acquaint policy makers with these special problems• BOOK DEPARTMENT • . . Though I have a strong personal M 0 N T H L Y Box 12448 Columbus, OH 48212 involvement in the arts, I feel your problems and concerns go beyond individual Pleame lend me flue following: I enclou [7 Check [] Mon~ Order (Ohio residents add 4% sales tax) feelings. Whatever the federal government [] Ceramic Glazemaking $3.95 [] Glaze Projects $3.00 [] Potter's Wheel Projects $2.00 can do to nurture fledgling artistic talents and to sustain mature ones is in the in- [] l)ecoraflw3 Pottery f~.00 [] Throwing on the Wheel $4.00 [] Ceramic Projects $2.00 terest of all the American people. [] Underglaze l)ecoraUon $3•00 [~] Copper Enamelin 9 $2.00 [] Brush Decoration $3•00

MINGEI Naw "Mingei is a special word for 'art of Addl~alt the people,' often called folk arts, which was coined 50 years ago by the late S#etsu Yanagi. Since there was no single City State Zip • DEALER INQUIRIES INvrrED Continued on Page 77

October 1977 75 8

CLYDE TORe ~O ~ BOX 1407~ DEPT C DE ALE RS FERN DALE, WA 98248

Alaska Connecticut KentJck 7 Sew Hampshire West /'irginia

Old Store Gallery tlull Enterprises O~. Creek Potter>" Peter Land Clay Place Salem Pottery' Silop 2415 Spenard Rd. 42 Bigelow St. 11416 Shelbyville Rd. RD ~1 5600 Walnut St. 179 Valley St. Box 4-1160 Manchester, 06040 Louisvil;~, 40243 Canaan, d3741 Pittsburgh Salem 26426 Anchorage, 99509 New Mexico ~isconsin Alabama Florida Texas Louisiana Anho~e Ceramic Suppl E Clay Wheel Sheri Beard Bennett Potter)" Supply 5825 Commercial, NE Avery's Art Studio 7917 ~. Be¢her St. 2525 15th Ave., S. 707 Nicolet Ave. Clay" Per Se Albuquerque, 8607 N. New Braunfels Best Allis, 53219 Birmingham, 35203 ~inter Park 47R5 Iberville St. San Antonio, 78217 New Orleans. 70119 Ne~ York Green Bay Potter>" Co. Arizona Florida C a~ Arts Ceramics Store 1158 i.Nin St. 516 Clearlake Rd. Crafts Serwce 706 Richmond Ave. Green Bay, L45ol Shop of Art Cocoa, 52~22 ~ine 337 University Ave. }louston, r7006 26 E. University" Or. Rochester, 14607 177 Tempe, 85281 852811 Maami Clay Company Portland Potter> karth and Fire Mill Street Potter) 18954 NE 4th Ct. 20 West St. Rising Pottery 9719 Brockbank 217 S. Mills California Maami, 33179 Portland, U~III 1903 Palmer Ave. Dallas, 75220 Madison , 33715 [~ycbmo~t, 10538 Alkali Potter>" Georgia Fire Arts Paoli Cla)Compan) 1399 B Florin Rd. ~ssachusetts 212 h. 4th Rt 1 Sacramento, 95822 Kickwheel Potter}" North Carolina Austin, 78701 Belleville, 53598 802 Miami Circle, NE Amherst Potter} Supply Arki Factors Atlanta, 5032~ 44 McClellan St. Jugtown Potter>" Utah C~NADA 2660 Market St. Amherst, 01002 Route 2 Redding, 96001 Idaho Seagrove, 27341 Capital Ceramics Coast Ceramics 2174 S. Hain Ballard Bay State 5759 h. 1Oth ~e. Crackpot iligh Prairie Potter) Refractories Oregon Salt Lake City, 83113 ~ancouver, B. C. 540 East :,lain St. 179 Collins 19 Locust St. Ventura, 93001 Blackfoot, 83221 Springfield, 01107 Art Pak Products Virginia Joe's Oapp> Patch B100 x. Denver RRW 1 Encee Ceramics Potter's Center Portland, 97217 Earthworks Bowden, Alberta 1275 Tenth 210 Myrtle St. Minnesota 2309 W.. Main St. ~bnterev, 95940 Boise, ~3706 Richmond 23223 Greenbarn Potters Supplies • Towne House Ceramics Pennsylvania ' 2982 l~4th St. 2719!~ W. Division Old Adobe Ba~hington Surrey, B. C. 805 B University Ave. Illinois St. Cloud,sbBOl Laveta Butler • 1876 Bayletts Lane Los Gatos, 95(/30 A. R. T. Studio State College, 10801 A 5 U Ceramics 9210akton St. Missouri 7401 Sand Point ~ay, ?,F Colorado Elk Grove Village Potlatch Pottery" Seattle 9S115 93i15 L ~ R Specilaties 722 w. Erie Ave. Tigs Ceramcs Robhins Clay Co. I01 W. Mt.vVernon Philadelphia 19140 Gallery ~est 415 West 4th 1021W. Lill St Nixa,05714 12:}1 ;md itarris Pueblo, 810u3 Chicago, 00004 Sonnewald Service II~'[JlIl~ !lam 9~225 Potter)" Supply Co. Van llowe Ceramic Supply Link RO 1, Box 1508 • 4038 E. Broadway Spring Grove 11975 E. 4Oth St. Columbia, 68201 Denver, 80239

76 CERAMICS MONTHLY CERAMACTIVITIES of Asian art at the museum, "These pots rff-- ] Continued [rom Page 75 are said to be 'born, not made,' and are not 'looksee' pottery. The Mingei pottery Japanese word or vehicle to communicate has the added aesthetic and spiritual di- S6etsu Yanagi's profound insight, the mension of reflecting the whole life of the words for people (rain) and art (gei) Crusader is one of the highest were combined .... These are essential quality high fire kilns made-at arts of people living in all times throughout the ~orld. They ~hare in common a a reasonable price. That is why we sell only one brand of electric kiln. 1. Faster, safer, more economical firing. 2. Slower cooling. 3. One-piece construction. 4. Kaowool insulation. 5. Chemical resistant Kanthal A-| wire. 6. Stepless infinite heat control switches. 7. Easier special glaze effects (Crystalline). 8. Uniform heat. 9. Eliminates hot spots. ]0. UL listed up to cone 10. ]1. Uni-b[oc tops and bottoms prevent sifting. Sake warmer 12. True dropped-recess element grooves. people, satisfying and nourishing the heart, 13. Accessible connectors on case. head, and body through daily use. ]4. Full air-rio switch boxes. "This attitude of mind toward the close 15. Special voltages available. relationship of life and work, and an in- ]6.1 year guarantee. tuitive approach to pottery making, is rooted in a reverence for life expressed in the native Shinto and Zen Buddhist teach- l! :~...... j ings. Out of this long living tradition of Japanese ceramics come vast quantities of diversified and unique regional clay forms Kanjiro Kawai of unsurpassed beauty. Throughout the direct simplicity and joy in making, by islands, individual pots appear like wild hand, articles both useful and satisfying flowers, springing from their own seed in to the human spirit." So stated Martha common ground." Longenecker, president of Mingei Interna- The Mingei Association of Cra[tsmen tional, in explanation of the exhibition was established by S6etsu Yanagi in 1926 "Mingei--Folk Arts of Japan," which was with the help of founding potters, Shoji presented at the Fine Arts Gallery o[ Hamada and Kanjiro Kawai. Ten years San Diego, through March 6, and which later, the Folk Art Museum (Mingeikan) was built in Tokyo. Shoji Hamada suc- ceeded to the leadership of the group in 1961 after S6etsu Yanagi's death and established two more museums in Osaka and Mashiko. He said that the museums were established not for the sake of nos- talgia but as preparation for the future. Photos: Roy Robinson and courtesy of the Fine Arts Gallery o[ San Diego. As part of our third anniversary celebration, Kickwheel will ship GARTH CLARK any model Crusader kiln any- A six-day summer program, sponsored by the American Cra[ts Council, and held where within the continental on the Bennington College campus, Ver- USA, free of any shipping mont, was presented by Garth Clark, July 5 through 10. The historian, critic, and charge. A cashier's check or collector of modern ceramic art, arranged money order for our current "Palette of Fire," a 15-1ecture series which explored a century of ceramic art, from catalog list price must accom- 1850 to the present time. The series dis- pany each order. Include your Kan)iro Kawai cussed the role, purpose, and perspective brought together works of cloth, paper, of ceramic arts in the 20th century and name, address and phone no. wood, iron, bamboo, rice straw, and clay. dealt with the dualism of art and craft Among the ceramic works included in and other dilemmas facing those who work Offer expires January 1, 1978. the exhibition were a stoneware bottle, in clay. New catalog $1 white with copper red brush decoration Sections were devoted to the arts and (top), and a stoneware bottle with raised crafts movements in both England and 0 KICKWHEEL ~ II slip trailing (above), both by Kanjiro America, Art Nouveau, Art Deco, Fu- Kawai; and a vine-handled sake warmer turism and clay, The Scandinavian craft POTTERY 8" SUPPLYII produced anonymously at the Rymonji revival, post war America: Funk and Pop, 802 Miami Circle, NE, Atlanta, Ga II I kiln, Kyushu (above, right). and the visitors. The latter dealt with the 404/231-2150 3032411] According to Lennox Tierney, curator Continued on Page 79

October 1977 77 Superior firing doesn't just come along and happen one day.

It takes a kiln that you can control. On the outside, we surround Or, in the two-sectioned A-100B Not a kiln that takes control of you. them with form-fitted, sparkling, you get the same luxury features A kiln that allows you to evenly stainless steel jackets for a rust- without paying for capacity you may distribute the heat from top to proof, snug fit. Hand lifts to make not need right now. The center bottom in the firing chamber to pro- them easy to move and operating section, AA-10B collar, may be duce beautiful pieces you can be instructions to make daily, routine added later when you are ready for proud of, and hoped for results jobs a cinch. A solid steel top covers larger loads. And, if you still need everyday. That's what superior firing the safety hinged lid and stays in more depth you can always add the is all about. place as you load or unload. That Blank 9B collar between sections. you're assured of with the lock-in lid Increases your capacity for low-fire Dependable, 4-way rotary support! Or, rest the lid on the fall pieces (temperatures up to cone 04 - switches let you adjust the heat as away, adjustable Prop-R-Vent when 2000 ° F.). This is certainly a plus in needed to fire everything from china venting is necessary. The full- the A-100B, since with the blank paints to porcelain. Temperatures formed steel base gives extra inserted you or your students can't ranging up to cone 8 - 2300 ° F. protection and strength and there's overfire or melt low-fire ceramic However, the materials used in the even a specially designed kiln stand pieces. Just remove the blank to A-99B and A-100B are even suit- for each model to sit on. resume firing of porcelain or stone- able for cone 10 firings if full 240 ware. volts are available at wall receptacle. The three-sectioned Model A-99B So you have complete firing flexi- offers you a full 7 cubic feet of firing Simple enough. One of Paragon's bility at any temperature. capacity to fire today's popular tall complete groups of kilns and collars pieces. Or use all three sections for for the classroom, the busy studio or On the inside, heavy duty many small items. the new shop. And with all the elements are set in dropped, recess- features you need to take control ed grooves of hand-selected, insu- and achieve superior firing daily. lating firebrick. There's a full inch of high temperature block insulation in Visit your Paragon Dealer and \ I ~'=' ~~ ~ select the size best for you. Or write both the top and bottom. Plus, a ,~| Q E~ ~ today for our new catalog with infor- reversible layer of insulating, refrac- t~| ~ ~~ reel mation on more than 35 models in tory brick for twice the life. __~ ~ all sizes. ~- - ~- ,~--~ ;;: - I ~ ~ ~~ INDUSTRIES, INC.

