December 1996 1 Ruth C. Butler...... Editor Kim Nagorsld...... Assistant Editor Randy Wax...... Art Director Mary R. Hopkins...... Circulation Manager Mary E. May...... Assistant Circulation Manager Connie Belcher...... Advertising Manager Spencer L. Davis...... Publishing Consultant Mark Mecklenborg...... Publisher

Editorial, Advertising and Circulation Offices 735 Ceramic Place Post Office Box 6102 Westerville, Ohio 43086-6102 Telephone: (614) 523-1660 Fax: (614) 891-8960 E-mail: [email protected] advertising@ceramicsmonthly. org [email protected]

Ceramics Monthly {ISSN 0009-0328) is published monthly, except July and August, by the American Ceramic Society, 735 Ceramic Place, Westerville, Ohio 43081. Periodicals postage paid at Columbus, Ohio. Subscription Rates: One year $24, two years $44, three years $60. Add $ 10 per year for subscriptions outside the U.S.A. In Canada, add GST (registra­ tion number R123994618). Change of Address: Please give us four weeks advance notice. Send the magazine address label as well as your new address to: Ceramics Monthly, Circulation Department, P.O. Box 6102, Westerville, Ohio 43086-6102. Contributors: Manuscripts, announcements, news releases, photographs, color transparencies (including 35mm slides), graphic illustrations and digital TIFF or EPS images are welcome and will be considered for publica­ tion. Mail submissions to Ceramics Monthly, Post Office Box 6102, Westerville, Ohio 43086-6102. We also accept unillustrated materials faxed to (614) 891-8960. Writing and Photographic Guidelines: Printed information on standards and procedures for submitting materials is available upon request. Indexing: An index of each year’s feature articles appears in the December issue. Additionally, Ceramics Monthly articles are indexed in the Art Index. Printed, online and CD-ROM (computer) indexing is available through Wilsonline, 950 University Avenue, Bronx, New York 10452; Information Access Company, 362 Lakeside Drive, Forest City, California 94404; and from daai (design and applied arts index), Design Documentation, Wood­ lands, Stone Cross, Mayfield, East Sussex, TN20 6EJ, England. These services are also available through your local library. Copies and Reprints: Microfiche, 16mm and 35mm microfilm copies, and xerographic reprints are available to subscribers from University Micro­ films, 300 North Zeeb Road, Ann Arbor, Michigan 48106. Back Issues: When available, back issues are $ 5 each, postage paid. Write for a list. Postmaster: Send address changes to Ceramics Monthly, Post Office Box 6102, Westerville, Ohio 43086-6102. Form 3579 requested. Copyright © 1996 The American Ceramic Society All rights reserved

2 CERAMICS MONTHLY December 1996 3 4 CERAMICS MONTHLY Volume 44, Number 10 • December 1996 Feature Articles

The Kiln that Consumed Elkton by Howard Kiefer with Deborah Lipman ...... 35 Wayne Ferguson ...... 40 The Deities of Soundby Brian Ransom ...... 42 Clay/Wood/Fire/Salt...... 46 Doug Baldwin: The Duck Stops Here by Louana M. Lackey...... 48 The Deities of Sound After 20 years of A Personal Aesthetic by Howard Koerth ...... 51 creating “playable, beautiful-sounding ce­ ramic instruments that also hold their own Fourth Annual Strictly Functional...... 56 as sculpture,” Florida artist Brian Ransom Koichi Takita and the New Mingei had “come to terms with technical issues” by Tana Stewart with translations by Hisako Stewart ...... 58 but was “overdue for an artistic change.” In his latest work, he combines as many as 50 with Potters Kummon ...... 61 elements in “gestural and graceful ways” to Vallauris, Past and Present ...... 64 produce natural harmonics; see page 42. Porcelain Documents by Amanda Spencer-Cooke ...... 91 Clay/Wood/FirelSalt On view recently at Clay Tales from the Bedding Plane by Jane W. Larson ...... 92 Contemporary Artifacts Gallery in Berea, Kentucky, this invitational exhibition con­ Cone 5 Blue Glazes by Dwain Naragon ...... 95 centrated on the “elemental processes of clay,” according to gallery owner/potter A Small Handbuilding Operation by Judy Goulder ...... 96 Gwen Heffner. “Form and surface have Bamboo Tools by Mel Malinowski ...... 98 always been my personal focus, and my love of the natural unglazed clay is realized most especially in wood-fired pots”; page 46. Up Front

Free Summer Workshops Listing ... 12 Carol Jackaway ...... 18 Three Decades of Florida Clay ...... 12 The Purgatory of Estates Daphne Corregan...... 12 by Elena Canavier...... 20 Crossroads in Clay ...... 14 Lis Rudey by Wendy Dubin ...... 22 Richard St. John ...... 16 Contemporary Clay: Three Friends ... 22 Angela de Mott...... 16 Canadian Ceramics Biennial ...... 24 Thomas Brewer ...... 18 OPA Showcase ...... 26 Mary Harden and Elisa Nappa ...... 18 Siddig El Ngoumi, 19?—1996...... 26

Doug Baldwin: The Duck Stops Here For Departments the past 25 years, Baltimore artist Doug Baldwin has incorporated duck imagery in Letters ...... 8 Group Ceramics Exhibitions ...... 75 his work; turn to page 48 to see examples of New Books ...... 28 Ceramics in Multimedia Exhibitions .. 78 his latest series of “frame and canvas” wall Fairs, Festivals and Sales ...... 80 pieces inspired by famous paintings. Call for Entries Workshops ...... 80 International Exhibitions ...... 67 International Events ...... 82 United States Exhibitions ...... 67 The cover Japanese potter Koichi Takita Questions ...... 88 Regional Exhibitions ...... 68 Classified Advertising ...... 100 in his Karasuyama studio. A proponent of Fairs, Festivals and Sales ...... 68 mingei (folk craft) philosophy, Takita be­ Ceramics Monthly Annual Index .... 102 lieves that folk art need not be static to be Suggestions ...... 70 Comment: authentic, that pottery is an ever-changing Calendar Old Dog/New Tricks craft; see page 58. Photo: courtesy ofNHK Conferences ...... 75 by Jolyon Hofsted...... 104 Broadcasting Network. Solo Exhibitions ...... 75 Index to Advertisers ...... 104

December 1996 5

Monthly [see the November 1996 issue], I ings to New Hampshire, and into our rented Letters have settled on a single firing temperature for apartment. Within days, I was at my new all my porcelain slip glazes that is accom­ place of work and on the wheel producing plished with a junior Cone 9 in an electric pots, lots of pots. Enjoying the Differences kiln’s sitter. This firing temperature accom­ To cut a long story short: On my first day I love the alignment of things alike to modates the greatest variety of slip glaze at work, I learned that I would be considered each other. There is beauty in the graceful combinations and facilitates further simpli­ an apprentice, even though I had been a shape of an egret, and there is also beauty in fication of certain slip glaze recipes. potter for ten years, and that I would not be the flock flying. The beauty of each one I have also been able to replace the frit in earning anything close to the advertised wage. makes the beauty of the whole. In a ballet the translucent glaze with an equal amount of Nevertheless, I decided to stick it out. performance, I enjoy the prima ballerina petalite, so that the recipe now reads 50% dry By April ’96,1 had lost my job as a pro­ pirouettes, but much more the synchronized porcelain clay, 40% wollastonite and 10% duction potter with the company because dancing. The unselfish discipline of one petalite. This latest development has simpli­ there were not enough orders coming in. I makes the discipline of the whole. fied and improved the slip glaze colors by had shelled out well over $2000 for the move There is an endless variety in repetition. removing frit fluxes, such as boron and zinc, to New Hampshire with no compensation. There is a nexus between two alike things which can adversely affect the quality of Throughout this ordeal, my former em­ that move to the same tune. The waves that colorant stains containing zirconium. ployer had been very economical with the wheat makes bending to the wind, or the V Including a frit might be useful to potters truth, but that is his problem. I find it ironic that ducks make while flying would not be searching for a low-fire porcelain slip glaze, that he now advertises for potters, offering an the same if a few wanted to stand out. since the addition of a frit can lower the honest rate of $ 10-$ 12 per hour. Just as a pianist, genius as he or she might temperature of a Translucent Slip Glaze I now know that if one cannot get an be, has never played the same piece of music formulated with a Cone 8-10 Grolleg porce­ amicable agreement in writing before one two times exactly the same, I shall never be lain clay body to flux at Cone 6. For now, starts to work for a new employer, then it is able to make two pots exactly the same. Yet I though, I am content with the Cone 9 slip simply not worth the effort and expense. can make them alike, enjoying the minute glazes that permit glaze fit, little or no crazing After all, if an employer is sincere and can see differences of each one, giving to each one its and brilliant glaze colors. the value in hiring you, then it is to his or her own soul. One final note: there was a minor typo­ benefit to treat you with respect and honesty. Celina Clavijo, Kyoto, Japan graphical error on page 45. A violet color is It is what is expected from an employee. achieved with the addition of 6 grams Mason Lawrence Hitchen, Stanfordville, N.Y. Insightful Comment stain 6319 and 6 grams Mason stain 6385; it Regarding “Psychology of Mud” by should not include 6 grams of Reimbold & Cover Pot Shot Martin Astor [October 1996]: This was one Strick stain K2323, as listed in the article, While profiles of clay artists are nice, it’s a of the most enjoyable articles I’ve read in CM unless a sienna brown color is desired. shame to waste the cover with a shot of the during the time I’ve subscribed. The article is Joseph Godwin, Pepperell, Mass. artist in the studio when it could be a beauti­ magnificent in many ways and I found it a ful pot or other clay artwork. Too many wonderful contrast to the others in CM. Get It in Writing II beautiful pieces are relegated to black and As a fledgling, wannabe-but-spend-my- After reading and empathizing with M. white, which would serve just fine for the time-in-other-arenas ceramist, Dr. Astor gave Luisa Zecchinatos’ letter (“Get It in Writ­ artist-in-the-studio shot. me hope. Thanks for including this insightful ing,” CM November issue), I can also testify Krisalys and Rick Hall, Seagrove, N.C. piece. to the fact that one should get the bones of Barbara Cole, Monterey, Calif. any verbal agreement with an employer in Thoughts on a Pot writing before starting. I was “promised” In producing pots of interest, there must Attribution earnings of $35,000-$50,000 a year, plus be a sense of familiarity in order to propel Marsha McCarthy is right to include benefits, with a large salt-glaze production your mind forward, but it must be carefully attribution for the quotes she uses in her factory based in New Hampshire. intertwined with that which is unfamiliar, work (“Marsha McCarthy: Drawings on In response to an advertisement in CM even unpredictable. Significant works, in my Clay,” September 1996 CM); however, the during the summer of’95,1 contacted the opinion, maintain our interest through this attribution on the plate shown on page 45 is owner of the aforementioned establishment duality. How often have you heard a piece of incorrect. and made arrangements to visit (I was work­ music to which you are initially drawn by its “We shall not cease from exploration and ing as a potter for a studio in northwest simplicity? You think you can whistle along the end of all our exploring shall be to arrive Arkansas at the time) for a face-to-face inter­ only to find it suddenly, although subtly, where we started and know the place for the view. From what was said to me over the takes a delightfully surprising turn, which first time” should be credited to T.S. Eliot, telephone and the information that I had causes you to run off the road you thought not Susan Griffin. gathered at the interview, the future for you were so successfully navigating. It is ToriArpad, Rhome, Tex. myself, my baby son and my wife looked familiar, yet it has something to teach you. In bright and positive. There would be a good order to be successful, a pot must contain Revised Slip Glazes wage to earn, the company was well estab­ these elements. Since my article “Porcelain Slip Glaze” lished, orders were coming in thick and fast, Familiarity is often as simple as utility. was accepted for publication in Ceramics and my experience as a potter would be put We all know what a teapot is and so no to good use. My wife and I could start saving matter how bizarre the form, we are able to Share your thoughts with other readers. All letters up enough money for a down payment on a understand it to some degree through its must be signed, but names will be withheld on house and there was the added bonus that we function. The familiarity might also be a request. Mail to The Editor, Ceramics Monthly, would be only five hours away from my reference to something in our lives, our Post Office Box 6102, Westerville, Ohio 43086- wife’s parents in New York. bodies, sexuality, nature, language, history, 6102; fax to (614) 891-8960; or e-mail So between September and November culture or religion. Without a reference to editorial@ceramicsmonthly. org ’95, we moved all our furniture and belong­ “hang our hat on,” we become lost when

8 CERAMICS MONTHLY December 1996 9 Letters The continually changing sky may on the maintain that life and energy. It can provide whole be no more beautiful at any given us with that sense of vitality. Place it along­ moment but it abounds with mystery that side the toaster and it will continue to experiencing the piece. If the reference is too draws us in closer. The unpredictable nature breathe while the toaster lies dormant. obscure, the piece has relevance to no one of the changing sky provides a stimulation to We are often unaware of what it is that other than its creator and is relegated to the the eye and mind that no stationary state makes one pot come ofF the wheel alive while category of abstract. could. When in thought, we often look at the very next one has no life at all. But place The other component of a successful pot clouds, the fire, a brook. those two pots side by side and those who is its life, its mystery—the spirituality of the For those with a greater sense of time, know how to see a pot have no question as to pot. Take the pot that is lifeless. It may be change can be seen in the rocks and plants. which is which. Somehow our life experi­ perfect in form and rich in color. Like a Rare is the person who chooses to gaze at the ences manage to translate from our being beautiful blue sky, we praise it, admire it and toaster in contemplation. This sense of time, through our fingertips and into the clay. For after viewing it for some time, lose interest. change and mystery can also be evoked in the the translation to be successful, we must form But the sky does have life, eventually the pot. When clay is in your hands, it is con­ an intimate relationship with the clay, be­ clouds roll in, providing the unknown, the stantly changing, full of life, alive with mo­ friend it as it were. Like any relationship, it change that brings our focus back to the sky. tion. Once fired, if artfully thrown, it can will evolve if our commitment is great enough and our sensitivities keen enough. If you are open and honest, it can become the teller of the very core of who you are beyond what words could possibly convey. Ken Bichell, Fayetteville, W. Va.

Choosing the Right Word Regarding Rick Malmgren’s Comment (“The Art of Critique,” September 1996): After 30 years of teaching, I have found that the best way to talk with a student about herl his work is to start by eliminating the word critique. It has a negative connotation, which puts everyone on the defensive when dealing with personal ideas and modes of expression. Tony Martin, Pocatello, Idaho

Integration of Concept and Control I am the studio manager at Central Con­ necticut State University. One of the most important issues about working at a univer­ sity would probably have to be the explora­ tion of an artist’s innovative abilities together with the integration of craft, concept and control in order to express oneself. I would like to see more exploratory and scientific articles, not only for the business market, but also for art’s sake. Felix Mims, New Britain, Conn.

Pleasing Potters CM can please some of the potters all of the time and all of the potters some of the time, so just keep it up. Sandra Tesar, Gurley, Ala.

Strength Training I’ve got a funny story to share. My hus­ band and sons like to target shoot out in the desert. A few times a year they drive out, then set up cans and other bits and pieces for targets in an empty arroyo. I go along with the picnic breakfast and the water. Usually, I take a book, cover my ears and read. This last time, they called me to come and try. They teased and wouldn’t take excuses, so I stepped up and fired away. Surprise of all surprises, I did very well. I shouldn’t have—I have no interest or train­ ing. I’ve never studied or even glanced at any

10 CERAMICS MONTHLY article about target shooting. You must ists that do not include hislher usual kiln, Shared Inspiration appreciate that I am a granny-type, both in usual cone, usual clay, and at least one recipe. Please encourage potters to share details of age and appearance, and not into muscular Also the Questions column should be their techniques, tools and equipment in sports—yet I out-shot everyone but my twice as long—best part of CM. their articles. Sometimes this information can husband. The kids were astounded and I was Frances L. Steams, Scottsdale, Ariz. lead others into entirely new paths of explora­ puzzled. Then, as I mentally reviewed what tion and inspiration. was needed to shoot a handgun and rifle, I Molochite is the brand name of a porcelain Joe Eiland, Birmingham, Ala. figured out why I did so well. grog available from most major suppliers.—Ed. I started pottery in junior high—kick Pottery Passion wheel. I continued in high school and col­ Pleasing Pots Pots are my passion. I consider a “bad” lege—once again kick wheel. I’ve taken I have never understood the controversy day at pottery much better than a “good” day pottery classes at the Mesa Arts Center for between funk and functional. I have always at my regular job. I think that just about more years than most people like to remem­ felt the need to make both. The only crite­ anything relating to the ceramics arts is won­ ber—once again kick wheel. The muscles rion for the existence of a piece of pottery is: derful. Yes, even that silly Yoko Ono smash­ needed to lean back and bring the wheel up does it bring pleasure to the owner? ing a vase. to speed are the very ones needed to stand Donna Kassab, Hendersonville, N.C. John Wear, Doylestown, Pa. firm. Just as in bracing forward on the nar­ row bench, I can lean into the weight of the gun. When I center, I brace my hands, arms and shoulders while I exert steady and con­ trolled force. That is the same thing I needed to sight in on the target and hit it. The kicker for me was the remark one of my kids made as I, with all the cool I could pretend to, handed the gun over to my hus­ band. “O.K., you guys, let this be a lesson to you—don’t let Ma get pissed off at you.” (I have two teen-age boys still at home; I need all the leverage I can get.) Vangie Allen Blau, Mesa, Ariz.

Nurturing Enthusiasm My students find the articles, photographs and exhibit information invaluable. They are constantly finding new things they must try. It’s wonderful to feel the energy and enthusi­ asm. There is always something dynamic going on in my classroom, thanks to Ceram­ ics Monthly, combined with my instruction. All this enthusiasm has done wonders to keep me on track with my own personal expres­ sion as well. Thanks a lot. Ann Perry, Cheektowaga, N.Y.

Lost Glaze Found The technical staff should have looked in CM’s back issues regarding Molly Blanding Glaze [see page 88 in the October 1996 issue]. A recipe for a revised Molly Blanding Glaze was described in the September ’94 CM in an article on Oregon potter Leslie Lee. Her glaze is revised, but it doesn’t re­ motely resemble what was suggested. Copper penny is a glossy coppery glaze and the re­ vised Molly Blanding that I tried was matt and had flashes of burgundy, blue and red. Rose Mary Terhaar, Nanaimo, B.C., Canada

Preferences A recipe in the October 1996 issue, page 44, gives “Molochite” as an ingredient. Nei­ ther the Bureau of Mines yearbook nor Webster’s Unabridged know of this. Mala­ chite, perhaps? But why? Must be better sources, to say naught of cheaper? I’m really tired of puff profiles on ceram­

December 1996 11 Shown from the exhibition is a crystalline-glazed covered jar Up Front by John Tilton, Alachua, Florida. In his work, Tilton is “striving for that kind of perfection that makes pots seem born, not made; an organic quality that comes from attunement rather Free Summer Workshops Listing than merely expertise.” The 1997 “Summer Worlsshops” listing will appear in the April issue of Ceramics Monthly. Potters, craft: schools, colleges/ Daphne Corregan universities or other art/craft institutions are invited to submit “Glass Slippers,” an exhibition of raku-flred sculpture by information about summer ceramics programs (regularly Daphne Corregan, was presented recently at Maison de la scheduled classes are excluded) by February 7. Just provide the Ceramique in Mulhouse, France. Born in the United States, workshop name and/or a synopsis of what will be covered, Corregan now lives and works in France. Although she is location, opening and closing dates, level of instruction, instructors name, languages spoken, fee(s), contact address, plus a telephone number that potential participants may call for details. Captioned photos from last year’s workshops are wel­ come and will be considered for publication in this listing. Please mail information and photos to Summer Workshops, Ceramics Monthly, P. O. Box 6102, Westerville, Ohio 43086- 6102. Announcements may also be faxed to (614) 891-8960 or e-mailed to [email protected]

Three Decades of Florida Clay “The Phillip Ward Memorial Ceramics Exhibition,” featuring works by the late Phillip Ward and 14 other Florida clay artists who have influenced others throughout the past three decades, was on view through October 19 at the Florida Craftsmen Gallery in Saint Petersburg. A professor at the University of Florida, Ward was instrumental in shaping the course of ceram­ ics throughout the state. In the 1970s, Florida clay artists moved away from utilitarian work to “object as form” and “container as idea.” Ward’s work parallels this change, from functional forms to sculptural concepts. “I believe the artist has an obligation to rework former

Daphne Corregan’s “Pilons,” approximately 64 inches in height, raku-fired figures, on bases smoked with inner tubes in a closed kiln; at Maison de la Ceramique, Mulhouse, France.

