Sights Ceramics

SIGHTS CERAMICS

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Executive Director Charles Spahr Publisher Bill Janeri Editors Holly Goring, Pottery Making Illustrated Jessica Knapp, Ceramics Monthly Associate Editor Forrest Sincoff Gard HAVE MORE FUN MAKING POTTERY! Editorial Support Jan Moloney, Kaitlynne Phillips Editorial Telephone: (614) 794-5869 Fax: (614) 891-8960 • Start-to-Finish Projects in the potter’s kitchen | food and clay

Graphic Design & Production Inviting Use Jeffrey Bruce. Photos: for Intermediate to by Joseph Pintz

Paula John, Boismier John Design Food is always on my mind. I grew up in a household that placed 7 8 9 a high value on food. This value was reinforced during college. As an anthropology major, I learned how material culture sheds Place the handle inside a fold of plastic and Score, slip, and attach the handle pocket Score and slip the top edge of the pitcher gently swipe your finger along both sides. slab. Set handle aside to firm up. and the short side of the spout and attach. light on what a society values. I began my journey as a maker of Advanced Skill Levels utilitarian objects at the same time, while learning more about Laura Strickland cooking and serving food in handmade containers. The food we share nourishes us both physically and emo- tionally. It also feeds the social relationships that define who we are within a group. Mealtimes, from the perspective of anthro- pologists, are cultural sites for socialization. Eating and drink- ing from handmade pots causes us to slow down, creating the perfect opportunity for conversation. Advertising I use a handful of basic handbuilding techniques to create my pottery forms. I often use soft-slab construction and then 10 11 12 scrape the surface to highlight the unrefined qualities of my coarse earthenware clay body. In order to compliment the tex- My pitcher form is based on an old tin pitcher that I once Use a lug of wet clay to help prop up the Use a trimming tool to carve out a foot Scrape the entire exterior surface with a handle while the joint sets up. on the bottom of the pitcher. rib to bring out the texture of the grog. [email protected] ture created during the forming process, I use a combination of saw at an antique store. I used it as a starting point for how to • Innovative Studio slip and glaze to create subtle, weathered surfaces that suggest approach the form but adjusted the proportions and shape ac- a history of use. cording to how my clay behaves as a material. Body and Base Now, take the slab that will be inset into the curve of the han- 3 Begin by rolling out a ⁄8-inch thick slab (1). I use a series of paper dle to create a pocket. Cut two grooves that are the width of the patterns to make the following parts: a body, a base, a handle, a handle along the pocket slab; this allows you to fold the edges Telephone: (614) 794-5834 handle pocket, and a spout (2). Cut out all the parts and set aside up into a bridge-like shape. Score and slip along the grooves be- the spout and handle parts, storing them under plastic. fore folding up and reinforcing the corner with a small coil for Bevel the edge of the base slab at a 45° angle. Roll out a small added strength. Next, place the handle on edge and bend it into coil and blend it into the base (3). This ramp of clay will be help- the approximate curve while inserting the pocket into place. ful in the next step when joining the base to the body. Lightly mark where these parts come together; then score and Fax: (614) 891-8960 Processes and Techniques Next, cut the one side edge of the body at a 45° angle while slip them together (8). Don’t poke a hole in the handle pocket undercutting the second side edge in the opposite direction at a at this point. Leaving it filled with air will help give it structure 45° angle so they line up properly when the body is assembled. while it’s setting up and during the attachment of the handle. Set the assembled handle aside and allow it to firm up a bit 1 2 3 Score and slip the angled side edges of the body and bend the slab around to complete the circle (4). Compress these seams to- while you work on attaching the spout to the body of pitcher. Mona Thiel Templates and tools used to make a Using paper patterns, cut out the body, Bevel the base slab at a 45° angle. Roll gether with a rib on both the inside and outside, while providing Spout National Sales Director handbuilt pitcher. base, handle, handle pocket, and spout. out a small coil and blend it into the base. support with your opposite hand. Then, gently oval the body. Compress the spout with a rib to remove any texture. Then, Bevel the bottom edge of the body at a 45° angle. Score and slip place the spout inside a fold of thin plastic and gently swipe your the bottom of the pitcher as well as around the base edge (5). In- finger along the long side of the spout. Flip it over and repeat this vert the body and place it on the base. While supporting the wall process on the other side to give your spout a nice tapered edge Advertising Services Pam Wilson on the outside, use your fingers to gently blend the interior ramp that will aid in pouring. Miter the top edge of the pitcher body of clay from the base into the wall to secure them together. Use a to a 45° angle. Score and slip this edge as well as the short side of paddle along the edge of the base to gently reestablish the form (6). the spout and attach (9). The articulation of this seam on both • Tool Reviews and Set the body aside and allow it to stiffen up a bit. the inside and the outside is very important to my pitcher form. Handle Setup Allow the clay to stiffen up before refining this detail. To assemble the handle, start by compressing the handle slab Handle Pocket Marketing 4 5 6 with a rib to remove any texture. Then, place it between thin After the handle has firmed up, cut away a slight divot from Score, slip, and bend the slab around to Score and slip the bottom of the pitcher Use a paddle along the edge of the base pieces of plastic and smooth it on both sides (7). This gives it a the top and the bottom of the handle so that it fits the curve complete the circle and form the body. and around the base edge. to gently reestablish the form. soft, rounded edge. of the pitcher. Check for fit and then lightly mark the body Telephone: (614) 794-5809 Professional Tips 44 July/August 2015 | www.potterymaking.org www.potterymaking.org | July/August 2015 45 Marketing Manager Steve Hecker Audience Development Manager Sandy Moening • Glaze Recipes and Editorial and Advertising offices 600 N. Cleveland Ave., Suite 210 Decorating Ideas Westerville, Ohio 43082 USA

Sights & Ceramics: Portland 2017 is published by The American Ceramic Society, 600 N. Cleveland Ave., Suite 210, Westerville, OH 43082. Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The American Ce- ramic Society. Photocopies: Permission to photocopy for personal or inter- To find out more, visit potterymaking.org nal use beyond the limits of Sections 107 and 108 of the U.S. Copyright Law is granted by The American Ceramic Society, provided that the appropriate fee is paid directly to Copyright Clearance Center, Inc., 222 Rosewood Dr., Danvers, MA 01923 USA; (978) 750-8400; www.copyright.com. Prior to photo- copying items for educational classroom use, please contact Copyright Clearance Center, Inc. This consent does not extend to copying items for general dis- tribution, for advertising or promotional purposes, or to repub- lishing items in whole or in part in any work and in any format. Please direct republication or special copying permission requests to the Ceramic Arts Publisher, The American Ceramic Society, 600 N. Cleveland Ave., Suite 210, Westerville, OH 43082. Copyright © 2017 The American Ceramic Society STAY CONNECTED TO THE WORLD OF All rights reserved CERAMICS IN THE STUDIO AND BEYOND! • Inspiring Images • Studio Visits ceramicartsdaily.org • Helpful Studio Tips • Science for Potters • Expert Techniques • Artist Profiles and Interviews • Recipes in Every Issue • So much more MONTHLY

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Sights & Ceramics: Portland 2017 1

CONTENTS 2017

6 Portland Maps 58 Judd Schiffman 59 Kate Roberts A quick reference for use around the convention center area, this 60 Christina Erives downtown Portland map includes parking, public transportation, hotel, and visitor information. 62 Akio Takamori: An Icon Remembered by Jeanne Quinn 8 Transportation and Parking Akio Takamori had a profound impact on the ceramic arts and Need to get around Portland? Check out your options, including ride beyond. Jeanne Quinn’s eulogy reminds us of the many gifts that hail, bicycle, bus, shuttle, and train. Takamori shared during his lifetime. 12 Convention Center Floor Maps 64 Food Carts and Selected Exhibitors Need to grab some food on the go? Explore Portland’s numerous, Need tools, equipment, and supplies? Looking to expand your highly recommended food carts. knowledge base? Check out a list of selected vendors participating in this year’s event. Handy maps of the convention center buildings will 66 Restaurant Recommendations help you get to where you want to go. Hungry? We asked a few locals where they like to eat, and they gave us some mouth-watering options from around the globe. 14 Gallery Expo We’ve also added a few recommended coffee shops (there’s also See images of work by artists represented by the nine galleries and one on every corner in Portland) to help you get going each morning. institutions participating in this year’s NCECA Gallery Expo. 14 Northern Clay Center 69 Exhibition Receptions 16 Gandee Gallery Find out which venues are planning to host receptions each night. 18 Eutectic Gallery 20 Lillstreet Art Center 70 Selected Portland Exhibition Maps 22 Red Lodge Clay Center Get the lay of the land and plan your excursions to selected 24 18 Hands Gallery exhibitions and restaurants using these handy maps. For complete 26 Objective Clay exhibitions listings, see NCECA’s conference program. 28 Artstream Nomadic Gallery 70 Greater Portland Area Exhibitions 30 Baltimore Clayworks 72 Downtown, Pearl District, and Convention Center Exhibitions 32 Q+A 76 Southwest Portland, Collins View, and Artists who are demonstrating techniques and presenting their Salem Exhibitions research as part of NCECA’s conference programming share 77 North Portland, Vancouver, and Astoria Exhibitions thoughts on their studio practice. 32 Kim Dickey 78 Concurrent Exhibition Images 34 Malcolm Mobutu Smith 36 Shoko Teruyama 38 Brendan Tang 40 Process Artists participating in process-room demonstrations organized by NCECA share a few of their techniques to give you some background before or after attending the demos. 40 Lynn Duryea 42 Joe Batt 44 Darrell Finnegan 46 Victoria Christen 48 James Tingey 50 Chris Pickett 52 Didem Mert 54 NCECA’s 2017 Emerging Artists NCECA’s six emerging artists selected for recognition this year share images of their work. Attend their lectures on Saturday morning to see more and hear about their creative paths. 54 Jessica Brandl 55 Rachel Eng 54 56 Brooks Oliver

This publication is produced by the publishers of Ceramics Monthly and Cover: Shoko Teruyama’s bowl, handbuilt earthenware, sgraffito Pottery Making Illustrated, and is not officially affiliated with the National decoration, glaze. Council on Education for the Ceramic Arts.

Sights & Ceramics: Portland 2017 3 INTRODUCTION 2017

Welcome to Sights & Ceramics: Portland 2017. We hope The exhibitions listings and maps feature selected shows this publication will enhance your experience at this year’s in the Portland area and include information on show dates, conference organized by the National Council on Education reception times, as well as the participating artists. for the Ceramic Arts (NCECA). We also hope that if you miss Images throughout Sights & Ceramics: Portland 2017 come anything while visiting Portland, this resource will provide from concurrent exhibitions at various venues throughout a reference once you are back home in your studio. This the area, plus the institutions that have gallery space in the publication highlights exhibition receptions, recommenda- NCECA EXPO area within the Resource Table and Commer- tions for local restaurants and food carts, downtown and cial Exhibitors Hall. We hope the images provide a sampling surrounding-area public transportation options along with of what you’ll see when you’re out and about exploring, and parking information if you are driving in, and several down- continue to inspire you after the conference has ended. town maps to help you find your way around the Oregon Enjoy your week spent among the company of thousands Convention Center (OCC). of other people who know the joy of having their hands The editorial staff of Ceramics Monthly and Pottery Mak- covered in clay. ing Illustrated previewed the program information and asked selected presenting and demonstrating artists to share thier helpful ceramic tips and techniques, and talk about their studio life. The resulting conversations can be found in the Editor, Editor, Process and Q+A sections. Pottery Making Illustrated Ceramics Monthly

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1 nicole gugliotti’s awe/agency: speak out, varying dimensions, porcelain, flocking, adhesive, audio equipment, people’s stories, 2014. “Reconstructing Craft: Feminism and Contemporary Ceramics,” at PNCA (pnca.edu) in Portland, Oregon, through March 25. 2 Brad Schwieger’s untitled, wheel-thrown and altered stoneware, fired to cone 10. 3 John Zimmerman’s Scape #38, handbuilt ceramic. “Slice,” at Site Works (www.sideworksportland.com) in Portland, Oregon, through March 25. 4 Coleton Lunt’s Fluid, 14 in. (36 cm) in height, soda fired ceramics, 2016. “50 Years of Pottery Northwest” at Pottery Northwest (potterynorthwest.org) in Portland, 1 3 Oregon, March 21–25.

4 Sights & Ceramics: Portland 2017 Earline Green’s clay spirit quilts on display in the Dunbar Lan- caster-Kiest Branch Library in Dallas, Texas.

A Texas potter makes 1,300 pound quilts with her Paragon Dragon As a child, Earline Green made hand-stitched quilts with her grandmother Mama Freddie. Earline spent more time quilting with the older ladies than she did playing with children her own age. Her early experiences with the lively quilters taught her a life-long love of artwork. Earline’s other grandmother, Mama Ginger, taught her advanced quilting patterns. Later this influenced the design of Earline’s stoneware quilt tile mosaics displayed in the entrance of the Paul Laurence Dunbar Lancaster-Kiest Library in Dal- las, Texas. For that project, Earline fired 284 white stoneware tiles—all in her faithful Paragon Dragon. “The Dragon's design and controls are perfect for firing large flat pieces,” said Earline. “The digital programming controls provide a consistent firing environment that eliminated cracks and warpage in Earline Green with her Paragon Dragon front-loading kiln. This kiln is be- this project. coming a favorite with potters. It is easy to load, heavily insulated, and designed to reach cone 10 with power to spare. “During tile production, I fired my Dragon two Constantly looking for better or three times a week for four to six weeks at a time. ways to make kilns I expected and received excellent results with each firing.” Contact us today for more information on the 2011 South Town East Blvd. Mesquite, Texas 75149-1122 exciting Dragon kiln. Ask about the easy-open 800-876-4328 / 972-288-7557 switch box hinged at the bottom. Call us for the www.paragonweb.com name of your local Paragon distributor. Join the Clayart pottery forum here: [email protected] lists.clayartworld.com PORTLAND MAP Map courtesy of Travel Portland. Travel of Map courtesy

6 Sights & Ceramics: Portland 2017 2017 Map courtesy of Travel Portland. Travel of Map courtesy

Sights & Ceramics: Portland 2017 7 TRANSPORTATION AND PARKING

Transportation Portland Street Car (NS Line) There are three different passes avail- Portland International Airport https://portlandstreetcar.org able: a day pass is $12/day, single ride is www.flypdx.com Two lines, the A Loop and the B Loop $2.50/trip, and a monthly pass is $12. 877-739-4636 provide service across the city’s newest www.biketownpdx.com To the Oregon Convention Center bridge, Tilikum Crossing. The A Loop (OCC): Follow the signs to Trimet/MAX runs clockwise and connects the east Taxis and the Red Line—it’s the only train line and west sides of the city through the Broadway Cab there, and it terminates at the airport. Pearl District, Broadway Bridge, Lloyd 8725 NE Emerson Use the vending machines on the plat- District, OMSI, Tilikum Crossing, and Portland, OR 97220 form to purchase a pass, or download Portland State University. The B Loop 503-333-3333 and install the Trimet app on your phone. passes through the same locations, but www.broadwaycab.com You must have a pass before boarding moves counter-clockwise. the train. The train trip to the OCC takes A 2½-hour adult streetcar ticket costs EcoCab 30 to 40 minutes. $2 and can be purchased onboard any 3250 N.W. Yeon Ave. Bay 4W streetcar. Fare boxes on the streetcars Portland, OR 97219 Max Light Rail accept coins and $1 and $5 dollar bills. 503-TAXICAB http://trimet.org The streetcar operates: http://ecocabportland.com You must have a validated ticket to ride Monday–Friday 5:30am–11:30pm before boarding MAX. Tickets are avail- Saturday 7:30am–11:30pm Green Cab and Green Shuttle able from the ticket machine or the app. Sunday 7:30am–10:30pm 3101 NE Argyle St You can also board if you have a TriMet The streetcar runs approximately ev- Portland, OR 97211 pass or bus transfer receipt. ery 15 minutes on weekdays and Satur- 503-253-0085 MAX has five lines, all of which run days, and every 20 minutes on Sunday. www.portlandgreencabtaxishuttle.com through downtown Portland. The MAX Arrival times are posted on real-time runs about every 15 minuntes most of electronic signs at most streetcar stops. Lyft the day. The fee to take a Lyft from the Airport • Blue line (Hillsboro/City Center/Gresham) Buses to the convention center is estimated at • Green line (Clackamas/City Center) Blue Star Airport Charters and Tours $20 for a Lyft and $31 for Lyft Plus. • Red line (Airport/City Center/Beaverton) 8250 NE MLK Jr. Blvd. www.lyft.com/cities/portland • Yellow line (Expo Center/City Center) Portland, OR 97211 • Orange Line (Milwaukie/City Center) 503-249-1837 Uber In addition to the downtown area and www.bluestarbus.com The fee to take an Uber from the Airport the Old Town Chinatown district, you to the Convention Center is estimated at can ride MAX to the following: EcoShuttle $20–26 for UberX, $30–39 for Uber XL, • Washington Park (Oregon Zoo, Port- 25500 SW Grahams Ferry Rd. $20–26 for UberASSIST, and $48–62 for land Children’s Museum, World Forestry Sherwood, OR 97140 UberSELECT. Center Discovery Museum, Hoyt Arbo- 503-548-4480 www.uber.com/cities/portland retum): red and blue lines www.ecoshuttle.net • Union Station (Amtrak): green and Car Sharing yellow lines Bike Rentals Zipcar • Portland International Airport (PDX): Biketown 739 SW 10th Ave. red line Biketown is Portland’s bike share pro- Portland, OR 97205 • Oregon Museum of Science and gram, launched in July 2016 with 1000 www.zipcar.com/portland?zipfleet_ Industry (OMSI): orange line bikes at 100 stations across downtown id=68587553 • Oregon Convention Center: blue, and several neighborhoods. The system green, and red lines is designed for quick trips with conve- car2go • Portland State University (PSU): green nience in mind, and it’s a fun and afford- 877-488-4224 and yellow lines able way to get around. www.car2go.com/US/en/portland

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The map above is reprinted with permission: © 2017, TriMet, Portland, Oregon. Service information may change without notice. Please check http://trimet.org for the most current information including real-time service alerts.