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78 CERAMICS MONTHLY All the CERAMACTIVITIES ogy and pottery, titled "Centering," is Continued from Page 77 part of the "Knowledge" series produced by NBC-TV. In a scene from the show, How.to's of... influence of artists such as Picasso, Chagal, host Owen Meldy and ]esus Munoz dis- Miro, Lager and others, while tapes of cuss and present various clay instruments. interviews with major figures in ceramic PG~I'FERY DECORATION art were also presented. By Thomas Shafer. Here's a multitude of ideas Shown from the lecture series slides are for decorative applications, demonstrating both (below! a Royal Dux porcelain figurine sculptural and color decoration. Clear, instruc- from Czechoslovakia ( 1931 ), approximately tional photographs illustrate the techniques. 8~ inches in height; and (bottom Cla- 160 pages. 8-1/4 x 11.34 full color plates. 200 b & w illustrations. Glossary. Index. ISBN: 0-8230--4206-5. $15.95 al IUIIU Techniques for Contemporary Potters By Christopher Tyler and Richard Hirsch. Stressing the raku philosophy and perception as well as the method, Tyler and Hirsch discuss the entire process of this unique Japanese pot- ]esus Mum< Owen MeldY terytachnique. 192 pages. 8-1/4 x 11.16 pages Appendix. The program was aired previously in Los in full color. 200 b & w illustrations. Bibliography. Index. ISBN: 0-8230-4503-X. Angeles and Chicago, and will appear in $14.95 Washington, D.C., October 3 through 7; and in New York City, November 28 THE POTTER'8 COMPLETE through December 2 at 5:55 A.M. BOOK OF CLAY AND GLAZES The meaning of "centering" is extended By James Chappell. This easy-to-follow hand- on the program to psychological and cul- book gives you 1500 clay-body and glaze tural connotations, as the show delves into formulas, with instructions for mixing, applica- the world of the potter, focusing on the tion, and firing. 448 pages. 8-]/4 x 11. 1500 for- inner self and its relationship to the world mulas. Temperature charts. Bibliography. Glossary/Index. ISBN: 0-8230-4202-2. $25.00 outside. Each segment takes "ten'taring" and applies it to everyday life, history, cul- BUILDING POTTERY ture, and a related art discipline. EQUIPMENT j Program consultant Elaine Levin work- By Roger Harvey and Sylvia & John Kolb. At ed with ceramists, art educators, art col- last--a book that shows you how to build all the Royal Dux ligurine lectors, and art historians to coordinate equipment you need to set up your own pottery rice Cli[['s "Bizarre" earthenware pitcher, the many levels of "centering." workshop. 208 pages. 8-1/4 x 11. 400 b & w Index. Range and Wilkinson and Company, En- Ceramist Lukman Glasgow and psychol- illustrations. Material sources. Charts. ISBN: 0-8230-0540-2. $16.50 gland (1930), approximately 8 inches in ogist Scott Fraser, University of Southern height. California, explore the inner dynamics of WATSON-QUPTILL PUBLICATIONS Garth Clark has just completed a book surrealism. Yoriko Clarkson presents a 2160 Patterson Street, Cincinnati, Ohio 45214 view of the Japanese tea ceremony, dis- for lO-day cussing the emphasis on total balance and Send today form as the term "centering" implies, free examination copy. while UCLA professor Koichi Kawana presents the historical and cultural signifi- Mail to: Weteoo-Quptill IPubilcoUou cance of Japanese raku. 2160 Patterson St., Cincinnati, Ohio 45214 A view of pottery from Ghana as it has Please send me the books checked below. I un- affected the history and culture of Africa derstand that if [ am not satisfied with my pur- is presented; Barbara Moranda, a Tewa chase, 1 may return it for full credit or refund. Indian and graduate of Al[red University, [] I enclose $ (check or money order) including applicable sales tax in the explains American Indian pottery and its states of New York, Ohio, Tennessee, Cal- relationship to Indian history and culture. ifornia, Massachusetts, New Jersey. Pub- An art collector presents some favorite lisher pays postage. objects from her collection of Mexican [] Bill me, plus postage and handling. folk pottery, and an art therapist talks Plesse note: Orders of $50 or more must be with and about emotionally and educa- prepaid. tionally handicapped students who have used clay to express their feelings. __ POTTERY DECORATION, $15.95 "Centering" was produced by Susan "Bizarre" pitcher Walker in cooperation with the College of __ RAKU,$14.95 titled, Palette o[ Fire: Modern Ceramic Fine Arts, University o[ Cali[ornia, Los Art 1875-1975, which parallels the lecture Angeles, and Everywoman's Village, Van __ THE POTTER'S COMPLETE series and will be published by Thames Nuys, California. BOOK OF CLAYAND GLAZES, $25.00 and Hudson in early 1978. The Bennington lectures are scheduled SOLDNER WORKSHOP POTTERY summer at Ban[[ Cen- -- BUILDING to be repeated next Victor Valley College, Victorville, Cali- EQUIPMENT, $16.50 ter, May 15 through June 2. For further fornia, recently hosted a two-day raku information write: The Banff Center, workshop led by Paul Soldner. Students Name School of Fine Arts, Box 1020, Banff, participated in building an "instant" raku (403) 762- Alberta T0L 0C0, or call: kiln, shared clay body recipes, and ex- Address 3391. changed glaze information. The kiln was a corbeled arch design, constructed of 250 City. CENTERING hard firebricks. Number 2 diesel fuel Reflecting a growing media interest in fired the forced air burner made from State Zip __ ceramics, a five-part program on psychol- Continued on Page 83 2175

October 1977 79 WHERE TO SHOW Continued [rom Page 8

Bin "O," Department D, Miami Beach 33139.

FLORIDA, NEW SMYRNA BEACH February 25-26, 1978 "Images '78 A Festival of the Arts" is open to craftsmen. Juried by 3 slides. $6,500 in cash awards. Deadline: November 15. Write: Images '78, Box 2051, New Smyrna Beach 32069.

ILLINOIS, MATTESON February 17-19, 1978 Town and Coun- try Art League 5th Annual Art Fair is open to craftsmen. Cash and purchase awards. Juried. Fee: $25. Deadline: De- cember 1. Write: Town and Country Art League, Box 144, Palos Heights, Illinois 60663.

MARYLAND, BALTIMORE May 26-29, 1978 Sugarloaf's Arts and Crafts Festival is open to ceramists. Juried by 4 slides. Fee: $75. Deadline: February 6. Write: Sugarloaf Mountain Works, Box 319, Poolesville, Maryland 20837.

MARYLAND, GAITHERSBURG April 7-9, 1978 Spring Arts and Crafts Fair is open to ceramists. Jurled by 4 slides. Fee: $75. Deadline: February 6. Write: Sugarloaf Mountain Works, Box 319, Poolesville, Maryland 20837.

MONTANA, HELENA October 28-30 Helena Arts Council Electrum VI Juried Show is open to ceramists. Cash awards. Commission: 20%. Fee: $5 per category entered. Applications and work due October 24. For further information write: Electrum VI Festival of the Arts, Box 1231, Helena 59601, or call: (406) 442-9666.

NEW YORK, LONG ISLAND November 18-20 3rd Annual Harvest Crafts Festival, is open to craftsmen. Sub- mit 5 slides and sketch of booth design. Fee: $140-$185. Deadline: October 15. Write: Barbara Hope and Donald Gaiti, Creative Faires, Ltd., 65 Main Street, Westhampton Beach, New York 11978, or call: (516) 288-4263.

NEW YORK, RHINEBECK June 20-25, 1978 The Thirteenth An- nual Rhinebeck Craft Fair is open to craftsmen living in the Northwest region of the United States. Juried by 5 color slides. Fee: $5.00. Deadline: February 1, 1978. Write: American Craft Enterprises, Inc., Box 10, New Paltz, New York 12561, or call: (914) 225-0039.

TEXAS, AMARILLO December 2-4 Yuletide of Arts and Crafts, is open to ceramists. Fee: $50. Deadline: October 15. Write: Rex G. Martin, 5106 Temple Drive, Amarillo 79110, or call: (806) 335-5807.

80 CERAMICS MONTHLY AI UI I! - --- A Quality Potter's ... only S8995 Wheel

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October 1977 81 Engineered for Creativity, Crusaders Wheel

Crusader's potters wheels are spe- tion steel frame features heavy cifically engineered to fit the needs .gauge square tube legs for max- of the potter. Gone is the pieced-to- tmum stability and strength -- EN- gether look and performance of a GINEERED FOR THE POTTER. wheel someone has tried to build with • Heavy-duty, cast aluminum foot off-the-shelf parts by adapting them pedal that can take the beating to a wheel. a foot pedal must-- ENGINEERED The Crusader wheels are fully engi- FOR THE POTTER. neered, and the parts used are man- • Durable, vacuum formed polypro- ufactured specifically for use in our pelene table cover, belt, and motor wheels to meet our rigid engineer- guards, and optional splash pan ing requirements. assures low maintenance and long CHECK THESE FEATURES: life -- ENGINEERED FOR THE • The speed control units for our POTTER. D.C. Permanent Magnet ½ and ½ • Sealed, permanently lubricated h.p. motors feature a water proof bearings and multiple poly-V belt switch and case, with a separate drive assures the best and smooth- pilot light you can see. Crusader est power transfer available -- EN- units feature full wave rectification GINEERED FOR THE POTTER. CRUSADER-- (not half wave) for the most pow- There are many more features we ENGINEERED PRODUCTS erful and smoothest speed control would like to tell you about. If you possible -- ENGINEERED FOR are a potter and would like a wheel THE POTTER. that is engineered for you, just drop • Heavy-duty, all welded construc- us a note for complete information.

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82 CERAMICS MONTHLY I

CERAMACTIVITIES through September 12. "A Study in Re- Continued [rom Page 79 gional Taste: The May Show 1919-1975" consisted of 91 works in a variety of simple pipe fittings and a vacuum cleaner media, dating from the first May Show in blower. The versatile burner also will fire 1919 through the 56th show in 1975. with crankcase oil, kerosene, natural gas, The exhibition was mounted to demonstrate the quality of work historically pro- r -- tA i l ,i" ,AL~U_.--._~.

Soldner burner or Number 1 diesel fuel. A gauge of the correct mixture, of air to fuel, is simply a clean flame coming from the top of the kiln. trill... Paul Soldner's raku clay body and base slip were shared with workshop participants: Soldner's Raku Clay Lincoln Fireclay ...... 35% Sand (30 Mesh) ...... 30 Ball Clay ...... 15 Talc ...... 20 100% Soldner's Raku Slip 20 Mule Team Borax (for flux) ...... 1 part Gerstley Borate ...... 1 Flint ...... 4 The dry materials are thoroughly mixed in Guy Cowan a paper bag, then added to water, without duced by May Show exhibitors, and to stirring. When the ingredients have slaked, provide a survey of changing artistic tastes and styles over the past 50 years. Like the upsurge of interest today, during the 1930's ceramic sculpture emerged as an important category in the show with Guy Cowan, Edris Eckhardt, and Viktor Schrecken~ost as influential contributors.