“absolutely in love with pots,” Corregan is “more comfortable” with sculptural forms, “realizing they have more to do with space than function.” John Tilton covered jar, 9 inches in height, porcelain with Over the past few years, her work has gone in several direc­ crystalline matt glaze, multiple reduction firings to Cone 10; at Florida Craftsmen Gallery, Saint Petersburg. tions. Part of it “is a parody of the vessel. I like to attract ones attention to the fact that a pot, a vessel, a teapot, a pitcher [can concepts and develop new ideas in the light of todays materi­ be] just as beautiful—and should be considered so—as a als,” Ward would tell his students, “at the same time drawing painting or a sculpture.” from history and his own experience. He must constantly Following a recent trip to Africa, she has “also concerned search and experiment, for he is a pacesetter: an innovator who myself with representing the human body. Since my pots were influences tomorrow.” looking more and more like people, I succumbed to the urge to literally work on figures. And so handles have become exagger­ You are invited to send news and photos about people, places or atedly long arms, the body of the vessel a real body, etc. I events of interest. We will be pleased to consider them for publica­ deliberately keep these figures relatively small. tion in this column. Mail submissions to Up Front, Ceramics “I’d like to make reference to all the dolls and other fetishes Monthly, Post Office Box 6102, Westerville, Ohio 43086-6102. that people all over the world surrounded or still surround

12 CERAMICS MONTHLY December 1996 13 Up Front themselves with in hopes of somehow protecting themselves or at least feeling a bit more comfortable with the aggressive and unknown elements in this world. My dolls have no more pretension than this.” In raku firing her work, Corregan is interested in the “trans­ formation of the surfaces and the richness of the tones obtained

“Chariot,” approximately 28 inches in height, wheels and crosses were raku fired, boat was smoke fired to 1050°C Janis Mars Wunderlich’s “Sharing a Dress,” 21 inches in (1922°F), by Daphne Corregan. height, earthenware; at Middletown (Ohio) Fine Arts Center. by smoking. The body takes on a gray or black color and, for “I appreciated the opportunity to see what so many good me, it becomes like the support for a very pictorial work. people are up to in their studios these days. It seems clear that Whether I place a decoration, an incision, an area of color, these for better and/or for worse, little has changed. People are still various kinds of surface treatments combine with the body of the piece. It is skin, not clothing. “Depending upon whether the reduction has been more or less intense, the connotations of the piece will be perceptibly altered. Thus, I can give it a more tender and delicate character or a harder or stronger touch.”

Crossroads in Clay The first annual “Miami Valley Crossroads in Clay Exhibit” was presented recently at the Middletown (Ohio) Fine Arts Center. From 239 entries by 92 artists from 29 states, juror Robert Shay, dean of the John Herron School of Art in Indianapolis, selected 58 works by 33 ceramists. “Jurying a show is a pretty dicey business under the best of circumstances,” Shay stated, “but jurying a show from slides rather than actual work makes it even more problematic. Further exacerbating this predicament is being a single juror, which forces one to be judgmental without having the advan­ tage of an alternative opinion to provide a counterbalance. “In building the exhibition, I’ve tried to provide a balance between accepting work I simply respond to and work that David Hiltner’s “Pitcher 20” and “Pitcher 18,” to 19 inches in seems to exude a degree of excellence, transcending any one height, wood fired. individuals taste,” he explained. “While I focused on something of an absolute need for each accepted piece to encompass some making pots, still making sculpture and still maldng objects that degree of presence in terms of a craft ethic, I was also trying to live somewhere between the two. There are still low-fire, high- create an exhibition that represented as diverse a spectrum as fire, multifire and nonfire folks. Objects are still minimal, possible in terms of conceptual possibilities. figurative, funk, op, pop and all the rest of it. Continued

14 CERAMICS MONTHLY December 1996 15 Up FrOIlt ^ used to rnake a lot of wheel-thrown functional pottery and salt fired everything brown,” he explained. “When I finally realized I no longer wanted to throw on the potter’s wheel, I was lost. I completely stopped working in clay. “For about nine years, I worked in a variety of other media....The important thing is that I never stopped working,” he continued. “The answers always come when you are work-

Slab-built and extruded terra-cotta cylinders, to 14 inches in height, by Richard St. John, Wichita, Kansas.

ing. In order to l

Angela de Mott’s “Red Bowl,” 4 inches in height, raku-fired pinch pot; at the Craft and Folk Art Museum, Los Angeles.

Richard St. John platter, 19 inches in length, terra cotta with low-fire commercial glazes; at Hibberd McGrath Folk Art Museum Shop in Los Angeles. As a painter and etcher, Gallery in Breckenridge, Colorado. de Mott often portrays volcanoes. “Discovering raku provided me with an even more direct link with fire,” she says. “I became but brightly colored oval platters; it was only recently that he captivated with the transformation of red-hot clay, using varied expanded his vessel repertoire to include tall cylinder forms. amounts of air and smoke to create colors.” Continued

16 CERAMICS MONTHLY December 1996 17 Up Front

As she builds with pinching and coiling methods, “there is continual play between what the clay requires and what I want to happen,” de Mott explains. “I scrape until it becomes almost weightless, arriving at a simple, asymmetrical shape.”

Thomas Brewer “Pause, Cause and Reflect,” an exhibition of vessels and sculp­ ture by Florida artist Thomas Brewer, was presented recently at the Walton Art Centers Joy Pratt Markham Gallery in Fayette­ ville, Arkansas. Much of the work on view represented a new direction for Brewer. “A great deal of my career has been spent producing primarily singular pieces; sole figures, sole objects, sole forms,” he explained. “Some of the works here use multiples of constructed and assembled fired ceramic materials. There are spaces, Mary Harden’s ’’Untitled,” 29 inches in height; voids, relationships at Anderson Glover Gallery, Kirkland, Washington. and associations now. Elements of and environment. It seems to me that we carry each moment wood and stone add of our existence with us, wearing experience and memory like to the complexity. badges or armor, collecting as we go, conforming to each “The increase in addition,” she commented. “The synthesis of these moments Thomas Brewer’s “Salt/Wood numbers, volume creates the individual; the similarity of experiences creates the Vessel,” 12 inches in height; at Joy Pratt Markham Gallery, Walton Art and space has Center, Fayetteville, Arkansas. brought about a concern for mean­ ing,” he continued. “What meaning there is comes from a funny combination of things. It is based on being an artist but is equally formed by being a scholar/researcher and teacher. It is influenced by language, kids and art, ldds and no art, and an ultimate belief that the importance of what children learn when making art is primary. “When contrasting making art with teaching and art educa­ Elisa Nappa’s "Banana Boat,” 21 inches in length, tion, making always seems like selfish behavior,” Brewer re­ handbuilt earthenware. marked. “But, it is so important to have that time for uncompromised involvement, thought and learning. After all, collective. My work has been focused on using common, this process is the foundation for what we teach.” insignificant bits and pieces, utilizing them as metaphors and investigations in the infinite variety of the individual.” Mary Harden and Elisa Nappa Clayworks by Washington artists Mary Harden and Elisa Carol Jackaway Nappa were featured through September 8 in a “Fire Arts “Dolphin Vase,” a coil-built earthenware piece by Pennsylvania Show” at Anderson Glover Gallery in Kirkland, Washington. artist Carol Jackaway, was the Jurors Choice award winner at The exhibition included works that had required the use of heat the “Ninth Annual Greater Midwest International Exhibition,” at some point in the creative process. on view recently at Central Missouri State University’s Art The ideas for Nappa’s earthenware vessels “stem from daily Center Gallery in Warrensburg. Fascinated by undersea life, experiences of the natural world, imaginative musings and Jackaway realized six years ago that “the shapes of fish, shells and concerns arising from these experiences. I have been concentrat­ coral lent themselves to dishes, bowls and platters. I now have a ing on a series of passage images,” she explained. “I use the boat line of 20 forms, ranging from small dishes and perfume bottles and the figure as vehicles for these symbols.” to large pieces like the ‘Dolphin Vase.’” Harden also has been looking at “experience and memory as Building with coils “is a form of meditation that allows me aspects that define humanity and dictate our perceptions of self to focus in on the universe I am creating,” Jackaway added. She

18 CERAMICS MONTHLY December 1996 19 Up Front geezers. A wisp of doubt drifts by—could it be the big FIVE OH party held in your honor last month? Denial sets in, you trash the magazine, but geezerdom looms. So now, you think, maybe it’s time to get serious. Figure out what you really want to be when you grow up. Oh, that again. Weighty decision, still pondering on the back burner. Leave it there, not ready yet. Meanwhile, your mind plods ahead: what about all those pots, sculptures, drawings...what about that collection of ceramic salt and pepper shakers, whats going to happen to all of it when the Great Potter throws you back into the slip barrel? The question of what’s to become of your artworks after you are referred to as “the Dear Departed” is a unique and personal one—to be solved, ignored or agonized over by each artist and collector. It is not an easy question—it’s baffling and frustrating. Will your work be thrown into a dumpster, or will a museum take it all? If a museum doesn’t want it, where would your nephew put all the stuff? Something to think about, all right. But before your artworks go to their ultimate resting place, they have to go through purgatory. Scholars report sightings of purgatory hovering in a location above the IRS’s Estate Tax Division. It is a place of impersonal valuation and subjective judgment. Before you can pass through this shadowy realm, all the objects and property you owned are lumped together and called an estate. You probably thought that an estate is some­ thing that only the rich need to worry about. It vaguely re­ sembles a great country house surrounded by green rolling hills Carol Jackaway coil building “Dolphin Vase,” the Juror’s dotted with red-jacketed riders on sleek horses, the foxhounds Choice award winner at the “Ninth Annual Greater baying, while a covey of small Boudins and Meissen vases rest in Midwest International Exhibition” at Central Missouri State the drawing room. Well, think again. University, Warrensburg. Almost everyone who dies has an estate, humble though it may be. And the IRS opines that anyone who dies with over $3000 of things such as artworks, jewelry, silverware, books, rugs or collectibles of any kind needs the services of a profes­ sional appraiser. This is for purposes of taxation, or even to determine if no federal tax is due (as in the case of estates valued under $600,000). How else will the IRS be assured that your estate is not worthy of detaining in purgatory any longer? Separate appraisers may be hired to appraise various elements of the estate: your home and other real estate would be evalu­ ated by licensed real-estate appraisers, while your artworks would need an arts professional. At this time, art appraisers do not need a license to practice in most states. The IRS, according to Karen Carolan, chief of the Art Appraisers Services and chair of the Arts Advisory Panel for the Internal Revenue Service, will accept appraisals from art professionals such as art historians, museum curators, collectors, gallery dealers, if they have dem­ onstrated expertise in the specific type of art that they are asked to appraise. For a collection of Oriental ceramics, for example, the appraiser should be an expert in Oriental art as well as in ceramics. “Dolphin Vase,” 27 inches in height, earthenware with If the IRS agrees with the appraisal, then the objects may underglazes, clear glaze and mother-of-pearl luster. proceed on to their next resting place, dumpster or museum as the case may be. Quite frequently, though, the IRS minion at prefers working with earthenware for its leather-hard strength the gate protests that the values for artworks proposed by the and range of glaze color, then often accents with lusters to appraiser of an estate are too low. If the prices for artworks in an “increase depth in the painting.” estate are low, then less estate taxes will be paid to the IRS. Conversely, if the heirs of the estate are donating specific The Purgatory of Estates artworks to a museum or other nonprofit institution, the IRS by Elena Canavier often discovers that the prices set by the appraiser for those One day, you get an AARP magazine in the mail. You wonder works are too high (giving the estate too much tax relief in the why the American Association of Retired Persons would send it form of a deduction for a charitable contribution, when in fact to you, of all people. Must be a mistake—that stuff’s for the the IRS thinks that more penance is necessary). Continued

20 CERAMICS MONTHLY December 1996 Up Front at Pleides Gallery in New York City. Press molded then pit fired, the tiles address intimate and political issues about fashion. On a larger scale, the exhibition illustrates the control and manipu­ In both cases (which may occur in the same estate tax lation of women in our society, something Rudey recalls vividly return), the appraisers are allowed to provide mute proof to from her childhood in suburban New York. bolster their claims and the tax due is renegotiated. If a substan­ tial amount of money is involved, and the heirs are not happy with the results, nor yet broke from the appraisers fees, the estates can become court cases. Some famous artists’ estates ending up as court cases are those of Andy Warhol, Salvador Dali and David Smith. There is so much litigation and uncertainty in the purgation of estates that when Pepperdine University School of Law hosted an art law symposium on the subject, there was standing room only left in the Appellate Court classroom. Arts lawyers, appraisers, museum registrars, auctioneers and gallery dealers flew in to Los Angeles from around the country to hear high- powered panelists from the IRS, Sotheby’s, Christies, Pace- Wildenstein Gallery and other top players in the appraisal business discuss the fine points of determining Fair Market Value (FMV to the cognoscenti). FMV is a chameleonlike creature, a pet of the IRS, often found lounging around the tax courts. Curiously, FMV can be more or less, depending on which way you look at it or for what purpose you want to use it. So what should a potter or ceramics collector do, to help the kids deal with it all someday? “Start now to keep copies of all the receipts, bills of sale, for individual items or groups of items sold or purchased,” says Lee Eagle, an arts lawyer and appraiser specializing in contemporary art and craft. Her firm, Eagle Design and Management, Inc., is based in Bethesda, Maryland. Keep an inventory of your artwork—perhaps easier for those with a regular shop production line—but “almost nonexistent for studio artists,” says Eagle. “After a person dies is not the time,” she avers, “to locate receipts and venues of sale or to inventory objects that may be stored in scattered locations. Usually, no one knows where everything is and what it’s worth.” In addition to receipts, document the importance or value of your artworks (keep a file of exhibition catalogs, articles, etc., of the work or very similar work) so that your family will know what to do with it. For example, a few years ago, Lee Eagle was called by the parents of a young man who died of AIDS-related causes. To settle his estate, they wanted her to take a look at the medley of assorted objects he had left behind before they called the Goodwill truck to take it away. It was not very expensive stuff and probably of no value, as far as they knew. To the family’s surprise, Eagle discovered the diverse objects actually formed a very good contemporary crafts collection. She Liz Rudey’s “They Are Wearing Red,” installation of 12 tiles, located an art museum that was delighted to accept the crafts as each 12 inches in height; at Pleides Gallery, New York City. a donation. The collection now stands in the museum as a memorial to their son and the parents take pride in visiting it. Imagery depicting high heels, tidy clasp purses and pill-box The value of the crafts collection in the museum will increase hats is indicative of a time when women like Rudey s mother with each passing generation as it documents a part of our wore proper, coordinated outfits every day, conforming to the cultural history. In this case, a knowledgeable appraiser played dictates of rigid 1950s propriety. The smoky, random flashing an important role, but most of us had better not count on such from the firing is used as a foil to this neat, regulated look. a perceptive player coming into the picture after were gone. We owe it to ourselves, to the time and effort we’ve put into the Contemporary Clay: Three Friends work, to make sure the documentation is organized and readily “Contemporary Clay: Three Friends,” an exhibition of works by available to others. Neil Patterson, Sandi Pierantozzi (both of Philadelphia) and Harriet Ross (Hartsdale, New York), was presented through Liz Rudey September 29 at the Klay Gallery in Nyack, New York. “When­ by Wendy Dubin ever the three of us get together at a conference or an exhibition, “They Are Wearing Red,” a wall piece comprised of a dozen we are drawn to pots that are approachable, have a nice ‘feel’ tiles by New York artist Liz Rudey, was featured in an exhibition and a clarity of intent,” they stated. “We are usually excited by

22 CERAMICS MONTHLY December 1996 23 Up FrOIlt m Trois-Rivieres, Quebec. For this year’s exhibition, several changes were made: entries were to follow a theme suggesting “the earth as a place of passage, transition, transformation and expression”; artists were able to use other materials, with clay as the main element; and each piece had to be free-standing. The biennial included a competitive, as well as invitational, category. Previous prizewinners were asked to submit a piece to be included in the invitational section. For the competitive category, jurors Maurice Achard, Suzanne Greening and Jack Sures selected 12 artists from the 77 entries. “Although discus­ sions were long and consensus of opinions rare, the jury process was a very rewarding experience,” they noted in the accompany­ ing catalog. “Unfortunately, because of [the changes], we were occasionally obligated to refuse some excellent pieces, which, regretfully, did not respect the rules of the competition.”

Sandi Pierantozzi’s “Black Coffee Pot,” 9 inches in height, slab-built earthenware with terra sigillata; at the Klay Gallery, Nyack, New York. the same things, which are pots with their own personality, a freshness in handling of materials and a unique vision of the maker. We hope to achieve these qualities in our own work. Sally Smith’s “The Milk Maid,” approximately 22 inches in height, awarded the Prix Pierre Legault in the Canadian ceramics biennial.

However, “the quality of the worlds selected confirms our belief that this turning point in La Biennale’s history is a wel­ come and healthy change,” they continued. “The artists have

Harriet E. Ross’ "Untitled,” 10½ inches in height, reduction fired to Cone 10.

“Though our work is very different from each other,” they continued, “we influence each other in subtle ways and give each other support and encouragement as well as share ideas and information.”

Canadian Ceramics Biennial Jeffrey Kneebone’s “Stalactite Table,” approximately “Terre en Transit,” the seventh Canadian ceramics biennial, 25 inches in height; at Galerie d’art du Parc, was exhibited through September 15 at Galerie d’art du Parc Trois-Rivieres Quebec.

24 CERAMICS MONTHLY December 1996 25 Up Front

proven that new inspiration, discoveries and paths for the future do indeed exist.” Among the works chosen was “Stalactite Table” by Ontario artist Jeffrey Kneebone, who is “mesmerized by things that have taken eons to form: canyons, mountain ranges, cave systems.” Shown on page 24, his clay table “addresses our sometimes forgetful nature about Nature—our tendency to see it as a consumable product,” according to Kneebone. “The metaphor of the stalactite table is part whimsy, part gentle reminder.” Alberta artist Sally Smith’s clayworks are a reminder of her farming heritage: “Just as my ancestors embedded steel into clay to create a furrow, I as an artist embed steel into clay to create a sculpture,” she explained. “Through my eyes, clay, machinery parts, metal cream cans, bolts and nails transcend their original purpose and become shapes rich in texture and history, strong in form and spirit.” “Terre en Transit” will travel to Maison de la Culture Frontenac in Montreal, Quebec (December 8-January 26, 1997), the Richmond Art Gallery in Richmond, British Co­ lumbia (April 24-May 26, 1997), then conclude its tour at the Canadian Clay and Glass Gallery in Waterloo, Ontario (June 10-September 1, 1997).