Sights & Ceramics: Portland 2017 9 TRANSPORTATION AND PARKING 2017

The maps above and below are reprinted with permission: © 2017, TriMet, Portland, Oregon. Service information may change without notice. Please check http://trimet.org for the most current information including real-time service alerts.

Parking The Oregon Convention Center (OCC) has an underground parking garage with 800 spaces. Enter the garage through either the Northeast First Avenue (P2) or Lloyd Boulevard (P1) entrance. Clearance on the P1 level is 7 feet; clearance on the P2 level is 9 feet. The maximum daily rate to park is $10. Overnight parking is prohibited. Time is determined from the minute you enter the garage to the time you exit. The parking garage generally opens daily at 6am. Hourly rates available Monday–Sunday: $5 for 15 minutes to 1 hour $7 for 1–2 hours $8 for 2–3 hours $9 for 3–4 hours $10 for 4–18 hours (Over 18 hours incurs an additional $2 per hour charge)

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CONVENTION CENTER FLOOR MAPS

Oregon Convention Center Floor Plan, Ballroom Level

Oregon Convention Center Exhibit Hall Level

12 Sights & Ceramics: Portland 2017 SELECTED EXHIBITORS 2017

Selected Commercial Exhibitors Peter Pugger Mfg, Inc.. 307, 309, 311, 313 c.r.e.t.a. rome ...... t25 3DPotter ...... 709 www.peterpugger.com www.cretarome.com www.3dpotter.com Potters Council...... 602, 604 Cub Creek Foundation ...... t47 Aardvark Clay & Supplies...... 710 www.ceramicartsdaily.org/potterscouncil www.cubcreek.org www.aardvarkclay.com Pottery Making Illustrated...... 601 Guldagergaard ICRC...... t100 Aftosa ...... 216,218,220 www.ceramicartsdaily.org/ www.ceramic.dk www.aftosa.com pottery-making-illustrated Haystack Mountain School of Crafts . .t34 AMACO Brent ...... 401 Saint-Gobain Ceramic Materials. . . 214 www.haystack-mtn.org www.amaco.com www.refractories-saint-gobain.com La Meridiana...... t07 Archie Bray Foundation Clay Business.109 Shimpo Ceramics...... 406 www.lameridiana.fi.it www.archiebrayclay.com www.shimpoceramics.com Massachusetts College of Bailey Pottery Equipment Corp.. 501, 509 Skutt Ceramic Products . . . . 206, 207 Art & Design...... t17 www.baileypottery.com www.skutt.com www.massart.edu Ceramic Arts Daily ...... 601 Smith-Sharpe Fire Brick Supply . . . 212 Medalta Intl. Artist in Residence . . . t89 www.ceramicartsdaily.org www.kilnshelf.com www.medalta.org Ceramica Collet S.A...... 714 Spectrum Glazes...... 102, 112 Morean Center for Clay ...... t38 www.sio-2.com www.spectrumglazes.com www.moreanartscenter.org/center-for-clay Ceramics Monthly...... 601 Speedball Art Products. . .608, 610, 612 Northern Clay Center ...... t11 www.ceramicartsdaily.org/ www.speedballart.com www.northernclaycenter.org ceramics-monthly Splashpan Pottery...... 613 Oregon College of Art and Craft. . . .t30 Chinese Clay Art Corp. . . . . 513, 515 http://splashpanpottery-com. www.ocac.edu www.chineseclayart.com 3dcartstores.com Paducah School of Art...... t20 Clay Art Center/ Standard Ceramic Supply...... 723 http://paducahschoolofartanddesign.org Scott Creek Pottery...... 519, 521 www.standardceramic.com Penland School of Crafts...... t36 www.clayartcenter.net Tucker’s Cone Art Kilns. . . . . 101, 200 www.penland.org Clay Planet ...... 614 www.coneartkilns.com Peters Valley School of Craft. . . . . t35 www.clay-planet.com www.petersvalley.org U.S. Pigment Corp ...... 712 Coyote Clay & Color...... 705, 804 www.uspigment.com Potters For Peace ...... t01 www.coyoteclay.com www.pottersforpeace.org Xiemtools USA...... 615, 617 Cress Manufacturing Company, Inc. .409 www.xiemtoolsusa.com Pottery Northwest...... t23 www.cressmfg.com www.potterynorthwest.org Euclid’s ...... 318, 320 Selected Nonprofit Exhibitors The International Museum of Dinnerware www.euclids.com Design...... t06 92nd St. Y/ Virtual Clay ...... t09 Geil Kilns...... 609, 708 www.dinnerwaremuseum.org www.92Y.org www.kilns.com Virginia Commonwealth University . . t41 Georgies Ceramic & Clay Company Alfred University, School of Art www.arts.vcu.edu/craft ...... 411, 413, 415 and Design ...... t03 www.alfred.edu Watershed Center for the Arts. . . . t24 www.georgies.com www.watershedceramics.org Giffin Tec...... 618, 620 Anderson Ranch Arts Center. . . . .t02 www.andersonranch.org Workhouse Arts Center ...... t39 www.giffingrip.com www.workhousearts.org L&L Kiln Manufacturing, Inc. . . 300, 302 Appalachian Center for Crafts. . . . t69 www.hotkilns.com www.tntech.edu/craftcenter Larkin Refractory Solutions. . . . . 215 Archie Bray Foundation...... t14 www.larkinrefractory.com www.archiebray.org Mayco Colors ...... 621, 720–722 Arizona State University...... t18 www.maycocolors.com www.herbergerinstitute.asu.edu MKM Pottery tools, LLC. . . . 103, 202 Armory Art Center ...... t75 www.mkmpotterytools.com www.armoryart.org Mudtools...... 306, 308 Arrowmont School of Arts & Crafts. . t37 www.mudtools.com www.arrowmont.org Olympic Kilns ...... 219, 221 Baltimore Clayworks...... t65 www.greatkilns.com www.baltimoreclayworks.org Oneida Air Systems Inc...... 104 CERF+...... t26 www.oneida-air.com www.craftemergency.org Steven Allen's Two Pulleys, 15 in. (38 cm) in length, wheel-thrown black stoneware, slung slabs, worn Paragon Industries L.P...... 114, 116 Clay Art Center...... t28 underglazes, 2015. On view in the “Potters Council www.paragonweb.com www.clayartcenter.org Exhibition,” Portland Convention Center, Booth 602.

Sights & Ceramics: Portland 2017 13 GALLERY EXPO 2017

Northern Clay Center

1 Elizabeth Pechacek’s large bowl, stoneware, electric fired to cone 6, 2016. 2 Matthew Levi Jorgensen’s pair of cups, 4 in. (10 cm) in diameter (each), stoneware, glaze, 2016. 3 Kevin Caufield’s faceted bowl, 4 in. (10 cm) in diameter, stoneware, 2016. 4 Amanda Dobbratz’ planter, 1 13 in. (33 cm) in height, earthenware, slip, copper stain, underglaze, borax wash, 2016. 5 Branan Mercer’s cup, 4 in. (10 cm) in diameter, porcelain, electric fired to cone 5, 2016. 6 Giselle Hicks’ Zig Zag vase, 5½ in. (14 cm) in height, porcelain, glaze, 2016. 7 Pattie Chalmers’ orange BFF stein, earthenware, glaze, slip, luster, 2016.

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International Ceramic Research Center GALLERY EXPO

Gandee Gallery

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1 Andrea Denniston’s butter dish, 8 in. (20 cm) in length, porcelain, fired to cone 6, 2016. 2 Shanna Fliegel’s paisley pitcher, 16 in. (41 cm) in height, coil-built, low-fired, red earthenware, slips, glaze, 2016. 3 Jen Gandee’s jar, 16 in. (41 cm) in height, porcelain, sepia decals, fired to cone 6, 2016. 4 David MacDonald’s platter, 15 in. (38 cm) in diameter, reduction-fired stoneware, 2015. 5 Jeremy Randall’s Blue Barn Box, 14 in. (36 cm) in height, earthenware, terra sigillata, 2015. 6 Errol Willett’s shopping basket, 26 in. (66 cm) in height, handbuilt stoneware, reduction fired, 2015. 7 Renee LoPresti’s stacking bowls, 5 in. (13 cm) in height, iron-rich stoneware, underglaze, glaze, 2016. 8 Ted Neal’s teapot, 8 in. (20 cm) in height, wood-fired stoneware, reduction cooled, 2016. 9 Tim See’s robot mug, 7 in.(18 cm) in height, wood-fired porcelain, 2016.

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Sights & Ceramics: Portland 2017 17 GALLERY EXPO 2017

Eutectic Gallery

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1 Peter Olson’s assorted icon vases, to 16 in. (41 cm) in height, earthenware. 2 Sean Roberts’ (Forest Ceramic Co) Strata cups, 9 in. (23 cm) in height, slip-cast porcelain. 3 Mitchell Spain’s assorted flasks and vessels, varying dimensions.4 Victoria Christen’s turquoise vase with loop, 8 in. (20 cm) in height. Photo: Dan Kvitka. 5 Joe Pintz’ pitcher, 9¾ in. (25 cm) in height, handbuilt earthenware, 2015. Photo: Jeffrey Bruce. 6 Lilith Rockett’s tea set, to 8 in. (20 cm) in diameter, wheel-thrown porcelain, gloss glazed interiors, unglazed polished exteriors. 7 Marc Digeros’ yunomis, to 3½ in. (9 cm) in height, clay, underglaze, glaze, 2015. 8 Alison Reintjes’ truncated hexagon, 15 in. (38 cm) in 8 diameter, handbuilt stoneware, 2016. Photo: Chris Autio.

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GALLERY EXPO

Lillstreet Art Center

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1 Didem Mert’s Pinky Winky Yunomi, 3½ in. (9 cm) in height, stoneware, terra sigillata, underglaze, glaze, 2015. 2 Jeff Cline’s teabowl, 4¾ in. (12 cm) in diameter, anagama wood- fired porcelain, shino glaze, 2016. 3 Chris Gustin’s vase, 10 in. (25 cm) in height, anagama wood fired, shino glaze, 2015. 4 Kyle Johns’ vase 12 in. (30 cm) in height, slip-cast porcelain, 2016. 5 Nancy Gardner’s vase, 6¼ in. (16 cm) in 3 4 height, terra cotta, underglaze, glaze, 2016.

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6 Melissa Weiss’ mug, 4½ in. (11 cm) in diameter, wild clay, glaze, 2016. 7 Molly Bishop’s Lady in Leaves Vase, 8 in. (20 cm) in height, earthenware, underglaze, glaze, 2015. 8 Nick DeVries’ dark-green yunomi, 3½ in. (9 cm) in diameter, porcelain, glaze, 2015. 9 Kevin Snipes’ Finger, 11 in. (28 cm) in height, porcelain, mishima, glaze, 2015. 10 Nick Schwartz’ two-gallon jug, 15 in. (38 cm) in height, anagama wood fired, ash, liner glaze, 2015.

Sights & Ceramics: Portland 2017 21 GALLERY EXPO

Red Lodge Clay Center

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1 Andrew Avakian’s box, 6 in. (15 cm) in diameter, earthenware, slip, glaze, 2016. 2 Justin Lambert’s plate, 8 in. (20 cm) in diameter, wood-fired stoneware, 2015. 3 Perry Haas’ vase, 6½ in. (17 cm) in height, wood-fired porcelain, 2016. 4 Brad Schwieger’s Envelope Vase, 11 in. (28 cm) in length, 2015. 5 Lars Voltz’ Gnar Dish, 13 in. (33 cm) in length, wood-fired stoneware, 2016. 5

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6 Ron Meyers’ tumbler, 4 in. (10 cm) in height, earthenware, slip, glaze, 2015. 7 Sean O’Connell’s Kenzan Plate, 9 in. (23 cm) in diameter, porcelain, underglaze, glaze, 2016. 8 Matt Long’s teapot, 8 in. (20 cm) in length, soda-fired porcelain, 2015. 9 Wesley Harvey’s cup, 5 in. (13 cm) in height, earthenware, glaze, decals, 2016.

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Sights & Ceramics: Portland 2017 23 GALLERY EXPO 2017

18 Hands Gallery

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1 Sam Scott’s black-and-white tea set. 2 Mary Fischer’s Broken Windows, 12 in. (30 cm) in height, stoneware, fired in oxidation, 2016. 3 CJ Niehaus’ My Mother’s Button Box. 4 Ronan Peterson’s 4 vessel. 5 Martha Grover’s lidded baskets. 6 Lauren Smith’s mugs. 7 Kristen Kieffer’s yunomis. 8 Bill Wilkey’s tall vase.

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24 Sights & Ceramics: Portland 2017 e

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Objective Clay

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1 Kip O’Krongly’s T-Rex Snack Plate, 7¼ in. (18 cm) in diameter, earthenware, slips, underglaze, terra sigillata, single fired to cone 04 in oxidation, 2016. 2 Shawn Spangler’s pitcher, 13 in. (3 cm) in height, fired to cone 8 in oxidation. 3 A. Blair Clemo’s mugs, 3½ in. (9 cm) in height, press-molded porcelain, 2016. 4 Emily Schroeder Willis’ cream and sugar set, 7½ in. (19 cm) in length, porcelain, 2016. 5 gwendolyn yoppolo’s mugs, 5 in. (13 cm) in height, matte crystalline glazed porcelain, fired to cone 6, 2016.

26 Sights & Ceramics: Portland 2017 2017

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6 Deborah Schwartzkopf’s liquor serving set, 14 in. (36 cm) in length, porcelain, fired to cone 6. 7 Doug Peltzman’s yunomi, to 3½ in. (9 cm) in height, high-fired stained porcelain, inlaid colored slips, glaze, 2016. 8 Sunshine Cobb’s vases, to 14 in. (36 cm) in height, mid-range red clay, glaze, sandblasted. 9 Bryan Hopkins’ sugar jars, to 4½ in. (11 cm) in height, wheel-thrown and slip-cast porcelain, platinum luster, 2016.

Sights & Ceramics: Portland 2017 27 GALLERY EXPO 2017

Artstream Nomadic Gallery

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1 Justin Donofrio’s blue teapot and saucer, 10 in. (25 cm) in diameter, red stoneware, glaze, 2016. 2 Michael Hunt and Naomi Dalglish’s shield vase, 7 in. (18 cm) in length, wood-fired local clay, hakame slip, clear glaze, 2016. 3 Matthew Metz’ jar, 14 in. (36 cm) in height, black porcelain, slip, glaze, salt fired, 2016. Photo: Brian Oglesbee. 4 Sanam Emami’s covered jars, 13 in. (33 cm) in height, stoneware, stencils, silk-screen transfers, 2015. Photo: E.G. Schempf. 5 Ben Carter’s Blue Mum teapot, 9 in. (23 cm) in diameter, earthenware, slips, glaze, fired to cone 1, 2015.6 Simon Levin’s large trough, 11 in. 6 (28 cm) in length, wood-fired stoneware, slip, glaze, 2016.