120 PLUS Chemicals & Raw Materials bulk auantifies available Clay Bodies stoneware, sculpfure, porcelain, earthenware, cone 6 & I0 flame* wa re Tools - Scales Sieves Kick & Electric Wheels Corbeled a~ch kiln amaco, brenf, esfrin, max, shimpo, skutt, soldner excess water is poured off, and the consistency tested by gently moving the batch Gas & Electric Kilns with the hand. The slip should be as thick amaco, california, crusader, as cream; if not, some of the drawn off estrln, I& I, paragon, skutt. water may be replaced. Then colorants are therrnolite added as desired. Simple raku base glazes are: equal parts Clay MIXED TO ORDER of Gerstley borate, borax, and kaolin; plain Gerstley borate; or 80 per cent Gerstley borate and 20 per cent feldspar. Charles LaI,,,!U~ The latter was known for his whimsical earthworks MAY SHOW RETROSPECTIVE and gently satirical figures and was a fre- 1667-c penfield road Designed to complement the 1977 May quent exhibitor in the May Show. rochester, n.y. 1462S Show, The Cleveland Museum o[ Art As only one example of changing tastes (716) $86-4426 ! mounted a retrospective exhibition July 13 Continued on Page 85

October 1977 83 ' on't take my word for it. Take the word of the experts." ( SAM RESTIVO, PRESIDENT, WEST COAST KILNS

"1 know from 40 years experience that your West Coast Kilns are excellent and the kind I prefer to use . . . The 10 foot kiln you made for me six years ago . . . is most exceptional." F. CARLTON BALL Professor of Art, University of Puget Sound

"We at Markel Ceramics are firing each of our four West Coast Kilns twice a day with excellent results . . . We think you make the best kiln on the market." LOUIS MARKEL Markel Ceramics, Costa Mesa, California

"Both my kiln at home and the 12 cubic ii ! • , ,~ - foot model at our studio at UC-SC fire exceptionally well, always within less I than half a cone from top to bottom." AL JOHNSON University of California, Santa Cruz

"After two years, never a problem of any kind." BETTY COLBERT FROMM University of Albuquerque

"1 will continue to recommend your kiln This is our 12 cubic foot kiln. We measure because it is the finest available." firing space only so our 12 footer is DON D. JENNINGS equivalent to the 20 foot kiln of others. Orange Coast College, Costa Mesa, California

ADVANTAGES OF WEST COAST KILNS: YOUR BEST INVESTMENT IS A WEST COAST KILN el Even firing temperature maintained Built for permanence and hand-crafted with finest materials. Rein- consistently forced, welded steel frames, extra deep brick lining and hard brick ~" You get your money's worth with the long- at all wear points. lasting, more durable West Coast Kiln. Engineered for top performance with super-fire updraft gas heat No gadgetry. It's the easiest kiln to and calibrated, lever-controlled damper. Consistently good results, operate. even with fast firing, and quick cool-down. ~" Uses less fuel and gives you lower Economical, trouble-free operation using fast, efficient gas or butane. operating costs. Eye-level controls eliminate costly valve damage usually caused i,,,' You order direct from factory. You save by heat transfer. middlemen costs. Exact firing space, not air space. Our 24 foot kiln equals the 50 foot kiln of other manufacturers; our 30 equals their 60 footer.

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84 CErAmICS MoN'rHL'V CERAMACTIVITIES Continued [rom Page 83 and styles over the years, the exhibition included a 1930 Guy Cowan faience vase, E(STBY 11 inches in height (top, page 83). In KILNS contrast, Charles Lako[sky displayed in 1966, a porcelain jar, approximately 8 inches in height (bottom, page 83). Formerly PETER SIMPSON POTTERY by DOT A recent Victoria and Albert Museum traveling exhibition, "Six Studio Potters," presented the work of England's Peter Simpson. Included in the show were a porcelain bowl, 6 inches in diameter, with green nepheline syenite and barium glaze, (below); and an upright, thrown porcelain container, 5 inches in height, with nepheline syenite and dolomite glaze (below). "My forms are built using an amalgam of traditional techniques and methods,"

NOWI

Peter ,S'impson says the artist, "throwing, coiling, slab, A Good Kiln press molding and slip casting. Although the forming methods are traditional, often the firing and subsequent surface treat- Need Not Be ments are not. My porcelain is fully vitri- Expensive Why do the best potters Save up to 37% using a few in the world pleasant hours to fit together one of our easy-to-assemble kiln kits. Fun to do ~ efficient get their supplies from to use. Step by step instructions for assembly and easy Good Earth Clays??? beautiful firing. These Are Kilns Made By Send for our new catalog & find out. People Who Do Ceramics and Clays, moist & dry, I0 moist bodies, raw Know What a Kiln Has To Do. materials, chemicals, tools, kilns, wheels, Commercial Kiln K~t books, pug mills, slab rollers, and lots 24"x24"x27" deep ...... $269.00 more B send $2.00 for catalog, refund- Studio Kiln Kit able on first $20.00 order. Porcglain cotllaitlcr 18"x 18"x 18" deep ...... $137.95 fled at the bisque stage and the glazes are applied by spraying and sandwiching al- Hobby Kiln Kit free to school & institutions, Catalog ternate layers of glazes containing oxides 12"x12"x131/2 " deep ...... $ 89.95 please write on your letterhead. --matured at a slightly lower temperature. The stoneware has porcelain built Send for free brochure. into the structure; in some pieces, added GOOD E~(RTH CL~YS, INC. wet to the fired stoneware and the whole 3054 Southwest Boulevard fired again while still wet. WESTBY that technique is only Kansas City, Missouri 64108 "It seems to me Ceramic Supply & Mfg. Co. important insofar as it helps to achieve A/C 816-561-4437 what one thinks one wants; I would fire ;20 N. 85th St., Seattle, Wash. 98103 Continued on Page 87

October 1977 85 • • Crusader kilns use only Kanthal A-1 elements.., for the longest element life and highest temperatures possible. • • Crusader kilns are the only cone 10 kilns on the market that use an additional space age insulation blanket.., to assure the coolest skin temperature possible and the most economical firing possible. • • Crusader kilns have true drop recessed element grooves ... to eliminate the need for annoying corner pins. • • Crusader kilns feature uniblock tops and bottoms.., to prevent dust sifting and supply added strength in these two critical areas. • • Crusader kilns use stepless infinite control switches ... to allow maximum control of the kilns inner atmosphere and prevent damaging "hot spots." • • Crusader kilns feature an expansion steel top hinge to allow the top to expand with the kiln during firing ... to assure the best possible fit at all temperatures. • • Crusader kilns have the power cord mounted into the front of the switch box . . helps ..... prevent accidents caused by accidentally pushing the cord against the hot kiln surface. i • • Crusader "Therm Armor" kilns carry UL approval and CSA certification.., a further indication of Crusaders commitment to quality and safety. HOPE WE HAVE ANSWERED YOUR QUESTIONS CRUSADER For more information, call or write... Crusa&r Corporation DEALER 937 South Washington Avenue, Holland, Michigan 49423 INQUIRIES Ph. (616) 392-1888 INVITED SUBSIDIARY OF THERMOTRON INDUSTRIES "SIR AMfC"

86 CERAMICS MONTHLY Nearly a Quarter of a Century of Quallty...For Those Who CERAMACTIVITIES Demand the Very BeSt. Continued [rom Page 85 steelworks, slag, or any material into a form if I felt the results could be justified." The following are glaze recipes which ...... • Peter Simpson has developed for oxidation firing in an electric kiln. Glaze I (Cone 6-8) Barium Carbonate ...... 4 parts Bone Ash ...... 2 Whiting ...... 10 Nepheline Syenite ...... 80 Kaolin ...... 10 106 parts Glaze II (Cone 6-8) Barium Carbonate ...... 8 parts P Bone Ash ...... 2 $250.00 F.O.B. Crestllne. Ohio Whiting ...... 13 FEATURES: Nepheline Syenite ...... 75 • 30" x 30" x 5". 14 ga. rust-proofed steel pan • 13" cast iron throwing head. Kaolin ...... 11 • 100 lb. 20" flywheel • Height -- 36" Flint ...... 8 • Trim bar for foot rimming • Con- 117 parts strucfed of IVy" x IV=" x 3/16" angle iron • All seven points of action are Glaze III (Cone 6-8) precision ball bearing • Handsome ham- Barium Carbonate ...... 20~t mer finished pan with black stand • Hip Dolomite ...... 5 -.~-,/ rest (non-adjustable). Nepheline Syenite ...... 55 Kaolin ...... 10 l%. - ..... J. Flint ...... 10 H. B. KLOP,F~.~TEIN & SONS i00c~ Glaze IV (Cone 6-8) Barium Carbonate ...... 6 parts Bone Ash ...... 2 BYRNE'S BEAUTIFUL Dolomite ...... 20 PLASTIC CLAYS Whiting ...... 7 Zinc Oxide ...... 6 MAKE IT SO EASY~ Nepheline Syenite ...... 40 TRY IT AND SEEH [fIE'fiE Kaolin ...... 20 Flint ...... 20 FIDEIIblg 121 parts EVERYTHING Glaze V (Cone 6-8) A POTTER NEEDS Dolomite ...... 24~; Whiting ...... 4 IS AVAILABLE AT Nepheline Syenite ...... 48 BYRNES IN FLANDERS Kaolin ...... 24 100~ Wheels "These glazes . . . will (also) work Kilns equally well in reduction• They are fairly Tools high in alkali; some have magnesia and so the color response with acids is very Slips good, especially in combination. Their fir- TO OUR LI E ing range is fairly wide and should be Glazes soaked well at the top end. The quality Earthenware OF EL/IV and color does of course depend on the type of body, the percentage of metal Stoneware oxide colorants, the hardness of the bis- Porcelain • ° ~ Now ¥~u ~ea Al~e que, and glaze apphcatmn. Raku LEE GRAY Raw Materials I?e| Weslwood ~lsy Tyson Gallery, San Francisco, presented A| Aahowe porcelain sculptural works by Lee Gray, Chemicals & Clays April 4 through 30. The undecorated, wheel-thrown objects were reminiscent of CUSTOM BLENDING electrical gear such as insulators, ray-guns, and rockets. Many forms were inspired by the turned parts of furniture--legs and finials, as well as machine fittings and @ceramicOnkowe supply, inc. valves. The artist's shapes were influenced by the 1920's Art Deco style and a fasci- CERAMIC SUPPLY CO. INC. nation with science-fiction, space ships, 3825 Commercial N.E. 87107 95 Bartley Road, Flanders, N.J. 07836 strange machines, and fantastic cities. (201) 584-7492 Albuq., N.Mex. (5051 345-8421 Continued on Page 89

October 1977 87 The GOODWOOD ~O, , cRS WHEEL BY THE WHEELHOUSE OF ONTARIO

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Micro Switch turns Motor On and Off via foot pedal for quiet operation 1401b. Steel Flywheel

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- This wheel is made in Ontario and built to last in either a studio or school situation. - The top speed of 240 r.p.m, and heavy flywheel enable the wheel to handle large pots with ease. - This wheel has been so successful that we offer an 18 month guarantee on both parts and labour. - The motor is under a separate 12 month guarantee by Emerson Electric of Canada. KILNS BY PV ENTERPRISES OF ONTARIO z - Infinite switches and Pilot Lights for Maximum Control.

- Maximum element weight for long element life even at cone 10. - High Temperature Block Insulation on the lid, floor and sides for energy saving operation.

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-Workmanship and components are guaranteed for one year. THESE PRODUCTS ARE AVAILABLE AT: Tucker's Pottery Supplies Stratford Clay Supply Ltd. 300 ESNA PARK DRIVE, UNIT 23-24, BOX 344, STRATFORD, ONTARIO MARKHAM, ONTARIO L3R 1H3 N 5A 6T3

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88 CERAMICSMONTFILY i ENJOY SINGLE SOURCE SAVINGS

CERAMACTIVITIES on On Continued [rum Page 87 QUALITY POTTERS' SUPPLIES Sculptural pieces displayed the results of techniques with which Lee Gray has always available at experimented, such as pot-within-a-pot .Display forms, pots with double-walled bands, and spheres-within-a-sphere. Creek-Turn Shown at the exhibition were "Water Visit our Fall Light," (left) bisqued to Cone 1, STONEWARE& WHEEL studio showroom and see one of CLAYS Cone 4 - 10 the largest lines of quality equipment and supplies. WHITESTONECLAY Cone 4 - 6 11416 Shelbyville Road Louisville. Kentucky 40243 502-245-1282 WHITESTONE Lee Gra3 with a low-fire clear glaze, 23 inches in CASTINGSLIP height; and (right) "Wonder Woman," clear glaze, approximately 18 inches in Lead-FREE Glazes Creek height. Photos: Tom Wills. TWENTY POTTERS RAW MATERIALS ttery Western New Mexico University hosted a spring invitational exhibition titled "Twen- "Special" Portfolio $1.00. Free to institutions. ty Potters," which featured work entirely by New Mexico artists. Included in the FRITS & GLAZE STAINS show was a porcelain vase, by Jean Bolton Newcornb, Santa Fe. "My Greyhound CERAMIC CHEMICALS WHEN YOU'RE READY for Clays & Glazes TO MAKE AN INVESTMENTIN BATS CONTACT CUSTOM BLENDING of Clays & Glazes

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• BEVELEO~ON FLEXIBLE - NO WARFAGE Kemper Tools • OHAUS Scales WE'VE MOVED TO A LARGER FACILITY INSURING IMMEDIATE Sponges • Brushes • Slip Mixers PROCESSING OF YOUR ORDER