OPA Showcase The Oregon Potter’s Association’s 14th annual “Ceramic Show­ Siddig El Ngoumi, circa 1980. case” included works by more than 100 members. Located at the Oregon Convention Center in Portland, the show saw an built from earthenware, slipped, burnished and incised with increase in attendance by over 25%, with sales up 38%. geometric patterns, then fired to approximately 1470°F and smoked with newspaper (see the January 1989 CM cover story). “Ngoumi, as he was known by family and friends, started potting in rural Sudan at a very early age because, he said, there was nothing else to play with,” recalled former colleague Sebastian Blackie (the two taught together for many years at West Surrey College of Art and briefly shared a studio in Farnham). “He grew up on the banks of the Nile and, like the river, his imagination was strong and fertile. He responded to the world, revealing and quietly commenting on what he saw. He offered us the vision of an outsider. “Ngoumi’s first exhibition in Britain in 1968 was perhaps his most joyous and playful,” Blackie continued. “He was by this time a mature artist, describing new English subjects, using Oriental glazes or burnished earthenware and sgraffito, with an iconography that owed much to his African and Arab roots. He embraced a foreign country with a fresh eye that saw the unex­ pected decorative potential of a motorway junction or a cross­ word puzzle. Training as a calligrapher enabled him to skillfully translate such objects into resonant and celebratory images. “The formal values in Ngoumi’s work owe much to Islamic Carol Lebreton’s “Bertha,” 12 inches in height, stoneware art and he had a natural ability to achieve a dynamic, asymmet­ rattle; first-place award winner at the Oregon Potter’s ric balance in his decoration, which often combined the picto­ Association “Ceramic Showcase.” rial with the geometric. “Working with clay is often a lonely and poorly remunerated Award winners were voted on by Showcase participants: business. For Ngoumi, exiled in white, affluent Surrey with a Carol Lebreton, took first place; Mark Cavatorta, second; and large family to support, it was very difficult. As time went by, Cynthia Spencer, third. his work became more subdued and dependent on memory. [It] began to show his sense of loss for the rich culture of his African Siddig El Ngoumi, 19?-1996 childhood. He felt unable to return home without material African-born potter Siddig El Ngoumi (birthdate unknown) success, a pressure felt by many in his situation; nevertheless, he died on October 8 in Farnham, Surrey, England, where he had continued to work with the resilience of the scorpion, which he resided for nearly 30 years. The majority of his work was coil used as his signature.”

26 CERAMICS MONTHLY

ing that the MN potters engaged in suggests New Books a kind of competition—some kind of power and importance, however fleeting—in the achievement of a new, difficult, extraordi­ The Emergence of Pottery nary pot.” 303 pages, including index. 27 Technology and Innovation in Ancient black-and-white photographs; 156 sketches. Societies $55, hardcover; $29.95, softcover; plus $3.25 edited by William K. Barnett postage and handling for first book, 75^ for and John W. Hoopes each additional book. Smithsonian Institution “The invention and adoption of pottery Press, P. O. Box960, Herndon, Virginia22070- are among archaeology’s most compelling 0960; (800) 782-4612. issues,” assert the editors of this compilation Dialogues with Zuni Potters of 21 archaeological studies. “For thousands by Milford Nahohai and Elisa Phelps of years, in a wide variety of settings, ceramics have persisted as an innovative technology In this book, 14 contemporary Zuni pot­ with complex linkages to extremely different ters discuss the traditions and techniques of social, economic, en­ their craft, as well as their own methods for vironmental and ideo­ digging clay, making, decorating, firing, logical systems. etc. “Like the historic six Zuni villages, which “The origins of ce­ had their own designs, these artists have ramic technology are developed unique designs and features that as widely varied and they can call their own,” notes Milford idiosyncratic as the Nahohai in the introduction. origins of stone tools, Although pueblo pottery has been tradi­ agriculture, village life, tionally made by women, five of the featured political organization, potters are men. One is Randy Nahohai, who writing systems and religions,” they con­ learned from watching his mother, Josephine. tinue. “Pottery was invented by a number of He now works with his wife, Rowena Him, different societies, each of which developed also a potter. Nahohai and Him collect and and sustained the technology in the context prepare their own clay, a time-consuming of specific and distinct ecological, economic process: “Warm up and social conditions.” the truck first, grab The book is divided into three parts (old your buckets and world, new world, and theory and critique), shovels, head out for with chapter topics including Jomon pottery the Pia Mesa, on the of early J apan, early ceramics in N orth Africa, south side of Zuni, earliest ceramics and the Neolithic transition take your cornmeal, in the Western Mediterranean, early pottery your offering for the in the Amazon, the many contexts of early clay spirit, and head Valdivia ceramics, and the emergence of pres­ out for the clay pit. As tige technologies and pottery. soon as you get there, In the chapter on pots and the shaping of make your offering and from there you clear Greek Neolithic society, Karen Vitelli de­ an area and see what she gives you. You sort scribes the pottery made during the Middle it out so you can have various colors. Then Neolithic period: “The shapes they producedyou soak the clay. We usually run it through are sharply angular and often have tall and a screen and a piece of cloth that captures all elegant bases or pedestals. Many of the shapesthe impurities. We let it settle and take off the are challenging to build, difficult to dry with­excess water. We don’t add anymore temper­ out stress cracks and break, and more difficulting to the clay because the clay is real good.” still to fire without mishap. The surfaces are 100 pages, including suggested-reading list. superbly finished, with rare traces of tool 73 color and 50 black-and-white photographs. depressions. Up to 25% of the vessels were $45; softcover, $19.95. University of New given individualized painted decoration: no Mexico Press, 1720 Lomas Boulevard, North­ two pots have identical patterns. east, Albuquerque, New Mexico 87131-1591; “The Middle Neolithic potters developed, (800)249-7737. in a matter of a few centuries, most of the Susie Cooper basic ceramic technology (minus the potter’s wheel) relied on by later historical potters,” An Elegant Affair Vitelli explains. “The high rate of innovation, by Bryn Youds the experimentation, and the consequent Born in 1902, British ceramics designer risk...suggest a pottery ‘industry’ motivated Susie Cooper began her career in the arts at by circumstances quite different from those the age of 16, attending the Burslem School of today’s traditional potters....The risk tak­ of Art. While at the school, she became

28 CERAMICS MONTHLY December 1996 29 New Books

interested in fashion design, and applied for a scholarship at the Royal College of Art. But her application was turned down, so Cooper went to work at A. E. Gray and Co., a local pottery factory. (It was not until 65 years later that she was accepted into the college.) Beginning as a piece-work painter in 1922, Cooper eventually became the company’s designer. “The impact made at Gray’s by Susie was soon boldly marked on the firm’s pottery by a special back stamp with the message ‘Designed by Susie Cooper,”’ Youds writes. “The ‘designer label’ applied to the patterns produced by Susie certainly set a marketing trend within the Potteries.” In 1929, Cooper left Gray’s to start her own business, employing six painters to ex­ ecute her designs on prefabricated white- ware. “The first few years of the 1930s can reasonably be thought of as the most dy­ namic and fertile in the working life of Susie Cooper,” Youds claims. “A dazzling succes­ sion of experiments and innovations caused a sensation within the industry. Seemingly everything she set her hand to was a tri­ umph.” Her business was expanding rap­ idly, and she began exporting work. By 1940, the num­ ber of pieces being fired had reached “two thousand dozen” per week In 1966, Cooper’s business became part of the Wedgwood Group. She retired from the company in 1986 at the age of 84, but continued to work on various projects. Explaining her reasons for continuing to work, she said, “T feel I can’t live in today’s world on yesterday’s terms. Times are changing all the time, and I don’t want to sit around and wait for death. As long as I can do something, I think it is foolish not to do it.’” 80 pages, including lists of patterns, shapes and back stamps; and glossary. 102 color and 36 black-and-white photographs. $24.95, softcover. Thames and Hudson, 500 Fifth Avenue, New York, New York 10110; (800) 233-4830.

The Fine Artist’s Guide to Marketing and Self-Promotion Innovative Techniques to Build Your Career as an Artist by Julius Vitali “In analyzing famous artists’ careers, one sees a pattern emerge,” observes the author, an artist for the past 15 years. They “share an

30 CERAMICS MONTHLY December 1996 31 New Books

ability to find their way into the public eye through exhibitions, performances, commis­ sions and other means.” In this guide, he looks at “low-cost, low-tech ways to achieve the same success on your own—even on a small budget.” After discussing the importance of writ­ ing and photography, he explains how to generate publicity in newspapers and maga­ zines, as well as on television and radio. According to Vi tali, it is best to try to reach television and radio news editors by “letter, fax or by sending video or audio tapes. Since this is a video era, television seems to respond to VHS videotapes better than to written press releases. Generally, a publicity video should be no longer than ten minutes.” The next two chapters cover the business aspects of being an artist and pos­ sible exhibition loca­ tions, like cooperative galleries, nonprofit al­ ternative spaces, mu­ seums, galleries and festivals. “If you de­ cide to make the circuit of these [festivals], it is possible to make money not only from selling the actual work, but from winning best-of-show or other prize categories and to receive publicity (without any effort),” Vitali notes. “If this is something that interests you, visit some of these festivals to get a taste of what they’re like....Talk to the exhibiting artists to get an indication of their lifestyle and success.” Establishing a career in Europe is also discussed, then Vitali details various types of corporate support for the arts as well as grants and how to apply for them. In addition, he looks at artists-in-education, plus assembling a resume and portfolio. “An emerging artist can make a resume appear more significant by using the word ‘selected,’” Vitali asserts. “The word ‘selected’ should be used in this way: ‘selected group museum exhibitions,’ or ‘selected grants.’ It gives the impression that more is either being held back (minor insignificant shows or reviews) or the career is of such length that a lack of space requires one to select the most significant events.” 224 pages, including appendixes on photograph­ ing your art, and color and black-and-white slides, plus index. 10 black-and-white photo­ graphs. $18.95, softcover. Allworth Press, 10 East23rdStreet, New York, New York 10010; (800) 491-2808.

32 CERAMICS MONTHLY

34 CERAMICS MONTHLY The Kiln that Consumed Elkton by Howard Kiefer with Deborah Lipman

We read a lot these days about the a whole new audience of both potters school football and basketball games that techniques of wood firing and the resur­ and laypersons was introduced to the art are the focus of the towns social life. gence in appreciation for this ancient of wood firing by sharing in his dream. Hiroshi volunteers to teach pottery classes aesthetic. But what about the human Hiroshi Ogawa has lived in Elkton, at the high school, has coached a school side of the story? How does a typically Oregon, the states second smallest in­ baseball team, ran for a position on the independent, overworked, financially corporated city (with a population of district school board, and even produced challenged potter find the resources to 170), since 1980 when he closed a suc­ monogrammed dinnerware for a popu­ support a traditional wood-burning fa­ cessful production studio in Carmel Val­ lar bakery/cafe in exchange for a never- cility? With more than a little help from ley, California, to return to working by ending food tab. He’s a bit of a celebrity his friends! How many people does it himself. Since then, his work has evolved in town, with almost every household really take to build and fire the dragon? from high-fired functional stoneware to boasting at least one Ogawa teabowl, About 35 and counting. more decorative one-of-a-kind raku ves­ sake set or ikebana vase. As a kilnbuilder and ceramist, I’ve sels, which he now markets through gal­ Hiroshi’s studio is a rustic three-room been involved in the construction of more leries and craft shows across the country, shed, including a small showroom, on than 50 kilns over the past 20 years and as well as direct to a large following of the Ogawas 13-acre farm, which is popu­ have dozens of great kiln stories to tell. private patrons. lated by the usual chickens, sheep, rab­ Perhaps the most magical is the saga of Over the years, the Ogawa family has bits, as well as Pancho the llama and a how a third-generation Japanese-Ameri­ become an integral part of the Elkton growing array of preening peacocks and can potter turned building an anagama/ community, participating in everything hens. It is a peaceful place, lush with the noborigama kiln into an exercise in build­ from the annual Drift Boat Days cel­ wildflower gardens Hiroshi’s wife, Keiko, ing community. Its also the story of how ebration, to regularly attending the high- has sown over the years, and surrounded

A whole new audience of potters and laypersons was introduced to the art of wood firing by sharing in the construction of a combination anagama/noborigama in Elkton, Oregon.

December 1996 35 Howard Kiefer laying the foundation for the two-chambered anagama/noborigama.

Nearly complete noborigama (salt chamber) and junction wall for the anagama.

by hills she has reforested by hand with while undergoing monastic training at He dreamed of bringing together a syn­ more than 3000 fir trees from the nearby Ryukoku University. “I imagined a kiln ergistic group of artisans to share in the State Forestry Nursery. that could achieve results exemplifying serendipity of the wood-firing process. It is the beauty of this setting that first those ofTamba, Bizen and Shigaraki,” But an undertaking of this magnitude suggested the possibility of a combina­ he confided. requires tremendous resources—not only tion “cave” and “climbing” kiln to In addition to his dedication to clay, financial but manual labor as well. With Hiroshi, a vision that he says was origi­ Hiroshi was motivated by a strong com­ a drastic cut in income and college-bound nally inspired by the traditional wood- mitment to community, both that of the kids, Hiroshi nurtured the dream for fired pottery he had seen in Japan during town that had embraced him and his more than ten years before all the pieces a three-year stay in the 1970s when he family, and of the many potters with fell into place. During that time, he had studied under Ken Azuma in Osaka, whom he has connected over the years. shared the vision with friends and pa-

36 CERAMICS MONTHLY trons, who pledged their sup­ ficient funds at that time to cover port whenever he was ready. the high cost of materials. It The time finally came in wasn’t until later that winter 1993, shortly after I moved to when he was accepted into some Elkton and met Hiroshi at the prestigious shows that he felt he annual holiday sale he and Keiko might have sufficient income to host. After the usual introduc­ begin. But with an estimated tions, we delved further and dis­ budget of more than $15,000, covered to our astonishment that the “kiln fund” still was short. we not only shared an interest in Fortunately, Hiroshi, like clay but had both grown up in many other craftspeople, is a Pasadena, California, had at­ conscientious practitioner of tended the same high school, barter. He decided to try to cover and—would you believe—had the deficit by writing about a graduated in the same year! Here trade to a select group of pa­ we were, finally meeting after all trons who have consistently sup­ these years in this little town. ported his work over the years: When he learned that I built for an investment of $100 or kilns, he shared his plan for a more, they would receive a two-chambered, 350-cubic-foot certificate for pots of equal value anagama/noborigama to do from the first firing. The re­ high-temperature wood firing sponse was more than gratify­ and salt glazing—and I was ing; 24 people sent checks, hooked. I offered to lend my writing back to say “we’d be hon­ expertise in laying the 5000 ored to be included in your bricks purely for the once-in-a- dream project.” By spring of lifetime experience. 1994, the kiln was on its way. Although we were anxious to When word got out that the get started, Hiroshi lacked suf­ long-talked-about kiln was Constructing the wooden arch support for the anagama portion of the kiln.

Above the dampers, a 14-foot-talI single stack was constructed.

December 1996 37 Hiroshi Ogawa (left) and Howard Kiefer (right) laying the last of 5000 bricks.

Ogawa applying the first layer of insulation onto the anagama.

finally going to happen, Hiroshi found lofted kiln shed, donating both time and windy Oregon winter. We dug ditches, himself deluged with offers of help. It materials. “It was an embarrassment of cleared debris, sunk posts, sawed bricks, began when potter-friends from through­ riches,” confessed Hiroshi, “and a major welded pipes and even installed plumb­ out the West Coast called to pass along lesson in letting go of control.” ing lines for an outdoor sink and shower. money-saving tips on resources for bricks. The generosity didn’t end there. When The excitement surrounding the Then several neighbors pledged the Dou­ we finally began construction in Sep­ building of the kiln culminated the fol­ glas fir from their densely forested prop­ tember, Hiroshi and I were joined by a lowing spring when the last brick was erties for an endless supply of fuel for the committed crew of volunteers, includ­ placed in the anagama chamber and a kiln. And perhaps the most overwhelm­ ing other potters from the area who sculpture of a giant scorpion, contrib­ ing offer came when a local contractor- worked tirelessly over the next six uted by Hiroshi’s son, Kohki, was hoisted friend insisted on building a two-story months—much of it during a wet and atop as the crowning glory.

38 CERAMICS MONTHLY In April 1995, with the “illusion of imperfection be­ wooden form burned out and yond perfection,” as he de­ the exterior lathered with in­ scribes it. In that moment, a sulation, 12 potters from whole new audience of afi­ across Oregon, Washington cionados for wood-fired ware and Northern California were and the tradition behind it invited to participate in the was cultivated. first firing, stoking wood in 8- The list of participants in hour shifts in exchange for 15 “Vase with Lugs,” 14 inches in height, wheel-thrown firing the Ogawa anagama cubic feet of space in the stoneware, with heavy fly ash, by Hiroshi Ogawa. grew significantly in the next dream kiln. Throughout the three firings. And last sum­ ensuing 72 hours, a legion of mer, wood-fired pots from onlookers cheered us on, con­ this kiln were included in an tributing camaraderie and exhibition sponsored by the camcorders, and joining Keiko Oregon Folk Arts Program of in serving round-the-clock the Oregon Historical Soci­ gourmet meals to the crew. It ety, through which Hiroshi was an international—and was awarded a grant under bottomless—feast of chili, la- the Traditional Arts Appren­ sagna, sushi, paella, chicken ticeship Program. Designed soup with matzo balls, sake to promote the practice and and cases of pinot noir from a recognition of traditional arts neighbor’s vineyard. in Oregon, the program has When the kiln was opened enabled Hiroshi to share his the following week and the artistic sensibilities with ap­ pots unloaded, an expectant prentice Masatoshi Shirai, crowd gathered to receive newly arrived in Oregon from them. For many, the brown Kobe, Japan. vessels with flashing from the According to Hiroshi Oga­ flame and ash melted on the wa, “In Japan, wood-burning shoulders were a revelation, kilns are becoming scarce, but different from any they had with the help of so many ever seen. amazing people, as well as Ah, so this is what Hiroshi many blessings from the kiln had talked about all those gods, I feel I can carry on a years: wabi, austere refine­ Salt-glazed vase, 7 inches in height, wood-fired small portion of the legacy ment; sabi, aged beauty; the stoneware, by Hiroshi Ogawa, Elkton, Oregon. right here in Elkton.” A

December 1996 39 “Teapot and Stand,” 21 inches in Wayne Ferguson height, handbuilt, raku fired, 1985.

retrospective exhibition of works by Kentucky artist Wayne Ferguson was presented recently at the Kentucky Art and Craft Gallery in Louisville. A pot­ ter for 30 years, Ferguson is currently concentrating on nonfunctional pieces meant to elicit a response from the viewer. “I like to manipulate clay and put it together in such a way that some­ body who doesn’t know the first thing about ceramics can look at it and react to it,” he explained. “As I look at the work gathered from so many people who have decided to live with my objects, I recognize good and bad, success and failure, growth and stagnation, innovation and self-pla- giarism,” Ferguson observed. “The ob­ jects are a tangible reflection of a personal vision wrought in clay, glaze and fire. Unseen is the support of others, the influence of my colleagues and the in­ sight of many teachers and students, past and present. “The complex merger of life and art renders me incapable of a logical, intel­ lectual explanation of why I do what I do,” he concluded. “This is best left to “Kong Dynasty Teapot,” 9½ inches in height, handbuilt white earthenware critics to fathom where this art of craft with commercial glazes, fired to Cone 04, 1996. fits in the grand scheme.” A

40 CERAMICS MONTHLY “Mondo Condo #2,” 22½ inches in height, handbuilt earthenware, fired to Cone 04, brushed with acrylic paints, by Wayne Ferguson, Louisville, Kentucky.