28 Sights & Ceramics: Portland 2017 SUMMER 2017 JUNE 4 - AUGUST 19

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RELEASE! In the Studio with Randy Johnston & Jan McKeachie Johnston: Handbuilding Wheel-Throwing Techniques In this installment of the Ceramic Arts Daily Presents Video Series, Randy Johnston and Jan McKeachie 2-DISC SET! Johnston invite viewers into their studio for a look at their working processes. Soul mates as well as ceramic arts daily studio mates, Randy and Jan’s work shares the common influence of the Leach/Hamada traditions, but they each bring their own perspectives and techniques to the making process. Once an apprentice to presents Shimaoka Tatsuzo, Randy uses traditional Japanese tools and methods, and combines them with his own innovations and ideas about form. Jan incorporates a strong sense of form along with rich surface pattern and texture to her work. From Randy’s simple thrown yunomis and slab-built forms made from with inventive molds, to Jan’s thrown, altered, and assembled baskets and slip-decorated dishes, this video IN THE STUDIO is packed not only with inspiringpresents techniques and tips, but also the stories from their rich lives in clay. Jennifer Poellot Harnetty and Editor, CeramicArtsDaily.org Randy Johnston Program Manager, Ceramic Arts Daily Presents Video Series IN THE STUDIO Jan McKeachie Johnston with Randy Johnston and

Jan McKeachie Johnston earned her BFA at the University of Wisconsin at River Falls and went on to study at the University of Minnesota and Southern Illinois University. Since 1979, she has been very active teaching workshops and working in her Wisconsin studio. Her work has been exhibited widely Jan McKeachiethroughout the United States, and she Johnstonis represented in many private and public collections.

Randy Johnston is a professor at the University of Wisconsin at River Falls, and has been making work daily video library ceramic arts in his Wisconsin studio for more than 35 years. He earned his BFA from the University of Minnesota, where he studied with Warren MacKenzie, and his MFA from Southern Illinois University. He also ap- prenticed at the pottery of Shimaoka Tatsuzo. He is the recipient of numerous awards including two Handbuilding & Visual Artist Fellowships from the National Endowment for the Arts.

To learn more about Randy and Jan, please visit their website WHeel-THroWing TecHniques www.mckeachiejohnstonstudios.com. ceramicartsdaily.org/bookstoreTotal Running Time: Approximately 4 hours ceramic artsdail .org y g Copyright 2015 The American Ceramic Society ceramic arts daily video library

Sights & Ceramics: Portland 2017 29 GALLERY EXPO 2017

Baltimore Clayworks

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1 Kevin Rohde’s Simon Says the Serpent, 22 in. (56 cm) in height, ceramic terra sigillata, ink, acrylic, aluminum wire, 2016. 2 Camilla Ascher’s cup, ceramic. 3 Debra Oliva’s teapot, 9 in. (23 cm) in height, black stoneware. 4 Matthew Hyleck’s plates, 10 in. (25 cm) in height, stoneware, shino overlay, wood ash, fired to cone 10 reduction. 5 Patty Bibro’s stacked cups, earthenware, brushwork, 2016. 6 Travis Winters’ Again?, ceramic, 2016. 7 WooJung Koh’s sculpture, 2015.

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Sights & Ceramics: Portland 2017 31 QUESTION & ANSWER 20172017

Kim Dickey

Q: What is your favorite tool in your toolbox and why? If I’m alone, it’s all those things and a little crying (because A: I have a fettling knife that I’ve had for so long that it has you forget how vulnerable you really feel until then). It’s no handle (fell off years ago) and is only half the length it uninterrupted making, and it’s silence, and listening to the used to be from constant use. But the blade (which is all it voices that come from your past and from the material to tell really is) is such good steel and so well used that it is soft you what you need to do next. where I hold it—almost buttery—and sharply thin at the tip. Q: What are your favorite and least favorite aspects of And If I lose it in the studio, I almost panic because I love your studio? it so much. (Which reminds me of that Breton description A: My favorite aspect of my studio is the long tall windows of the disappearing object—“a bladeless knife without a that look onto some ponderosa pine trees, whose bark handle.”) And I do everything with it—trim, smooth, shape, smells like vanilla when you put your nose on them. And indent, bore holes, score. It’s really the only tool I need it’s the changing light that reminds me that time is pass- besides my hands, my brain, and my heart. ing even though I can’t tell how much when I’m in my own Q: Describe a typical day in the studio? world, inside. A: Every day is different and yet strangely the same. When I’m My least favorite aspect of the studio is all those boxes up working with assistants, the day begins with me rushing to try in the rafters that I know contain something I need. I don’t to get to the studio first, so I don’t keep them waiting. Then it’s want to climb up there to get it and find out what I’m looking time for demonstrations; trouble-shooting projects; casting and for isn’t there after all. press-molding a ba-zillion leaves, and trimming them; loading

or unloading pieces into kilns; making clay, slip, or glaze; pack- 1 Deadly Force (The Predatory) from the Claustrum (Cloister) installation, ing work for shows; or installing and de-installing at exhibition 5 ft. 3 in. (1.6 m) in height, glazed stoneware, powder-coated steel, 2016. sites. The day is filled with cups of tea or coffee, of shared pod- 2 Kim Dickey in her studio. 3 Fading Bouquet, 5 ft. 4 in. (1.6 m) in height, glazed stoneware on concrete base, 2015. 1, 3 On view at the Museum cast listening, and conversations on every topic. It’s intimate of Contemporary Art, Denver (www.mcadenver.org), as part of “Words and bonding, and long hours, and beautiful. are Leaves” a mid-career retrospective exhibition. Photos: Wes Magyar.

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32 Sights & Ceramics: Portland 2017 Keynote Speaker Anton Reijnders

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Sights & Ceramics: Portland 2017 33 QUESTION & ANSWER 2017

Malcolm Mobutu Smith

Q: What are your favorite tools in your toolbox and why? overwhelming difficulty I have in finding surfaces or A: I have a number of favorite tools. Among those are three of special keeping surfaces open for new work to populate. In interest, two of which are handmade and one that was found. A other words I hate cleaning my studio. former BFA ceramics major gifted me a hand-made fettling knife shortened to a 3-inch pointed blade embedded in a long bamboo handle. The second hand-made tool is a multi-purpose bamboo knife/ cutting/marking tool that I made myself and fits ergonomically into my hand. Finally, another multi-purpose tool, which I found, is a cheese spreading knife from a Pepperidge Farm snack tray. I use this as a rib, gouge, edger, burnisher, modelling tool, and blunt knife akin to a wooden cutting tool. Q: Describe a typical day in the studio? A: My days in the studio usually involve drawing, cleaning/organizing, looking through books and reading, and either potting to generate new forms (blanks) for later altering, or a day of continued altering of previously thrown blanks. On days that no new wet work is created, I am usually playing with ad-hoc glaze and slip improvisation and mull- ing over how and where to use such improvisations on existing work. Q: What is your favorite/least favorite aspect of your studio? A: I have a love-hate relationship with my necessarily cluttered studio. I am, by nature, a collector and accumulator. I need stuff around me to act as cues and suggestions toward work inspirations or drawing 2 prompts. My studio is choc-a-bloc full of my work past and present, collected student and mentors’ ceramic works from all my years in 1 Malcolm Mobutu Smith. 2 Buzzer, 8½ in. (22 cm) in length, thrown and altered stoneware, slip, glaze, multiple firings, clay, books, drawing tables, jars, boards, tools for work in all stages, 2015. 3 Rose Tongue Loudbright, 11 in. (28 cm) in height, and random stuff. The problem, or hate factor, is the often times thrown and altered stoneware, slip, glaze, multiple firings.

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34 Sights & Ceramics: Portland 2017 metal glass fiber clay wood

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Sights & Ceramics: Portland 2017 35 QUESTION & ANSWER 2017

Shoko Teruyama

Q: What are your favorite tools in your toolbox and why? A: My favorite tool is my X-Acto knife. All of the mark making on the surfaces of my work is done with an X-Acto knife. When the blade is new, I can achieve very fine detail. Q: Describe a typical day in the studio? A: I drop my daughter off at Montessori school at 9am and I pick her up at 4pm. The time in between is my studio time. I prefer to touch wet clay in the morning, I cover molds with slabs, add coils, and pinch to form vessels. I take a 15-minute break for lunch with my dog. Then I spend a few hours intensely carving or sketching designs and narratives. Q: What is your favorite aspect of your studio? A: My favorite aspect of the studio is quietness. I can really con- centrate on adding detail to my work.

1 Vase, coil and handbuilt earthenware, sgraffito decoration, glaze. 2 Shoko Teruyama carving the surface of a bowl using an X-Acto knife. 3 Oval bowl, 1 handbuilt earthenware, sgraffito decoration, glaze.

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Sights & Ceramics: Portland 2017 37 QUESTION & ANSWER 2017

Brendan Tang

Q: What are your favorite tools in your toolbox and why? Q: What is your favorite/least favorite aspect of A: My heart (just kidding), my serrated metal/wooden ribs. your studio? I have so many of these in my studio in varying sizes and A: My favorite thing about my studio is that I have a studio. I toothiness (not sure that’s a word). They are great for “comb- live in Vancouver, British Columbia, and to say “space is at a ing” the clay and getting those really nice fleshy folds in my premium” would be a huge understatement. That being said work. This is a trick that I learned in graduate school from an I am tremendously grateful to have a place to work. Not to old-school figure modelling class that I took. get too nerdy, but it’s like owning your own holodeck where you can try out any of your ideas in the real world! Q: Describe a typical day in the studio? My least favorite aspect of my studio is as a maker of A: My schedule varies from day to day. I handle both the things, those things can really clutter up a space, and as a fabricating and administration of my work. Days can be taken hoarder of things—you get the idea. I am currently going up with making work, emailing, writing, cyber-loafing (aka through a purge stage in my studio, recycling and throwing Facebook) and cleaning. This routine can also be altered with things out that I’ve been carrying around for too many years. sessional teaching work at Emily Carr University, workshops, It feels good, but I fear in the near future I’ll be searching for and lectures. that widget that I just let go. But yeah, clutter drives me a One of the great elements of being self employed is that little crazy. I can set my hours. One day I’ll catch a yoga class and get in the studio around lunch time while others I will be there before rush hour in the morning. Either way I try to keep at 1 Manga Ormolu Ver. 4.0-x, 22 in. (56 cm) in height, ceramics, mixed media, 2016. 2 Manga Ormolu Ver. 5.0-q, 24 in. (61 cm) in height, least an 8-hour work day. I do my best to treat my studio ceramics, mixed media, 2016. 3 Manga Ormolu Ver. 5.0-s, 25 in. (64 cm) time like a 9–5 job. in height, ceramics, mixed media, 2016.

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38 Sights & Ceramics: Portland 2017 Sights & Ceramics: Portland 2017 39 PROCESS

Lynn Duryea

Influences reductive forms in which I am interested. While it is pos- The visual points of departure for my work are structures sible to generate handbuilt clay forms in a variety of ways, it that range in size from small to monumental, everyday is the sheet-like quality of slabs that generates the profiles objects that include letters of the alphabet, tools and imple- I find appealing. How a piece is constructed becomes part ments, and architecture of various kinds. I am not interested of its language. A column of clay could be thrown on the in replication, but in reference and suggestion. The artist wheel, built with slabs, coiled or pinched; each will convey who I consider to be a master of this approach is Martin a different feeling in the finished piece. The SlabSling, which Puryear, whose powerful and enigmatic objects suggest a is a tool that I developed and will be demonstrating how to multitude objects and ideas. use at NCECA, provides an easy and reliable way for me to Favorite Part of the Process generate large-scale slab sections. Fitting together parts and pieces is engaging and challeng- Mentors ing: beginning with flat tar-paper patterns, translating those Bill Daley introduced me to the joys of working with tar patterns to dimensional form, constructing the clay elements, paper; its formability is not unlike that of clay slabs. The ma- and joining the pieces together by stacking or intersecting. terial allows me to envision and then construct the stream- Techniques lined forms that are an essential part of my visual language. Slab construction, particularly the wrapping and bending of I use tar paper to make models and maquettes, as well as slabs, allows me to achieve the kinds of streamlined and patterns and molds to use directly with clay.

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1 Lynn Duryea using a large taping knife to smooth out the surface of a slab. 2 Tracing around the edges of a template with the tapered wooden handle on a pin tool prior to cutting the slab to shape. Studio and process photos: Joshua White.

40 Sights & Ceramics: Portland 2017 2017

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3 The template-cut slab on a thin section of a non textured cotton sheet or nonwoven fabric. 4 Setting up the SlabSling to the desired curve. 5 Placing the slab and the fabric support onto the tar-paper sling. 6 Allowing the slab to reach leather hard after placing it on to the sling. 7 CLAMP #3, 6 in. (15 cm) in height, 7 terra cotta and Kanthal wire, low fired in oxidation, 2014. Photo: Steve Mann.

Sights & Ceramics: Portland 2017 41 PROCESS 2017

Joe Batt

Influence Techniques My influences include watching Saturday morning cartoons I am usually drawn to pinch forming, which allows a lot of as a kid, my first ceramics teacher, teaching, and showing. control and can go quickly. I started out using colored pencils It’s a lifelong thing, and that’s what I like about clay. One and pastels for repairing broken pieces rather than using of my first teachers was Joe Seigenthaler. Being with Joe them more widely. However, I wasn’t happy with the ce- every day had a lasting impact on my work and practice. Mi- ramic surfaces I was getting, so I took out my repair kit and chael Peed, a sculptor, painter, and clay artist from Bozeman, started finishing work using these methods. I can do what I Montana, inspired me to try mixed media with clay. Musi- want and not harm the clay form too much, using the pencils cians, writers, film makers—anyone who is in it for the long and pastels. But some of the choices I make are personal or haul in some meaningful way—all inspire me. Most recently, haptic; there’s not always a clear explanation. Part of what I have been drawn to the richness of Kukuli Velarde’s work. I do in clay could be done in plaster, bronze, paper-mache, My students and I discuss her stylized figures, the dynamic or wood. I love working in other media, but I’m compelled surfaces, and the issues around gender, race, and identity. to use these materials and methods for these pieces most often. I’m not sure why. Favorite Part of the Process I like the rhythm of the whole thing. Sometimes I’m observ- Mentors ing and drawing, sometimes I’m getting into the wet clay, You never forget your first ceramics teacher. Mine was Min- sometimes I’m firing, and sometimes I’m doing surface nesotan potter, Bill Wold. I also had the amazing opportunity work. The mixed-media surfaces take the most time. If I had to learn from inspiring artists like Beth Lo and Tom Rippon in to choose a favorite, I would say exhibiting work, because I graduate school. My friends in the Montana Caravan Project, do installations, and this leads to some work taking place in with whom I still get to show with from time to time, con- the exhibition space. I find it very liberating and exciting to tinue to teach me about living a meaningful, creative life. My see everything together in its own fantastical environment. yoga teacher, Mo, is also an important mentor.

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1 Mid-range stoneware fired to cone 1, then lightly smoked. 2 The main colors are laid down with colored pencil and pastels. 3 Adding detail to the fur on the Lotus Hare. 4 Fine-tuning detail in the eye on Lotus Hare. 5 Lotus Hare, 24 in. (61 cm) in length, stoneware, colored pencils, glaze, and wire. 6 Joe Batt working in his studio.