P ~ ! ! Hours: Mon - Sat, 10 - 4 E lean Bolton Neu'comb I T.19 S1,40 S1.65 S1.95 Friends," a wheel-thrown piece with re- Free Literature C 20 44 $1.25 $1 .SO $1,80 A peated geometric patterns and underglaze E 4s~ .....$1.15 S1.40 $1.70 C Phone: (609) 267-1170 landscape with dogs, is approximately 12 S 100, WRITE FOR QUOTE H inches in height. -- ON ANY ORDER OVER 4 BATS WE OFFER FREE SHIPPING Other participating ceramists were Art ON ORDERS LESS THAN 4 ADD 40~ PER BAT. Adair, Liz Anderson, Rick Dillingham, Jim ALSO: every ocder wdt include a copy of Easy Step by Steo Methods for Adhering Bats to Wheelheads. Hill, Fran Hogan, Cecil Howard, Alicia BAT MANUFACTURING Liesendahl, ]enny Lind, Beverly Kurtz Ma- BOX 7275, S/~ DIEGO, CA 92]07 gennis, Richard Masterson, Mary Mikkel- Continued on Page 91

October 1977 89 HOBBY & PROFESSIONAL Precision KILNS

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90 CERAMICS MONTHLY N For Teachers of "~ Studio Pottery CERAMACTIVITIES Continued [rom Page 89 sen, Virginia Mongiello, Caryn Ostrowe, Henry Pope, Allan Walter, Billie Walters, ]oan Weissman, and Carl and Mary ,i x locoor Witkop. 40 black-and- white RIMAS T. VISGIRDA IL~...~:~L photographs Kirkland Gallery of Millikin University, Decatur, Illinois, presented the work of Rimas T. VisGirda, professor of art, April 10 through 29. Included in the show were "An excellent chapter on glazing and firing." -School Arts "An excellent book to lend to students from the teacher's desk." -National Union of Christian Schools. "For beginning potters.., a brief survey of ceramic tools and processes.., casting.., wheel tech- store, inc niques. Decorating and glazing and basic firing procedures." Rima~ 7". Ii~(;i,d:t -Ceramics Monthly. a variety of pieces ranging from functional Largest Clay porcelain and stoneware works to small lamp sculptures. Most of the polychrome STERLING PUBLISHING CO., INC. objects were multi-fired. Shown is "Starry Store in Texas Two Park Avenue, Night Teapot," porcelain, with wax inlaid New York, N.Y. 10016 drawing, and overglaze lusters, approximately 7 inches in height. The ceramist is • Shimpo also known as Captain Ceramics. • Robert Brent NEW YORK INVITATIONAL • Pacifica The works of 11 artists in the fields of LESLIE CERAMICS wood and ceramics were shown at the • Cress gallery of the State University College at Brockport, New York, March 11 through • Olympic SUPPLY CO. April 15. "Wood N.Y.S./Ceramics U.S.A." • Skutt Since 1946 • Kemper Tools • Books i 7~ ¸ • 17 Westwood Clays • Chemicals • Ohaus Scales • Lustres • 06, 5, 10 Glazes • Raku Supplies

Complete Chemicals Write For Info. Raw Materials & EquipmeM 706 Richmond Houston • Texas 77006 Cafalog - $I.00 Tom Rippon Free fo Schools ~ Insfifufions featured ceramists Mark Burns, Tom Rip- I(713)524°3244 pon, Kathryn Kennedy Sharbaugh, Rudy Sta[[el, Liz Stewart, and Paula and Robert 1212 San Pablo Ave. Winokur. Att. Chad j BERKELEY, CA. 94706 According to gallery director Susan (415) 524-7363 Lubowsky, the exhibition "was organized as a means of displaying various ap- ~'~0re for the Star Continued on Page 93

October 1977 91 slow* HOWd~T'CAN YOUR WHEEL TURN?

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13 CONE 5 . 50 glazes

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Dealer Inquiries Invited

* Fast speeds are easy. Control of slow Call or write for information and price list. speeds is more crucial. SOLDNER wheels turn slower than a second hand! ,,'7f'~-'1"4~'..~. ,FO. co. 5894 BLACKWELDER STREET CULVER CITY, CALIF. 90230 (213) 870-6000 D m m m m D | New! MINNESOTA CLAY Catalog II • More pages! | • Packed with clay and pottery technical II information! | • New products! • New kiln installation II information! | • New tools and techniques! | Send $2.00 for your copy. FREE to schools & institutions. m MINNESOTA CLAY 8001 Grand Ave. So. | Bloomington, Mn. 55420 II NAME ADDRESS. | C ITY STATE ZIP SCHOOL AFFILIATION II D m m m n 92 CERAMICS MONTHLY CoEntRinAu~[dA/rCoYmI\;IagTIES [Clay

great diversity in the use of materials,

Imported Rough Cork STOPPERS. These Stoppers are of the highest Representing quality and are available for im- Shimpo Potters Wheels mediate delivery at the present time. Please enclose check with or- Brent Potters Wheels der. We invite you to compare our Randall Potters Wheels prices and quality. Soldner Potters Wheels • Clay Mixer Skutt Potters Wheels • Kilns TOP BOTTOM DIAMETER DIAMETER PRICE Crusader Kilns 1V2" 11/4- $ .10 Cress Kilns 2" 13/4,, $ .lS 2V2" 2" $ .20 Thermolite Gas Kilns 3" 2V:z" $ .30 3V=" 3" $ .35 Olympic Gas Kilns 4" 3V2" $ .SO 4V2" 4" $ .60 Estrin Clay Mixer & Pug Mill St' 41/4,, $ .SS Kemper Tools 51/2'' 43/4" $1.00 6" SV4" $1.30 Ohans Scales Bailey Slab Machine Height of corks varies from 11/2" to 13~" Rudy .~t~1¢i, / Minimum Order $25.00 F.O.B. Chicago tion in some cases for function and in Westwood Clays • Glazes others for pure fantasy." Distributor Inquiries Invited Shown from the exhibition (page 91) is I 40 BeechStreel 342 We~ern Avenue "Wall Plaque with Landscape," handbuilt Port Chester, Brighlon. porcelain with glazes and lusters, 16 inches NewYork ~ Massachusmts 02135 Phoenix Design Ltd. • 914/937-2047 617/7873612 Box 29048, Chicago, IlL 60629 (312) 436-1977 in height, by Tom Rippon, and (above) "Light Gatherer," translucent porcelain with perforations, 8 inches in height, by Rudy Staffel. Photos: Thomas Moore.

DAVID BEST POTTERS' The Northern Arizona University Art " ut,pt.iae " Gallery sponsored a combination workshop SUPPLIES and exhibition by David Best in February SEND THE COUPON BELOW ~1~ A and March. The on- in the Delaware Valley going program was TO US AND -.-~ * ~lr ~ developed to height- A OHAUSscales ~:~~i~01ol~ en interest in exhibi- • tions by first intro- RECEIVE A COMPLIMENTARY R BRENT wheels It' ducing the artist and his work through a 10% C L & L kilns workshop program. ,6 David Best demon- DISCOUNT ON H KEMPERtools ~" "~ strated his handbuilding techniques~ David Best constructing works MARX BRUSHES . KINGSPINturntables over paper armatures with layers of thin T porcelain. Some forms were made in plaster & NORMAN kilns & equipment molds and combined with clay which had KEMPER TOOLS, F STANDARDCERAMIC moist clays FROM ORTONcones L L~ O WALKERJAMAR pug mills ~D]~HARRI$ LINDEN CERAMICS 1772 GENESSEE AVE., COLUMBUS, OH 43211 E Corks, Sponges, [614) 267.5385 R Prepared Lead-Free Glazes POTTERS CARE COUPON Glaze Chemicals & Colorants P .... lai .... Ill been pounded out on an embossed surface. ] I 10% C Fired to Cone 10, the work was enhanced DISCOUNT (~ueen St. & Ivy Hill Rd. by a patina of thin hobby enamels. Shown I Philadelphia, Pa. 19118 HARRIS LINDEN CERAMICS • (215) 247-2010 is a handbuilt porcelain ram with thin, Continued on Page 95 L GOOD TiLL NOV. 30, 1977 .j

October 1977 93 *'ve Industries

Here, at Creative Industries, we have been producing a professional quality potter's wheel for over five years. During this time, our wheel has evolved into one with a level of quality and ruggedness unequalled in the field today. The quality of the components and craftsmanship is consistently superior. Our extraordinarily low prices prove what dealing direct with the manufacturer can mean. Our wheels offer performance superior to all others on the marhet, regardless of price. But, when you do consider price, you begin to understand the total value of our machine. The ~ Medium Power Wheel is powerful enough for centering at least 35 pounds of clay. It's an excellent choice for 90% of all potters. Price: $260.00 plus shipping If you "re one of the 10% who needs more power, the High Power Wheel is for you. Producing I 1/3 horsepower, this wheel is stronger than you are! Price: $360.00 plus shipping Both wheels offer welded steel construction and smooth variable speed control.

For detailed information write: This 125 pound pot was thrown by David Ferrin at Stoneware 'n Stuff in La Mesa, Calif. Creative Industries, P.O. Box 343, La Mesa, Ca. 92041

MAY WE BUILD ONE FOR YOU? Ill SAN FRANCISCO it's WESTERN CERAMICS since 1945 for:

A complete line of Ceramic & Copper Enameling Supplies and Equipment. TWO NEW CATALOGS. = Our Copper Enameling Catalog contains many new items. 40 pages of information and"drawings plus a Color Chart of Enamels. Our 58 page Ceramic Catalog contaTns a complete collection of supplies for the poller, teacher and studio. Illus÷rafed pages on Clays, Brushes, Tools, Kilns, Wheels, ,E,qu]pment and a 4 page Color Chart #2318 ,~a~[Tqn~ #G2327 of WESTERN glazes which are famous for quality, consistency and reliability. Electric and Gas WRITE FOR: Ceramic Catalog No. 80 Enameling 3 Year Guarantee Catalog No. 99 $1.00 EACH. FREE TO SCHOOLS & INSTITUTIONS

~ wr:STERNCERAMICS SUPPLY COMPANY 369 Main St., Ramona, Ca 92065 1601 HOWARD Phone (714) 789-3310 ST. SAN FRANCISCO, CALIF. 94103

94 CERAMICS MONTHLY BE CREATIVE Sag Glass into plates m bowls m vases in your own kiln. Molds & CERAMACTIVITIES colors in our instructive catalog, Continued [rom Page 93 only $1.00. Series of 12 "Classes by embossed slab, approximately 12 inches in Mail" at $2.00 each, plus 25c post- length• For further sculpture by this artist, age. Free cuffing glass clinic with see "The Horse as Clay," in the March series of 12. 1976 CERAMmS MO~ITHLV. BLUEBIRD CLAY MIXER STEPHEN DE STAEBLER BLUE GRASS ART & HOBBY CENTER In an exhibition which included 7- to Box 206M m Blue Grass, Iowa 52726 8-foot "monoliths" reminiscent of ancient Egyptian ruins, the James Willis Gallery, San Francisco, recently presented the KRAFT KORNER INC. KRAFT KORNER V-- "Arist0ct,dt of Crafts" It K New Catalocjuu $2.00 10% discount with first $10 order or more No charge for schools & InstH~ions Specialists in Supplies for Enameling, Leaded Glass, Decoupage, Tale Painting, Silver Smithing. STAINLESSSTEF] ~ School d/scounts given MODEL ~ILABLE Marge Wennerstrom Phone: 5864 Mayfield Road, Cleveland, Ohio 44124 442-1020 FOR FREE INFORMATION WRITE OR CALL: BLUEBIRD MANUFACTURING KICK WHEELs]3o ,15 .rn,n,. 100 GREGORY ROAD Aluminum wheel head, indusfrlal bearings, and a sturdy wood frame make this whee# a per- FORT COLLINS, CO 80521 feet choice. 303/484-3243 Kit form S45. WALSH MANUFACTURING 1984 County Road C-2, St. Paul, MN SSl13 (612) 636-5557 NOW Sold;nly National Distributor ~,,.~l..J LJ ~ Authorized FOR Dealers 1147 E. Elm I W. P. DAWSON, INC. Fullerton. Calif. 92631