December 1996 41 The Deities of Sound by Brian Ransom

Just when you’re thinking that every­ thing is going well, when you’re feeling at ease with your artistic direction, sens­ ing that your abilities to execute ideas and deal with technical problems are well honed, there comes a desire (need) for change, even if that change is prompted at the unconscious level. This describes my state of mind when I first started making drawings for what was Brian Ransom with completed “Deities.” to become “The Deities of Sound,” the group of sounding ceramic sculptures on which I am currently working. They create sound when activated by breath, wind and/or motion. My artistic journey through music, performance and daywork has been long and convoluted. I have concentrated on combining ceramic sound resonators with a variety of other materials, such as rawhide, wood, steel and even electron­ ics to create viable, playable and beauti- ful-sounding ceramic instruments that also hold their own as sculpture. These instruments have been largely of my own invention in terms of design, con­ struction and tuning, but their instru­ mental characteristics resemble bells, Appendages are made solid, then split and hollowed. stringed harps, horns, flutes, kalimbas, marimbas and a wide variety of percus­ sive creations. Beyond exhibiting my sounding clay- works, for many years I have composed and performed music on them, with the help of many talented musicians, including Ghanaian master drummer Obo Addy and all-around musical tal­ ent Norma Tanega. We have performed concerts internationally, and have cre­ ated sound scores for movies and dance. Over the past 20 years, I have had to overcome the usual technical problems that typically plague the ceramics artist, such as construction difficulties, crack­ ing and shrinkage problems, and creat­ Other parts are wheel thrown or slab built. ing relevant decorative surfaces. I have also had to contend with developing a

42 CERAMICS MONTHLY Detail of bottom section: water passing through the wall dividing the two chambers will displace air, activating interior whistles.

Sound from the water-activated whistles escapes through openings in the back of the figure.

December 1996 43 clay body that resonates well, calculat­ ing shrinkage as it relates to tuning and, finally, discovering surfaces that not only look beautiful, but enhance the sono­ rous quality of the forms. Having come to terms with the various technical is­ sues, I was well overdue for an artistic change—I just had no idea how it might take place. Evoked by both conscious as well as unconscious levels of thought, images for the “Deities” occurred to me in a relatively short period of time. Since I first recalled these images from my dreams, it has been an important ten­ ant of their design that they retain an impossibleness or otherworldliness in their figurative sensibilities. I wanted disparate and abstract forms that could be combined in gestural and graceful ways, while retaining the ability to pro­ duce natural harmonics. The immediacy of their conception makes me feel as though it is more important to build them than to ana­ lyze their nature and meaning. How­ ever much the “Deities” seem a natural progression of previous work I have done, they are engaging a spiritual part of me I have not encountered in previ­ ous art-making. In producing these pieces, many new aesthetic and structural challenges have presented themselves and have required unusual solutions. From the beginning, “Releasing Deity,” 42 inches in height, saggar-fired earthenware I decided that to preserve my original activated by tipping motion. vision, I would make the appendages first in solid clay, then split and hollow structed, and have clay instruments em­ These pieces are especially difficult them. Inside each figure, I also place bedded within them. because they incorporate as many as 50 specially designed handbuilt instruments Each musical element is carefully joined elements. I have found that the with unusual harmonic resonances. tuned, and shrinkage is calculated for most dependable way to ensure mini­ These instruments, numbering between pitch change. Some are whistles acti­ mal cracking is to use a high fireclay four and seven per finished piece, some­ vated by tipping motions that move body with a variety of grog sizes, to times resonate an entire torso or sec­ water between chambers, displacing air. score and slip thoroughly, and to join tion; others are embedded deep inside In the finished pieces, all of the instru­ parts when they are of the most similar arms, legs or the head. Other parts are ments can be simultaneously activated— possible wetness. Average drying time is thrown on the wheel and slab con­ by several people. between two and three weeks.

44 CERAMICS MONTHLY "Flame Deity,” 50 inches in height, wheel thrown and handbuilt.

“Peace Deity,” 42 inches in height, wind instrument by Brian Ransom, Saint Petersburg, Florida.

Ransom Clay Body let stand 24 hours, then siphon off the (Cone 06-04) top 40%. Color variations are possible Talc...... 15% with oxide and stain additions at ap­ Feldspar...... 10 proximately 10% (plus or minus 3%). Cedar Heights Goldart...... 20 Finally, the “Deities” are vapor (salt Fireclay...... 25 and soda ash) and saggar fired to Cone XX Sagger Clay...... 20 06-04. Medium Grog...... 5 The unlikely figurative and musical Fine Grog...... quality5 of these pieces gives them an 100% insistence of another reality that is less intrusive and separate from our me­ Surfaces are airbrushed with terra sig- chanical and predictable world. They illatas made by stirring 47 grams lye invite us to interact, to partake of their into 3 gallons water, then adding 7 resonance, while reminding us that we, “Singing Deity,” 34 inches in height, pounds Kentucky Ball Clay (OM 4); too, are akin to vessels that resonate. ▲ vapor fired to Cone 06-04.

December 1996 45 “Porcelain Faceted Teapot,” 5 inches in height, porcelain with copper glaze, wood fired, $120, by Gay Smith, Bakersville, North Carolina. Clay/Wood/Fire/Salt

“When first I imagined a national clay unglazed clay is realized most especially invitational, I made a wish list of all the in wood-fired pots. potters whose works I have admired “Wood firing is unpredictable to a over the past 20 years,” explained Gwen degree, and is used by these artists to Heffner, owner of Contemporary Arti­ enhance...form. There is a basic skinlike facts Gallery in Berea, Kentucky, where quality to the finished work with no “Clay/Wood/Fire/Salt” was presented re­ separation of clay and glaze. Fire in a cently. “As I looked at the huge and wood kiln moves over the pieces like growing list of names, I came to realize water running through a streambed— that many of these artists fired their the clayworks being the stones within works with wood, salt or soda. I began the stream—with fire and ash leaving to see a focus come about in my mind. I their marks. Salt is introduced at the felt the title of the show needed to speak end of the firing, when the ware has to the elemental processes of clay and reached temperature, and forms a so- pots. Clay/wood/fire/salt. It fell into dium/clay glaze that is often referred to place after that. as an orange-peel texture.” “As a potter, I confess a liking for With 54 artists participating, the strongly gestured and altered forms in “worlds in this exhibition show a love of clay and my curatorial choices reflect the process and materials, and a matu­ “Sung Vase,” 12 inches in height, that preference,” she continued. “Form wheel-thrown stoneware, with oxide rity in the use of the elements of clay, and surface have always been my per­ wash, wood fired, $250, by Ben wood, fire and salt. The forms are subtle, sonal focus, and my love of the natural Owen III, Seagrove, North Carolina. raw, textural, viscous and fresh.” A

46 CERAMICS MONTHLY “Anagama-Fired Dome Jar,” 5 inches in height, wheel thrown from local stoneware, faceted and altered, $150, by Rand Heazlitt, New Albany, Indiana.

“Water Tower Jar,” 11 inches in height, wheel-thrown and wood-fired stoneware, with sandblasted lid, $400, by Dan Anderson, Edwardsville, Illinois.

“Blushing Bondage Teapot,” 14 inches in height, wood-fired porcelain, $275, by Pam Mattson McDonald, Seaview, Washington.

December 1996 47 Doug Baldwin: The Duck Stops Here by Louana M. Lackey

IBaltimore artist Doug Bald­ years in the Army as an illus­ win lives and works in an old, trator before returning to three-story row house just five Missoula for an M.A. in blocks from Maryland Insti­ printmaking. Baldwins only tutes College of Art, where class in ceramics as an un­ he has taught since 1969. Al­ dergraduate had been with though the building (which Rudy Autio in his sophomore was once a bakery) needed a year and he did not really get lot of work, it was ideally into clay until his last year in suited to an artists needs. The graduate school. entrance opens into what was By then, he was having so once a salesroom, now a liv­ much fun with clay he didn’t ing room with a 16-foot ceil­ want to stop. Instead of tak­ ing. At the back of the ing a teaching job immedi­ building, the bakery kitchen ately after graduate school, with its floor drain, rear exit “Wassily Kandinsky: Sketch for Composition II,” 14 inches he went to New York to study and loading dock converted in length, earthenware with china paints and luster. ceramics with Jolyon Hofsted easily into a ceramics studio. and Bruce Breckenridge at Upstairs, the family quarters includes when he was in high school, his goal the Brooklyn Museum School. He lived an enormous room that is sometimes shifted to commercial art. College in Greenwich Village, enjoying la vie used as a second studio. changed his whole perspective. Since boheme, but when he saw pots and pot­ Baldwin came to clay without a tra­ his family lived in Missoula across the ters in the Washington Square Art Fair, ditional background in ceramics. As a street from the University of Montana, he knew that he would never (could child, he had always thought he would his choice of schools was not difficult. never?) be a traditional potter. grow up to become a studio artist. Later, After earning a B.A. in art, he spent two The real turning point in Baldwins

“Van Gogh: Bedroom at Arles,” 11 inches in height, handbuilt earthenware, from the “Duck Art History Revised Series.”

48 CERAMICS MONTHLY “Edwin Hopper: Nighthawks,” 36 inches in length, handbuilt earthenware with low-fire glaze accents, from the “Duck Art History Revised Series.”

career came after he started teaching at hundreds of tiny duck spectators gath­ the Maryland Institute. In 1970, he re­ ered to watch the ball games. Part of ceived a grant to do his own work in a this series, “The Most Disastrous Ball mold factory. Here, after trying a squir­ Games in History,” was completed in rel and other animal heads, he found a 1980—81 while Baldwin worked in ducks head among the thousands of Mexico during a sabbatical year from molds that fit perfectly on a mold of the institute [see the October 1983 Gainsboroughs “Blue Boy.” Because he CM]. The other theme, a tongue-in- could preassemble the figures and make cheek satire of art schools, artists, teach­ a great many in a very short time, he ers and students again uses ducks as the began using this combination to make central characters. entire armies of ducks. Any resemblance The ducks have multiplied over the to the “Blue Boy” soon vanished and years and have developed broader inter­ the forms became smaller, simpler and ests. Although some are still in school hand modeled, rather than molded. He attending ceramics classes, and some has been making duclcs ever since. still go to ball games, others have dis­ Baldwin was once accused of being a covered culture. His latest series, “Duck three-dimensional cartoonist. His for­ Doug Baldwin drawing with underglaze Art History Revised,” was inspired by pencil on a press-molded “canvas.” mat and humor are cartoonlike, with famous paintings and sculpture. pieces often arranged in sequence. His Baldwin has worked in terra cotta earlier work dealt with two major since a 1973 trip to Greece when he fell themes—one, a series of stadiums, has in love with redwares. He sometimes

December 1996 49 “Andy Warhol: Soup Can,” 14 inches in height, earthenware with low-fire glazes and luster, by Doug Baldwin, Baltimore, Maryland.

adds as much as 45% or 50% coarse ramic coloring media that will achieve CM readers have always taken their grog, depending on the size of the piece. the bright clear colors he needs to re­ art (craft?) very seriously and Baldwin is Forming methods include hand- produce the painters’ palettes. disturbed at implications that he does building, press molding and the use of Baldwin is a hard-working artist, who not. He says that he not only takes his other larger plaster molds. He also makes describes himself as a “ceramics sculp­ work very seriously, indeed, he takes it molds from cardboard for architectural tor,” or “ceramics artist.” The terms “ce­ almost to the point of obsession. If the pieces, including some of the structures ramist” versus “potter,” “funk” versus ducks are doing something thought to in his recent art history series. The “functional,” “art” versus “craft” have be funny, Baldwin can’t help it; he does “frames” and “canvas” for his two-di­ caused endless discussion in the field, not feel responsible for the ducks’ ac­ mensional wall pieces are usually press and show no sign of ending soon. A tivities and behavior. As art historians molded from rolled-out slabs. sequence of Baldwin’s work on the Sep­ and archaeologists agree, art is a mirror Baldwin used very little color in his tember 1974 cover of Ceramics Monthly of the period in which it is made. earlier work, mostly because it didn’t brought forth opposing comments. One seem to need it. In the past couple of reader found it “absolutely delightful,” The author Louana Lackey is a Re­ years, he has begun to apply under- while another complained that the search Scholar in Ceramics at the Mary- glazes, overglazes, commercial glazes and “cover looks like something that be­ land Institute College of Art in Balti­ china paints—any combination of ce­ longs on a children’s magazine.” more, Maryland.

50 CERAMICS MONTHLY A Personal Aesthetic by Howard Koerth

“Ritual Vessel (43) 1.93,” 13 inches in height, wheel-thrown and altered earthenware, with dry lithium glaze, fired to Cone 010, by Howard Koerth, Weatherford, Oklahoma.

Tie vessel is a human object. To see a gantly contain, decoratively hold or ritu­ in college, I decided to major in art vessel, or even a shard, is to respond to ally petition for fulfillment. Through (rather than always wish I had). The an individual expression of the shared the creative use and interpretation of choice between sculpture and ceramics experience of our universal history as structure, form and surface, this object, was made with romantic visions danc­ vessel makers and vessel users. The ves­ like any object, can move beyond its ing in my head of being a mountaintop sel is the record of human existence, the literal definition and become the basis potter. As soon as the first vessel (a very recognition of many cultures, the for visual expression. simple vase that I still have) came off chronicle of our needs and desires. With My exploration of the vessel began the wheel, I was hooked, or perhaps the vessel, we simply function, extrava­ in 1980. After a year of general studies seduced would be a more appropriate

December 1996 51 Two views (disassembled and assembled) of “Standing Ewer (Effigy Series),” 17 inches in height, glazed earthenware, fired to Cone 010.

word. To shape, form and pursue the vessel became the focus of my creative activity and development. While completing my B.F.A. at the University of Kansas, I studied under David Vertacnik, whose background from Alfred University and personal work in sculpture had a profound effect on the development of my personal aes­ thetic. David was keenly aware of the history and formal concerns of the ves­ sel. He also had a good eye for detail and the possibilities of form offered by this most traditional of ceramic formats. In addition, he had a sculptors eye for the activity of form in space and a natu­ ral curiosity about, and need for, the individual use of materials, objects and forms for personal expression. I soon discovered that I had little interest in the disciplined repetition re­ quired of a production potter. In retro­ spect, I recognize that it was exploration and examination that fascinated me, not design and production. My work be­

came a visual exploration of ceramic Each 0f Koerth’s vessels begins as a wheel-thrown “blank, materials, processes and forms, as well then is altered and completed by handbuilding. as an examination of how to utilize this information to pursue creative ideas.

52 CERAMICS MONTHLY “Still-life #18 (Spoon Woman Series),” 17 inches in height, earthenware with Cone 010 lithium glaze.

During my undergraduate years, my the most important visual and aesthetic tion. Function had never really been an personal explorations encompassed influence at this time was Japanese ce­ important issue in my earlier examina­ many processes (low-fire, high-fire, ramics, especially Shino, Iga and Bizen tions of the vessel. (While my jars were wood, salt and raku kilns) and a variety ware. The gestural quality of line and certainly functional, my attention was of materials, but one theme remained form, the expressive use of material and primarily on form and surface.) I real­ relatively constant: my involvement with process, and the allowance, in fact, in­ ized that my interest was in the visual the vessel. One-of-a-kind covered jars sistence for each vessel to have an indi­ possibilities of the vessel, not in the examined as individual forms within a vidual character became my guidelines functional absolutes. I wanted to relate short series, along with bowls, platters for explorations in clay. to my work from a perspective that and teapots, made up the majority of When I began my graduate studies focused on the vessel as an object and my work. Pots by Ken Ferguson and at Indiana University, I made a con­ form in space open to any interpretive Val Cushing offered a standard of achiev­ scious decision to change clay bodies examination. ing strength of statement through form (from stoneware to earthenware) and to My interest in the visual characteris­ and surface to which to aspire; however, explore forms from a sculptural direc­ tics of non-Western art also continued

December 1996 53 during graduate school, but with negative shapes within shifted from the subtle, ma­ and around the form as well terial qualities of the Japanese as reach out into the space aesthetic to the vigorous, surrounding the object. physical expression of Sub- Through offset placement Saharan African and Oceanic and orientation of the pro­ art. Indiana University sup­ jecting elements, I was able ports a strong African studies to break away from the sym­ program and the School of metry common with func­ Fine Arts houses a wonderful tional forms and establish a collection of art and objects degree of gestural movement. from non-Western cultures. The gestural activity of the Research into the art of form, in combination with these cultures reinforced sur­ the attached headlike cup face qualities—dry, tactile sur­ and saucer, implied the hu­ faces achieved with slips or man figure and gave each ves­ low-fire glazes that did not sel an individual character. melt and so maintained their Each “Ritual Vessel” ad­ applied textures—that had dressed the vessel structure been developing in my work as a beginning point and his­ since my last undergraduate torical reference. Each also year. I enjoyed the softer vi­ implied the human figure, sual qualities of these dry sur­ an additional beginning faces, as well as the ability to point in that the vessel itself view forms unobscured by the is a human object. It was, is camouflage of glare and re­ and may always have been flection. The textural quality this direct connection be­ of these surfaces offered a “Walking Ewer (Effigy Series),” 17 inches in height, tween origin and object that means for visual interaction wheel-thrown and handbuilt earthenware. has fascinated me most about with the inner areas of the the vessel. form without interfering with In the “Effigy Series,” the the spatial activity and defi­ focus of my current explora­ nition of the outer lines. My concern nique was in a sense like sketching in tions, the structure of the vessel and the with the visual integrity of the outer space, using the material qualities of figure merge together into a continuous lines of the form grew as I focused more clay to explore the idea through the form. The body of the vessel implies the on translating the sculptural concerns building process, which allows the ini­ figure, while the gestural elements of of movement and activity in space to tial idea to evolve according to the par­ the figure relate to the visual arrange­ the vessel. ticular characteristics of the individual ment of the vessel. The dry, textural The vessels that emerged from this piece. It is a process that still fits my surface gives visual substance to the body concerted effort to change represented personal needs, allowing me to examine of the form, while the structure and the beginning point for my current ideas organically, exploring the possi­ gesture reach out into its surrounding work. They were full in form, organic bilities as they emerge. space. In character, gesture and form, in structure and individual in character. With the “Ritual Vessel” series, I be­ each vessel is an individual. It functions Each was an individual expression, be­ gan to explore space, as well as form as a visual statement of spatial organiza­ gun with a thrown “blank” that was and surface. The basic elements of the tion and expression, while celebrating altered, then extended and completed teapot (body, spout, handle, lid) offered our historical role as vessel makers and by handbuilding. This forming tech­ ample opportunity to describe and work vessel users. A

54 CERAMICS MONTHLY “Ritual Vessel (57) 111.94,” 15 inches in height, by Howard Koerth.

Recipes

Earthenware Body Granite Gray: The following are among the color varia­ Cedar Heights Redart...... 65 pounds Nickel Oxide...... 5.00% tions possible with oxide additions: Hawthorn Bond...... 25 Oyster Shell White: Fireclay...... 5 Charcoal Black: Black Iron Oxide...... 3.00% Black Iron Oxide...... 5.00% Talc...... 5 Vanadium Stain ...... 1.00% Grog...... 3-5 Black Copper Oxide...... 4.00% Red Iron Oxide...... 1-3 Limestone Green: Chrome Oxide ...... 1.00% 104-108 pounds Black Copper Oxide...... 3.00% Manganese Dioxide...... 3.00% Rutile...... 4.50% Red Iron Oxide...... 4.00% Add approximately ½ cup barium car­ bonate per 100-pound batch to prevent Woody Brown: Blue Funk: scumming. Black Copper Oxide...... 4.00% Copper Carbonate...... 3.50% Black Iron Oxide...... 5.00% These dry lithium glazes are applied Chrome Oxide...... 0.50% HK Dry Lithium Base 1 to earthenware fired to Cone 04. To (Cone 010) Manganese Dioxide...... 3.00% retain application texture and dry sur­ Red Iron Oxide...... 4.00% Lithium Carbonate...... 27.55% face quality, fire only to Cone 010. Mul­ Bentonite...... 3.06 Bronze: tiple firings may be necessary for color Tile 6...... 15.31 Manganese Dioxide...... 2.00% intensity and depth. Shivering may oc­ Flint (Vansil W-20)...... 54.08 Copper Oxide...... 3.00% cur if the glaze firing is prolonged. The . % 100 00 Chrome Oxide...... 4.00% recommended firing schedule is to turn Color variations are possible with the up the ldln (electric) one third every following additions: HK Dry Lithium Base 2 two hours, so that the kiln is on high in (Cone 010) four hours. Salmon Pink: Lithium Carbonate...... 27.55% A lithium/copper blue is achieved by Manganese Dioxide...... 5.00% Bentonite...... 3.06 applying a wash of commercial yellow Burnt Salmon Red: Georgia Kaolin ...... 15.31 glaze (Duncan GL600 Buttercup Yel­ Black Copper Oxide...... 3.50% Flint (SilCoSil)...... 54.08 low), thinned with water, over fired Blue Manganese Dioxide...... 3.00% 100 .00 % Funk, then firing again to Cone 010.