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Sights & Ceramics: Portland 2017 43 PROCESS

Darrell Finnegan

Influence reflecting the making process, or I may swipe my fingers The work of numerous potters, both American and British through recently applied slip or glaze, revealing the clay who have emerged from the Leach Pottery legacy are inspir- surface underneath. I also enjoy the details of functionality, ing to me. I draw inspiration from rural pottery traditions, such as the grip of a handle and how a lid sits comfortably including the honest approach of English country slipware into the gallery of a pot. and the spontaneous surface gesture of Japanese Onda. I like when I’m able to reach a point with a clear flow, My eyes are drawn to form and the utilitarian aspects of when the concept of what I’m trying to make matches what functional pottery that tend to reference another place and I’m doing on the wheel or with hand-altering. When some- time. The works of Clive Bowen and Mike Dodd speak to thing works, repetition can develop. One aims for a stage in my soul, as does the strength and honesty of Randy John- the making process when repetition becomes tangible and ston’s work. not an accident or a desire. It is then that I know my idea is working and I have the ability to make it happen. Favorite Part of the Process I enjoy figuring out the how to’s and discovering the why’s. Techniques In order to learn something, for instance how to make a As an instructor, in any given day I show students many dif- bowl in the shape of a boat, I have to understand how and ferent techniques, which has me making all sorts of forms why. This need goes for both successful concepts as well and types of pots. This variety is inevitably reflected in my as failures. Deconstructing an idea in my head and then ap- work; yet I hope people who see my pottery will recognize proaching it from step one through to the end is very intrigu- my hand and touch. ing to me. One must always allow for a prototype to work I attempt to push the perceived limitations of the electric out ideas and understand how to develop a finished piece. kiln. It was the firing process available to me when I was I start by visualizing the piece I’m going to make. This finally able to step away from a community studio and set determines the specific clay body I choose to work with, as up my own studio. Having come from gas reduction and the well as the finished vision and its intended use. These con- availability of other firing processes, I found myself having to siderations directly affect what I’m making. I enjoy throwing really learn my materials and the electric kiln itself, in order on the wheel, shaping clay, and following up with hand alter- to achieve the surface variation I was desiring. Spraying my ing that may leave traces of the making process. Sometimes glazes helps me achieve this goal, too, and allows me to I intentionally leave the throwing marks that spiral upward, think like a flame.

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1 On the wheel, create a flat pancake, enlarge it, then pull up the walls, opening the bottom all the way to the bat. 2 Create the gallery—a deep-seated rim in which the lid will fit.

44 Sights & Ceramics: Portland 2017 2017

Mentors There are two people who I consider my mentors. First ties. In Cape Cod, Massachusetts, my mentor Diane Heart there is the late and great Jean Parsons, who was my showed me that all is possible! I’d also like to give a shout instructor at Interlochen Arts Academy in Michigan. She out to my special friend and former student Leili Towfigh opened my eyes wide to the ways of clay and its possibili- whose encouragement has been invaluable.

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3 Use a knife to release the wall from the bat. 4 Establish the oval shape. 5 Place the slab lid over the ovaled pot on a hammock of thin plastic film to allow for easy adjustment, then trim the edge of the draped slab to fit the pot. 6 When the lid is leather hard, flip it over and check the fit. The plastic hammock allows for minor adjustments. 7 Create a hollow handle on a texture board. 8 Refine the handle’s texture. 9 Oval dish, 19 in. (48 cm) in length, stoneware, fired to cone 6 in oxidation, 2015.

Sights & Ceramics: Portland 2017 45 PROCESS 2017

Victoria Christen

Influences Techniques The people I encounter and the places where I have lived I enjoy the slip decoration that I do on my leather-hard pieces seem to be what influence my ceramic work the most. A lot the most. It is very immediate and addresses the surface be- of my ideas spring up from my childhood, from experiences fore it has been bisque fired. The tip shared here shows how with and memories of my seamstress mother and of my to sand a lid for a better and smoother fit after the glaze firing. father, who was both a machinist and a maker of folk art. Mentors Favorite Part of the Process My main mentor has been Gail Kendall. I first met her when Painting the surface has always been my favorite part of the I was 20, and she has continued to inspire and guide me clay process. It’s the time I can easily express myself. throughout my career.

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To sand a lid for a better fit once it’s been fired: 1 Place your piece on the wheel, tap it to center, then secure it with coils of clay. 2 Brush a mixture of silicon carbide and water on the rim and the gallery. 3 Rotate the wheel to spin the pot while holding the lid still. 4 Rinse the lid and the pot, catching the water so you can save 5 and reuse the silicon carbide. 5 Yellow jar with red patch, 6 in. (15 cm) in diameter, porcelain, underglaze, slip, soda fired to cone 6. 6 Victoria Christen.

46 Sights & Ceramics: Portland 2017 Sights & Ceramics: Portland 2017 47 PROCESS

James Tingey

Influence and realized that I could quickly and effectively make parts I look for a directness and efficiency of process to convey that would take much longer to form in other ways. This has my ideas, whether these ideas are formal, haptic, or visual. expanded into using slip cast-components for all my add-on This leads me to pursue processes that can best articulate a parts. I am constantly looking to add to my mold library. given need. My studio practice and the type of objects I make Making Casting Slip from a Clay Body are informed by many conscious and unconscious interests, To make my casting slip compatible with my clay, I take including ergonomics and how I live; or would like to live. trimmings and other scraps from the same throwing and Favorite Part of the Process handbuilding clay body that I use, then dry them out, weigh I love looking into a damp box full of parts and knowing the dry scraps, and mix them with specific amounts of water there’s a lot of potential sitting there waiting to be unlocked. and Darvan. I allow the slip to sit and then mix it again over Utilizing slip-cast components, I’m able create a uniform part the period of a few days to make the casting slip. that can be used in multiple contexts. The design, discovery Mentors and investigation of these components is one of my favorite I’ve been fortunate to have several mentors who’ve been in- parts of the process. fluential in my development as a potter and have shown me Techniques the importance of working hard and believing in what you Determining the way to do something comes down to a di- do. Specific to this process of slip-cast additions, Tom Rohr rectness and efficiency of process to convey an idea. I utilize and Brad Schwieger were role models and mentors, who several forming methods, many times incorporating wheel- provided advice. Tom Rohr was the first potter I encountered thrown, handbuilt, and slip-cast parts within the same piece. who integrated slip cast elements with his thrown and hand- Integrating slip casting into my studio practice came from built pots. Brad Schwieger always reminded me that it was wanting an easier way to create parts I use frequently and only worth making a mold of a form if it was worth making another way to use scrap clay. I started by casting handles 100 of that object, and if it didn’t suck.

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1 Prepared casting slip is poured into plaster molds, the molds are drained, and the parts are dried and removed from the mold. Mold seams are cleaned during fitting and attaching to the handbuilt or wheel-thrown body. 2 Slip-cast pieces and wheel-thrown teapot bodies spend a night together in a damp box to equalize their moisture.

48 Sights & Ceramics: Portland 2017 2017

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3 The lid, handle and spout are slip cast and ready to assemble with the thrown and trimmed teapot body. 4 The screen is drilled out and the attachment area is defined to ensure a clean joint between the body and spout. Thicker casting slip is used to attach the cast elements to the body. No scoring is needed, provided there is a good fit between the pieces and they are of the same moisture content. 5 The end of the spout is cut open by hand using a thin, sharp knife. 6 All joints are cleaned up using a cosmetic sponge and the teapot spends another night in a damp box to ensure even drying. 7 James Tingey working in his studio. 8 Yellow teapot, 8 in. (20 cm) in length, wheel-thrown and slip-cast porcelain, glaze, wood fired, 2016.

Sights & Ceramics: Portland 2017 49 PROCESS 2017

Chris Pickett

Influences Techniques My influences come from collective life experiences. I am The use of soft slabs is the only recurring technique used in interested in comforts associated with childhood nostalgia, all of my forms. The malleability of thin slabs allows me to intimacy, domestic spaces, and close social communities. work fresh and immediate. Otherwise, each form dictates Areas of research that inspire my studio practice include: the appropriate technique. toys, cartoons, Mid-Century furniture design, and the body. Mentors Favorite Part of the Process I have been fortunate to have many mentors over the The most enjoyable aspect of my studio practice is research- course of my career. While there are too many to mention ing and developing new forms. Each new form comes with on an individual basis, I would like to thank Linda Arbuckle its own set of design challenges and I enjoy the process of for being a friend, mentor, and a constant source of inspira- working through the problem. tion and support.

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1 Four-piece drop mold used to create a plate with a hollow rim and foot. 2 Mold #1 is used to create the plate form. 3 Mold #1 and #3 are used to create the rim. 4 Mold #2 and #4 are used to create the foot. 5 Once slabs have set, parts are removed from the mold, cut out, and are ready to be assembled. 6 Parts are scored, slipped and assembled. 7 Chris Pickett applying color to a pot. 8 Serving bowl, 10 in. (25 cm) in length, white stoneware, fired to cone 6 in oxidation, 2015.

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Part Sculpture Part Function: daily ceramic arts presents presents Want to make beautiful functional pots functional pots that that could also be described as sculpture for the tabletop? Jerilyn Virden is the WAS TRULY perfect guide! PART FUNCTION • Here’s a sampling of what you’ll learn PART SCULPTURE from this video: could also be described

• The best nest! Learn Jerilyn's secrets to making perfectly fitting nesting bowls. Handbuilding Graceful Make a simple • Rock the cradle! Handbuilding Graceful Minimalist Forms cradle mold so you can repeat your as sculpture for the ta- TRANSFORMATIVE.” most successful forms. Create Minimalist Forms • Double walled = double cool! WITH large, lightweight forms using double- JERILYN walled construction. • Save your wrists! Build a super handy custom pounding tool for handbuilding VIRDEN bletop? In her new DVD, with large amounts of clay.

Jerilyn teaches all of this and more in a clear, detailed, easy-to-follow, and enlightening presentation! Part Sculpture—Part

with Jerilyn Virden Function: Handbuilding -

Jerilyn Virden is a studio artist living in Greensboro, Ver mont. She was an artist-in-residence at Penland School of Slab Building Crafts from 2001–2004 and remained in that communi- & - ty for 10 years. In 2006, she received a North Carolina Graceful Minimalist - Arts Fellowship Grant. She earned an MFA from South ern Methodist University in 2001, a BFA from West Vir ginia University in 1997, and studied abroad at the Jing- dezhen Ceramic Art Institute in China. Before attending graduate school, she completed a two--year assistantship Forms, Jerilyn Virden at the studio of Silvie Granatelli, in Floyd, Virginia. To learn more about Jerilyn Virden and see more images of Slip Transferred her work, please visit www.borealisstudios.com. Experience your own Total Running Time: Approximately 2 hours, 15 minutes shares her techniques y.org ceramic arts dail 9/19/16 11:18 AM Copyright 2016 The American Ceramic Society for creating functional Patterns art-changing

JerilynVirden_DVDSlip.indd 1 pots with a sculptural bent. If you’ve been wanting to explore a more sculptural approach to func- and life-changing residency

Sewing Clay: Slab Building & Slip Transferred Patterns 2-DISC SET! In this video, Lauren Karle shares her tech- tional pottery, Jerilyn is the perfect teacher! niques for layering surface decoration and ceramic arts daily developing new and interesting forms. presents Here’s a sampling of what you’ll learn:

• Spruce up your surfaces! Learn how to create bright, layered surface patterns using laser printouts and slips, underglazes, and washes. • Personalize your Inpatterns! Pickthis up video, five different ways to generate your own patterns to personalize your work. • Slab build with ease! Learn to create four slab-built pieces with simple techniques borrowedLauren from sewing. Karle will Slab Building & • Generate unique forms! Develop forms that are all yours using craft paper and scissors. When satisfied, create a Slip Transferred Patterns tar paperhelp template so you can yourepeat! discover with Learn all of this and more with this Lauren Karle thorough, inspirational, and easy-to- follownew presentation! forms and ways with Lauren Karle Learn more & register at to decorate them Lauren Karle earned her BA in K-12 Art Education from the University of Wisconsin–Eau Claire. After teaching WatershedCeramics.org middle school art in Guatemala City, Guatemala, Lau- throughren playwas a post-baccalaureate and student at the University of Nebraska–Lincoln for two years before completing her MFA in ceramics at Kansas State University in 2014. In 2015, she was awarded the Betty Woodman Prize and participated in the Future of Food thematic as an experimentation.Artist-in-Residence at the Bemis Center for Contemporary Arts. She has written for Ceramics Monthly and Ceram- ics Technical. To learn more about Lauren and see more images of her work, please visit www.laurenkarle.com.

Total Running Time: Approximately 2 hours, 20 minutes ceramic artsdaily.org Copyright 2016 The American Ceramic Society watch a video clip from the DVD or order your copy today at: To watch a video clip or learn more, visit the shop: www.ceramicartsdaily.org/bookstore ceramicartsdaily.org/bookstore

Sights & Ceramics: Portland 2017 51

Color:

C 15 C 0 M 100 M 0 Y 90 Y 0 K 10 K 90 PMS 1805 PMS 426

C 0 C 0 M 80 M 0 Y 95 Y 0 K 0 K 80 PMS 1655 PMS Cool Gray 8

C 0 C 0 M 35 M 0 Y 85 Y 0 K 0 K 80 PMS 143 PMS Cool Gray 3

C 64 M 56 Y 65 K 45 PMS 412

Font:

Lato Bold Lato Light PROCESS

Didem Mert

Techniques Note: I use these two points to mark out the ovaled base My stacked bowl forms began while I was studying ce- of the bowl. I don’t like to use templates for this because ramics at Northern Kentucky University. I’ve always been each time I make them, I’m able to create somewhat dif- interested in soft curves in form, but I began tweaking them ferent sets of these stacking bowls that have their own with the addition of harsh angles and lines. Using handmade personality and flair. bisque molds, I work within the constraints of an oval form. This makes a clean undulation on the rim of the pot, which, Add Walls and an Angled Rim depending on the angle, can help retain warmth while also Cut away the excess slab from the traced oval and attach a 1 showing off the food. coil around the edge. Leave an ⁄8-inch overhang of the slab where you attach the coil (4). Note: I don’t score and slip Begin with the Base before attaching the coil to the slab because both pieces of Begin with a 2-pound rectangular piece of clay. I roll out my clay are still wet. slabs using a tip I learned from ceramic artist Jerilyn Virden. Compress the interior edges of the coil into the slab. Us- She takes two pinch pots, attaches them together to create ing a metal rib, bring up the excess slab overhang into the a smooth, hollow sphere, then fires it to vitrification. Then coil. Keeping your hands and fingers at an angle toward the she uses this sphere to pound out her clay into different interior of the bowl, pinch the walls up until they are ¼ inch formations (1), rather than using her fist, which can lead to thick. Trim the pinched rim with a needle tool or an X-Acto wrist and hand pain. Once the slab is about ¾ inch thick, use knife, but keep the undulation created by the oval. When a rolling pin to smooth away the texture and thin to ¼ inch cutting the rim, angle your tool so that you create a beveled thick. edge (5). Let the bowl set up to leather hard. Cut the slab using a needle tool or an X-Acto blade held Use your fingers to clean up the rim to remove any sharp against the rim of a bowl-shaped bisque mold as a guide (2). edges (6). At this point you can remove the bowl from the Place the slab into your bisque mold, using it as a slump mold and smooth out the exterior edge where the coil was mold, and begin to work the clay into the bottom using a attached to the slab, as this can also be sharp. flexible rib. Once the slab conforms to the interior of the mold, compress the clay. Using a straight edge, mark the Finishing Surfaces halfway point within the mold (3). Draw a curved line from Apply a thick, white slip to the interior of the bowl when it’s at point to point on each side to make an oval. a late leather-hard stage. I like to create intentional directional

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1 Pound out the clay into a slab then roll it out to ¼-inch thickness. 2 Trace and cut the slab to fit a bowl-shaped slump mold. Use a rib to compress the slab into the mold.

52 Sights & Ceramics: Portland 2017 2017

brush marks with the slip, this will be visible after the next slightly on top of the terra sigillata and adds subtle variation step. The brush marks will add rough-hewn texture as the in surface. I use a ratio of 1 part soda ash, 1 part borax, and 7 terra sigillata layer is added. parts water (by volume). Boil your water and add the soda ash Once the bowl is bone dry, apply various colored terra and borax to fully dissolve the raw materials. Fire once more sigillatas to the exterior (7). To add pops of color, I use to cone 5. AMACO’s Velvet underglazes on top of the terra sigillata. Tip: To create a series of stacking bowls, make additional Bisque fire to cone 08. molds, starting with your original slump mold as a base or Next, brush on food-safe liner glazes, then brush a soda model. This gives you several different sized molds that all ash/borax wash on top of the terra sigillata. The wash fluxes stack and that you can work with simultaneously.