Potters' Supplies for 2S Years Write for catalog SPENCER POTTERY StelJhen dc ,S'ta~ bl~ , THE LARGEST SELECTION Dept. CM, S021 S. 144, Seaffle, Wn. 98168 unglazed ceramic sculptures of Stephen OF CERAMIC DECALS AVAILABLE de Staebler. The crumbling remains of human figures were occasionally colored Joy Reid Catalog ...... $2.00 with pastel shades on sometimes bloated, Duncan Catalog ...... $1.50 Gare is dressed to kiln sliced clay surfaces. Shown from the ex- • . . in stainless steel jackets and a 2-year fac- hibition is "Standing Man and Woman," CeramiCorner Decal Catalog...$2.00 tory warranty on electrical components. Check stoneware, 96 inches in height. Gate's net prices before you make your next kiln Glass Decal Catalog ...... $ .50 purchase and make a killing. COLEMAN/ZAMETKIN plus 25¢ ea. Postage Gate Ceramic Supply Co., Inc. P.O. Box 830, Haverhill, Mass. 01830 The April exhibition at the Contempo- rary Crafts Association, Portland Ore- gon, included the work of ceramist Tom Coleman. Porcelain and stoneware cov- AEGEAN SPONGE CO. ered jars, vases, platters, tea sets, bottles, Imports from Greece• Silks, Elephant Joy Re/d and bowls--many decorated with abstract Ears, Wools & Synthetic (Fine-Pore) Sponges m Write for Price List brush designs of metal oxides--were shown including (page 97) a porcelain teapot, 12 CeramicStudio Imported Original Watermount Decals NEW COLOR DECAL CATALOG S2.50 inches in height. P.O. Box 5367 Cataloq & Sample Assortment $5.00 The work of Michael and Lorna Zamet- 2016 N. Telegraph (US-24) 4459 West 56 St., Cleveland, Ohio 44144 • Dearborn, Mich 48128 • Phone LO 1.0n9 Continued on Page 97 • ...... • ......

October 1977 95 Robbins Clay no! only supplies individuals and institutions with a wide range of ceramic materials and services, but also is a place for students and professionals to learn, create, work. and sell. There are 18 private studios, an open workshop, classroom, and a gallery in our Lill Street Warehouse. We mix over 25 clay bodies (including our famous imported porcelain) We sell equipment by: • Brent oConwav °L&L "Ohaus oShimpo "Cress ,,Evenheat "Kemper Write for our new free catalog w~th our .~urpnsmgl!: low prices Robbins Clay 1021 W. Lill Chicago 60614 (312)477-0701 J Glazing Without a Gram Scale by Verni Greenfield. Scale This concise and readable text is useful to all ceramic students. It explains how to convert glaze calculations from weight measurements to WE HAVE EVERYTHING i volume measurements. This book is the answer for the educator who is A POTTER NEEDS C r e eld introducing glaze theory or who does .... not have enough gram scales available for his students. • The most complete ceramic chemical inventory in 36 pages, $2.99 the Southeast at competitive prices. Ship. Wt. 1/2 lb. • A large selection of moist and dry clay bodies. OTHER TITLES FROM KERAMOS BOOKS Syllabus for Beginning Pottery, F. Carlton Ball. • Corks-rough and smooth, teapot handles, spigots. 76 Pgs. Ship Wt. 1 lb. • Studio furniture--cabinets, carts, tables--Obaus Syllabus for Advanced Ceramics, F. Carlton Ball. scales, Kemper tools, reference 68 Pgs. Ship Wt. 1 lb. books, brushes. The Kiln Book, Frederick L. Olsen. 146Pgs. ShipWt. 21bs. • Orton cones, kiln shelves and posts. Gas Kiln Firing, RalphW. Richie. 81 Pgs. ShipWt. 1½1bs. • Wheels by Shimpo-West, Robert Brent, Skutt, ORDER FORM Spinning Tiger, Amaco and Pacifica. copies of Syllabus for Beginning Pottery $4.00 • Electric kilns by Skutt, Cress, Paragon, Norman, __ copies of Syllabus for Advanced Ceramics $3.95 Olympic, Crusader, and Amaco. __ copies of The Kiln Book $8.95 • California gas kilns, Walker pug mills, and Soldner __ copies of Gas Kiln Firing $5.95 mixers. __ copies of Glazing Without a Gram Scale $2.99 • Complete line of Amaco glazes. Name • Suppliers to schools, institutions and studio potters. Address Let us bid your school needs. City State Zip_ Catalog Available Please include appropriate postage: United States: .25 for the first I lb. and .10 for each BankAmericard -- Master Charge additional I lb. Foreign: .30 for the first I lb. and .21 for each additional BENNETT POTTERY SUPPLY, INC. 2 Ibs. (United States Currency) 707 Nicolet Avenue 7201 S. W. 48th Street Please allow 2 to 3 weeks for delivery. Winter Park, Fla. 32789 Miami, Fla. 33155 Enclosed is a check/money order for U.S. $ 305/644-0078 305/667-4 791 (Telephone orders accepted with approved credit.) For further information contact Keramos Books.

96 CERAMICS MONTHLY THE ONLY COMPLETE BOOK ON AIRBRUSHING FOR CERAMICS The Art of Airbrushing CERAMACTIVITIES for Ceramics & Crafts Continued [rom Page 95 by G. Maynard Clark kin was presented in May, displaying col- orful brush decorations on bowls, jars, It instructs with step-by-step pitchers, and plates. The Zametkins, who live on the Columbia River in Oregon, illustrations, and completely takes the guesswork out of airbrush use, control BLUEBIRD PROFESSIONAL and appfication. Recommended by PUGMILL ...... ~ leacJinq • T ~h ~cturers 1,1

The0 Zarnetkins Tom Coleman feel their work is influenced by the art of the coastal Indian tribes. The artists paint raw oxides on the unfired glaze to unctuoe z,5¢ postage and handling per create their simple designs, and then re- book. California residents also add 6% sates tax ) duction fire to Cone 9. Shown (left) is a stoneware platter, 16 inches in diameter. STAINLESS STEEL PflTI,LICK ADAIR/WOLF A~ILABLE PUBhlCiITIDNS The March exhibition at Qua 2 Ceramics Gallery, San Francisco, featured the work FOR FREE INFORMATION Box 48643 • Los Angeles, Ca 90048 of Ann Adair, and included her animal WRITE OR CALL: cups and pots, as well as simple bowls and splattered glazes. The BLUEBIRD MANUFACTURING plates with abstract 100 GREGORY ROAD ceramist incorporated images of alligators, FORT COLLINS, CO 80521 Elements for ANY kiln 303/484-3243 Kiln parts IMMEDIATE DELIVERY Kiln controls -- new -- parts ~ repairs Kerosene Oil Kiln brick with element grooves or plain Pyrometers and Thermocouples LAMP BURNERS New kilns -- Dyna and Econo-Kilns Wholesale Prices Oil lamps are beautiful, useful and much in demand by the public. Make your own CLASSROOM ARTS lamp bases and attach our burner, easily! P.O. Box 384A, Chagrin Falls, Ohio 44022 COMPLETE INSTRUCTIONS INCLUDED {216) $43-8251 SATISFACTION GUARANTEED • Includes burner, I0" wick and glue- down collar. Brass Finish. • This is a heavy duty high quality 12"Aluminum WheelHeads burner as good as they make and $23.50 Ppcl. .Inn Adair it's a lot cheaper than the others. Calif. residents add 6% salestax Send Checkor MoneyOrder to: elephants, and dogs in work exemplified by CAMPBELL PACIFIC a raku pot, 10 inches in height (above). The April exhibition displayed porcelain P.O. Box 643. San Jose. CA 95106 works by Susan Wolf. Included in the show were cups, tea sets, and a carafe

Gas kilns buy WRAP PRICES: $9.00 per dozen plus $1.50 east of the Rockies, Alaska, Hawaii or $1.30 west of the Rockies for the first dozen and .50 east of the Rockies or .35 west of the Rockies shipping for each additional dozen. 5 dozen $40.50 plus $2.70 shipping west of the Rockies or $3.60 east of the Rockies, Alaska, Hawaii. Calif. add 6% Tax. Send 13c stamp for complete Susan Woll brochure and large lot prices. zn conjunction with "landscape saucers." Rt. I, Box 62, Sperryville. Vo. 22740 / (703) 987-8625 Small scale and delicate pieces were hand- HEARTSTONEPOTTERY Continued on Page 99 (Dept. 10-7), Star Rt., Whitethorn, CA 95489

October 1977 97 rov,n cera m i c 6912dearborn, schaeferm148126 rd ~ ~LL~. / ~.~.N \ CATALOGUE ONLY'I O0 STILL ~E~T "~~~ tiNY WIlY YOU SPEbb IT ft. R.T. Hi.fiNS DISCOUNTS C,~I x~" OF UP TO 40Z OW blST --POTTERY SUPPLY SPECIALISTS Processors, dtstrtbutors, dealers [or: --MOST COMPLETE LINE OF CHEMI- • A.R.T. moist clays CALS • VYestu ood cla 3 and glazes--06-10 & RAW MATERIALS IN N.E. • Brent, 3btmpo, Max. Pacifica, Dinack -( ~LARGE LINE OF POTTERY EQUIPMENT ( • Cress, L & L. Estrin, It'~estuood, Skutt & ACCESSORIES • Kemper, O'Haus, Kingspin, Jiffy, Orton • Corkt. handles, sponges, books, beads, ~SEVEN STANDARD MOIST CLAYS IN jute, bells, lustres, re[factories. STOCK "Discount polio. We [eel that increased sales justify disc6unts. For tu o years we ~CUSTOM MIXING TO YOUR FORMULA haz, e discounted successfull)--hoth ue and r,ur customers hare pro~ted--as it should be. There are no catches, no hidden costs, no other requirements and all ~FREE CATALOG UPON REQUEST uarranties are alu ass honored. An example o[ some of our disc~,unts are--for $60.00 )ou can purchase $I00.00 uorth of nationall) knoun tools exdudiag tax and postage. On most uheels we can saz~e )ou around $40-50.00. IX~e are a medium sized company deali,g uith schools, institutiont, and studio N.E. CERAMIC& potters. IX'e are happy to provide quotatwnt on bona ~de bids. We a,e happy to CUTTER welcome customers to our thou rooms where items are displa)ed for demonstration. CERAMICS KILN SUPPLYDIV We publish an 88 page catalogue/price list uhicb ue sell [or $2.00 or offer ]tee uitb orders o] $25.00. Samples o/our cla)s are at'ailable P.O. Box 15 I Lee Mac & Shelter upon request. 47 Athletic Field Rd. Rock Rd. Waltham, MA 02154 Danbury, CT 06810 fl.K.T. Sludio, 921 Oaklon 1-617-891 - 1200 1-203-743-3404 filk Grove, IlL 60007

98 CERAMICS MONTHLY & CERAMACTIVITIES Continued [rom Page 97 built from thin sheets of porcelain, and decorated with underglazes~ glazes, and