December 1996 55 Fourth Annual Strictly Functional

I he “Fourth Annual Strictly Functional try. “One s sense of responsibility readily Pottery National,” an exhibition of 83 dispels the panic.” works by 79 artists, was presented re­ After reviewing the entries several cently at the Market House Craft Cen­ times, Clark “sought to present a group ter in Ephrata, Pennsylvania. “As a of pots that were refreshing and lively, nonpotter, nonacademic, but avid pot­ to select work that would reflect a broad tery lover, and one devoted to promot­ investigation of the media by the pot­ ing functional pottery of excellence, I ter, to include a range of work with a was a bit intimidated as I undertook variety of clay bodies, surface treatments this project,” admitted juror Phyllis Blair and firing methods, by well-known as Clark, organizer of the annual “Func­ well as lesser known potters.” tional Ceramics” workshop and invi­ She also kept “in mind my personal tational exhibition in Wooster, Ohio. criteria of looking for form, functional­ Her “trepidation was soon forgotten,” “Paddled Pot,” 10 inches high, wood ity, fine craftsmanship, evidence of the though, with the arrival of 722 slides fired, $500, by Jack Troy, Huntingdon, potters hand, and work that brought from 288 potters from across the coun- Pennsylvania: third place. fresh approaches to this age-old craft.” ▲

Stoneware teapot, 10½ inches in height, thrown and handbuilt, $195, by Ben Culbertson, Hagerstown, Maryland; juror’s choice award.

56 CERAMICS MONTHLY “Oval Teapot,” 8 inches wide, porcelain with red-Shino-type glaze, $350, by Malcolm Davis, Closter, New Jersey; first place.

“X-Vase,” 18 inches in height, extruded, slab-built and carved stoneware, $120, by William Shinn, Santa Maria, California; best of show award.

White stoneware ewer, 10 inches in height, soda fired, $350, by Adelaide Paul, Baton Rouge, Louisiana.

December 1996 57 Koichi Takita and the New Mingei by Tana Stewart with translations by Hisako Stewart

Porcelain teapot and coffeepots, to 13 inches in height, with bluish white semitransparent glaze, fired to Cone 10 in reduction.

Japanese potter Koichi Takita, now in been asked to write about Takita prior band welcomes guests. I sat at the his 71st year, is a proponent ofmingei to one of his Tokyo exhibitions. masters horigotatu, a low table with a (folk craft). He apprenticed with Shoji From the doorstep, Takitas wife recessed foot well. She then brought me Hamada and has followed the lead of brought me to the room where her hus- a cup of green tea. I sipped and waited. his former teacher in serving as head For a Zen Buddhist, the practice of the industrial arts department at of seating one s guest in the tea room Okinawa Prefectural University, and is an invitation to relax and refresh also as a director of the Mingei Kan one s mind before meeting. One wall (Folk Craft Museum) in Tokyo. of Takitas tea room is glass and over­ If one foot is rooted in tradition, looks a garden. The others display however, the other is moving for­ an enviable collection of pottery by ward. Takitas premise is that folk art other Japanese masters as well as a need not be static to be authentic, large number of museum-quality that pottery making is an ever-chang- works collected while traveling. ing craft, which should reflect the Takita entered the room with a daily living patterns of ones culture. gentle bow and soft greeting. He wore Six years ago, in the remote Japa­ a hakama, a traditional mens ki­ nese village of Karasuyama, I began A proponent of mingei philosophy, Koichi mono. It was blue with a long-skirted a journey that would forever trans­ Takita concentrates on producing shapes bottom that was brought together at form my philosophy of clay. I had appropriate for contemporary use. the calf For shoes, he wore white

58 CERAMICS MONTHLY Hexagonal porcelain plate, 13 inches wide, with base glaze fired to Cone 10 in reduction, decorated with low-fire Persian blue, yellow and red overglazes.

cloth slippers, which resembled gloves land of boy who liked to draw and The life of an apprentice in a Japa­ for the feet. I later learned that he al­ make things. I was 14 years old when I nese pottery is not easy, and has changed ways wears this same costume—the cen- learned about Shoji Hamada, and I in­ little over time. Mingei masters stress turies-old style of Japanese craftsmen. stantly felt that I’d like to know more mental preparation as well as repetition A professional potter with 20 years about his philosophy of work. But the of form. The master demonstrates the of experience at the time, I was not Second World War didn’t allow me to making of a simple piece, such as a prepared for the impact of that inter­ do so. Time passed. small condiment dish or teacup, and view. Impressed by the depth and “I later entered the Tokyo University the new apprentice works at throwing breadth of mingei philosophy, and of of Arts. While studying under professor this same shape repetitively during eve­ the teacher before me, I would return Kenkichi Tomimoto, my interest in nings or other times not dedicated to many times to Takitas studio and would Hamada rekindled. Shortly before the general studio duties. By making simple become an apprentice in his studio for war ended, I finished my university stud­ pieces several hundred times, one’s mind three years. ies and, with a recommendation from and body learn to work in harmony, Takitas success is the result of several Tomimoto, began an apprenticeship ultimately developing the ability to “ef­ decades of rigid training and a love of with Hamada. fortlessly” produce like-wares of quality art that began as a young child. “I was “At Hamada’s shop, I had to do sev­ and quantity. born and raised in Karasuyama, which eral different tasks every day. But I never “I was at Hamada’s shop for three lies about 30 kilometers from Mashiko. felt disappointed. I always maintained a years,” Takita recalls. “During that time, Therefore, I was exposed to Mashiko sense of fulfillment thinking about my I pondered where to establish my own pottery as a young child. I was also the future. I thanked him daily.” kiln and what kind of pottery to make.

December 1996 59 the writings of philosopher Soetsu Yanagi. Along with others of his genera­ tion, the hardships of war postponed or made difficult the normal patterns of study. An artist in thought and mind, the young Takita often sought refuge in Yanagi s inspirational writings. As a spokesman for the preservation of folk art worldwide, Yanagi is credited with the founding of the Mingei Kan (Folk Craft Museum) in Tokyo. Opened in 1936, the museum played a vital role in the development of the young Takitas artistic style. The most influential exhi­ bition was a display of Korean vessels from the Yi dynasty. To this day, Takita remains impressed with the soft white of these vessels, a “white that contains all colors.” While his pottery strongly reveals the influences of his former teachers and philosophical mentors, it also incorpo­ rates his own life experiences and the relevance of shapes appropriate for to­ day. For example, green tea was the drink of Hamadas Japan. Today, West- Incense jar, 4½ inches in height, Cone 10 reduction porcelain, ern tea and coffee are equally popular, with red overglaze and gold luster. Continued on page 63

The easiest way would have been to start my career at Mashiko. But Hama- da seemed to have explored every pos­ sible way to use Mashiko material. I didn’t believe that I could create an origi­ nal piece. By using Mashiko material, I would always belong to Hamada. “Finally, I decided to further explore the porcelain world that I had studied under Tomimoto. There are relatively few places in Japan specializing in por­ celain. They are the Arita area in Kyushu (large southern island), Shikoku Island and Seto in Aichi (southwest of Tokyo), and Aizu Hongo in Tohoku (northeast of Tokyo). I wished to start my career in Tohoku because of its culture, which is simple but rich in vitality. “One day, we had a visitor to Hamadas shop. He was from Aizu in Fukushima prefecture, where he ran a mountainside inn and painted. I told him about my future career desires. It was a lucky meeting for me. He had a small kiln and promised to let me use it. So, Fukushima was the place where I started my career.” In addition to Hamada and Tomi- Porcelain pitcher, 11 inches high, with yellow iron underglaze, moto, Takita was greatly influenced by semitransparent base glaze, and red and blue overglazes.

CERAMICS MONTHLY Potters Kummon

The life of an apprentice in Japan has changed little over time, and requires total dedication. The typical progression is the induction of one new apprentice yearly, in March, the time of graduation. For many years in Takitas shop, this meant selection of a graduating senior who had already studied four years with him at the University of Arts, Okinawa. The new graduate then apprentices an additional three to five years before be­ ing considered qualified to claim the title of “potter.” Four apprentices were work­ ing at Potters Kummon when Takita al­ lowed me to join, on a modified status. As he was taught by Hamada, Takita stresses mental preparation for one’s work, as well as repetition. The physical demands of making clay, packing and shipping, cleaning the studio, etc., take most of first- and second-year appren­ tices’ time. Throwing time needed to make the hundreds of repetitions neces­ sary in learning a new shape is often on one’s “free time.” I never heard an apprentice complain about working conditions, however. They, like myself, recognized their great Porcelain is made from kaolin rocks pulverized fortune at working with the master. Also, by electricity-powered hammers. there was the 3 o’clock “tea break.” For about 20 minutes, all present relax to­ gether, following any vein of conversa­ tion that happens to flow. The tea break also affords access to the master’s phi­ losophy and instruction; it is a time when one feels free to ask about any number of concerns. Collectively, these “pearls of wisdom” lead one to a larger understand­ ing of the philosophy of mingei. A characteristic of Japanese pottery appreciation has always been to consider Delivered by the truckload, the kaolin the clay first. Glaze, if any, is a secondary must first be hammered into smaller element to enhance the clay body. I well pieces by hand. remember my first days in Takitas shop when he explained about the importance weeks and is physically arduous; the of clay body. “I always spend a long and recipe, a secret. The final product is hard time to make the clay I use. I can’t creamy smooth and so cooperative it see character in prepared clay. It doesn’t seems to throw itself—by far the best appeal to me at all. Prepared (porcelain) clay I have ever thrown. clay is white, but it is not the white that To begin with, a rock of high kaolin I want. My white must be the same white content is broken by hand into smaller When reduced to a coarse “sand,” the that we can see in early Imari pottery or chunks that can be pulverized by ma­ kaolin is hand mixed with commercially in Hakuji pottery from the Yi dynasty in chine into a coarse “sand.” The pulver­ prepared feldspars and other alkaline Korea. I strive to make pottery with a ized clay is then mixed in water with earths in one of two vats. fine grain that invites people to touch it. bags of commercially prepared feldspars For that reason also, I mix and refine the and other alkaline earths in one of two machine, the clay slurry is pumped off ashes of Japanese oak, chestnut and large vats and allowed to slake in a pro­ into a shallow concrete well, where it zelkova trees to make my glaze.” cess called “water heat.” Pushed and will rest. After some time, it will be The time required for making Takita’s pulled by paddles, somewhat like the pumped out and into canvas bags, which off-white porcelain clay takes several upper-body movement of a Nordic track are stacked, weighted and aged until the

December 1996 61 Lahore, West Pakistan, and yellow, gold and/or silver design accents on the off- white background. While the throwing of basic pieces is generally done by the apprentices, all the decorating is done by Takita or his son, according to the shapes that, respectively, are their own. It has been two years since I left Takita’s shop and returned to my own work. “Returned” is probably a poor choice of words because it is more like taking a fork in the road—the lessons learned have forever changed my phi­ losophy and standards. I have learned that there are shortcomings to short-cut­ ting one’s technical skills. That is only the beginning. The arduous training of throwing thousands of plates, cups and bowls of the same size, weight and dimension eventually produces exceptional techni­ cal skill. But technical skill alone does not make good pottery. At Potters Kummon, Takita stresses that technical competence is the necessary foundation upon which the would-be functional pot­ ter must then apply artistic inspiration. The mingei of yesterday is not relevant for today’s lifestyle, and so must change Some of Takita’s one-of-a-kind pots are brushed to remain current. It should be appro­ with iron or cobalt patterns. priate for its intended use, accessible, of good quality, and appealing to the senses. desired consistency is attained. Then the old and an excellent potter in his own clay is removed and pugged for use. right, works all aspects of the studio, Having worked so hard to make the including supporting instruction of ap­ clay, one develops an immense respect prentices. For additional experience, the for even one handful. For the same rea­ senior apprentice in Takita’s shop typi­ son, there is no room for nonconform­ cally spends a large portion of his wheel ing or marginal pots. An important part time in support of Shiu’s ever-growing of an apprentice’s training is to develop exhibition commitments. “Shiu is work­ the sense that identifies the correctly ing hard to develop his own style. He thrown form. This is much more diffi­ apprenticed in Spain for four years and cult than might be supposed, for toler­ has recently become interested in work­ ances within Takita’s shop are extremely ing overseas as a potter. ” rigid. With empathy, I recall the frus­ The large walk-in gas kiln was chosen trated second-year apprentice repeating for predictable firings. It holds approxi­ over and over “ Onagi mono (these are mately 1000 pieces and is fired once per the same),” as he compared this stack of month. Accounting for this incredible rejected bowls to those that had been output is the large number of small plates, approved, and systematically smashed the cups and bowls in demand for daily use rejects for recycle. items. These are punctuated with Takita’s The day-to-day running of Potters large one-of-a-kind pieces. Kummon is a family affair, assisted by While some pots go into the kiln al­ the apprentices. Everyone works six days ready decorated with underglaze slips of a week, sometimes seven. Takita’s wife cobalt or iron and need only the single fills the role of business manager, over­ firing, others will undergo overglazing sees the showroom, visitor requests, and in a variety of colors. The brilliant is a “surrogate mother” for apprentices. “Mashiko red,” a favorite of former During the glazing cycle, she works teacher Tomimoto, is one of these. In The underglaze-decorated pots are alongside the others. addition, Takitas overglazes include a Per­ then dipped in a semitranslucent white His son, Shiu Takita, now 37 years sian blue he developed while teaching in glaze and reduction fired to Cone 10.

62 CERAMICS MONTHLY Press-molded porcelain boxes, 3 inches in height, with underglazes, Cone 10 base glaze and low-fire overglazes, by Koichi Takita, Karasuyama, Japan.

necessitating a different choice of drink­ sisting with the preservation of folk art “a gate,” but alludes to the much deeper ing vessels. Obvious and simple as the in Thailand and Vietnam. Zen meaning of “becoming.” illustration seems, the ramifications In 1986, Takita returned to his home­ In addition to running Potters Kum- within mingei pottery pertinent to Japa­ town of Karasuyama, where he estab­ mon, Takita taught at the Okinawa Pre- nese lifestyle are broad. He challenges lished the pottery complex Potters fectural University of Arts. He was “the his university students and apprentices Kummon. In Japanese, kummon means head professor of the Industrial Arts alike to “search for the new Mingei.” Department, teaching one week each Not limited to the mingei of Japan, month,” he explained. “This university Takita’s philosophy has also found rel­ opened after Hamadas death. I had to evance within developing nations that spare about ten days for the trip. My the Japanese government has chosen to schedule was so tight that I worked assist. He and his family lived for a until midnight to make up the time. while in what is now Bangladesh when But in March (1996), I retired.” he “was dispatched to West Pakistan as Now, Takita is assuming several roles head of the fine arts department at the of civic responsibility. “Because my National College of Arts in Lahore by teacher and seniors have largely passed the Asia Foundation (headquartered in away, I’m taking more jobs at the Min­ San Francisco). It was my first trip over­ gei Kan, judging at exhibitions, lectur­ seas. Staying in Pakistan gave me the ing at universities, etc.” chance to experience what I’d never His busy lifestyle is punctuated with done—look at Japan objectively and one driving goal—to encourage quality refresh myself. I came in contact with pottery appropriate for use today. Pot­ Islamic culture. I saw and collected many tery that lacks animation does not meet impressive crafts. Afterward, I opened this criterion. Technical competence is an exhibition of Pakistani crafts.” necessary, Takita says, but it is only a In the process of assisting potters in foundation. To make art, potters must Lahore, he developed a “Persian Blue” also apply their inspiration. Faceted coffeepot, 12 inches in height, overglaze, which has become a trade­ wheel-thrown porcelain, with bluish mark color of his design motifs. More white semitransparent glaze, fired to The author Tana Stewart is a potter in recently, he spent considerable time as­ Cone 10 in reduction. Kunimura, Gunma-Ken, Japan.

December 1996 63 Vallauris, Past and Present

“Vallauris: Le Passe et l’Avenir,” featur­ Madoura Pottery in Vallauris encour­ ing tandem exhibitions of historical aged other painters and local potters to functional ware, and vessels and sculp­ experiment with decorated ceramic ture by 18 contemporary ceramists, was forms—both utilitarian and sculptural. on view through September 30 at the For a number of years, Roger Capron Musee Magnelli, Musee de la Ceramique produced colorfully glazed functional in Vallauris, France. Each of the invited ware, but has recently given up produc­ artists produced four works especially tion work in favor of sculpture made up for the exhibition. of assembled elements. In the years following World War II, Odile Culas-Bonnin is interested in the work of Pablo Picasso at the producing work that is both utilitarian and decorative, but prefers robust form over surface embellishment. In pursuit of a smooth, unadorned “skin,” she is currently smoke-firing her stoneware and porcelain forms. Similarly, Alain Ramie, son of Su­ zanne and Georges Ramie who founded Madoura Pottery in 1938, is also inter­ ested in “pure” form, but contemporary Madoura surfaces are often enhanced “Tivoli,” approximately 23 inches in height, assembled from separately with bright colors, including marine formed and glazed elements, blues and copper reds. ▲ by Roger Capron, 1996.

“Piece Fine Rouge,” approximately 27 inches in height, 1996, “Meule,” approximately 17 inches in diameter, handbuilt and by Madoura Pottery. smoked, by Odile Culas-Bonnin.