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3 Mark the half-way point on the slab and trace an oval from point to point. 4 Apply a small amount of water to the rim, then add a coil to the edge, leaving a bit of the slab overhanging. 5 Compress the interior of the coil into the slab and trim the rim at a bevel. 6 Smooth out any sharp edges on the 5 bowl’s interior and exterior. 7 Apply white slip to the interior, and terra sigillata and underglazes to the exterior. 1–7 Photos: Ashley Bevington. 8 Blue Babe bowls, 2015. All photos: Lydia Bungart-Morrison.

Sights & Ceramics: Portland 2017 53 NCECA’S EMERGING ARTISTS

Jessica Brandl

1 Jessica Brandl. 2 Blue Roses, 14 in. (36 cm) in height, 2015. 3 Eros and Thanatos, 12 in. (30 cm) in height, 2016. 4 Vacate, 20 in. (51 cm) in height, 2016. 5 Collect, 20 in. (51 cm) in height, 2016. 1–5 Red earthenware, white slip, sgraffito, engobe, oxidation fired. Images copyright and courtesy of NCECA, 2017.

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54 Sights & Ceramics: Portland 2017 2017

Rachel Eng

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1 Rachel Eng. 2 Weave, 7 ft. (2 m) in length, porcelain, Plexiglas, video, 2016. 3 Stay on the Path, 8 ft. (2.4 m) in length, unfired clay, video, 2013. 4 Covering, 7 ft. (2.4 m) in length, porcelain, red thread, 2016. Images copyright and courtesy of NCECA, 2017.

Sights & Ceramics: Portland 2017 55 NCECA’S EMERGING ARTISTS 2017

Brooks Oliver

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1 Brooks Oliver working in his studio. 2 O Vase, 9 in. (23 cm) in height, slip-cast porcelain, fired to cone 9, 2016. 3 Zipper Vase, 22 in. (56 cm) in length, slip-cast porcelain, fired to cone 9, 2016. 4 Wobble Table, 4 ft. (1.2 m) in length, porcelain, plywood, steel cable, 2015. 5 Fruit Loop, 25 in. (64 cm) in length, cast and altered porcelain, slip cast from a mold created with the aid of a 3D printer, 2015. 6 LOL vase, 14 in. (36 cm) in length, cast and altered porcelain, slip cast from a mold created with the aid of a 3D printer, 2016. Images copyright and courtesy of NCECA, 2017.

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Sights & Ceramics: Portland 2017 57 NCECA’S EMERGING ARTISTS

Judd Schiffman

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4 1 Judd Schiffman. 2 Sunrise, Sunset (family heirloom), 3 ft. (1 m) in length, ceramic, glaze, 2015. 3 Cloth, 20 in. (51 cm) in length, ceramic, glaze, acrylic, 2016. 4 You Did The Best You Could (for Boyz On Tap), 18 in. (46 cm) in length, ceramic, glaze, luster, 2015. 5 Skates, 24 in. (61 cm) in length, ceramic, glaze. 6 Because It Could Get Infected (for my rashes), 21 in. (53 cm) in length, 5 ceramic, glaze, acrylic, ink, 2015. Images copyright and courtesy of NCECA, 2017.

58 Sights & Ceramics: Portland 2017 2017

Kate Roberts

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1 Kate Roberts. 2 Grant Porte (detail), 16 ft. (4.9 m) in length, unfired porcelain slip, wood, fishing line, fiber, 2016. 3 Grant Porte, 16 ft. (4.9 m) in length, unfired porcelain slip, wood, fishing line, fiber, 2016. 4 Figure Two, 5 ft. (1.5 m) in height, porcelain slump-body clay, wire, glaze, sand, rope, 2014. 5 Miss Havisham’s Beauty, 18 in. (46 cm) in height, porcelain, 2015. Images copyright and courtesy of NCECA, 2017.

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Sights & Ceramics: Portland 2017 59 NCECA’S EMERGING ARTISTS 2017

Christina Erives

1 Christina Erives. 2 Sin Titulo, 4 ft. 6 in. (1.2 m) in length, low-fired earthenware, 2016. 3 Panza Llena Corazon Contento, 8 ft. (2.4 m) in length, low-fired earthenware, 2016. 4 Poblano, 4 ft. (1.2 m) in length, earthenware, wood, paint, fired to cone 06, 2015. 5 Untitled, 4 ft. (1.2 m) in height, earthenware, house paint, fired to cone 06, 5 2016. Images copyright and courtesy of NCECA, 2017.

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Sights & Ceramics: Portland 2017 61 P oin odaarterindd P AN ICON REMEMBERED

Akio Takamori by Jeanne Quinn about his children, about Japanese food, about art; and he would listen. More than once, after one of these meander- He loved talking about art—yours and his. ing studio conversations, he would come back the next From where I sit, it all looked effortless. The work was morning to finish a thought, or to respond to something I always there, always moving. had said. I was so struck, as a student, that what we had I started graduate school at the same time that Akio spoken of had stayed with him. He never contained me; he started teaching at the University of Washington. He had let me pervade his thoughts. Letting me know that was a just come back from the European Ceramic Work Centre, real gift. and had a new body of work. There, he had made giant The last body of work he made was about the idea of heads, sculpted showing the touch of his hands. They were apology. He started working on the series in early 2016, relational: some were close, looking into one another’s when he saw an image on the front page of The New York eyes; others faced different directions. They were absent Times of a Japanese man apologizing. He began searching of the easy line that he had so long used to describe his for images of men apologizing, and creating his own draw- figures; they were monolithic. He showed us the work, his ings and sculptures. It took on greater meaning as the 2016 making of it, the studio, the other artists. He showed us elections unfolded. I read about the work in Jen Graves’ what was possible. You could travel somewhere unknown article in The Stranger, and sent the article to Ayumi Horie, and make your work. You could radically change your work. another former student of Akio’s. She responded, “He You can do this. never doesn’t astound me.” The work was always moving. We were fortunate: he still lived on Vashon Island and He would say things that other people didn’t feel com- the ferries didn’t run that frequently. If he missed the one fortable saying, and he would make us think, and then at the end of the work day, he was around the studio for he would make us all laugh. He had the most marvelous several hours, waiting for the next. He would wander in to giggle. We will miss talking about art with Akio Takamori, see what we were working on and it was different from his and ours, and we will miss laughing. We will miss so the formal critiques we received during the day. He talked: many things about Akio Takamori.

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1 Greeter, to 35 in. (89 cm) in height, coil-built stoneware. 2 Writer, 15½ in. (39 cm) in height (figure), 36 in. (91 cm) in height (photo), porcelain, underglaze, archival pigment ink-jet print, 2009. Photo: James Harris Gallery. 3 New Europeans, to 15 in. (38 cm) in height, stoneware, underglazes, 2009. Photo: Richard Nicol. 4 Akio Takamori in his studio.

62 Sights & Ceramics: Portland 2017 Jeremy Ayers FOOD CARTS

Portland has a booming food-cart scene, which is continuously ex- Best of 2016 panding and evolving each year. Set up in parking lots, sidewalks, and Too many to choose from during your four Jook Joint even in parks (sometimes in large days in Portland? Fortunately, OregonLive (Asian fusion, barbeque, sandwiches) groups called pods and occasionally has posted the best food carts of 2016. We’ve On Southwest 10th Avenue between solo), they offer everything from included the list here (descriptions can be Alder St. and Washington St. fresh fish tacos to Malaysian rice found on their website at www.oregonlive. Facebook: Jook-Joint bowls, from Scandinavian comfort com/dining/index.ssf/2016/07/portlands_ Merendero Estela (Honduran) fare to island shaved ice. Locals and best_new_food_carts_4.html): 7129 SE 82nd Ave. tourists alike know that some of the best food from many far-off desti- Matt’s BBQ (barbeque) The Wild Hunt nations can be found in Portland’s 4709 NE Martin Luther King Jr. Blvd. (Scandinavian comfort fare) food carts. Such diverse cuisine facebook.com/mattsbbqpdx 3303 SE 20th Ave. seems to highlight the benefits of a www.thewildhuntpdx.com growing ethnically inclusive com- Straits Kitchen (Malaysian) Lardo’s pop-up cart munity, as many immigrants own 1122 SE Tacoma St. http://straitskitchenpdx.com (gourmet sandwiches) and operate their own carts, happily 1212 SE Hawthorne Blvd. sharing their culture and talents. Burger Stevens http://lardosandwiches.com Plus, food carts can be a fantastic (burgers, fries, soft serve) bargain for anyone looking for af- 6238 SW Capitol Hwy. Paper Bag Pizza (wood-fired pizza) fordable, quick, but delicious food. www.burgerstevens.com 2880 SE Division St. Food carts have select hours, http://paperbagpizza.com Pastrami Zombie limited seating, and smaller menus. (gourmet sandwiches) Burmasphere (Burmese) For an exhaustive list of carts, check 5429 NE 42nd Ave. 625 NE Killingsworth out www.foodcartsportland.com facebook.com/pastramizombie www.burmasphere.com where you can also find reviews and a list of carts by cuisine.

Food Cart Pods

Portland’s food carts are often congregated in Pods. Lots throughout 4 Pod at SW 5th and Stark the city have anywhere between 3 and 60 carts per pod. The map One of Portland’s first food cart lots, this pod features 20 carts on page 65 shows several pods located only a short walking distance including local favorites such as Tabor, Give Pizza A Chance, Aybla between the Oregon Convention Center (OCC) and area hotels. Grill, Veli Thai, and La Jarochita. 1 Pod at SW 9th and Alder 5 Pod at SW 3rd and Ash Part of the largest lot in the city, the city block between Alder and Featuring 4 carts including Big-Ass Sandwiches and Olympic Grill, Washington from SW 9th and 10th Ave. boasts 60+ food carts. The this lot is open for lunch along with serving the masses for late night largest concentration of street food in America. Most carts are open eats on the weekend. extended lunch hours on weekday afternoons. 6 22 Pod at SW 10th and Alder Pod at SW 2nd and Stark Featuring 10 carts, including Vietnamese, German, Polish, Medit- Featuring 3–5 carts, Including Mama Chow’s Kitchen. eranean, soup and sandwich, plus coffee and tea. Nong’s Khao Man 7 Pod at SW 3rd and Washington Gai is located here (see pages 66–68) A lot featuring some of Portland’s oldest Mexican carts. This lot 3 Pod at Pioneer Courthouse Square is very international featuring cuisines from Indonesia, Egypt, Known as “Portland’s Living Room” this public park features 5 carts Lebanon, Alaska, Thailand, Vietnam, Greece, and more, with a including Honkin’ Huge Burritos, Portland’s oldest cart. total of 20 carts on site.

64 Sights & Ceramics: Portland 2017 2017

Food Cart Pods

To the Oregon Convention Center.

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Information and map courtesy of http://foodcartsportland.com.

Sights & Ceramics: Portland 2017 65 RESTAURANT RECOMMENDATIONS

Ash Street Project: Eat in or take out. Gluten-free options. If you 503-235-0059 Nong’s Khao Man Gai are calling in an order, make sure you are calling www.gueropdx.com 609 SE Ankeny St., Suite C the E Burnside location. Mexican Tortas. Telera rolls are baked locally, Portland, OR 97214 and delivered fresh daily. Meat is sourced http://khaomangai.com Afuri Fine Ramen responsibly. No antibiotics, no hormones. 503-740-2907 923 SE 7th Ave. Our studio’s favorite for take out lunch. Good to Portland, OR 97214 Toro Bravo call ahead and go early to avoid lines. http://afuri.us 120 NE Russell St. Recommendation: Khao Man Gai (Chicken and 503-468-5001 Portland, OR 97212 Rice) and fried chicken skins. Specialty is Yuzu (citrus)-style ramen combined 503-281-4464 with Shio (salt)-based broth. www.torobravopdx.com Burnside Brewing Company Northeast Portland. Menu of pinchos, tapas, 701 E Burnside St. Pine Street Market charcuteria, and raciones changes daily. Incor- Portland, OR 97214 126 SE 2nd Ave. porating elements of modern technique and www.burnsidebrewco.com Portland, OR 97204 unexpected flavors into classic Spanish cuisine. 503-946-8151 www.pinestreetpdx.com The people of Burnside Brewing Co. make it A downtown, indoor food market that has Brian R. Jones: what it is. They are risk takers, lovers of food to many mini versions of good restaurants under Little Bird Bistro be enjoyed with easy-to-drink beers. one roof. Good for a quick bite. 219 SW 6th Ave. Portland, OR 97204 Nicholas Restaurant Pok Pok http://littlebirdbistro.com 318 SE Grand Ave. 3226 SE Division St. 503-688-5952 Portland, OR 97214 Portland, OR 97202 French restaurant. Great for a party of two, any http://nicholasrestaurant.com http://pokpokpdx.com more and you’ll need to make a reservation. 503-235-5123 Thai food, specifically from the North and I recommend the charcuterie board, double brie Lebanese and Mediterranean cuisine. Eat in or Northeast of Thailand. burger, and the skirt steak. take out. Call your order in for take out. Luce Higgins Marukin Ramen 2140 E. Burnside St. 1239 SW Broadway 609 SE Ankeny St., Suite A Portland, OR 97214 Portland, OR 97205 Portland, OR 97214 www.luceportland.com http://higginsportland.com www.marukinramen.com Italian food to eat in or take out. 503-222-9070 Tokyo-inspired ramen. Eat-in only restaurant. Northwest classic cuisine. The bar offers great Ox Restaurant service, a cozy atmosphere, and a great tap list. Sheridan Fruit Co. 2225 NE Martin Luther King Jr. Blvd. Go here if you want to skip the hipster BS that abounds in Portland. Recommendation: Burger 408 SE 3rd St. Portland, OR 97212 and roasted potatoes. Portland, OR 97214 http://oxpdx.com www.sheridanfruit.com Wood-fired grilling in the tradition of Argentina, 503-236-2114 along with some culinary heritage of Spain, Noraneko Ramen Great for a sandwich and chips or basic grocery France, and Italy. 1430 SE Water Ave. items to go. Portland, OR 97214 Trifecta www.noranekoramen.com Base Camp Brewery 726 SE 6th Ave. 503-230-NEKO Delicious ramen and dumplings that are perfect 903 SE Oak St. Portland, OR 97214 during the cold of March. Portland, OR 97214 www.trifectapdx.com http://basecampbrewingco.com Northwest upscale pub. 503-477-7479 Hopworks Urban Brewery 2944 SE Powell Blvd. Try the Koi Fusion food cart and sit in their Kachka Portland, OR 97202 tented patio with a craft beer. 720 SE Grand Ave. http://hopworksbeer.com Portland, OR 97214 503-232-HOPS 503-235-0059 Ken’s Artisan Pizza This place has great beer and decent food. 304 SE 28th Ave. http://kachkapdx.com Recommendation: Their IPA is brilliant, and if Portland, OR 97214 Focus on dishes from Russia and its bordering PigWar is on tap get one of those, too. http://kensartisan.com/pizza countries. The front has a house deli, serving grab-and-go and sit-down options during lunch hours. Also sells hard-to-find Russian foods. Also recommends Kachka, Nicholas Res- Sizzle Pie taurant, and Ox Restaurant 624 E Burnside St. Portland, OR 97214 Guero www.sizzlepie.pizza 200 NE 28th Ave. 503-234-PIES Portland, OR 97214