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~UPPLYING Snail Shell Goblets lusters fired to a range of temperatures. CANADA Shown, on page 97, is "Mermaid Cordial," • A COMPLETE. LINEOF approximately 4 inches in height, and above, "Snail Shell Goblets," 13 inches POT TERY E©U IPM ENT in height. AND SU PPLI F__.S SEND $1 "-° FOR CATALOG' o~ THE ELEMENTS PICK,, "~ME UP - '~..E.E- The Elements Gallery of Contemporary MAKE SCREW-ON LIDS AND L~T~T~JTICNS) hosted an (FI~E.~. "TO ~C~Cc~% Cra[ts, Greenwich, Connecticut, AND STOPPE~ exhibition of tankards, teapots, punch bowls, goblets, and cups, through July 9. e~ 555 0 B =~E ~ =E~T FOR FREE INFORMATION ~M~NN|PEG, IV~AN. ~L 21~ WRITE OR CALL: BLUEBIRD MANUFACTURING 100 GREGORY ROAD FORT COLLINS, CO 80521 WEBCO 303/484-3243 SUPPLY CO. INC. DISTRIBUTORS FOR Alpine m Amaca m Bluebird Brent ~ Cress ~ Lockerbie Max ~ Randall ~ Soldner Shlmpo West D Walker ]ames Rothrock SILICON CARBIDE SHELVES Drink To It," the national CLAY POSTS 13/4" TRI. Titled "Let's FOR IMMEDIATE DELIVERY. invitational exhibition displayed the work NOW AVAILABLE The of 40 glass, metal, and ceramics artists. NEW 1978 CATALOG For Free Price List Write: diverse show included the porcelain of P.O. Box 6054, Tyler, Texas 75711 James Rothrock, who contributed mugs, • RAW MATERIALS 214/595-3426 oxide wash design, approx- with linear and • BLENDED '& BASIC CLAYS imately 4~2 inches in height, above. • FRITS AND GLAZE STAINS JEFF OESTREICH POTTERS' WHEELS • LEAD FREE CERAMIC GLAZES We stock and sell the lead]ncj potters' wheels The Art Lending Gallery, Minneapolis, --LOCKERBIE, ROBERT BRENT, OSCAR PAUL presented the works of ceramist ]eli Oest- • SPONGES, HANDLES & BRUSHES SHIMPO-WEST, SPINNING TIGER--wheels to fit every need and budqet. Send large stamp- reich, through May 7. The artist, a former ed addressed envelope for brochures. apprentice of the Leach Pottery, displayed • MOROCCAN SAND GLAZES CAPITAl. CERAMICS, INC. stoneware and 2174 South Main St. (801) 466-6471 more than 100 functional • KEMPER TOOLS Salt Lake City, Utah 84115 466-6420 • OHAUS SCALES • CORKS 11h ''" 6" • KILN ACCESSORIES • OSCAR PAUL & SKUTT WHEELS Creators and manufacturers of a full • LOCKERBIE KICK WHEELS line of distinctive clays/slips for award- WHEELS winning artisans, potters, ceramists, hob- • SHIMPO byists, schools/institutions since 1952. Complete 60 Page Catalog

plSTRIBUTORS OF ~!~i~/,/~ ~ "Try us for those hard-to-find items." WESTWOOD & AMACO CLAYS Jell Oestrelch CRUSADER KILNS porcelain pieces including sets of plates, CATALOG $I.00 WHEELS POTTERS bowls, platters, and pitchers. Many of the (Free To Schools & Institutions) Literature oat request pieces were enhanced with brushed pat- 301 S. Salado. San Antonio, Texas 78207 terns, inlay, impressed decoration, or Continued on Page 101

October 1977 99 THE IMCO VARIETY OF COLORS IN FORMULATEDCLAYS ARE UNSURPASSED BY ANYTHING AVAILABLE

OUTSTANDING WORKABILITY, SUPERIOR DRYING TO PROVIDE THE OPTIMUM IN QUALITY OF FIRED CHARACTERISTICS, AND CONE RANGES TO MEET OBJECTS. RECOGNIZED AS THE STANDARD FOR THE MOST DISCRIMINATING POTTER ARE FUNDA- FORMULATED CLAY BODIES BY MANY SCHOOLS, MENTAL ELEMENTS OF OUR CLAYS. OUR CLAYS COLLEGES AND PROFESSIONAL POTTERS. FIRE TO WHITE, LIGHT BUFF, OR TO A RICH RED BROWN WITH IRON SPECKING. IMCO CLAYS EN- ASK YOUR NEAREST IMCO DISTRIBUTOR OR COMPASS EARTHENWARE, STONEWARE AND THE DEALER FOR THE FULL COLOR DATA SHEETS AND LATEST DEVELOPMENT OF PORCELAIN BODIES. PRICE LISTS ON IMCO CLAY BODIES AND CERAMIC ALL POSSESS GOOD THERMAL SHOCK RESISTANCE CHEMICALS. OR WRITE US. P.S. EXCLUSIVE DISTRIBUTORSHIPS AVAILABLE IN SELECTED AREAS. INDUSTRIAL MINERALS CO.

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100 CERAMICS ~[ONTHLY CERAMACTIVITIES traveled to other Alberta cities: Medicine mI Ilia Continued [rom Page 99 Hat, Edberg, and Edmonton. -jtl poured glazes. Some wheel-thrown plates were altered by cutting the edges to create MICHI6AN POTTERS lit ,f lt Michigan Potter's Association hosted an square or octagonal shapes. Shown from exhibition at the Pewabic Pottery, Detroit, the exhihition is a faceted stoneware bowl thr°ugh May 21" Fr°m °ver 200 entrles' I O I juror Bonnie SEa[Eel selected 116 objects. OHIO CERAMIC SUPPLY I ~ P" O. BOX 630 I | ~" KENT, OHIO 44240 I

r t( MEDUSA PoI"rERY .... (SUPPtY) o st clay & raw materials Plus- BRENT wheel & slab rollers {products) CRUSADER electric kilns RANDALL wheels & mixers Dinner plate MEDUSA wedging tables WALKER pug mills (page 99), with a wood ash glaze and JIFFY mixers poured wax-resist design, ten inches in ORTON cones diameter; and (above) a porcelain dinner Stephen Zowojski Jl plate, with wax-resist brushwork and tem- 608 lafayette avenue moku glaze, 11 inches in diameter. grand haven, michigan 4941 7 1 Elizabeth Lurie ANNE CEMBALEST The diverse show ran concurrently with Incorporated Gallery, New York City, an unjuried members' sale in the "Loft." recently presented the ceramic works of Contributing artists included Susanne Ste- Anne Cembalest in an exhibition, titled phenson, Best-of-Show winner, and El&a- i THIIUIORLD U "Trompe L'oeil." Included in the show beth Lurie, who received an Honorable ' GOIflGTO POT. Mention for her porcelain pendant in an electroformed, goldplated setting.

MICHAEL PRATT Contemporary Cra/ts Gallery, Portland, recently displayed the ceramic works of Oregon artist-craftsman Michael Pratt. In- PO1TERY 8. SUPPLY 802 Mtaml Circle NE Atlanta Ga i d r 404,231 2150 30324 I

Anne Cembalest were realistic clay vegetables arranged in EVERYTHING equally convincing burlap bags and bas- FOR THE POTTERs kets. The sculptures are once-fired terra CLAYS-CHEMICALS-DRY GLAZES cotta (earthenware), painted with acrylics. KILNS-ALPINE, SKUTT, PARAGON Shown is an untitled work with mushrooms CRUSADER & THERMOLITE and artichokes, 12 inches in width. WHEELS-BRENT, RANDALL, SKUTT LOCKERBIE, MARK IV, SHIMPO CREATIVE CUPS PUGMILLS-MIXERS-KEMPER TOOLS The Bowman Art Gallery, Lethbridge, • • • Much, Much More Alberta, hosted a "Creative Cup Show," Catalog $1. Free to Institutioas arranged by the Al- berta Potters Asso- L & R specialties ciation, March 9 202 E. ME. Vernon, P.O. Box 309 through 30. Ceram- Nixa, Mo. 6S714 (417) 725-2606 ists were invited to enter works in 12 different categories Michael Pratt which included "real cluded in the exhibition were stoneware FRANCOISE CERAMICS, INC. Thomas Crossman DISTRIBUTOR FOR: Hanavla Lusters & precious cupacity," Emily platters and jars with patterns created by metals, Paracjon Kilns, Duncan Ceramic Products. Post, Coffee, Political, and Romantic. Some black oxide spray over stencils, and bnlsh IN STOCK: Large selection of Alberta • Arnel • Atlantic • FrescO-Lone • Holland • Jamar- entries were aimed at the coffee shortage. strokes. "The pots are conceived with the Mallory • Kentucky • Kimple • Ludwig-Schmid Shown from the exhibition is a ceremonial design in mind," says the artist, (and) • Weaver & White Horse Molds • Slip-O-Matte representative. Complete ceramic supphes. coffee cup, "Morning Glory," by Thomas "determine the perimeters within which WHOLESALE AND RETAIL Crossman, Schuler, Alberta. The show Continued on Page 103 I]3 49th St. South St. Petersburg, Fla. 33707

October 1977 101 Recommended books on ceramics aooK ! Order Any of These Select DEPAR~NT 1 Titles on Our Money-Back Guarantee.