CERAMICS MONTHLY December 1996 65 66 CERAMICS MONTHLY rative Ceramics Competition ’97” Designs on Cooperative, Attention: Tile Show, 59A Church Call for Entries Paper Category (October 3-12, 1997), open to Street, Cambridge 02138; or telephone (617) Application Deadline for Exhibitions, designs for the decoration of a large (36 cm in 868-4434. diameter) porcelain plate using only the following January 15, 1997, entry deadline Fairs, Festivals and Sales colors: red, deep blue, yellow, green, purple, un­ Guilford, Connecticut “CERAMICS ’97” (mid derglaze blue, rust, gold, silver. Juried from design May-June 1997), open to functional or nonfunc­ on paper. No fee. Entrants can apply to both tional work. J uried from slides (with SASE) of up to categories (see below). Awards: 1 grand prize, 3 works. Jurors: William Daley and Wayne Hig- International Exhibitions 3,000,000 yen (approximately US$25,500); 1 by. Entry fee: $20. For further information, con­ sub-grand prize, 1,000,000 yen (approximately tact CERAMICS ’97, Guilford Handcraft Center, December 14 entry deadline US$8500); and 3 gold prizes, 500,000 yen (ap­ Box 589, Guilford 06437; or telephone (203) Faenza, Italy1150th International Ceramic Art proximately US$4250). Contact the Executive 453-5947. Competition for the Young Generation” (Sep- Committee, International Decorative Ceramics January 16, 1997, entry deadline tember-December 1997), open to artists under Fair ’97, Komatsu City Hall, 91 Konmade-machi, Palm Springs, California “Palm Springs Desert 40 years old on December 31, 1996. Juried from Komatsu, Ishikawa 923; or fax 81-761-23-2000, Museum Artists Council Annual Juried Exhibi­ 3 slides per entry (up to 3 entries), resume, official e-mail http://www.nsknet.or.jp/komatsu/iroe/ tion” (March 11—April 13, 1997). Juried from certification of age and critical dossiers. Cash April 5, 1997, entry deadline slides. Juror: Mary Livingstone Beebe, director, awards. For entry form, contact the Museo Inter- Komatsu, Japan “Kutani International Deco­ Stuart Collection at the University of California, nazionale delle Ceramiche, Via Campidori 2, rative Ceramics Competition ’97” Ceramic Works San Diego. Fee: $30 for up to 2 entries; artists 48018 Faenza; or telephone (54) 62 12 40, fax Category (October 3-12,1997), open to earthen­ council members, $ 15 for up to 2 entries. Awards: (54) 62 71 41. ware or porcelain works decorated with overglaze over $3500. Contact Artists Council Exhibition, December 31 entry deadline and/or underglaze. Juried from 2 slides. No fee. Palm Springs Desert Museum, Post Office Box World Wide Web“CerCoN” (begins February Entrants can apply to both categories (see above). 2288, Palm Springs 92263. 1997), open to clay artists. Juried from 2-3 slides Awards: 1 grand prize, 3,000,000 yen (approxi­ January 17, 1997, entry deadline or photos, plus resume and artist’s statement. mately US$25,500); 1 sub-grand prize, 1,000,000 Galesburg, Illinois “31st GALEX National Ex­ Juror: Kevin Murray, writer/crafts curator. Entry yen (approximately US$8500); and 3 gold prizes, hibition/Competition” (March 15—April 5,1997). fee: US$5; AUS$8 (any excess funds will be do­ 500,000 yen (approximately US$4250). Contact Juried from slides. Juror: Stephen Doherty, edi­ nated to the Sudden Infant Death Research Foun­ the Executive Committee, International Decora­ tor, American Artist. Entry fee: $20 for up to 4 dation). Awards: 3 artists will receive computer tive Ceramics Fair ’97, Komatsu City Hall, 91 works. Awards: $2000. For prospectus/further and Internet-related products. Contact CerCoN, Konmade-machi, Komatsu, Ishikawa 923; or fax information, send SASE to Galesburg Civic Art P. O. Box 287, Elsternwick 3185, Victoria, Aus­ 81 -761 -23-2000, e-mail http://www.nsknet.or.jp/ Center, 114 East Main, Galesburg 61401; or tralia; e-mail [email protected] komatsu/iroe/ telephone (309) 342-7415. January 15, 1997, entry deadline January 18, 1997, entry deadline Panevezys, Lithuania “IX Panevezys Interna­ United States Exhibitions Chicago, Illinois, and Oconomowoc, Wisconsin tional Symposium” (June 30-August 1, 1997); 7 “Eighth Annual Teapots, Fun, Funky and Func­ artists will be selected to participate in residency January 1, 1997, entry deadline tional” (February 23-May 10, 1997). Juried from and exhibition. Juried from slides and resume. For Lubbock, Texas “Clay on the Wall” (March 7- slides. For prospectus, send business-size SASE to further information/application form, contact 28, 1997), open to works no larger than 36 inches A. Houberbocken, Inc., Post Office Box 196, Jolanta Lebednykiene, Director, Panevezys Civic in any direction and weighing no more than 30 Cudahy, Wisconsin 53110. Gallery, Respublikos 3, 5319 Panevezys; or fax pounds. Juried from up to 5 slides of 5 works. January 21, 1997, entry deadline (370) 542-4721. Jurors: Juan Granados and Sara Waters, Texas Mesa, Arizona “Vaguely Familiar” (April 29- February 1, 1997, entry deadline Tech faculty. Entry fee: $20. For prospectus, May 31, 1997), open to abstract art in all media. Columbus, Ohio International juried exhibi­ contact the Department of Art, Texas Tech Uni­ Juried from up to 4 slides. Entry fee: $20. For tion of works with spiritual, liturgical or religious versity, Box 42081, Lubbock 79409-2081; or further information, contact Galeria Mesa, 155 content (March 16-April 13, 1997). Juried from telephone (806) 742-3825, or fax (806) 742- North Center, Post Office Box 1466, Mesa 85211- slides. Awards: $2500, including an award for 1971. Or contact Kathy Whiteside, gallery direc­ 1466; or telephone (602) 644-2056. installations. Fee: $24 for up to 3 entries. Spon­ tor, (806) 742-1947. January 31, 1997, entry deadline sored by the Liturgical Art Guild. For prospectus, January 3, 1997, entry deadline Appleton, Wisconsin “The All Elvis Show” (May send #10 SASE to Contemporary Works of Faith, Ames, Iowa “Clay, Fiber, Paper, Glass, Metal 30-JuIy 25, 1997), open to works in all media 215 East Selby Boulevard, Worthington, Ohio and Wood Exhibition” (March 9-April 20,1997). exploring the culture of Elvis. Juried from slides 43085. Juried from slides. Fee: $35 for up to 3 entries. plus resume and artist’s statement. For further February 18, 1997, entry deadline Juror: Cammie Scully, director, Waterloo (Iowa) information, contact the Appleton Art Center, Riverside, California“\ntem&uon 2\. Collegiate Museum of Art. Cash awards. For entry form, 130 North Morrison Street, Appleton 54911; or Ceramic Competition” (March 29-April 26, send #10 SASE to Octagon Center for the Arts, 427 telephone (414) 733-4089. 1997), open to students enrolled in a 2- or 4-year Douglas Avenue, Ames 50010-6213; or telephone February 1, 1997, entry deadline ceramics program during 1995—1997 academic (515) 232-5331, fax (515) 232-5088. Ephrata, Pennsylvania “Fifth Annual Strictly year. Juried from up to 2 slides per entry; up to 2 January 8, 1997, entry deadline Functional Pottery National” (May 3-25, 1997). entries. Juror: Philip Cornelius. Fee: $10. Awards: Tampa, Florida “Eighth Annual Black and Juried from 1 slide per entry. Juror: Val Cushing. $2000. For prospectus, contact John Hopkins, White Exhibition” (February 8-March 31,1997), Fee: $10, 1 entry; $15, 2; $20, 3. Cash, purchase ICCC ’97, Riverside Community College, 4800 open to works in all media done only in black, and business awards. For prospectus, send #10 Magnolia, Riverside 92506-1242. white or shades of gray. Fee: $20. For application, business-size SASE to Jean B. Lehman, Director March 1, 1997, entry deadline send SASE to Artists Unlimited, Inc., Black and SFPN, Market House Craft Center, Studio 201, World Wide Web “Second Annual Silverhawk White Exhibition, 223 North 12th Street, Tampa 100 North State Street, Ephrata 17522. Fine Crafts Competition” (begins May 1, 1997). 33602; or telephone (813) 229-5958. February 3, 1997, entry deadline Juried from 3 slides. Entry fee: $15. For prospec­ January 10, 1997, entry deadline Chico, California “Chico Art Center First Ju­ tus, send SASE to Silverhawk Internet Marketing, Wichita, Kansas “Art Show at the Dog Show” ried National Exhibition” (May7-June 15,1997). Post Office Box 2290, Ranchos de Taos, New (March 1—April 6, 1997), open to works includ­ Juried from up to 2 slides. Fee: $25. Cash awards. Mexico 87557. ing a dog as subject. Juried from slides of up to 3 For prospectus, send #10 SASE to First Juried March 5, 1997, entry deadline entries. Jurors: Amy Gessner Larson, artist/best of National Exhibition of Art, Chico Art Center, Komatsu, Japan “Kutani International Deco- show winner; Ronald Menaker, president of Board 450 Orange Street, Suite 6, Chico 95928. of Directors, the Dog Museum, New Jersey; and February 7, 1997, entry deadline Regional exhibitions must be open to more than one Novelene Ross, chief curator, Wichita Art Mu­ Carbondale, Illinois “Clay Cup VI” (April 23- state. Send announcements of juried exhibitions, fairs, seum. Awards: over $8000. Contact Pat Deshler, May 31, 1997). Juried from slides (withSASE). festivals and sales at least four months before the 4300 North Edgemoor, Wichita 67220; or tele­ Juror: Mark Burns, head of ceramics department event's entry deadline (add one month for listings in phone (316) 744-0057. at the University of Nevada, Las Vegas. Entry fee: July and two months for those in August) to Call for Cambridge, Massachusetts “Off the Floor: The $20. Awards. For further information, contact the Entries, Ceramics Monthly, Post Office Box 6102, Art of the Tile” (May 1-June 15, 1997). Juried Clay Cup VI, School of Art and Design, Mailcode Westerville, Ohio 43086-6102. Fax (6 14) 891- from 1 actual piece and 5 slides or photos. For 4301, Southern Illinois University at Carbondale, 8960; e-mail [email protected] prospectus, send SASE to the Cambridge Artists Carbondale 62901 -4301. Continued

December 1996 67 Call for Entries (March 29-April 30, 1997), open to artists resid­ ing in Colorado, Iowa, Kansas, Missouri, Ne­ braska, Oklahoma, Wyoming. Juried from 1 slide per entry. Juror: Eddie Dominguez, clay artist. February 11, 1997, entry deadline Fee: $20 for up to 3 entries. Cash and purchase Mesa, Arizona “Global Warning” (June 10— awards. For further information, contact Topeka July 12, 1997), open to works in any medium Competition 21, Larry Peters, Topeka and addressing environmental issues. Juried from up Shawnee County Public Library, Gallery of Fine to 4 slides. Entry fee: $20. For further informa­ Arts, 1515 Southwest 10th Avenue, Topeka tion, contact Galeria Mesa, 155 North Center, 66604-1374. Post Office Box 1466, Mesa 85211-1466; or January 31, 1997, entry deadline telephone (602) 644-2056. Allentown, Pennsylvania “Mayfair Festival of March 10, 1997, entry deadline the Arts Regional Juried Craft Exhibition” (May Fayetteville, Arkansas “ 15th Annual Women’s 21 -June 21, 1997), open to artists living or work­ National Juried Art Exhibition” (June 1-July 10, ing within a 75-mile radius of Allentown. Juried 1997), open to works in all media. Juried from from 3 slides. Juror: Nina Stritzler-Levine, direc­ slides. Sponsored by the Northwest Arkansas tor of exhibitions, Bard Graduate Center for the branch of the National League of American Pen Study of Decorative Arts, New York. Entry fee: Women. For prospectus, send SASE to Rae Dunn, $ 10. Cash awards. For prospectus, contact Mayfair, Art Chair, 297 Holland Drive, Farmington, Ar­ Department J. C., 2020 Hamilton St., Allentown kansas 72730. 18104; or telephone (610) 437-6900, e-mail March 14, 1997, entry deadline [email protected] or http//mayfairfestival.org University Park, Pennsylvania “Crafts National February 14, 1997, entry deadline 31” (June 1-July 20, 1997). Juried from slides. El Paso, Texas “From the Ground Up XVI” Juror: Bill Daley, ceramist/professor emeritus, (April 11-May 11, 1997), open to clay artists University of the Arts, Philadelphia. Fee: $20 for residing in Arizona, New Mexico, Texas and 3 entries. Awards: $3000. For prospectus, send northern Mexico. Juried from slides. Juror: James SASE to Crafts National 31, Zoller Gallery, 210 C. Watkins. Fee: $ 15 for up to 3 entries. Cash and Patterson Building, Penn State University, Uni­ gift awards. For prospectus, send SASE to the versity Park 16802; or telephone (814) 865-0444. Potters’ Guild of Las Cruces, do 4741 Lucy Dr., March 26, 1997, entry deadline El Paso 79924-1013; or, for information only, Greensburg and Youngwood, Pennsylvania telephone (915) 821-5115 or (915) 532-6477. “Westmoreland Art Nationals” (June 2-15 and July 3—6, 1997). Juried from slides. Awards: Fairs, Festivals and Sales $23,000; best of both shows, $ 1000; best of each, $700. Send legal-size SASE with 64<£ stamp to December 6 entry deadline Westmoreland Art Nationals, RD 2, Box 355A, Gainesville, Florida “ 11 th Annual Hoggetowne Latrobe, Pennsylvania 15650. Medieval Faire” (February 7—9, 1997). Juried April 1, 1997, tryen deadline from slides or photos. Booth fee: $85. For appli­ Appleton, Wisconsin “Let the Games Begin” cation/further information, contact Linda Piper, (August 15-September 27, 1997), open to games Coordinator, Hoggetowne Medieval Faire, De­ made in any medium. Juried from slides, pro­ partment of Cultural and Nature Operations, posal, resume and artist’s statement. For further Post Office Box 490-30, Gainesville 32602; or information, contact the Appleton Art Center, telephone (352) 334-2197. 130 North Morrison Street, Appleton 54911; or December 15 entry deadline telephone (414) 733-4089. Blacksburg, Virginia “26th Annual Brush May 1, 1997, entry deadline Mountain Arts and Crafts Fair” (April 4-6,1997). Kent, Ohio “RKSU Alumni Exhibition in Juried from slides or photos. For application, send Crafts” (September-November 1997). Juried from SASE to Brush Mountain Arts and Crafts Fair, slides of4 available pieces (include details), resume Voluntary Action Center, Post Office Box 565, and artist’s statement. Jurors: K. Browne, H. Blacksburg 24063-0565. Halem, J. Lessman-Moss and K. Mangus. Con­ December 30 entry deadline tact Kirk Mangus, Coordinator of Crafts, School Leesburg, Florida “20th Annual Leesburg Art of Art, Kent State University, Kent 44242; or Festival” (March 8-9, 1997). Juried from 3 slides telephone (330) 672-2192, fax (330) 672-4729. (preferred) or photos of work plus 1 of display. June 1, 1997, entry deadline Contact Leesburg Art Festival, Post Office Box Appleton, Wisconsin “The Native American 492857, Leesburg 34749-2857; or telephone (352) Experience” (October 3-December 13, 1997), 787-0000. open to works by Native American artists; will January 3, 1997, entry deadline select 4—6. Juried from 4—6 slides plus resume New York, New York “21st Annual American and artist’s statement. For further information, Crafts Festival” (June 14-15and 21-22, 1997). contact the Appleton Art Center, 130 North Juried from 5slides. Booth fee: $435for an 8x8- Morrison Street, Appleton 54911; or telephone foot space, $490for a 10x7, $570for a 10x10. (414) 733-4089. Send SASE with 64<£postage to American Concern for Artistry and Craftsmanship, Post Office Box 650, Montclair, New Jersey 07042; telephone Regional Exhibitions (201) 746-0091. January 6, 1997, entry deadline New York, New York “12th Annual Autumn Lexington, Massachusetts “The State of Clay” Crafts Festival” (September 6-7and 13-14,1997). (March 2-29, 1997), open to current and former Juried from 5slides. Booth fee: $390 for an 8x8- residents of Massachusetts. Juried from a maxi­ foot space, $490for a 10x7, $570for a 10x10. mum of 3 slides. Entry fee: $20. Juror: Chris Send SASE with 64#postage to American Concern Bertoni, artist/design instructor, Rhode Island for Artistry and Craftsmanship, Post Office Box School of Design. For prospectus, send SASE to 650, Montclair, New Jersey 07042; telephone Ceramics Guild, Lexington Arts and Crafts Soci­ (201) 746-0091. ety, 130 Waltham Street, Lexington 02173; or Roslyn Harbor, New York “The Art of Craft telephone (617) 862-9696. Festival” (September 26-28,1997). Juried from 5 January 13, 1997, entry deadline slides. Booth fee: $380 for a 10x10-foot space, Topeka, Kansas “Topeka Competition 21” $570for a 10x15.For further information, send

68 CERAMICS MONTHLY SASE with 64

December 1996 69 hole. Once a shield is laid over the bowl, I ever, as a thin rim may crack or break. Then Suggestions attach a prepped (precentered and opened) there is always some touching up to be done From Readers addition, then throw it to its full height and when the bowl is supported by stick. shape without worrying about keeping the An alternative method, after glazing the bowl dry or, worse, having the rim stick to theinside of the bowl, is to cut two or more Plate Ribs bat. Immediately after throwing the base, lengths of string, double them to form loops Great plate ribs can be made from shards while the piece is still on the wheel, I clip awayand suspend the bowl in a loop sling. Then of bisqued plates or shallow bowls. Just put the shield and discard it. Any dribbles that dip the bowl while pushing down in the duct tape on the broken edge to protect yourhave leaked past the shield can then be quickly hands.—David Hooker, Kent, Ohio sponged away. Anyone who avoids adding plastic clay to Preparing for Raku Firing wheel-thrown work due to the risk of damag­ I cut several cardboard templates the size ing the leather-hard clay may want to experi­ of my raku kiln shelf, place them on ment with this trick. It’s a real liberator.—Ellen wareboards and number them according to Baker, Glacier, Wash. how many loads I will be firing. Then, start­ ing with the most difficult, I arrange my Brush Care Never shake out a brush, or try to wipe water out of it. That crosses the brush hairs, which will not return to their original parallel position, thus hindering the flow of slip or glaze. Simply pat your brushes dry.—Michael Bowl with string-sling-decorated rim. J. Knox II, Ashtabula, Ohio

Good Footing middle of the bottom to submerge it in the My studio partner and I stand quite a bit glaze. Marks left by the string are easy to when working. Unfortunately, concrete floorstouch up or may be left as decoration. For make padding in shoes seem to disappear. added decoration, try dipping the rim on a One day I saw our local university throwing new string sling in a different color glaze. out used wrestling mats. This heavy-duty, If no string decoration is wanted, it is 1 ½-inch-thick foam made a great studio possible to use ultrafine fishing line instead, floor mat. It was easily cut to fit and can be leaving virtually no marks.— Peter Sheremeta, hosed down when dirty.—Mona Elizabeth San Jose, Calif Arritt, Huntington, W. Va. Golden Highlights unglazed bisqueware on the templates. This Color-Coded Tools Flecks of gold on temmoku or iron-satu­ allows me to determine the best firing posi­ Coating the handles of your favorite tools rated glazes can be achieved by lightly sifting tion for each piece as it is glazed. with different colored paints will allow you topowdered rutile over a dip-glazed pot as it After the piece is glazed, it is put back on locate and retrieve them quickly. The color comes out of the bucket. A heavy application the template to be carried to the Jdln. This hascoding is especially useful if you store your of sifted rutile will result in a dry, soft golden eliminated the guesswork of placement in a tools vertically in a cup or bucket where only surface.—Jeannie Cole, Broomfield, Colo. hot kiln, minimizing the number of times a the handle ends are visible.— Dan Onitsuka, glazed piece is handled. And for larger pieces,Vancouver, Wash. Protecting Household Plumbing I know the kiln top can be lowered without When you have finished cleaning up and bumping the edges. The peace of mind is Weighing Oxides are ready to drain the water from your sink, worth its weight in cardboard.—Carol Swift, Keep an old telephone book handy when place a folded towel over the open drain. It Mt. View, Mo. weighing out coloring oxides for glaze batches.will take several hours for the water to drain, Pull a page out, crease it diagonally from but the towel will trap most clay residue. Throwing Shields corner to corner, then lay it in the scale pan. Even when you are careful to prerinse tools in Adding “live clay” elements to leather- The paper is sturdy enough to support severala bucket, you will be surprised by how much hard work can be difficult, particularly when dozen grams of oxide, and hard milled so thatclay was in this water.—Chris Campbell, Ra­ working with porcelain. Water and slip usu­ it captures almost none of the finest particlesleigh, N. C. ally run down and soften the clay below. So of cobalt. Each new colorant gets a new page, before throwing bases onto goblet bowls, I but the pages are consistent as to weight, so itDollars for Your Ideas make simple shields from light (1-mil) plas­ is not necessary to recalibrate tare each time.— Ceramics Monthly pays $10for each sugges­ tic. These protect the inverted goblet bowls John Feesey, Rossland, British Columbia tion published; submissions are welcome indi­ while I add the bases. Making these little vidually or in quantity. Include an illustration “raincoats” takes just a minute—time well String Glazing Sling or photograph to accompany your suggestion spent in terms of work saved. There are several methods for glazing and we willpay $10 more if wepublish it. Mail I simply cut rough squares from the plasticbowls that can’t be held by a foot rim; e.g., ideas to Suggestions, Ceramics Monthly, Post (grocery store vegetable bags work well), fold using tongs for dipping, or placing the bowl Office Box 6102, Westerville, Ohio 43086- them into fourths, then snip an arc across theon sticks or a rack and pouring glaze over top.6102; fax to (614) 891-8960; or e-mail to centerfold to make a somewhat round centerI caution students against using tongs, how­ editorials ceramics monthly.org