66 Sights & Ceramics: Portland 2017 2017

Victoria Christen: Park Kitchen Slow Bar Mama San Soul Shack 422 NW 8th St. 533 SE Grand Ave. 8037 N Lombard St. Portland, OR 97209 Portland, OR 97214 Portland, OR 97203 http://parkkitchen.com http://slowbar.net www.mamasansoulshack.com 503-223-7275 503-230-7767 503-719-4288 Local, fresh ingredients prepared by a long- Where any Tom Bartel “Metal Head” will be Asian fusion food. time, well-respected chef. Ask if your meal is happy. Great Drinks and “good” B movies. served on Kris Paul’s dishes. These are from walkable from the convention center. “Object Focus: The Bowl (2013)” and some Pine State Biscuits new ones made specifically through a connec- Slow Burger 125 NE Schuyler St. tion between Museum of Contemporary Craft, 2329 NE Glisan St. Portland, OR 97212 Oregon Potter’s Association and Chef/Owner Portland, OR 97232 www.pinestatebiscuits.com Scott Dolich. http://slowburger.net 503-719-5357 503-477-5779 Great spot for breakfast. Multiple locations. Masu Sushi JUST THE BURGERS. Six menu items with a 406 SW 13th Ave. small choice of canned adult beverages. The People’s Pig Portland, OR 97205 3217 N Williams Ave. http://masusushi.com White Owl Social Club Portland, OR 97227 503-221-masu 1305 SE 8th Ave. www.peoplespig.com Just on the other side of Burnside, near some Portland, OR 97214 503-282-2800 shops and a block or so away from Powell’s is www.whiteowlsocial.com Great smoked ribs, pork shoulder, and smoked Masu Sushi on the second floor. Good for small 503-236-9672 fried chicken. groups for lunch or dinner. Bar to meet every ceramics friend you have ever met in the same place at the same time. Bunk Sandwiches/Bar Food Carts in Portland (see pages 64, 65) Giant outdoor seating with great drinks and 621 SE Morrison St. www.foodcartsportland.com good food. Portland, OR 97214 Coming to Portland means Food Carts. And we www.bunksandwiches.com have plenty all over town. They are open rain or 503-EAT-BUNK Laurelhurst Market rain with sun breaks, and each pod will have lots Cubano- and American-style foods. 3155 E Burnside St. of options at a range of prices. (See page 64.) Portland, OR 97214 http://laurelhurstmarket.com Little Big Burger (multiple locations) 503-206-3097 930 NW 23rd Ave. Paige Wright: Reverend Nat’s Taproom Very fancy, very much about meat! I love the Portland, OR 97210 charcuterie board. www.littlebigburger.com 1813 NE 2nd Ave. 971-544-7817 Portland, OR 97212 A Portland original—fast, cheap, and tasty burg- http://reverendnatshardcider.com Shiloh Gastello: ers where you can also buy a beer. 503-567-2221 Fire On The Mountain Buffalo Wings Cider, Cider, Cider!!!! The best cider in town 1708 E Burnside St. Namita Wiggers: with great people too! Close to the convention Portland, OR 97214 center. Food avalible in same building: Sizzle Pie World Foods Portland www.portlandwings.com Pizza and Pine State Biscuits. 830 NW Everett St. 503-230-9464 Portland, OR 97209 Wings and stellar diner cuisine. Try the bourbon www.worldfoodsportland.com Mad Greek Deli chipotle wings. 503-802-0755 1740 E Burnside St. For a quick lunch with good food and a variety Portland, OR 97214 Eight Three One for everyone you are connecting with—and a www.madgreekdeli.com 8245 SW Barnes Rd. place to pick up a few extra treats to sustain 503-232-0274 Portland, OR 97225 you during the conference. Has limited seat- Greek food and soccer bar, with a good price www.eightthreeonepdx.com ing—more for a quick eat-and-run format. and not too crowded when there is not a game 503-297-1480 on. I recommend the Lamb Gyro with a side World-style fusion food with a gourmet flare. salad and fries! Clyde Common Try the bibimbap (braised pork, rice, zucchini, 1014 SW Stark St. pickled cabbage, fried egg, Korean chili sauce.) Portland, OR 97205 Beulahland www.clydecommon.com 118 NE 28th Ave. Also recommends Nong’s Khao Man Gai 503-228-3333 Portland, OR 97232 For an awesome burger and brilliant bartender, http://beulahlandpdx.com 503-235-2794 Heidi Preuss Grew: Clyde Common. Really brilliant cocktails and Also recommends Nicholas Restaurant delicious foods--lots of vegetarian options. A breakfast that gets it done. This place is open for breakfast all the way through late night with good sliders on the happy-hour menu. It has a historic northwest grunge vibe.

Sights & Ceramics: Portland 2017 67 RESTAURANT RECOMMENDATIONS 2017

Linda Heisserman: 503-234-4102 Piattino Junior’s Cafe Thai eatery open late, with an attached market. 1140 NW Everett St. 1742 SE 12th Ave. Portland, OR 97209 Portland, OR 97214 Lardo http://piattinopdx.com www.juniorscafepdx.com 1212 SE Hawthorne Blvd. 971-983-8000 503-228-5686 Portland, OR 97214 Elevated Italian small plates and wood-fired piz- Place to go for breakfast and brunch offering http://lardosandwiches.com zas, in a cozy space lined with old barn wood. vegan and veggie options. 503-234-7786 Former food truck, now pork-centered sand- Deschutes Brewery Portland Public House 210 NW 11th Ave. Jade Bistro, Teahouse, and Patisserie wich shop. Portland, OR 97209 7912 SE 13th Ave. www.deschutesbrewery.com Portland, OR 97202 Meat Cheese Bread 503-296-4906 www.jadeportland.com 1406 SE Stark St. Beers brewed on-site and gourmet pub grub 503-477-8985 Portland, OR 97214 in a converted auto-body shop with a fireplace Thai and Vietnamese cafe, with French-inspired http://meatcheesebread.com and wood beams. confections, such as tarts and macarons. 503-234-1700 Counter-serve restaurant offering sandwiches and salads. Bamboo Sushi (multiple locations) Jake’s Famous Crawfish http://bamboosushi.com 401 SW 12th Ave. Also recommends Pok Pok and Nong’s World’s first certified sustainable sushi restau- Portland, OR 97205 rant. Carefully presented sushi rolls and lots of Khao Man Gai 503-226-1419 sakes served in a stylish space. Considered one of the top ten seafood restaurants in the nation. Features a variety of fresh Lauretta Jean’s Noble Rot fish and seafood flown in daily. 3402 SE Division St. 1111 East Burnside, Fourth Floor Portland, OR 97202 Portland, OR 97214 www.laurettajeans.com Dennis Meiners and Leslie Lee: www.noblerotpdx.com 503-235-3119 Huber’s Cafe 503-233-1999 Counter-serve bakeshop. 411 SW 3rd Ave. Fourth-floor wine bar offering city views and Portland, OR 97204 small plates featuring ingredients from a www.hubers.com Ted Vogel: rooftop garden. 503-228-5686 Southpark Seafood Portland’s oldest restaurant. American eatery 901 SW Salmon St. Nostrana known for its Turkish and Spanish coffee. Portland, OR 97205 1401 SE Morrison St. http://southparkseafood.com Portland, OR 97214 Mother’s Bistro and Bar 503-326-1300 http://nostrana.com 212 SW Stark St. Contemporary spot for sustainable seafood and 503-234-2427 Portland, OR 97204 wine in an upbeat, stylish setting. Seasonally influenced Italian dishes, including www.mothersbistro.com popular thin-crust pizzas, in lodge-like digs. 503-464-1122 Tasty n Alder Cafe and bar serving comfort-food classics. 580 SW 12th Ave. Biwa Restaurant Portland, OR 97205 215 SE 9th Ave. Bertie Lou’s Cafe www.tastynalder.com Portland, OR 97214 8051 SE 17th Ave. 503-621-9251 www.biwaizakaya.com Portland, OR 97202 New American cuisine. Small plates, cheeses, 503-239-8830 503-239-1177 and seasonal sides with an array of steaks. Stylish underground restaurant and bar featur- Funky little breakfast and lunch diner. ing Japanese fusion fare and sake. Pazzo Ristorante 627 SW Washington St. Scot Cameron-Bell: Clarklewis Restaurant Portland, OR 97205 1001 SE Water Ave. Bunk Bar Water www.pazzo.com Portland, OR 97214 1028 SE Water Ave. 503-228-1515 www.clarklewispdx.com Portland, OR 97214 Elegant eatery at Hotel Vintage Plaza serving 503-235-2294 www.bunksandwiches.com Northern Italian classics, with bar and bakery. Locally sourced Pacific Northwest dishes 503-EAT-BUNK served at an upscale, energetic restaurant in a Sandwich shop providing eats, beer, and live Shizuku by Chef Naoko converted warehouse. shows in a converted warehouse. 1235 SW Jefferson St. Portland, OR 97201 Also recommends Higgins, Mother’s Bistro Tarad Thai www.chefnaoko.com and Bar, and Jake’s Famous Crawfish 601 SE Morrison St. 503-227-4136 Portland, OR 97214 Refined Japanese dishes, plus bento boxes, served in an airy, sophisticated space.

68 Sights & Ceramics: Portland 2017 EXHIBITION RECEPTIONS 2017

4pm 5pm 6pm 7pm 8pm 9pm

Tue. 6:30–8 reception: “NCECA Gal- lery Expo and Project Space” March 21 (Hall A/A1 (Level 1)) (pg. 75).

5–6:45 receptions: Oregon Conven- tion Center (2 exhibitions) Room B117 “Tactic;” Room B119 “Standing on the Wed. Threshold” (pg. 75). March 22 5–7 receptions: Mt. Hood Community College (3 exhibitions) “Mixed Feelings: The Irreverent Object;” “Tangible;” “Low, Medium, High” (pg. 74).

4–7 reception: Portland Community College—Rock Creek, Helzer Gallery “Displace” (pg. 76).

5–7 reception: Butters Gallery “Progres- sion: 25 Years of Functional Form” (pg. 74).

Thu. 5–9 receptions: Pigeon Toe Ceramics “50 Years of Pottery Northwest” (pg. 74); c3:initiative “Social Objects” (pg. 74); Antler Gallery “Natural Flux- Neo Cali Clay” (pg. 74). March 23 5–9 receptions: Lewis and Clark College (5 exhibitions) “Recent Work by Victoria Christen, Thomas Orr, and Ted Vogel;” “Imaginary Border: Ceramics as Transcultural Language;” “Bay Area Clay: A Legacy of Social Consciousness;” “Peaks and Valleys;” “Archie Bray Foundation Resident Artists” (pg. 76).

6–8 reception: Canoe “At the Table: Com- munity and Collaboration Between Artist and Chef” (pg. 75).

6–9 reception: Disjecta Contemporary Art Center “NCECA An- nual Exhibition: The Evocative Garden” (pg. 74).

5–7 receptions: Skutt Ceramics (3 exhibitions) “Keep Portland Wared:” Pottery in the Pacific Northwest;” The Alchemy of Sur- face;” “FRACTAL NATURE: Works Explor- ing the Theory of Chaos” (pg. 76).

5–9 receptions: Redux “Put a Bird on It” (pg. 74); Eutectic Gallery “Duet” (pg. 75); Augen Gallery “Flux Capacitor: Stored Clay Energy” (pg. 74); Annie Meyer Gallery “Contemporary Figuration from Watershed Invitational” (pg. 75); Gallery 114 “All Land/Omnus Terra” (pg. 74).

5–9 receptions: Pacific Northwest College of Art (5 exhibitions) “Method Accumulation: Fri. Studies in Materiality and Existence;” “Post-Digital Landscapes;” “Scofflaws;” “Recon- March 24 structing Craft: Feminism and Contemporary Ceramics;” “Tenuous Constructions” (pg. 74). 6–9 receptions: MFA Applied Craft and Design (4 exhibitions) “10 Years in the Making;” “A Tipping Point: Technology in Ceramics;” “Confluence and Bifurcation;” “Diderot/Forrest/Roloff” (pg. 75).

6–9 receptions: Siteworks “Slice” (pg. 75); The Cleaners (Ace Hotel) “Trifecta: Future Forward on the Ceramic Highway” (pg. 75); PDX Contemporary Art “Bean Finneran: Orbits/Jeffry Mitchell: New Works” (pg. 75).

6–9 receptions: Oregon College of Art and Craft (4 exhibitions) “OCAC Ceramics Alumni Exhibition;” “Occupation;” “NCECA’s Annual National Student Juried Exhibition (NSJE);” “Flux = RAD!” (pg. 74).

6–9 receptions: Ash Street Project (3 exhibitions) “Pots@ASP;” “Current Work by Ash Street Project Artists;” “Them Are Us Too” (pg. 75).

Sights & Ceramics: Portland 2017 69 PORTLAND EXHIBITION MAPS

Greater Portland Area Exhibitions and Restaurants

7 Greater Portland Area # Exhibition Venues 1 Mt. Hood Community College 26000 SE Stark St., Gresham 97030 503-491-6422. 4 Talon Gallery 1100 SE Division St. Suite 135, 97202. 5 c3initiative 7326 N Chicago Ave., 97203. 10 Antler Gallery 2728 NE Alberta St., 97211 503-284-6757. 11, 12 Guardino Gallery 2939 NE Alberta St., 97211 503-281-9048. 16 14 Disjecta 8371 N Interstate Ave., 97217 503-286-9449. 15, 16 Portland Community College Cascade’s Paragon Gallery 815 N Killingsworth, 97217. 21 Multnomah Arts Center 7688 SW Capitol Highway, 97219 503-823-2787. 22–25 Oregon College of Art and Craft 52 8245 SW Barnes Rd., 97225. 29 Eutectic Gallery 1930 NE Oregon St., 97232 503-974-6518. 20- 56 23 31 Rising Room 2222 NE Oregon St. Suite 212, 97232. 50 Buddhist Henjyoi Temple 2634 SE 12th Ave., 97202 503-232-6352. Convention 56 Pigeon Toe Ceramics Center 424 N Tillamook St., 97227 19 503-709-5479.

22– 51 25 45, See detail map on page 72. 48

3,5 Map Key # Exhibitions

# Restaurants Hotels, Convention Center

70 Sights & Ceramics: Portland 2017 2017

5.5 miles to 1 Mt. Hood Community College.

54 39, 53 43 Area Restaurants # 36 Luce 40, 36 44 (For more info. see pp. 64, 65) 2140 E Burnside St., 97214. 37 1 Hopworks Urban Brewery 37 Ken’s Artisan Pizza 2944 SE Powell Blvd., 97202 304 SE 28th Ave., 97214. 503-232-HOPS. 39 Guero 2 Pok Pok 200 NE 28th Ave., 97214 3226 SE Division St., 97202. 503-235-0059. 3 Jade Bistro, Teahouse, 40 Mad Greek Deli and Patisserie 1740 E Burnside St., 97214 7912 SE 13th Ave., 97202 503-232-0274. 2,6 503-477-8985. 43 Laurelhurst Market 4 Bertie Lou’s Cafe 3155 E Burnside St., 97214 8051 SE 17th Ave., 97202 503-206-3097. 503-239-1177. 44 Fire On The Mountain 1 5 Blue Kangaroo Coffee Roasters Buffalo Wings 7901 SE 13th Ave., 97202 1708 E Burnside St., 97214 503-756-0224. 503-230-9464. 6 Lauretta Jean’s 45 Junior’s Cafe 3402 SE Division St., 97202 1742 SE 12th Ave., 97214 503-235-3119. 503-228-5686. 43 7 Mama San Soul Shack 48 Lardo 8037 N. Lombard St., 97203 1212 SE Hawthorne Blvd., 97214 503- 719-4288. 503- 234-7786. 19 Little Big Burger 51 Cafe Eight Three One 930 NW 23rd Ave., 97210 (at OCAC) 971 544-7817. 8245 SW Barnes Rd., 97225 20 OX 503-297-1480. 2225 NE Martin Luther King Jr. Blvd., 97212 52 The People’s Pig 503-284-3366. 3217 N Williams Ave., 97227 21 Pine State Biscuits 503-282-2800. 125 NE Schuyler St., 97212 53 Beulahand 503-719-5357. 118 NE 28th Ave., 97232 503-235-2794. 4 22 Toro Bravo 120 NE Russell St., 97212 54 Slow Burger 503-281-4464. 2329 NE Glisan St., 97232 23 Reverend Nat’s Taproom 503-477-5779. 1813 NE 2nd Ave., 97212 503-567-2221. AllAll maps maps generated generated by by Batch Batch Geo Geo and and Google Google Maps Maps

Sights & Ceramics: Portland 2017 71 SELECTED PORTLAND EXHIBITION MAPS

Downtown, Pearl District, and Convention Center (detail map)