THE RESTORER'S HANDBOOK OF KERAMOS SELLING YOUR CRAFTS THE WORLD OF JAPANESE CERAMICS CERAMICS AND GLASS by Franz Kriwanek. All of the basic areas of by Norbert N. Nelson. This book leads you by Herbert Sanders. This handsome book illus- by Jean-Michel Andre. An excellent guide for ceramic work are covered in this revised edi- through the actual stages necessaryto sell suc- trates the forming and decorating processes those wishingto repair broken pots. Cleaning tion. The examples of pottery are impressive. cessfully what you produce. Covers such di- and the unique tools used by the potters of fractures, gluing pieces together, retouching, There is a refreshing treatmentof subject matter verse channels of sales as wholesale, retail, mail Japan. Includes American equivalents of and reconstructing missingpieces are described that makes the book unique. $5,50 order and specialty markets. $3.95 Japanese glaze compositions. $17.50 in detail $20.00 CERAMIC DESIGN THE KILN BOOK GLAZES FOR SPECIAL EFFECTS MAKING POTTERY WITHOUT A WHEEL by John B. Kenny. Complete instructions for by Frederick L. Olsen. Covers in detail both by Herbert Sanders. Covers the theory and by F. Carlton Ball and Janice Lovoos. This methods of forming and decorating ware are the technical and aesthetic aspectsof kiln con- production of crystals in glazes, the technique richly illustrated book covers every phase of given, with step-by-step photos to guide the struction and firing. Easyto follow and informa- of copper reduction glazes, the accumulation handbuilding and decorating clay pieces. No designer along the way. $9.95 tively illustrated. Paperback. $8.95 and use of ash for wood and plant ash glazes, and embellishments such as luster and under- book covers the subject of texture and form so CERAMIC GLAZES effectively. It is a book every teacher should glaze decoration. $14.95 by Cuilen W. Parmelee. A carefully revised have. $15.95 POTTERY DECORATION edition of one of the standard textson glazes. It FINDING ONE'S WAY WITH CLAY is a comprehensive study of every aspect of the by Thomas Shafer. Focusing exclusively on by Paulus Berensohn. This unique book offers subject with clear, concise explanations.An es- the decorative aspects of pottery, this helpful a new approach to making pots. It is a clear, sential reference. $18.50 text presents descriptive and explanatory inter- pretation of materials, tools, and techniques readable, and definitive book on making pots PENLAND BOOK OF POTTERY using the pinch method. $9.95 used to embellish clay. $15.95 Nine master potters of The Peuland School of PIONEER POTTERY Crafts demonstrate their methods of working by Michel Cardew. The main purpose of this with clay and include glaze formulas, sources of book is to help craftsmen who want to make CERAMIC SCIENCE FOR THE POI"TER supply, etc. $12.95 pottery using natural materialswithout depend- by W. G. Lawrence. The best source for in- SHOJI HAMADA, A POTTER'S WAY ing on customary sources of supply. Covers formation on producing fiameware and oven- AND WORK clays, glazes, kilns, $15.00 ware, complete with body and glaze formulas. A technical volume written for those having by Susan Peterson. Contains a wealth of detail limited science background. $10.95 about Hamada's forming, glazing, and firing techniques and includes a very useful glossary- A POTTER'S BOOK inde~ A great gift. $15.95 by Bernard Leach. Now in its eighteenth CLAY AND GLAZES FOR THE POTTER American edition, this book should be in the by Daniel Rhodes. This revised edition covers library of every potter. $15.00 all the fundamentals of clays and glazes. An CERAMICS HAMADA, POTTER important reference source. $12.50 by the editors of Sunset magazine. An excel- by Bernard Leach. This well-crafted volume lent text for beginners and those teaching be- KILNS: DESIGN, CONSTRUCTION & ginners. Well-planned projects carry the reader contains 80 biographical photos and an OPERATION impressive section of 40 full-page color photos through basic handbuilding and throwing tech- of ware, a selection of ware in black and white, by Daniel Rhodes. Everything you need to niques using a minimum of tools. $2.45 know about kilns -- setting up, firing,types -- is and six pages of sketches. $50.00 SALT-GLAZED CERAMICS THE POTTER'S COMPLETE BOOK OF de.scribed and demonstrated. $I0.00 CLAY AND GLAZES THE POTTER'S CHALLENGE by Jack Troy. This is the first book on the technique of sah glazing. Technical information by James Chappell. This cross referenced by Bernard Leach. This text contains an deals with clays and slips, glazing, handbook contains 1.500 clay-body and glaze analysis of a pot and the hallmarks of sound and special design. There salt kiln. Also discussed are sodium-bearing formulas, with instructions for is also an evaluative essay on mixing, applica- substitutes for salt. $17.95 tion. and firing. Glazes covered include stoneware by historical and contemporary potters, including Leach's ware. earthenware, single-fire, wide-firing- own work. $10.00 GETTING INTO POTS range, porcelain, slip, salt and vapor glazing~ NEW CERAMICS by George and Nancy Wettlaufer. A personal, and cup and spoon measure glazes. $25.00 by Eileen Lewenstein and Emmanuel Coop- direct style and awareness of "real life" prob- CERAMIC FORMULAS: er. This unique volume offers the potter a lems and solutions illuminate this appealing THE COMPLETE COMPENDIUM comprehensive survey of current trends in and very practical basic pottery book. $4.95 byJohnW. Conrad. Thisveryusefultextcon- studio porte W the world over. There are 240 TIlE CRAFTSMAN'S SURVIVAL illustrations tains over 700 tested formulas for day bodies -- 16 in full color. $22.50 MANUAL and glazes in all firing ranges. Features special PRE-COLUMBIAN DESIGNS FROM by George and Nancy Wettlaufer. This man- coded color charts. $10.95 PANAMA ual is directed to those potters who wish to by Samuel K. Lothrop. A compilation of de- STONEWARE AND PORCELAIN make a full or part-lime living from their craft. signs and motifs represented on pottery speci- by Danie] Rhodes. Describes techniques and Contains practical business and marketing in- We Pay Postage mens unearthed in central Panama. $3.50 materials used in high-fire pottery. Includes sac- formation. $3.45 lions on clay bodies, glazes, colors, textures and THE INVISIBLE CORE DESIGN MOTIFS OF ANCIENT MEXICO CERAMICS decoration. $7.50 A POTTER'S LIFE AND THOUGHTS by by Glenn C. Nelson. A complete studio hand- Jorge Enciso. A compilation of 766 exam- RAKU: ART & TECHNIQUE by Marguerite Wildenhain. A very readable pies divided into geometric, natural and artifi- book forthe potter, Properties, preparation and forming by Hal Rieggnr. The first complete hook on book in which the author offers her philosophy cial forms. Includes designs based on flowers. of clay are covered, along with infor- Raku. Covers clay and glaze preparation, kiln and strong opinions about art and artists, art birds, fish. etc. 170 pages. $2.50 mation on decorating, glazing, and firing. $14.95 building and firing techniques. $15.95 education, and nature. $12.95 ILLUSTRATED DICTIONARY OF PRACTICAL POTTERY [] Hornung~Designs $2.75 [] Penland Book--S12.95 by Robert Fournier. This work is exhaustive in [] Kenny---Complete Book $15.00 [] Peterson~hoji Hamada $15.95 scope and detail. There are nearly 1200 en~es [] Kermy~esign $9.95 [] Rhodes~lay & Glazes $12.50 and over 450 illustrations. $14.95 [] Faqwanek--Keramos $5.50 [] Rhodes--Kilns $10.00 STEP-BY-STEP CERAMICS Box 12448, Columbus, Ohio 43212 [] Lawrence--Science $10.95 [] Rhodes--Stoneware $7.50 [] Leach--Potter's Book $15.00 [] Riegger--Raku $15.95 by Jolyon Hofsted. A complete introduction [] Andre--Restorer's Handbook $20 00 to [] Sanders~apanese $17.50 ceramics! There are special sections [] BalI--Potte W $15.95 [] Leach--Hamada $50.00 on the Pot- [] Sanders--Special Effects $14.95 ter's Wheel, Glazing. Firing a Kiln, Building [] Berensohn~Findthg $9.95 [] Leach--Challenge $10.00 [] Lewensteth--Ceramics $22.50 [] Sharer--Decoration $15.95 Your Own Kiln. and Raku. $2.95 [] Cardew--Pioneer $15.00 [] Chappen---Clay & Glazes $25.00 [] Lothrop---Pre-Columhian $3.50 [] Sunset editors--Cetamics $2.45 HANDBOOK OF DESIGNS AND [] Conrad--Formulas $10.95 [] Nelson~eramics $14.95 [] Troy--Salt-Glazed $17.95 DEVICES [] Enciso--Design Motifs $2.50 [] Nelson--Selling Crafts $3.95 [] Wettlaufer--lnto Pots $4.95 [] by Clarence Homung. Over 1800sketches of [] Foumier--Dictionary $14.95 [] Olsen--Kiln Book $8.95 Werdaufer--Survival $3.45 basic designs and variations including thecircle, [] Hofsted--Step by Step $2.95 [] Parrnelee--Glazes $18.50 [] Wildenhain--invisible $12.95 line, scroll, fret, shield, snow crystalsand many ! enclose [] Check more useful symbols. $2.75 [] Money Order COMPLETE BOOK OF POTTERY NAME MAKING '/! r,'.!:!~'nt-~ ~:!:i 4" qalcs Tax) by John B. Kenny. This is a revised and up- ADDRESS Apt. # dated edition of..John Kenny's original version which has been a standard text in the ceramic CITY STATE ZIP art field for over two decades. $15.00

102 CERAMICS MONTHLY 9 different ~O Catalog

CERAMACTIVITIES ware forms, especially designed for this bodies Continued [tom Page 10l exhibition. Ranging in height from 20 to 28 inches, the thrown and extruded objects the design can function." Shown (page were made from an off-white stoneware 101) is the artist working with rectangular body, and salt-glazed to Cone 8-9. Shown \ "'~ tt}~u / paper forms for use as a stencil pattern. is one of the vessels with stamped and incised design, 26 inches in height. RAW MATERIALS DEALER DISTRIBUTOR INQUIRIES WELCOME SUSANNE STEPHENSON DELTA CLAY CO. A one-man show of ceramics by Susanne 5272 Hwy 42, Ellenwood, GA 30049 Stephenson, Ann Arbor, was on display at (404) 366.800S the Gallery o[ Midland Center [or the :lrt~. Midland, Michigan, from February 1

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BLOODWORTH / HAL SEY The spring exhib;tion at the Cra[tsman's Gallery, Scarsdale, New York, titled "Five American Craft Artists," included porte-

the bottoms of your fired stoneware smooth - right on your wheel Susa n tl ,: ,% t e p It ," Iz S. tl head. Works great for grinding through 24. Among the more than 30 glaze drips too. objects exhibited was a handbuilt, unglazed porcelain form, 25 inches in height (shown), with bird pattern in blue and For detailed information write: black slip. The one-man show ran con- Creative Industries C~ currently with the 18th Annual Mid- P.O. Box 343 Michigan juried exhibition. La Mesa, Ca. 92041 KEN VAVREK Rosen/eld Gallery, Philadelphia, presented the work of Ken Vavrek, through March 15. Titled "Terra Firma," the exhibition included raku landscape forms in- L • L KILNS • . . the most complete line! The only kilns with patented DYNA-GLOW element holders. Write for information. L and L MANUFACTURING CO., Box 348 144 Conchestor Rd., Twin Oaks, Pa. 19104

Ken Vavrek spired by a trip through Utah and the western United States. Ken Vavrek states, "The quality of the raw land expresses David Ashb'y ttals,'3 directly the forces of time. Man's presence lain wall mirrors, lidded boxes, and bowls is barely recorded." Shown is "Sentry," by Sharon Bloodworth. raku fired, coil and slab-built form, ap- David Ashley Halsey displayed "Ghost proximately 15 inches in height, with Series," a group of 24 salt-glazed stone- glazed and vitrified slips.

October 1977 103 :! !!ii: •

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Library ROBERT BRENT Binders CRUSADER L&L ECONOMILN CRESS Designed especially for Ceramics Monthly, these handsome binders hold a year's supply (10 issues) of the magazine. Steel PARAGON blades hold each issue firmly in place -- new issues are quickly and easily inserted. These durable casebound binders are black with STANDARD=S CLAY BODIES Ceramics Monthly stamped in gold on the cover and backbone for immediate identification. Your binder will provide a convenient MOROCCAN SAND GLAZES way of keeping your copies of CM orderly and easily accessible. Order today for only $5.95 each, postpaid. and MUCH, MUCH MORE FOR LESS $ : CERAMICSMONTHLY

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104 CERAMICSMONTHLY NEW BOOKS

THE CERAMIC REVIEW BOOK the emphasis of the book is on general ~G~l~?'#4t Distributors of: OF GLAZE RECIPES principles for the design and alteration of Edited by Eileen Lewenstein electric kilns. and Emmanuel Cooper Oriented toward the British potter, dif- ~" ~, ~ SKUTT,WALRUS, This is the first in a proposed series ferences in definition and vocabulary be- ~II1~11~ ~, ~ SPINNING TIGER of handbooks by the editors of Britain's tween the United States and the United Ceramic Review magazine. Approximately Kingdom are indicated throughout. 144 I00 batch recipes from 30 studio potters pages. 52 black-and-white photographs. 100 '~-~_~_~ CRUSADER, L&L, were contributed for use in oxidation and diagrams, graphs, and tables. $10.95. Van AIM, AND SKUTT KILNS • ALSO reduction with earthenware, stoneware, Nostrand Reinhold, 450 W. 33rd Street, Leclerc looms, Kemper tools, clays, porcelain, and raku; lusters and Egyptian New York, N.Y. 10001. paste bodies are also presented. Each potter potter, sculptor & weaving equipment, teapot handles, cork, spigots etc.. comments briefly on preparation, applica- TERRACOTTA tion, firing conditions, glaze variations, and The Technique of Fired Clay Sculpture • Send for new 88 pg.catalog $150 • visual results. Materials are listed in parts by Margit Malmstrom 3ALVIN PLACE UPPER I~K)NICLMR. N 1. 02043 or percentages, and a conversion table re- For both the novice and more experienced lates centigrade and Fahrenheit degrees to artist, this book discusses and illustrates Orton, Seger, and Staffordshire cone rat- the uses of terra cotta--literally "baked Reinfroducfory Special ings. While a few recipes contain com- earth"--as a sculptural medium. The text pounds not easily accessible within the (this month only) is illustrated by the works of Bruno Luc- United States, most of the glazes are made chesi, who demonstrates his techniques of from materials available everywhere. 32 life modeling with standing, seated, and OXFORD pages. $4.00 (U.S.) in paperback. Ceramic Review Books, 17a, Neu'bur~h Street, Lon- reclining figures, bas relief, portrait busts, intermediate don WI, England. both male and female hollow torsos--all photographed in sequence during construction. Illustrations cover treatments of anat- POTASH FELDSPAR THE ART OF AIRBRUSHING FOR omy, clay support, and design. The text $2.50 per 50 lb. bag CERAMICS AND CRAFTS introduces tools, materials, and equipment by G. Maynard Clark for modeling, preparing, firing, finishing, Oxford Feldspar Corp. Directed to the ceramic hobbyist, this is an and repairing terra cotta sculpture. To illustrated short-course in the basics of air- complete the technical information, a list West Paris, Maine 04289 brush decoration. The author covers single- of suppliers and sculptural services in action airbrushes, tanks, accessories, com- metropolitan New York City is provided, pressors, and glaze guns. Line drawings in addition to an abbreviated list of kiln illustrate special effects, shading, sgraffito, manufacturers throughout the U.S. 160 SAN DIEGO - Kickwheel kit -- Mod-B negative and positive stencils, antiquing, pages; 250 black-and-white photographs. (metal parts) $49.S0. Full line of potter's and texturing. The techniques and a step- $17.95. Watson-GuptiU Publications, 1515 wheels, gas and electric kilns. Gas kiln parts, by-step, special project are designed for pug mill, chemical, scales etc. Catalog $1.00. Broadway, New York, N.Y. 10036. Brochure on selected Items free. Ph. 424-]250. plates, tiles, figurines, and slip-east blanks. 42 black-and-white illustrations. 31 pages. WAY-CRAFT COPPER ENAMELING 394 Delaware St., Imperial Beach, CA 92032 $4.25 in paperback. Potluck Publications, A Practical Guide Box 48643, Los Angeles, Cali[ornia 90048. by Louie S. Taylor A basic short course in copper enameling, ELECTRIC KILN CONSTRUCTION FOR POTTERS this text also presents a two-page chapter by Robert Fournier on enameling silver plated steel. The book ..l. C/o q Co. The author, a British teacher and studio inchtdes coverage of materials, tools, and potter, discusses the plans, modifications, equipment, the characteristics of enamels, and uses of electric kilns. Basic information and techniques of counter enameling, C/a% G/aye3 cR/ c/o e about the principles of electricity, wiring, swirling, crackle, sgraffito, stenciling, mask- d~e~6 G~b,~ A,ON El c2~joa, C~. o~c costs, and service are presented with graphs ing, foil overlay, cloisonne, thread drawing, 7/4-444-c57396 and tables to simplify calculations for the glass bead production, soldering, and ce- layman. The components of the electric menting. Emphasis is placed on acetylene kiln--box, frame, casing, insulating brick, and propane torch firing as well as on the roof, door, elements, spy holes, and vents use of the kiln. 95 pages; 74 black-and- POTTERY FOR SALE are considered for general kiln design; cal- white and 9 color photographs, 6 illustra- culations are included for heat and insula- tions. $9.95. A. S. Barnes and Company, Beautiful studio/gallery and home located in Berea, Ky. Fully equipped pottery. Spacious tion to improve energy efficiency. The Inc., Box 42l, Cranbury, Neu, ]ersey 08512. studio area & 2 bedroom house with sauna. advantages and disadvantages of resistance For further information contact Joseph Osal- wire and silicon carbide rod--as heating SANTA CLARA POTTERY TODAY nJk, Box 252, Berea, Ky. 40403 or 606-986-8173 elements--are compared, while the chapter by Betty LeFree on installation covers safety and electric grounding features. A 1968 study of the Pueblo Indian potters Directions are provided for stacking of Santa Clara provided the basis for this bisque and glaze kilns, and suggestions are text which observes the methods of Helen offered for consistency or variety of electric and Kenneth Shupla, Belen and Ernest firing, including oxidation and reduction Tapia, and Flora and Ramon Naranjo. atmospheres. The processes from digging raw materials Specific plans for five kilns show neces- to marketing the finished ware comprise sary materials and construction notes, but Continued on Page 106