70 CERAMICS MONTHLY

74 CERAMICS MONTHLY Vermont, Bennington February5—9,1997“North and Blood”; at the Clay Art Center, 40 Beech St. Calendar Country Studio Conference 1997” will include New York, White Plains through December 13 Events to Attend—Conferences, workshops with Akio Takamori and Randy Lisa Magee Stinson, functional pottery; at Exhibitions, Workshops, Fairs Johnston. For registration, contact NCSC, Post Westchester County Center. Office Box 875, Hanover, New Hampshire 03755. North Carolina, Charlotte through December 29 J. Paul Sires, sculpture; at Center of the Earth Solo Exhibitions Gallery, 3204 North Davidson Street. Ohio, Cincinnati through December 6 Susan Arizona, Scottsdale December 1-31 Linda Conferences Goldstein, “Images in Clay”; at Hillel Student Mundwiler, clayreliefs/oils/monoprints; at Joanne Center Gallery, Rose Warner House, University Alabama, Jacksonville Rapp Gallery/The Hand and the Spirit, 4222 February 28-March 2,1997 of Cincinnati, 2615 Clifton Avenue. North Marshall Way. “Alabama Clay Conference 12” will include Steve Pennsylvania, Philadelphia through December 14 Hill as workshop leader, plus presentations, events California, Fremont December 13-January 19, Wayne Higby; at Helen Drutt: Philadelphia, 1721 and exhibitions. For further information or to i .9.97 Nina Koepcke, “Once Upon a Time,” ce­ Walnut Street. register, contact Steve Loucks, Hammond Hall, ramic sculpture, paintings, monotypes; at Olive January 3-26, 1.997Todd Johnson, abstract sculp­ Department of Art, Jacksonville State University, Hyde Gallery, 123 Washington Boulevard. ture based on the cup form; at the Clay Studio, Jacksonville 36265; or telephone (205) 782-5708 California, La Jolla January 4-24, 7.997Douglas 139 N. Second St. Kenney, “Made in Japan”; at Gallery Eight, 7464 and leave message. Pennsylvania, Pittsburgh December 5—January 7, Girard Avenue. Florida, Boca Raton January 17-19,1997 “Florida 7_997Michael Simon functional salt-fired pots; at Craftsmen Annual Statewide Conference” will California, San Francisco December 5—February Manchester Craftsmen’s Guild, 1815 Metropoli­ include keynote speech by Michael Monroe, cura- 1, 1997Annette Corcoran, “leones Avium,” por­ tan Street. tor-in-chief, Peter Joseph Gallery, New York City; celain teapots and birds; at Dorothy Weiss Gal­ Texas, Houston through December 12 Sandy plus workshops by Adrian Arleo, “Coil Building lery, 256 Sutter Street. Simon; at North Harris College, 2700 W. W. Figurative Sculpture in Clay”; Val Cushing, January 11-March 23, I.997Beatrice Wood, “The Thorne Drive. “Wheel-Thrown, Altered and Constructed Lustre of 104”; at the San Francisco Craft and West Virginia, Charleston through January 3, Forms”; Charley Freiberg, “Photographing Your Folk Art Museum, Landmark Building A, Fort 1997Dan Keegan, ceramic sculpture; at the Cul­ Work”; and Helen Lawrence, “Surfing the Mason. ture Center, State Capitol Complex. Internet.” Also includes lectures and exhibitions. Connecticut, New London through January 23, Wyoming, Cheyenne through December 13 Ken Fee: $170; Florida Craftsmen members, $135. 1997 Mark Einhorn, raku vessels; at the New Dawson Little, sculpture; at Laramie County Registration deadline: December 19. For bro­ London Art Society Gallery, 147 State Street. Community College, 1400 East College Drive. chure, send large SASE to Florida Craftsmen, 501 D.C., Washington through January 2, 1997 Central Avenue, Saint Petersburg, Florida 33701. Magdalene Odundo, “Ceramic Gestures”; at the Group Ceramics Exhibitions Maryland, Baltimore June 27-29, 1997 “The National Museum of African Art, Smithsonian 1997 Studio Potter and Manufacturer Technical Institution, 950 Independence Ave., SW. Arizona, Phoenix through December 6 “ALL-AZ Ceramic Conference and Trade Show” will in­ Indiana, Bloomington January 17—March 15, CLAY”; at Shemer Art Center, 5005 East Camel- clude technical solution sessions, workshops, 1997 Magdalene Odundo, “Ceramic Gestures”; back. marketing and retail sessions, exhibitions. For at the Indiana University Museum of Art. Arizona, Scottsdale December 1-31 “Domestic further information, contact Ceramic Manufac­ Kentucky, Berea through December 19 Gordon Pottery: Wares for Daily Life,” works by Josh turers Association, 1100-H Brandywine Boule­ Andrus, handbuilt pottery. January 6-March 4, DeWeese, John Glick, Karen Karnes, Jim Makins, vard, Post Office Box 2188, Zanesville, Ohio 1997 Dan Keegan ceramic sculpture, “Superior Matthew Metz, Jeff Oestreich, David Shaner, 43702-2188; or telephone (614) 452-4541, or fax Man”; at Doris Ulmann Galleries, Rogers-Traylor Linda Sikora, Tom Spleth and Chris Staley; at (614) 452-2552. Art Building, Berea College. Joanne Rapp Gallery/The Hand and the Spirit, Nevada, Las Vegas April2-5, 1997“Gm\x.y Plea­ Kentucky, Louisville January 9—February 7, 1997 4222 North Marshall Way. sures,” National Council on Education for the Virginia Scotchie, “Object Lessons”; at Dario A. California, Claremont January 18—March 23, Ceramic Arts annual conference. Contact Regina Covi Gallery, University of Louisville. 1997“ 53rd Ceramic Annual Exhibition”; at Ruth Brown, Executive Secretary, NCECA, Post Office Massachusetts, Boston through December 12 Chandler Williamson Gallery, Scripps College, Box 1677, Bandon, Oregon 97411; or telephone Tatsuzo Shimaoka; at Pucker Gallery, 171 Eleventh and Columbia streets. (800) 99-NCECA. Newbury Street. California, SantaAna through December 7“ Painted New York, New York February 13-15, 1997 Michigan, Pontiac December 6-January23, 1997 Spirits: Figurative Works in Clay,” ceramic/mixed- “College Art Association 85th Annual Confer­ Arnold Zimmerman, “Small Works”; at Shaw media sculptures by Rancho Santiago College ence.” For further information, contact the Col­ Guido Gallery, 7 North Saginaw Street. students; at RSC Arts Gallery, Santora Building, lege Art Association, 275 Seventh Avenue, New Minnesota, Saint Paul December 11—February 207 North Broadway, Suite Q. York 10001. 15, 1997 Gary Erickson sculpture installation, Colorado, Denver through December 18 “Altered Pennsylvania, Philadelphia April 12, 1997 “Natural Rhythms”; at Macalester Gallery, Janet States: Contemporary American Ceramics”; at “Ch’ing Ceramics: Acquisition and Transforma­ Wallace Fine Arts Center, Macalester College. the Center for the Visual Arts, 1701 Wazee St. tion,” addressing the issue of Chinese ceramics New Jersey, Lawrenceville through December 20 Connecticut, New Milford through January 11, acquisition during the 17th to early 20th centu­ Helen Weisz, tile installations; at David J. Brodsky 1997 Exhibition of works by Connecticut Clay ries. Speakers include Julia Curtis, Chuimei Ho, Gallery, Chauncey Conference Center, Educa­ Artists members; at the Pottery Garden, 17 Church Stephen Little, Rosemary Scott and Jan Stuart. tional Testing Service, Rosedale and Carter roads. Street. Also includes the exhibition “Solid Bone and New York, New York through December 7Adrian Connecticut, West Hartford through December Luminous Flesh: Ch’ing Dynasty Ceramics.” Fee: Saxe. Ron Nagle; at Garth Clark Gallery, 24 West 29 “10th Annual Potter’s Market,” works by $30; museum members, students, seniors, $20. 57th Street. members of the Connecticut Potters Cooperative For further information, contact Emilie Bretz, through December 74Jae Won Lee; at Jane Hartsook Association; at the Chase Freedman Gallery, Division of Education, Philadelphia Museum of Gallery, Greenwich House Pottery, 16 Jones Street. Greater Hartford Jewish Community Center, 335 Art, Philadelphia 19101-7646; or telephone (215) through January 9, 1997 Sherry Karver, ceramic Bloomfield Avenue. 684-7605. ______wall sculptures and paintings, “Generation to D.C., Washington through early 1997“Japanese Send announcements of conferences, exhibitions, ju­ Generation”; at Hebrew Union College, Heller Ceramics from Seto and Mino”; at the Freer ried fairs, workshops and other events at least two Gallery, One West Fourth Street. Gallery, Smithsonian Institution. months before the month of opening (add one month through February 16, Ij?97Michael Lucero, sculp­ Idaho, Boise January 31-February 28, 7.9.97 “All for listings in July; two months for those in August) to ture 1976-1995; at American Craft Museum, 40 Fired Up,” national juried clay exhibition; at Calendar, Ceramics Monthly, Post Office Box 6102, West 53rd Street. Boise State University Visual Arts Center. Westerville, Ohio 43086-6102. Fax (614) 891- New York, Port Chester December 6—January 3, Indiana, South Bend December 7-January 7,1997 8960; [email protected] 7.997Rhonda Franklin ceramic sculpture, “Flesh “BeKouBi,” exhibition of ceramics by R. Michael

December 1996 75 Calendar

Beatty, Irina Koukhanova and B. L. Bilenki; at Serendipity, 2202 Miami Street. Maryland, Baltimore through December24“ Win- terfest”;at Baltimore Clayworks, 5706 Smith Ave. Massachusetts, Ipswich through December 31 “Holiday Traditions.” December 26-January 24, 1.9.97“Studio Pottery”; at Ocmulgee Pottery and Gallery, 317 High Street-Route 1A. Massachusetts, Newton through December 31 Exhibition of wood-fired functional ware by Wayne Fuerst, Louise Harter, Ellen Huie, Michael Kline, Mark Shapiro and Sam Taylor; at Infinity Gallery, 341 Watertown Street. Michigan, Detroit through January 1, 1997 “Michigan Potters’ Association Exhibition,” works by Carolyn Dulin, Jamie Fine, John Glick, Paul Kotula, Elizabeth Lurie, Daleen Menning, Larry Oughton, Thomas Phardel, Joan Rosenberg, John Stephenson, Susanne Stephenson and Joseph Zajac; at the Detroit Institute of Arts, 5200 Wood­ ward Avenue. Michigan, Pontiac December 6—January23, 1997 Exhibition of ceramics by Simona Alexandrov, Adelaide Paul and Bonnie Seeman; at Shaw Guido Gallery, 7 North Saginaw Street. Minnesota, Saint Paul through December23“ 1996 Holiday Invitational Exhibition,” works by over 40 clay artists; at Northern Clay Center, 2375 University Avenue, West. Nebraska, Kearn ty December 8-January 16,1997 “Rendezvous!” works by 29 clay artists and their invited guests; at the Museum of Nebraska Art, 2401 Central Avenue. New Jersey, Newark through Spring 1997 “The Printed Pot: Transfer-Printed Ceramics, 1750-1990”; at the Newark Museum, 49 Wash­ ington Street. New York, Alfred through February 14, 1997 “Handle with Care,” exhibition focusing on the various ways artists deal with handles on works; at the International Museum of Ceramic Art at Alfred, New York State College of Ceramics at Alfred University. New York, New York January 24—March 5, 1997 “Tile: Art and Environment,” including works by Linda Curtiss, Frank Giorgini, Edith Gwathemy, Sylvia Netzer, Liz Rudey, Richard Rudich, Judith Block Solomon, Julie Tesser, Susan Tunick and Bruce Winn; at Bank Street College of Education Exhibition Space, 610 West 112 Street. New York, West Nyack December 6—8 “Annual Ceramic Faculty and Student Exhibition and Sale”; at Rockland Center for the Arts, 27 Greenbush Road. North Carolina, Charlotte through February 9, 1997 “Meissen Porcelain 1710-1756”; at Mint Museum of Art, 2730 Randolph Road. Ohio, Columbus through December 31 “In Pur­ suit of Ceramic Excellence,” works by Ohio Arts Council fellowship winners; at the Ohio Craft Museum, 1665 West Fifth Avenue. Oregon, Gresham January7-30,1997“ The Flour­ ishing Tradition: One Mentor—Twelve Paths,” exhibition of works by artists who worked with and were influenced by Warren MacKenzie; at Mount Hood Community College, 26000 South­ east Stark Street. Pennsylvania, Philadelphia through April30,1997 “Solid Bone and Luminous Flesh: Ch’ing Dy-

76 CERAMICS MONTHLY December 1996 77 Calendar “Decked Out Holiday Clay”; at Scope Gallery, Other Words”; at Tempe Arts Center, Mill Ave­ Torpedo Factory Art Center, 105 N. Union St. nue and First Street. Washington, Seattle through March2,1997“Vizt- Arizona, Tucson through January 4, 1997 “An­ namese Ceramics: A Separate Tradition”; at Se­ nual Holiday Exhibition,” including ceramics by nasty Ceramics”; at the Philadelphia Museum of attle Asian Art Museum, 1400 East Prospect, Peter Chartrand, Jane A. Pate and Toni Sodersten; Art, Benjamin Franklin Parkway. Volunteer Park. at Obsidian Gallery, St. Philips Plaza, 4340 North December 6-24 “Annual Holiday Show.”/anuarj/ World Wide Web through December 31 “Fourth Campbell Avenue, Suite 90. 3-26, 1997 “Encore,” selections from previous Annual Strictly Functional Pottery National”; at Arkansas, Little Rock through January 12, 1997 East European and Israeli exhibitions; at the Clay h ttp: //www. art-craftpa. com “Annual Collectors Show and Sale”; at the Deco­ Studio, 139 North Second Street. rative Arts Museum, Seventh and Rock. Pennsylvania, Pittsburgh through January 9,1997 Ceramics in Multimedia Exhibitions California, Davis December 3-January 5, 1997 “Beyond the Figure,” works by Judith Freedman, Exhibition with ceramic sculpture by Esther Ceil Leeper, Nita Schwartz and Cheryl Tall; at the Arizona, Sun City through December 30 “See It Shimazu; at John Natsoulas Gallery, 140 F Street. Clay Place, 5416 Walnut Street. My Way,” juried exhibition of works by Arizona California, La Jolla through December 72“Festival Vermont, Montpelier through December31 “Mas­ Designer Craftsmen. January 3-April 20, 1997 of Lights,” exhibition of menorahs. through De­ terful Mugs”; at the Vermont Clay Studio, 24 “From China”; at Sun Cities Art Museum, 17425 cember 31 “Annual Holiday Show”; at Gallery Main Street. North 115th Avenue. Alexander, 7850 Girard Avenue. Virginia, Alexandria December3-January 6,1997 Arizona, Tempe through January 12, 1997 “In through December31 “Holiday Treats”; at Gallery Eight, 7464 Girard Avenue. California, Los Angeles through February 9, 1997 “Ritual and Splendor: Ancient Treasures from the Shumei Family Collection,” includes selection of 12th-13th-century Persian ceramics; at Los An­ geles County Museum of Art, 5905 Wilshire Blvd. California, Sacramento through January 5, 1997 “Kings and Queens and Soup Tureens: Campbell Collection of Soup Tureens from Winterthur”; at Crocker Art Museum, 216 0 Street. December 4-31 Three-person exhibition with ce­ ramics and paintings by Maria Alquilar; at Michael Himovitz Gallery, 1020 Tenth Street. California, San Diego through December 29 “American Expressions of Liberty—Art of the People, by the People, for the People.” through December 31 “Colors of the Rainbow Serpent: Arts of Panama from the Kelton Foundation and Selected Collections,” pre-Columbian pottery and molas; at Mingei International Museum ofWorld Folk Art, University Towne Centre, 4405 La Jolla Village Drive. California, San Francisco through December 8 “Splendors of Imperial China: Treasures from the National Palace Museum, Taipei”; at Asian Art Museum of San Francisco, Golden Gate Park. January 23-February 27, 1997 “California De­ sign ’97”; at Contract Design Center, 600 Town­ send Street. California, San Jose through February 23, 1997 “Elvis + Marilyn: 2 X Immortal”; at the San Jose Museum of Art, 110 South Market Street. Connecticut, Guilford through December24“ Art­ istry—A Holiday Festival of Craft”; at Guilford Handcraft Center, 411 Church Street. Connecticut, New Haven through December 24 “Celebration of American Crafts”; at Creative Arts Workshop, 80 Audubon Street. D.C., Washington through May 1, 1997 “An Invitation to Tea”; at the Freer Gallery, Smith­ sonian Institution. through 1997“Puja: Expressions of Hindu Devo­ tion,” 125 works, including terra cotta; at Arthur M. Sackler Gallery, Smithsonian Institution, 1050 Independence Ave., SW. January 26-April 6, 1997“Splendors of Imperial China: Treasures from the National Palace Mu­ seum, Taipei”; at the National Gallery of Art, Fourth St. at Constitution Ave., NW. Florida,BocaRaton/anuar)/ 17-February 14,1997 “44th Florida Craftsmen Exhibition”; at Schmidt Center Gallery, Florida Atlantic University. Florida, Pensacola December 2-January 4, 1997 “Woman 2 Woman 2”; at SOHO Gallery, 23 Palafox Place.