Downtown and Pearl District, Exhibition Venues # 6, 7 Pacific Northwest College of Art (PNCA) 511 NW Broadway, 97209 503-821-8972. 8 Augen Gallery 716 NW Davis, 97209 503-546-5056. 9 Yonder Gallery 1100 NW Glisan, 97209. 13 REDUX Boutique and Gallery 811 E Burnside St. #110, 97214 503-231-7336. 26 Pottery Northwest 424 N Tillamook St., 97227. 28 Butters Gallery 157 NE Grand Ave., 97232 503-248–9378. 30 Broadway Gallery, Portland State University 1620 SW Park Ave., 97232. 32 Exchange Ballroom, Eastside Exchange 123 NE 3rd Ave., 97232 503-334-8624. 33–35 Applied Craft & Design MFA Studios, PNCA 421 NE 10th Ave., 97232. 41–45 Portland Convention Center 6,7 777 NE Martin Luther King Jr Blvd, 97232. 46 Siteworks 17 240 SE 2nd Ave., 97214 53 55 503-230-2337. 47 The Cleaners (Ace Hotel) 57 403 SW 10th Ave., 97205. 16 48 Canoe 58 54 1233 SW 10th Ave., 97205 18 503-889-8545. 49 Mexican Consulate’s Office 1305 SW 12th (Second Floor), 97201 503-274-1442. 53 PDX Contemporary Art 925 NW Flanders St., 97209 14 15 503-222-0063. 8 13 54 Annie Meyer Gallery 47 120 NW 9th Ave., 97209. 54 9 55 Blackfish Gallery 420 NW 9th Ave., 97209. 56 Pigeon Toe Ceramics 424 N Tillamook St., 97227. 10 11

Hilton Portland 56 49 and Executive Tower 48

Map Key 62 # Exhibitions 12

# Restaurants Hotels, Convention Center

72 2017

Area Restaurants # 34 Bunk Sandwiches/Bar (For more information 621 SE Morrison St., 97214 see pp. 64, 65) 503-EAT-BUNK. 8 Little Bird Bistro 35 Afuri Fine Ramen 219 SW 6th Ave., 97204 923 SE 7th Ave., 97214 503-688-5952. 503-468-5001. 9 Pine Street Market 38 Trifecta 126 SE 2nd Ave., 97204. 726 SE 6th Ave., 97214. 10 Huber’s Cafe 41 Slow Bar 411 SW 3rd Ave., 97204 533 SE Grand Ave., 97214 503-228-5686. 503-230-7767. Crown Plaza Hotel, Down- 11 Mother’s Bistro and Bar 42 White Owl Social Club town Conven- 212 SW Stark St., 97204 1305 SE 8th Ave., 97214 tion Center 503-464-1122. 503-236-9672. 12 Higgins 46 Bunk Bar Water 1239 SW Broadway, 97205 1028 SE Water Ave., 97214 503-222-9070. 503-EAT-BUNK. 13 Clyde Common 47 Tarad Thai Hotel 1014 SW Stark St., 97205 601 SE Morrison St., 97214 Eastlund 503-228-3333. 503-234-4102. 14 Masu Sushi 49 Meat Cheese Bread 406 SW 13th Ave., 97205 1406 SE Stark St., 97214 503-221-masu. 503-234-1700. 15 Jake’s Famous Crawfish 50 Water Avenue 401 SW 12th Ave., 97205 Coffee Company 503-226-1419. 1028 SE Water Ave. Suite 145, 97214 41– 45 16 World Foods Portland 503-808-7084. 830 NW Everett St., 97209 51 Eight Three One Portland 503-802-0755. 8245 SW Barnes Rd., 97225 Convention 17 Park Kitchen 503-297-1480. Center 422 NW 8th St., 97209 52 The People’s Pig 503-223-7275. 3217 N Williams Ave., 97227 18 Fuller’s Coffee Shop- 503-282-2800. Pearl District 53 Southpark Seafood 136 NW 9th Ave., 97209 901 SW Salmon St., 97205 503-222-5608. 503-326-1300. 24 Nong’s Khao Man Gai 54 Tasty n Alder 609 SE Ankeny St., Suite C, 97214 580 SW 12th Ave., 97205 503-740-2907. 503-621-9251. 25 Burnside Brewing 55 Pazzo Ristorante 701 E Burnside St., 97214 627 SW Washington St., 97205 503-946-8151. 503-228-1515. 25 Nicholas Grand 59 26 56 Shizuku by Chef Naoko 318 SE Grand Ave., 97214 1235 SW Jefferson St., 97201 30 503-235-5123. 503-227-4136. 27 Marukin Ramen 57 Piattino 24 27 609 SE Ankeny, Suite A, 97214. 1140 NW Everett St., 97209 971-983-8000. 31 28 Sheridan Fruit Co. 408 SE 3rd St., 97214 58 Deschutes Brewery Port- 503-236-2114. land Public House 61 46 29 Base Camp Brewery 210 NW 11th Ave., 97209 903 SE Oak St., 97214 503-296-4906. 26 503-477-7479. 59 Noble Rot 30 Sizzle Pie 1111 E Burnside, 4th Floor, 97214 29 624 E Burnside St., 97214 503-233-1999. 28 503-234-PIES. 60 Nostrana 49 31 Half Pint Cafe 1401 SE Morrison St., 97214 537 SE Ash St., 97214 503-234-2427. 41 503-236-2326. 61 Biwa Restaurant 32 Noraneko Ramen 215 SE 9th Ave., 97214 1430 SE Water Ave., 97214 503-239-8830. 38 503-230-NEKO. Clarklewis Restaurant 33 62 47 34 33 Kachka 1001 SE Water Ave., 97214 60 720 SE Grand Ave., 97214 503-235-2294. 503-235-0059.

35 62 50 46

73 32 42 SELECTED PORTLAND AREA EXHIBITION MAPS

Greater Portland, Downtown, Pearl District, and Convention Center Exhibitions (see maps on pp. 70–73) 1 Mt. Hood Community College collaboration between Australia and the US. 15, 16 PCC Cascade’s Paragon Gallery 26000 SE Stark St. Australian artisits: Shannon Garson, Vicki 815 N Killingsworth Gresham, Oregon 97030 Grima, Fiona Hiscock, Megah Puls, Jane Saw- Portland, Oregon 97217 503-491–6422 yer, Fleur Schell, Gerry Wedd. US artists: Joel February 27–March 24. Mon.–Fri. 11–5 Sat. March 6–30. Mon.–Fri., 9am–5pm. Reception Blum, Trou Bungart, Linda Fahey, Brett Freund, 12–5. Reception Thu. March 23, 5–9pm. Wed., March 22, 5–7 pm. Michelle Gregor, Malia Landis, Crystal Morey. “Interchange.” Jennifer Brazelton, Shenny “Mixed Feelings: The Irreverent Object.” 10 Antler Gallery Cruces, Tomoko Nakazto, Tiffany Schmierer, Stephanie DeArmond, Ron Geibel, Jennifer 2728 NE Alberta St. Shannon Sullivan. Ling Datchuk, Lauren Sandler, Shalene Valen- Portland, Oregon 97211 “Pushing Boundaries: Living Without Ap- zuela, Dustin Yager. 503-284-6757 proval.” Akiko Jackson, Marnia Johnston. 4 Talon Gallery March 22–April 24. Sun 11am–5pm; Mon-Tue 22–25 Oregon College of Art 1100 SE Division St. Suite 135 11am–6pm; Wed 10am–6pm; Thu–Sat 11am– and Craft Portland, Oregon 97202 6pm. Reception Thu. March 23, 5pm–9pm. 8245 SW Barnes Rd. March 22–April 24th. Tue 12–6pm; Wed “Natural Flux–Neo Cali Clay.” Evan Hobart, Portland, Oregon 97225 10am–6pm; Thu.–Sun 12–6; Fri hours extend- Mark Jaeger, Joseph Kowalczyk, Malia Lan- Hoffman Gallery dis, Calvin Ma, Crystal Morey, Erika Sanada, ed to 9pm. Reception Fri. March 24, 5–9pm. March 2–26. Sun.-Sat., 10am–5pm; Fri. hours Wesley T. Wright. “The Shadowtide.” Sarah Louise Davey, extended to 9pm. Reception Fri. March 24, Gosia, Kate MacDowell. 11, 12 Guardino Gallery 6–9pm. 5 c3initiative 2939 NE Alberta St. “NCECA’s Annual National Student Juried 7326 N Chicago Ave. Portland, Oregon 97211 Exhibition.” Rachel Ballard, Ashley Bevington, Portland, Oregon 97203 503-281–9048 Abigale Brading, Liam Calhoun, Man-Ho Cho, March 23–April 14. Wed.–Sat., 12–6 pm. February 23–March 28. Tue. 11–5pm, Wed.– Mike Cinelli, Louise Deroualle, Yewen Dong, Reception March 23, 5–9 pm. Sat. 11–6pm, Sun., 11–4pm. Reception Thu. Kelsey Duncan, Sydney Ewerth, Shauna “Social Objects.” c3:initiative is happily March 23, 5–9pm. Fahley, Lorraine Franco, Stuart Gair, Sarah hosting an exhibition by the artist collective “Lisa Conway.” Lisa Conway. Heitmeyer, Kwan Jeong, Elliott Kayser, Andrew Socially Engaged Craft Collective (SECC) “All is Flux.” Hsin-Yi Huang. Kellner, Patrick Kingshill, Bradley Klem, Teresa in conjunction with NCECA. Mary Callahan Larrabee, Amy LeFever, Caelin McDaniel, Tay- Baumstark, Henry Crissman, Amanda Leigh 13 REDUX Boutique and Gallery lor Pasquale, Tiffany Tang, Mary Cale Wilson. Evans, Forrest Sincoff Gard, Jeni Hansen 811 E Burnside St. Suite #110 Centrum Gallery Gard and Lauren Karle, nicole gugliotti, Holly Portland, Oregon 97214 March 2–26. Sun.–Sat., 10am–5pm; Fri. hours Hanessian, Anna Metcalfe, Cheyenne Ru- 503-231-7336 extended to 9pm. Reception Fri. March 24, dolph, Nicole Seisler, Michael Strand, Juliette March 19–25. Mon–Sat 11–7, Sun. 11-5. 6–9pm. “OCAC Ceramics Alumni Exhibition.” Walker, Summer Zickefoose. Reception Wed. March 22, 10am–7pm. Fri. Lindsey Dexman, Whitney Lowe, Jacob So- March 24, 11am–9pm. renson, Mudshark Studios, Sarah Wolf. Pacific Northwest College 6, 7 “Put a Bird on It.” Jessica Brandl, Leanne Clover Field of Art (PNCA) McClurg Cambric, Molly Cantor, Caroline March 21–25. Tue.–Sat., 10am–5pm. Recep- 511 NW Broadway Douglas, Diana Fayt, Julia Galloway, Arthur Portland, Oregon 97209 tion Fri. March 24, 6–9pm. Halvorsen, Ayumi Horie, Shawn Ireland, Kris- “Occupation.” Jesse Albrecht, Stephen Braun, 503-821-8972 ten Kieffer, Matthew Krousey, Melissa Men- March 20–25. 10am–6pm. Reception Fri. Ash Kyrie, Roberto Lugo, Karl McDade, cini, Jenny Mendes, Peter Morgan, Karen Thomas Orr, Giuseppe Pelicano, Ehren Tool. March 24 6–9. Newgard, Kip O’Krongly, Donna Polseno, “Reconstructing Craft: Feminism and Yoko Sekino-Bove, David Swenson, Shoko School House March 21–25. Tue.–Sat., 10am–5pm. Recep- Contemporary Ceramics.” nicole gugliotti, Teruyama, Sue Tirrell, Ted Vogel, Michaelene tion Fri. March 24, 6–9pm. Cheyenne Chapman Rudolph, Sarah Tancred, Walsh, Betsy Williams. Shalene Valenzuela. “Flux=RAD!.” Mary Barringer, Peter March 22–26, “Scofflaws.” Four artists 14 Disjecta Beasecker, Kyle Carpenter, Silvie Granatelli, whose work flouts traditional expectations 8371 N Interstate Ave. Mike Helke, Simon Levin, Kari Radasch, Peter of the ceramic material and ideas of beauty, Portland, Oregon 97217 Scherr, Sean Scott. instead embracing discord, experimentation 503-286-9449 and uncertainty. Bryan Czibesz, Brian Harper, March 4–April 1. Normal hours Fri.–Sun., 26 Pottery Northwest 424 N Tillamook St. Roxanne Jackson, Sasha Koozel Reibstein. 12–5pm, March 22–25 10am–5pm. Reception Portland, Oregon 97227 Thu. March 23, 6–9pm. 8 Augen Gallery Tue. March 21–Sat., March 25. 10am–5pm. 716 NW Davis St. “2018 NCECA Annual: The Evocative Gar- Reception Thu. March 23, 5–9pm. den.” Christopher Adams, JoAnn Axford, Lisa Portland, Oregon 97209 “50 Years of Pottery Northwest.” Luke Armit- Marie Barber, Chris Berti, Megan Bogonovich, 503-546-5056 stead, Amanda Barr, Alix Brodeur, Liz Duarte, Jess Riva Cooper, Deirdre Daw, Audry Deal- March 1–31. 11am–5:30pm Tue–Sat. Recep- Sandra Farmer, Carol Gouthro, Adam Helen- McEver, Jennifer DePaolo, Kim Dickey, Shan- tion March 24, 5–9pm. ske, Zak Helenske, Lynne Hobaica, Andrew “Flux Capacitor: Stored Clay Energy.” Dan non Donovan, Caroline Earley, Carol Gouthro, Hoeppner, Myra Kaha, Coleton Lunt, Meg Anderson, John Balistreri, Chris Gustin, Mark Karen Gunderman, Dawn Holder, Cj Jilek, Murch, Anne Drew Potter, George Rodriguez, Pharis, Jeff Shapiro, Stan Welsh, Jeff Whyman. Chuck Johnson, Tsehai Johnson, Heather Tammie Rubin, Deborah Schwartzkopf, Amy Kaplan, Paul Kotula, Annie Rhodes Lee, Simons, Ellie Weber. 9 Yonder Gallery/Gallery 114 Nancy Lovendahl, Andrea Marquis, Lindsay 1100 NW Glisan St. Montgomery, Grace Nickel, Anne Drew Pot- 28 Butters Gallery Portland, Oregon 97209 ter, Jessica Putnam-Phillips, Dori Schechtel 157 NE Grand Ave. March 21–26. Tue.–Sat. 9am–5pm. Reception Zanger, Linda Sormin, Dirk Staschke, Claudia Portland, Oregon 97232 Fri. Mar 24, 5–9pm. Tarantino, Hirotsune Tashima, Colleen Tole- 503-248–9378 “Omnus Terra/All Lands.” An international dano, Jenni Ward, Stan Welsh. March 2–25. Wed 10am–5pm; Thu 11am–