October 1977 105 Island Crafts Studio would like to communicate with producing craftspersons [IdT ]~.~ l~, at Montgomery J who might be interested in oarHcipaHon in close-knit crafts colony. Living accom- • "~Technical Institute J NEW BOOKS modations in former tourist home. We are IF~*L ~ .= Z~ Troy, N.C. I I~.. ~ Continued [rom Page 105 particularly interested in hearing from YEA;R O U . O i experienced potters who would consider this as a semi-permanent location. Facili- the majority of the book, along with his- ties for potters exist now; fac;lities for torical information from other researchers other crafts would be added. Reply to: /;KT STONEWARE I which reveal the evolution of this pueblo's THE LAKE ERIE ISLANDS WORKSHOP SAT I pottery in construction, design, and related 2085 Cornell Road, ~210, Cleveland, O. 44106 :~~ CRYSTALLINE I ritual activity. Appendices cover the evo- ~~ "MTI Is An. I lution of Santa Clara forms from 1879 to ~- ~ Equal Opportunlty I the 1960's and include drawings of pottery profiles, an analysis of design motifs, and a list of the potters active at the A Potters' Community for pueblo in 1968. Glossary and bibliography; 42 black-and-white and 11 color photographs; 9 illustrations; 114 pages. $4.95 Independent Work-Study paperback. The Unieersity o/ New Mexico Press, Albuquerque, New Mexico 87131. Opening November 1977 on the Cali- fornia Coast south of San Francisco.

SEVEN FAMILIES IN PUEBLO POTTERY All new facilities. University Credit. by Maxwell Museum of Anthropology, For information write BIG GREEK University of New Mexico Pottery making is passed from generation POTTERY, Davenport, CA 95017. to generation among the Pueblo Indians of New Mexico and Arizona. Thus, historical recollections and a chronological sequence of the ceramic art within each family are presented for the Chinos and Summer session, tile Lewises (Acoma), the Nampeyos (Hopi), the Gutierrez and Tafoya families t~ weekend workshops, (Santa Clara), and the Gonzales and Mar- _ fall~winter~spring S. CALIFORNIA DISTRIBUTOR WANTED tinez families (San Ildefonso). Originally internships, CRUSADER CORPORATION wishes to establish published as a 1974 exhibition catalog, ~__~ resident craftsmen, a dealer~distributor to service southern Cali- fornia. We now offer a high qualify variable family members are pictured in this book Store & Gallery. speed pollers wheel in addition to our kiln with examples of their work. Genealogical Z Applications for lines. If you seek additional information con- ~ tact: CRUSADER CORPORATION, 937 S. charts and a short glossary of ceramic - residency accepted. Washington Avenue, Holland, MI 49423 Phone: terms are provided. Approximately 160 , Z (616) 392-1888 ,~o Brochures available black-and-white and 7 color photographs; ¢~_~ on all programs. 112 pages. $4.95 paperback. The Univer- sity of New Mexico Press, Albuquerque, FOR SALE: New Mexico 87131. 1SS acre scenic Ozark farm.pottery. S-room House, Greenhouse, 15' x 30' Studio, 10' x 12' Kffn Shed, 23 cu. ft. propane Kiln. 7 springs, 3 ponds, gravity water to house Index to Advertisers and V4 acre organic garden, 100 acres wood- ed. Secluded but within 1/2 mile 2 highways. Near university town. J. Ross, Rt. 4, Box 114, Aegean ...... 95 Flower ...... 93 Pacifica ...... 76 Huntsville, Ark. 72740. (501) $45-3545 AIM ...... 94 Francoise ...... 101 Paragon ...... 78 Alpine ...... 90 Frey ...... 14 Paramount ...... 99 Amaco ...... 68, 80 Peach Valley ...... 15 Gate ...... 95 Anhowe ...... 87 Peters Valley ...... 106 Geii ...... 10 A. R. T ...... 98 Phoenix Design ...... 93 Giffin ...... 67. 69 Artex ...... 92 Potlatch ...... 100 Good Earth ...... 85 Potluck ...... 97 Bailey ...... 3 STUDENI$ LEAGUE Baldwin ...... 85 Hammill & Gillespie ...... 19 Randall ...... 63 Bat ...... 89 Harris Linden ...... 93 Reid ...... 95 I Ceramics. Glaze Chemistry, Wheel Work i Bennett ...... 96 Heartstone ...... 97 Reward ...... 71 / plus 47 other Fine Arts and Crafts | Big Creek ...... 106 Hood ...... 99 Robbins ...... 96 | coed courses and workshops | Blue G ...... 95 Industrial Minerals ...... 100 Robinson ...... 97 | I~ /11 JIi~r~"~'~ 610 Lexington Ave, / Bluebird ...... 95, 97, 09 Ross ...... 106 VW| LJ N.Y.C. 10022 Book Department -- 75, 102, 104 J. Clay ...... 105 Rovin ...... 98 /Fir '~J.,'l 2t2-Tss4soo~eo Brent ...... 12 Johnson ...... 72 Byrne ...... 87 Salem ...... 105 Kemper ...... 4 Scott Creek ...... 65 California Kiln ...... 19, 103 Keramos ...... 96 Shimpo ...... Cover 2 Campbell ...... 66 Kickwheel Pottery __ 11, 77, 101 Skutt ...... 7, 9, 11 Campbell Pacific ...... 97 Klopfenstein ...... 87 Soldner ...... 92 Capital ...... 99 Kraft ...... 95 Sounding" Stone ...... 99 Ceramic Store ...... 91 L & L ...... 103 Spencer ...... 95 CeramiCorner ...... 103 L & R ...... 101 Sterling ...... 9I Classroom Arts ...... 97 Lake Erie Workshop ...... 106 Stewart ...... 67. 99 Clay Art ...... 93 Leslie ...... 91 Sun Valley ...... 106 laq alletq Clay Devil ...... 81 Superamics ...... 74 Clay Gallery ...... 106 Marathon ...... 70 STONE VILLAGE Contemporary ...... 74 Mayeo ...... 6 Thomas-Stuart ...... 8 JACKSON, MICHIGAN Conway ...... 64 Medusa ...... 101 Thompson ...... 71 Craft Students ...... 106 Menco ...... 104 Tucker's ...... 88 49203 Creative Industries .... 94, 103 Minnesota Clay ...... 92 Tuscarora ...... 105 Creek Turn ...... 89 Montl~omery Technical ..... 106 Van Howe ...... 8 [lll[lllll :l;:llllllll l Hlllll;llll;Jlllllll; EftllllS!l::l[lll;J;;l Cress ...... Cover 4 National Slide ...... 15 Crusader ...... 82, 86, 106 New Image ...... 105 WCS ...... 16 Cutter ...... 98 North Star ...... 18, 69 Walker Jamar ...... Cover 3 The Clay Gallery welcomes the interest of ce- Dawson ...... 05 Ohio Ceramic ...... I01 Walsh ...... 95 ramic artists. To receive our brochure explain- Delta ...... 103 Olsen ...... 100 Watson-Guptill ...... 79 inq exhibition and sllde-library ap~liocrfions, Duncan ...... 20, 21 Olympic ...... 17 Way-Craft ...... 105 direct inquiries o/o The Stone Village Art Eagle ...... 5 Orton ...... 65 Webco ...... 99 Center, 1701 Probert Rd., Jackson, MI 49203. Earthen Vessel ...... 104 Osolnik ...... 105 West Coast ...... 84 Earthworks - Rochester .... 83 Owl Creek ...... 89 Westby ...... 85 Estrin ...... 22 Oxford ...... 105 Western ...... 04

106 CERAMICS MONTHLY Why More and More People Everywhere are Mixing Clay with the PUG MILL

• Stainless steel m no rust m long lasting • Quiet totally-enclosed dust proof mpare motor and gear box • No special wiring m uses 115 volt current

Mixing clay by hand wastes time and effort. Buying pre-mixed clay i !!i!!~ wastes money. • Instructors and potters throughout the nation, and in many foreign countries, have found the better way to mix clay. They're using this modem machine that releases time and talent for teaching, learning, creative production and experiment. • They've discovered, too, that the Walker Pug Mill pays for itself. • Return the postage-free postcard stitched into this publication. You'll receive more information and detailed Walker Pug Mill specifications by return mail.

W 10 I~ A single pass through the Mill '~ renders clay of consistency perfect i for throwing or modeling.

Load Dry Clay ~ Add Mistakes, Add Oroq ~_ Add Water U~e or St~r~ We've eat 1 tion.

~I"s2 3¸ • 2•:¸¸ 8 .... i'~!~_. ~_" • Full insulation at • Exposed coils for v ~ comers insures better radiation IIIIII t ..... ~ slower cooling inside, more insulation out~ and greater • Exclusive 2-position coil reliability • lid venting prop won't ! pinch fingers

• Full size handles f, I', ; . easy lifting. •

Variable power controls for uniform firing

• Permanent operatiE instructions , Fully plated 200°C connecting wires

• Low, cool power • Metal bottom for • connection for strength and safet~ longer life

• Flared peep holes forJ wider view and less ." heat loss ....

• 3-Prong plug for easy connection

The Cress B-23-H. Its features, quality and new low price make it the best kiln value ever. And that's not just a lot of hot air. Contact us for a free catalog and your nearest Cress dealer at: CRESS MANUFACTURING COMPANY Corporate Headquarters & Eastern Plant: Main Plant: 201 BRADSHAW PIKE EXTENSION 1718 FLORADALE AVENUE HOPKINSVILLE, KENTUCKY 42240 SOUTH EL MONTE, CALIFORNIA 91733 (502) 886-0208 (213) 443-3081