74 Sights & Ceramics: Portland 2017 2017

7pm; Sat 11am–5pm; Fri hours to 9pm. Shyla Streeter, Hanna Traynham, Robert 53 PDX Contemporary Art Reception Thu. March 23, 5–7 pm. Wetherington, Ariel Zimman. 925 NW Flanders St. “Progression: 25 Years of Functional Form.” “Diderot/Forrest/Roloff.” John Roloff and Neil Portland, Oregon 97209 The lineage of potters that Brad Schwieger Forrest. Curated by John Roloff. 503-222-0063 has influenced in his 25 years at OU. Ted Adler, “A Tipping Point - Technology in Ceramics.” March 1–April 1. Tue.–Sat. 11am–6pm. Recep- Nick Bivins, Bryce Brisco, Jeff Brown, Mark Adam Chau, Michael Eden, Adam Nathaniel tion Fri. March 24, 6–9pm. Cole, Joe Davis, Hiroe Hanazono, Pat Hous- Furman, Ronald Rael, Jenny Sabin, Virginia “Bean Finneran: Orbits/Jeffry Mitchell: ton, Mike Jabbur, Kyle Johns, Jeremy Kane, San Fratello, Olivier van Herpt. Curated by New Works.” Kristen Kieffer, Ellen Kleckner, Matt Long, Michael Arnold. Lorna Meaden, Boni Parker, Beth Robinson, 54 Annie Meyer Gallery 41–45 Oregon Convention Center 120 NW 9th Ave. Frank Saliani, Steve Schaeffer, Brad Schwieger, 777 NE Martin Luther King Jr Blvd. Portland, Oregon 97209 Kyla Strid, James Tingey. Portland, Oregon 97232 March 22–25. Thu.–Sat. 12am–5:30pm. Re- 29 Eutectic Gallery Expo Hall ception Fri. March 24, 5–9pm. 1930 NE Oregon St. March 22-24 Wed.,Thu. 9–5. Fri 8:30–4:30. “Contemporary Figuration from Watershed Portland, Oregon 97232 “Potters Council Exhibition”Juried exhibition Invitational” Organized by Lisa Merida-Paytes. 503-974-6518 of work by Potters Council members. Blackfish Gallery March 3rd–25. Mon.–Sat. 10–6pm. Reception 55 “NCECA Gallery Expo and Project Space” 420 NW 9th Ave. Fri. March 24. “Emerging Artists” NCECA’s Emerging Artists. Portland, Oregon 97209 “Duet.” Doug Jeck, Christine Golden. Conference Rooms Feb 28–April 1. Thu.–Sat. 11am–5pm. Recep- 30 Broadway Gallery, Portland “Tactic” Ceramic artists using mixed media. tion Fri. March 24, 7–9pm. State University Organized by Rain Harris and Matt Mitros. “Legacy Emergent” Artists evolving the wood-firing tradition in Oregon. 1620 SW Park Ave. “Standing on the Threshold” Organized by Portland, Oregon 97232 Sara Parent-Ramos. 56 Pigeon Toe Ceramics March 22–Sept. 15. 10am–6pm, including 46 Siteworks 424 N Tillamook St. weekends. Reception Wed. March 22, 5–7pm. 240 SE 2nd Ave. Portland, Oregon 97227 “Ritual Unmoored: Works by Six Jewish Portland, Oregon 97214 March 21–25. Tue.–Sat. 10am–5pm. Recep- Ceramists.” Patricia Berman, Linda Bourne, 503-230-2337 tion Thu. March 23, 5–9pm. Betty Feves, Kenneth Pincus, Willa Schne- March 20–25. Mon.–Sat 10am–6pm. Recep- “50 Years of Pottery Northwest” Past and berg, Maria Simon. tion Fri., March 24 6–9pm. present PNW residents exhibit new work. “Slice” Abstraction, Realism, Expressionism, Rising Room 31 and figurative works. 57 Ash Street Project 2222 NE Oregon St. Suite 212 524 SE Ash St. Portland, Oregon 97232 47 The Cleaners (Ace Hotel) Portland, Oregon 97214 March 3–31. From March 3–23 we are open 403 SW 10th Ave. Reception Friday March 24, 6–9 Mon.–Fri. 9am–5pm. On March 24 will be Portland, Oregon 97205 March 21–26. Tue. 2–6, Wed.–Fri. 10–6, open for the NCECA reception 5–9pm only. March 21–25. Tue.–Sat.10am–6pm. Reception Sun. 10–2. “Radius: The Role of a Community Studio.” Fri., March 24 6–9pm. “Pots@ASP” Linda Arbuckle, Mike Helke, Alyssa Black, Scott Gray, Heidi Sowa Gray, “Trifecta: Future Forward on the Ceramic Ayumi Horie, Michael Hunt and Naomi Dal- Korin Noelle, Chris Pate, Jamin London Highway” Artists linked to the LH Project, glish, Beth Lo, Julia Galloway, Jean-Nicolas Tinsel, Maya Vivas. Ash St. Project, and Mudshark Studios. Gérard, Sandy Simon, Kevin Snipes, Rimas Canoe VisGirda. Co-curated by Victoria Christen and 32 Exchange Ballroom, 48 Daniel Anderson. Eastside Exchange 1233 SW 10th Ave. Portland, Oregon 97205 March 21–26. “Current Work by the Ash Street 123 NE 3rd Ave. Project Artists.” Portland, Oregon 97232 503-889-8545 March 6–31. Mon.–Fri., 11–3. “Them Are Us (505) 984-1122 March 22–25. Tue.–Sat. 10am–6pm. Sun. Too” Jessica Jackson Hutchins and Ariel Brice. March 22–25. Wed.–Fri., March 22–24: 11am–5pm. Reception Thu., March 23 6–8pm. 9am–6 pm. March 25: 9am–2 pm. “At the Table: Community and Collaboration “Santa Fe Clay Presents: LA MESA.” Between Artist and Chef” Lilith Rockett in collaboration with various chefs. 33–35 Applied Craft & Design MFA Studios, PNCA 49 Mexican Consulate’s Office 1305 SW 12th Ave. (Second Floor) 421 NE 10th Ave. Portland, Oregon 97201 Portland, Oregon 97232 503-274-1442 March 21–25. 10am–5 pm. Reception Fri. March 19–25. Mon.–Fri. 10am–4:30pm. March 24, 6–9pm. Reception Thu. March 23, 6–7:30. “10 Years in the Making.” Theresa Arrison, “Migratory Flux Intro” artists from Oxaca, Chris Baskin, Brett Binford, Danny Crump, Mexico and Oregon. Carson Culp, Sarah Chenoweth Davis, Lind- sey Dezman, Mark Ehrman, Daniel Granias, 50 Buddhist Henjyoji Temple Aldin Huff, Cooper Jeppesen, Elliott Kayser, 2634 SE 12th Ave. John Larson, Amy LeFever, Kat and Roger Portland, Oregon 97202 (Kat Hutter and Roger Lee), Jared Lindsey, 503-232-6352 Chris Lyon, Gabriel Menard-Oxman, Heather “Onko-Chishiin” Chris Baskin, Baba Wague Myers, Kimberly Ota, Chris Pate, Austin Diakite, Daven Hee, Eva Kwong, Sanjit Sethi, Jeremy Kane’s mugs. “Progression: 25 Richards, Morgan Richardson, John Shea, Upshiro Ikeda, Jae Won Lee. Curated by Years of Functional Form” at Butters Gallery Alexandra Simon, Ben Skiba, Jason Starin, Mami Takahashi and David Komeiji. (buttersgallery.com) March 2–25.

Sights & Ceramics: Portland 2017 75 SELECTED PORTLAND AREA EXHIBITION MAPS

Southwest Portland, Collins View, and Salem Exhibitions 21 Multnomah Arts Center 51 7688 SW Capitol Highway 17- 20 Portland, Oregon 97219 52 503-823-2787 March 3–29. Mon.–Fri. 9am–9:30pm, Sat., Sun. 9am–5 pm. “Community and Connection.” Ceramic artists working in Oregon and southern Washington, and Multnomah Arts Center instructors and students. 36 Salem Art Association Southwest Portland, 600 Mission St. SE Collins View, and Salem, Oregon 97302 Salem # 503-581‑2228 3 George Fox University-Mint- March 11–April 22. Tue–Fri. 10am–5 pm; horne Art Gallery Sat.,Sun. 12–5. Reception Fri., March 17 414 N Meridian St., Newberg 97132 from 5:30–7:30. 503-554-2619. “Heidi Preuss Grew: Draw Near.” 17–20 Lewis and Clark College 0615 SW Palatine Hill Rd. 37, 38 LCC Art Gallery Portland 97219 503-768-7390. 4000 E. 30th Ave. Eugene, Oregon 97405 21 Multnomah Arts Center 7688 SW Capitol Hwy., Portland 97219 541-463-3431 503-823-2787. March 13–25. Mon.–Fri. 8–5, Sat. 9–4. 36 Salem Art Association “Oregon Ceramics Instructors Exhibition.” 600 Mission St. SE, Salem 97302 Dylan Beck, Joe Davis, Kathryn Finnerty, 503-581‑2228. Brian Gillis, Heidi Preuss Grew, Brian 37, 38 LCC Art Gallery Jones, Sam Morgan, Andreas Salzman, Ted 4000 E. 30th Ave., Eugene 97405 541-463-3431. Vogel, Paige Wright. 51 Skutt Ceramics “Heat Transfer.” Rhue Bruggeman, Barb 6441 SE Johnson Creek Blvd., Campbell, Javier Cervantes, Lisa Conway, Portland 97206 Joe Davis, Spencer Dixon, Robin Dupont, 503-774-6000. Kathryn Finnerty, Joe Geil, Jesse Jones, 52 Portland Community Col- Tom Rohr, Jonathan Steele, Anna Stehle, lege–Rock Creek, Helzer Gallery James Tingey, Steve Wise. Bldg. 3, 17705 NW Springville Rd., Portland 97229 51 Skutt Ceramics 57 Jordan Schnitzer Museum 6441 SE Johnson Creek Blvd. of Art, University of Oregon Portland, Oregon 97206 1430 Johnson Ln., Eugene 97403 503-774-6000 March 21–25. Tue.–Sat. 9am–5pm. Recep- 66 miles to 37, 38, at LCC tion Fri. Mar 24, 5–7pm. Art Gallery and 57 at the Map Key University of Oregon in “Keep Portland Wared: Pottery in the Eugene, Oregon. # Exhibitions Pacific Northwest” Organized by members of the Oregon Potters Association. “The Alchemy of Surface”Organized by artists from Chile, the US, Brazil, Jamaica, members of the Oregon Potters Association. 3 George Fox University- “Fractal Nature: Works Exploring the Theory Minthorne Art Gallery Japan, and Venezuela who have contributed to the development of Curaumilla Art Center. Pe- of Chaos” Organized by Meira Mathison. 414 N Meridian St. ter Beasecker, Doug Casebeer, Chris Gustin, Newberg, Oregon 97132 52 Portland Community College– Randy Johnston, Jan McKeachie Johnston, 503-554-2619 Rock Creek, Helzer Gallery Suze Lindsay, Benjamin Lira, Ken Matsuzaki, March 6–April 10. March 19–25. Mon.–Fri. Building 3, 17705 NW Springville Rd. Ron Meyers, Marilu Pelusa Rosenthal. 9–5pm or by appointment. Portland, Oregon 97229 “Tropes of Nature.” Angela Cunningham, Lisa “Bay Area Clay: A Legacy of Social Con- March 21–25. Sun.–Sat. 9am–6pm Reception Conway, Kyoung Hwa Oh, Helen Otterson, sciousness.” Arthur Gonzalez, Michelle Thu. Mar. 23, 4–7pm. Shoji Satake, Juliane Shibata. Gregor, Marc Lancet, Mark Messenger, “Displace” Linda Casbon, Lisa Nappa, Linda Richard Notkin, Lisa Reinertson, Ehren Tool, Swanson, Sandra Trujillo, Chris Tyllia. Orga- 17–20 Arnold Gallery, Lewis Monica Van den Dool, Stan Welsh, Wanxin nized by Lisa Nappa and Chris Tyllia. and Clark College Zhang. Curated by Lisa Reinertson. 0615 SW Palatine Hill Rd. Smith Hall March 22–25. Tue–Sat. 10am– 57 Jordan Schnitzer Museum of Art, Portland, Oregon 97219 6pm. Reception Thu., March 23, 5–9pm. University of Oregon 503-768-7390 “Archie Bray Foundation Resident Artists.” 28 1430 Johnson Ln. March 21–25. Tue–Sat. 10am–6pm. Reception resident artists, including Hannah Lee Cam- Eugene, Oregon 97403 Thu., March 23, 5–9pm. eron, Ling Chun, Nicholas Danielson, Lauren March 22–August 2018. Wed. 11am–8pm. “Recent work by Victoria Christen and Gallaspy, Perry Haas, En Iwamura, Myungjin Thu.–Sun. 11am–5pm. Thomas Orr.” Kim, Chris Riccardo, Noah Riedel, Michelle “Breathing Heritage: Contemporary Korean Hoffman Gallery “Imaginary Border: Ce- Summers, Steven Young Lee, and others. Ceramics” 10 Korean Ceramic artists who ramics As Transcultural Language.” Featuring Curated by Steven Young Lee. were residents at UO in winter, 2017.

76 Sights & Ceramics: Portland 2017 2017

North Portland, Vancouver, and Astoria Exhibitions

North Portland, Vancouver, 89 miles to 2, Imogen and Astoria # Gallery in Astoria, Oregon 2 Imogen Gallery 240 11th St., Astoria 97103 503-468-0620. 5 c3initiative 7326 N Chicago Ave., Portland 97203. 10 Antler Gallery 2728 NE Alberta St., Portland 97211 503-284-6757. 40 11, 12 Guardino Gallery 2939 NE Alberta St., Portland 97211 503-281-9048. 27 Helzer Gallery, Building 3, PCC Rock Creek Campus 17705 NW Springville Rd. Portland 97229. 39, 40 Archer Gallery, Frost Art Building, Clark College 1933 Fort Vancouver Way Vancouver, Washington, 98663.

11- Map Key 12 # Exhibitions

2 Imogen Gallery “Displace.” Linda Casbon, 240 11th St. Lisa Nappa, Linda Swanson, Astoria, Oregon 97103 Sandra Trujillo, Chris Tyllia. 503-468-0620 March 11–April 4. Mon.–Sat. 11–5pm, 39, 40 Clark College Sun. 11–4 pm and closed Wed. Reception 1933 Fort Vancouver Way March 11 5–8pm. Vancouver, Washington, 98663. “Ceramics On The Edge.” Barb Campbell, Ja- Archer Gallery Feb. 21– vier Cervantes, Amy Fields, Robin Hominiuk, March 25. Tue–Thu. 10am– Christos Koutsouras, Aaron Murray. 7pm; Fri. and Sat. 12–5pm. “Politics of the Figure: Ideolo- 11, 12 Guardino Gallery 2939 NE Alberta St. gies of Failure.” Pattie Chalm- Portland, Oregon 97211 ers, Christine Golden, Brian 503-281-9048 Harper, Ian F. Thomas, Zach February 23–March 28. Tue. 11–5pm, Wed.– Tate, Paige Wight. Sat. 11–6pm, Sun., 11–4pm. Reception Thu., Frost Art Building Lobby March 23, 5–9pm. Gallery February 22–March “Lisa Conway.” Lisa Conway. 25. Mon.–Fri. 8am–9pm, “All is Flux.” Hsin-Yi Huang. Sat.–Sun. 10am–5pm. 27 Helzer Gallery, Building 3, PCC “The Next Step.” Elizabeth Rock Creek Campus Alexander, Trisha Bottemiller, 17705 NW Springville Rd. Jordan Jones, KeigKenzie Stu- Portland, Oregon 97229 dios, Hector Macias, Yelena Hsin-Yi Huang’s Red Bloom, porcelain, 2015. “All is Flux,” March 21–24. 9 am–6pm. Reception 4–6pm Roslaya, Lauren Ruhe, Aleka at Guardino Gallery (www.guardinogallery.com) in Portland, Thu., March 23. Tomlinson, Alyssa Willard. Oregon, through March 28.

Sights & Ceramics: Portland 2017 77 CONCURRENT EXHIBITION IMAGES

1 2 3

4 5 6

7 8 9

1 Doug Jeck and Christine Golden’s Head 1, ceramic, mixed media, 2016. “Duet,” at Eutectic Gallery (eutecticgallery.com) in Portland, through March 25. 2 Ron Geibel’s Experimenting with Couples, 7½ in. (19 cm) in height, porcelain, 2016. “Mixed Feelings: The Irreverent Object,” at Mt. Hood Community College (www.mhcc.edu) in Gresham, through March 30. 3 Bryan Czibesz’ Világháború Emlékmú, Kiskunfélegyháza, 16½ in. (42 cm) in height, handbuilt, 3D-printed porcelain, polyethylene, 2015. “Scofflaws,” at PNCA (http://pnca.edu) in Portland, March 22–26. 4 Shannon Sullivan’s Interactive Bubble Array, ceramic, neodymium magnets, wood, steel, linen, 2016. “Interchange,” at PCC Cascade’s Paragon Gallery (www.pcc.edu) in Portland, through March 24. 5 Liz Duarte’s Second Generation, 15 in. (38 cm) in height, stoneware, 2016. 6 K and R Ceramics’ painted serving bowl, 10 in. (25 cm) in diameter, stoneware, underglaze. 7 Mary Cale A. Wilson’s Foul Fowl, 25 in. (64 cm) in height, earthenware, 2016. 8 Shoji Satake’s AFS25_08_2016, 21 in. (53 cm) in height, slip-cast and altered porcelain, handbuilt stoneware base, multi-fired to cone 04–9, 2016. “Tropes of Nature,” at Minthorne Art Gallery (www.georgefox.edu) in Portland, March 6–April 10. 9 Marnia Johnston’s Rover Plants, 2016. “Pushing Boundaries,” at PCC Cascade’s Paragon Gallery through March 24.

78 Sights & Ceramics: Portland 2017 2017

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Sights & Ceramics: Portland 2017 79

Mudsharks How did Chris Lyon and Brett Binford build their thriving Ceramic Business in Portland...One PK at a time! Find out how you can take a tour of Skutt Hear the whole story at: and Mudsharks during the 2017 NCECA conference by visiting: www.skutt.com/mudsharks www.skutt.com/NCECA2017

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Mudsharks Ceramics Monthly Rev.indd 1 1/19/17 9:31 AM