78 CERAMICS MONTHLY Florida, Saint Petersburg through December 24 through December 23 “Contemporary Art in Asia: temporary Art in Asia: Traditions/Tensions”; at “Season of Lights”; at Florida Craftsmen Gallery, Traditions/Tensions”; at the Grey Art Gallery the Queens Museum of Art, New York City 501 Central Avenue. and Study Center, New York University, 100 Building, Flushing Meadows Corona Park. Georgia, Athens through January 12, J.9.97“Trea- Washington Square, East. North Carolina, Asheville through December 31 sures of Ancient America from the Mint Museum through January 5, 1997 “Contemporary Art in Three-person exhibition with ceramics by Mark of Art”; at Georgia Museum of Art, Performing Asia: Traditions/Tensions”; at the Asia Society, Ferri. through January 15, 1997 “The Beaded and Visual Arts Complex, University of Georgia. 725 Park Avenue at 70th Street. Object”; at the Folk Art Center, Milepost 382 on Georgia, Atlanta through January 5, 1997“ High­ through February 28, 1997“The Treasures of the the Blue Ridge Parkway. lights from the Collection”; at the High Musuem San Diego,” includes over 800 intact pieces of North Carolina, Charlotte through January 5, of Art, 1280 Peachtree Street, Northeast. Ming-dynasty porcelain plus Southeast Asian 1997“Animals in African Art: From the Familiar through January25,1997“An Enchanted Evening: stoneware and earthenware storage jars, all found to the Marvelous”; at the Mint Museum of Art, Nativities from Around the World”; at the Atlanta in a sunken Spanish merchant ship; at the Philip­ 2730 Randolph Road. International Museum of Art and Design, pine Center, 556 Fifth Avenue. North Carolina, Winston-Salem through Decem­ Peachtree Center, Marquis Two, 285 Peachtree New York, Niagara through February 2, 1997 ber 7“Beta-Israel: The Jews of Ethiopia”; at the Center Avenue. “Mutual Affinities: Paintings and Ceramics from Diggs Gallery, Winston-Salem State University. Illinois, Chicago through January 4, 1997Three- the Aaron Milrad Collection”; at the Castellani Ohio, Akron January 25-April 6, 1997“Craft in person exhibition with ceramics by Sandra Byers Art Museum, Niagara University. the Machine Age 1920-1945”; at the Akron Art and Val Cushing; at Schneider Gallery, 230 West NewYork, Queens through January5,1997“ Con­ Museum, 70 East Market Street.Continued Superior. Kentucky, Lexington through December 2STwo- person exhibition with ceramics by Walter Hyleck; at the Kentucky Art and Craft Foundation, 609 West Main Street. Kentucky, Louisville January 2-February 2, 1997 “Dinnerworks”; at Louisville Visual Art Associa­ tion, River Road. Massachusetts, Boston through December 31 “Memories ’96,” Christmas ornament and Menorah exhibition; at Signature, Dock Square, 24 North Street. through January 3, 1997 “Toys and Gadgets”; at the Society of Arts and Crafts, 101 Arch Street (34 Summer Street/downtown crossing). through January 5, 1997 “Toys and Gadgets”; at the Society of Arts and Crafts, 175 Newbury St. Massachusetts, Chestnut Hill through December 31 “Memories ’96,” Christmas ornament and Menorah exhibition; at Signature, the Mall at Chestnut Hill, Boylston Street. Massachusetts, Leverett through December 7 “Mudfest ’96,” pottery, sculpture, prints and paint­ ings by Mudpie Potters; at Barnes Gallery, Leverett Crafts and Arts, 13 Montague Road. Massachusetts, Mashpee through December 31 “Memories ’96,” Christmas ornament and Menorah exhibition; at Signature, Mashpee Com­ mons, 10 Steeple Street. Massachusetts, Westport through December 31 “Memories ’96,” Christmas ornament and Menorah exhibition; at Signature, 48 Post Road, East, at Main Street. Michigan, Detroit through December 31 “The Christmas Show”; at Swann Gallery, 1250 Li­ brary Street. Missouri, Warrensburg January 27—February 23, 1997 “Greater Midwest International XII”; at Central Missouri State University, Art Center Gallery. New Jersey, Trenton through January 5, 1997 “New Jersey Arts Annual: Crafts”; at the New Jersey State Museum, 205 West State Street. New Mexico, Las Cruces through December 8 “Biennial Art Department Faculty Exhibition 1996”; at University Art Gallery, New Mexico State University. New York, Jamestown January 31—March 15, 1997 “PhotoNominal ’97,” exhibition of works including any photographic process; at the Forum Gallery, Jamestown Community College, 525 Falconer Street. New York, New York through December 22“ If the shoe fits...,” shoes in all media; at fao gallery, 558 Broome Street.

December 1996 79 Calendar Massachusetts, Boston December 5—8 “Crafts at the Castle, 1996”; at the Park Plaza Castle, Arling­ ton Street and Columbus Avenue. Massachusetts, Brookline December 5-22, week­ Ohio, Cleveland through December 31 “Holiday ends “Brookline Arts Center’s 22nd Annual Craft Collectibles,” including ceramics by Sergei and Showcase”; at Brookline Arts Center, 86 Mon­ Dana Major Isupov, Ojima, and Natalie Warrens; mouth Street. at Sylvia Ullman American Crafts, 130101 New Jersey, Demarest December 6—8 “22nd An­ Larchmere Boulevard. nual Pottery Show and Sale”; at the Old Church Ohio, Columbus through April 1997“ 117th Stu­ Cultural Center School of Art, 561 Piermont dent Exhibition”; at the Columbus College of Art Road. and Design, V-Hall, Beaton Hall and Joseph V. New York, New York December 6-23 “Holiday Canzani Center. Open Studio”; at TriBeCa Potters, 443 Green­ Ohio, Lancaster through January 4, 1997 Two- wich Street. person exhibition with ceramics by Donn Hedman; December 13—15 “Designer Crafts on Lexington at the Gallery at Studio B, 140 West Main Street. Avenue,” fund-raiser for God’s Love We Deliver, Oregon, Eugene through December 24 “Le Petit 4 an AIDS service organization; at the Lexington Small Format Competition”; at Alder Gallery, Avenue Armory, 26th Street. 55W Broadway. North Carolina, Charlotte December 13—15“ ACC Pennsylvania, Wayne December 6—January 10, Craft Fair Charlotte”; at the Charlotte Conven­ 1997“Craft Forms ’96”; at the Wayne Art Center, tion Center. 413 Maplewood Avenue. North Carolina, Marion December 7 “Appala­ Tennessee, Smithville through January 5, 1997 chian Potters Market,” sale of works by potters Three-person exhibition with terra-cotta tiles by from Appalachian and Piedmont, North Caro­ Kerry Ebersole, and sculpture and pottery by Rick lina, area, plus east Tennessee, north Georgia and Swafford; at the Appalachian Center for Crafts, South Carolina; at McDowell High School. 1560 Craft Center Drive. Ohio, Columbus December 5-8 “Winterfair”; at Texas, Houston through January4,1997“ Annual the Multi-Purpose Building, Ohio State Fair­ Group Christmas Show”; at Archway Gallery, grounds. 2013 West Gray. Ohio, Lima December 4-15 “Twelve Days of Texas, Lubbock through December 31 “11th An­ Christmas”; at ArtSpace/Lima, 65 Town Square. nual December Competition”; at the Lubbock Oregon, Portland through December 31 Annual Fine Arts Center, 2600 Avenue P. holiday sale of clayworks; at Essence of Fire: A Washington, Bellevue through December 31 “The Holiday Gallery of Clayworks, 3303 Southeast Art of the Garden”; at Bellevue Art Museum, 301 Division. Bellevue Square. T exas, Brodnax December 13— I5“Brodnax Christ­ Wisconsin, Sheboygan through January 5, 1997 mas Show”; at the Sons of Hermann Hall, 3414 “Casts of Character: The Factory and Beyond”; at Elm Street. John Michael Kohler Arts Center, 608 New York Texas, San Antonio December 8 “Christmas Party Avenue. and Art Sale”; at San Antonio Craft Center, 300 Augusta. Fairs, Festivals and Sales Workshops Alabama, Birmingham December 14 Tenth an­ nual “Blue Light Special”; at 2365 Cahaba Road. Arizona, Chandler January 25—26, 1997 A ses­ Arkansas, Little Rock December 6-8 “Christmas sion with Bobby Silverman. Fee: $45; Arizona Showcase”; at the Excelsior Hotel, Statehouse Clay members, $40; students, $20. Contact Convention Center. Michelle Lowe, 25037 West 17th Avenue, Phoe­ California, Berkeley December 7—8, 14—15 and nix, Arizona 85027; or telephone (602) 516- 21—22 “1996 Holiday Open Studios.’’For map, 2209, e-mail [email protected] send SASE or pick up at 1250 Addison Street #214, California, Concow December 27-January 6,1997 Berkeley 94702; for other distribution points, “Wood-fire Workshop” with Nolan Babin, mak­ telephone (510) 845-2612. ing work and firing a 200-cubic-foot kiln (full California, San Francisco December 7—8 and 14— session), or participants can bring their own 15 “1996 Celebration of Craftswomen”; at Fort bisqued work (7 days). Fee: $350/frill session; Mason Center, Herbst Pavilion, Buchanan Street $250/partial, includes materials, firing and lodg­ and Marina Boulevard. ing. All skill levels. For further information, con­ Connecticut, Middletown through December 15 tact Nolan Babin, 13191 Mullen Way, Oroville “41st Annual Wesleyan Potters Exhibit and Sale”; (Concow), California 95965; or telephone (916) at the Wesleyan Potters, 350 South Main Street. 534-9137, fax (916) 533-9361. Florida, Alachua December 14-15 “The Alachua Connecticut, Brookfield February 8-9, 1997 Dickens Festival”; downtown. “Trompe l’Oeil Ceramics” with Lillian Dodson. Florida, Tampa December 6-8 “ACC Craft Fair March 1-2, 1997“Ceramic Teapots” with Angela Tampa Bay”; at the Tampa Convention Center. Fina. For further information, contact the Illinois, Evanston through December 15 “Holiday Brookfield Craft Center, Post Office Box 122, Market”; at the Evanston Art Center, 2603 Route 25, Brookfield 06804; or telephone (203) Sheridan Road. 775-4526. Kentucky, Louisville January25-26,1997“ Ken­ Florida, Sopchoppy January 13-18, 1997 “A tucky Crafted: The Market”; at the Kentucky Fair Spirited Approach to Clay” with George Griffin, and Exposition Center, West Hall. individualized stoneware, single-fire oxidation, Maryland, Gaithersburg December 13-15 fast-fire wood, business as an art form of self- “Sugarloafs 19th Annual Winter Gaithersburg expression. Limited to 4 participants. Fee: $350, Crafts Festival”; at the Montgomery County Fair­ includes materials, firing and lodging. For further grounds. information, contact George Griffin, 1 Suncat

80 CERAMICS MONTHLY December 1996 81 Calendar

Ridge, Sopchoppy 32358; or telephone (904) 962-9311. Florida, West Palm Beach December 11-15“ De­ sign and Construction of Gas-Fired Kilns” with Nils Lou. Contact Armory Art Center, 1703 South Lake Avenue, West Palm Beach 33401; or tele­ phone (888) 276-6791. Hawaii, Maui, Makawao January 25-26, 1997 “Creativity: An Artist’s Point of View” with Regis Brodie, throwing, building and decorating. Fee: $88. Contact the Hui No’eau Visual Arts Center, 2841 Baldwin Avenue, Makawao, Hawaii 96768; or telephone (808) 572-6560, fax (808) 572-2750. Massachusetts, Worcester January 25, 1997“In­ laid Glaze Techniques” with Richard Haynes. March 1-2 and 9 “Forming and Firing for the Soda Kiln” with Mark Shapiro. Contact the Worcester Center for Crafts, 25 Sagamore Road, Worcester 01605; or telephone (508) 753-8183, fax (508) 797-5626, e-mail [email protected] New Mexico, Santa Fe February 15-16, 1997A demonstration with Ron Meyers. Registration deadline: February 1, 1997. Contact Santa Fe Clay, 1615 Paseo de Peralta, Santa Fe 87501; or telephone (505) 984-1122. New Mexico, Taos January 25-26, 1997“Mod­ ern Mosaic” with Aliah Sage. Contact Judith Krull, Taos Institute of Arts, 5280 NDCBU, Taos 87571; or telephone (800) 822-7183, e-mail [email protected] or http://www.taosnet.com/TIA/ New York, New York January27—31,1997“Tea- pots! Teapots! Teapots!” with Malcolm Davis. For further information, contact 92nd Street Y, School of the Arts, 1395 Lexington Ave., New York 10128; or e-mail http://www.92ndsty.org Ohio, Columbus January 9, 16, 23 and30 “The Potter’s Wheel” with Erik Stump. Limited regis­ tration. For further information or to register, contact Kimberly Carey Putnam, Columbus Col­ lege of Art and Design, (614) 222-3268. Oregon, Gresham January 17—18, 1997 Slide lecture and workshop with Jeff Oestreich. Fee: $35; OPA members, $25; students, $15. Contact Stephen Mickey, Mount Hood Community Col­ lege, Visual Arts, 2600 Southeast Stark Street, Gresham 97030; or telephone (503) 667-7149, fax (503) 669-6949. Pennsylvania, Philadelphia February 14-16,1997 Lecture (February 14) and workshop (February 15-16) with Karen Karnes. Lecture location: Moore College of Art and Design. For further information, contact the Clay Studio, 139 North Second Street, Philadelphia 19106; or telephone (215) 925-3453. Pennsylvania, Pittsburgh December 6—7 A ses­ sion with Michael Simon. Advanced registration required. For further information, contact the Manchester Craftsmen’s Guild, 1815 Metropoli­ tan Street, Pittsburgh 15233; or telephone (412) 322-1773.

International Events Australia, Buccarumbi January 5—25, 1997“Or- ganic Building Systems for Sculptural Expres­ sion” (focusing on handbuilding and individual expression) with Malina Monks and Sandra Tay­ lor (January 5-11, 1997) and Rod Bamford and Sandra Taylor (January 19-25, 1997). Fee:

82 CERAMICS MONTHLY December 1996 83 Calendar

Aus$855 (approximately US$655) per workshop, includes materials, lodging, meals. For further information, contact Sandra Taylor, Blackadder, Buccarumbi via Grafton 2460, NSW, Australia; or telephone/fax 66 49 41 34. Brazil, Copacabana through December 21 Exhibi­ tion of ceramics by Dea Backheuser; at Villa B, Av. Atlantica, 1782. Canada, Nova Scotia, Halifax through January 19, 1997“Potters of the Past”; at the Art Gallery of Nova Scotia, 1741 Hollis at Cheapside. Canada, Ontario, Toronto through December 15 Exhibition of ceramics by Mignon Mildenberger; at the George R. Gardiner Museum of Ceramic Art Shop, 100 Queen’s Park. Canada, Ontario, Waterloo through December30 Peter Powning, “Elemental Clay and Glass”; at Canadian Clay and Glass Gallery, 25 Caroline Street, North. Canada, Quebec, Montreal December 8-January 26, 1997“Tent en Transit,” national biennial of ceramics; at Maison de la Culture Frontenac. England, Chichester December 6-8 “Master Pot­ ter Series: Thrown Forms, Decoration and Glazes” with David Leach. January 10-12, 1997 “Pot­ tery—Throwing and Turning” with Alison Sandeman. February 16-21, 1997“General Pot­ tery—Handbuilding and Throwing” with Alison Sandeman. Contact the College Office, West Dean College, West Dean, Chichester, West Sussex PO18 OQZ; or telephone (24) 381 -1301, fax (24) 381-1343. England, London through December 20 John Maltby, “Kings and Angels”; at Galerie Besson, 15 Royal Arcade, 28 Old Bond Street. through December 23 “Silver Christmas,” exhibi­ tion of jewelry, textiles, ceramics and metalwork; at Crafts Council Shop at the Victoria & Albert Museum, South Kensington. December 4—24 “Out of the Dark,” invitational exhibition of ceramics by Glenda Cahillane, Amanda Duncan, Elizabeth Fritsch, Dan Kelly, Janet Leach, John Leach, Colin Pearson and Jason Wason—artists were asked to work small, and avoid colored glazes and slips; at Austin/Desmond, Pied Bull Yard, 68/69 Great Russell Street. December 5-February 2, 1997“Still Life,” exhibi­ tion of ceramics, glass, metal, textiles and wood; at the Crafts Council Gallery Shop, 44a Penton- ville Road. England, Oxford January 6-February 5, 1997 “White on White,” exhibition including ceramics by Karen Downing, Margaret O’Rourke, Helen Smythe, Hilary Roberts and Julie Wood; at Ox­ ford Gallery, 23 High Street. France, Dunkerque through February 15, 1997 Exhibition of ceramic sculpture by Jacques Kaufmann; at Musee d’Art Contemporain de Dunkerque. Germany, Diisseldorf through December 8 Exhi­ bition of ceramic sculpture by Claudi Casanovas. through January 5, 1997 Ceramics by Emidio Galassi; at Hetjens-Museum, Schulstrasse 4. Germany, Frechen through February 9, 1997 “Movement: European Ceramics ’96”; at Mu­ seum fur Zeitgenossische Keramische Kunst, Bonnstrasse 12. Italy, Faenza through January 30, 75?5?7“Natural- istic Floral Decoration in European Pottery in

84 CERAMICS MONTHLY December 1996 85 Calendar

the 18th Century,” plus terra cottas; at the Museo Internazionale delle Ceramiche, Via Baccarini, 19. Jamaica, Falmouth January 16—23, 1997^/ood- fire workshop with Byron Temple. Location: Good Hope Pottery. Contact 92nd Street Y, School of the Arts, 1395 Lexington Ave., New York, New York 10128; or e-mail http:// www.92ndsty.org Mexico, Baja February 17-21, 1997 “Raku— Finishing and Firing” with Steven Forbes de- Soule. February24-28, I^7“Slab and Decora­ tive Tiles” with Barbara Campbell-Moffitt. Fee per session: US$225. Lodging is available. Con­ tact Pots and Paints, 10451 Allbay Road, Sidney, British Columbia, Canada; or telephone (604) 656-0745. Mexico, Oaxaca January 2-10, 1997“Vvom the Zapotec Tradition and Beyond” with Bob Green. For further information, contact Horizons, 108- P North Main Street, Sunderland, Massachu­ setts 01375; or telephone (413) 665-0300, fax (413) 665-4141. Mexico, San Miguel de Allende February 22- March 8, 1997 Two-week workshops on ce­ ramic jewelry and tiles with instructors from the University of Minnesota, Duluth. For further information, contact University College, Uni­ versity of Minnesota Duluth, 410 Darland Ad­ ministration Building, 10 University Drive, Duluth, Minnesota 55812-2496; or telephone (218) 726-6536, fax (218) 726-6336. Netherlands, Amsterdam through December 21 Recent ceramic works by Veronika Poschl; at Galerie de Witte Voet, Annemie Boissevain, Kerkstraat 135. Netherlands, Arnhem through January 5, 1997 Ceramics by Ri-Jeanne Cuppens; at the Mu­ seum of Modern Art. Netherlands, Deventerthrough December 28 “Ten Years Ceramics from France in Deventer,” anniversary exhibition with works by Jean Francois Fouilhoux, Bernard Lancelle, and Claude and Slavik Palley; plus an exhibition of recent ceramics by 53 other artists; at Loes and Reinier, Korte Assenstraat 15. through mid January 1997Exhibition of ceram­ ics by Helly Oestreicher; at the Bergkerk. Netherlands, Oosterbeekthrough December 22 Sculpture by Marion Askjaer Veld; at Galerie Amphora, Van Oudenallenstraat 3. Netherlands, Rotterdamthrough mid January 1997Exhibition of ceramics by Martin Smith; at Museum Boymans-van Beuningen. Spain, Agost May 29—June 13 or29,1997“ Soda. Vapor Castable Kilnbuilding Workshop” with Marcia Selsor. Deadline: January 15,1997. Con­ tact David Renfrow at ARTIS (314) 886-9688 or Marcia Selsor (406) 259-7244. Spain, Leon January 11-March 31, 1997“Salt and Soda,” exhibition of ceramics by Jose Anto­ nio Sarmiento; at Galeria Azul, San Cibrian de Ardon. Switzerland, Geneva through January 13, 1997 “Imperial Easter,” porcelain eggs from the Her­ mitage Museum in Saint Petersburg, through February 15, 1997 Exhibition of ceramics by Setsuko Nagasawa; at Ariana, Swiss Museum of Ceramics and Glass, 10, avenue de la Paix.

86 CERAMICS MONTHLY December 1996 87 Questions Answered by the CM Technical Staff

Q I am looking for a place where I can buy interlocking bricks to build a saggar that would go inside a gas kiln. I called the largest manufac­ turers of bricks that I know of but they don't make them, nor did they know where I could get them. I hope there is a place somewhere out there where they can be ordered, or I will have to do it the old-fashioned way and make them myself. Any ideas?—J.H. In the past, some large refractory compa­ nies have manufactured lines of specialty re­ fractories that did include interlocking bricks. I would suggest consulting The Source, pub­ lished annually by the American Ceramic Society, Post Office Box 6136, Westerville, Ohio 43086-6136; or the Ceramic Industry Data Book, available from Business News Publishing Company, 5900 Harper Road, Suite 109, Solon, Ohio 44139-1835. These indispensable materials and equipment refer­ ences list who produces what and where. If this search proves fruitless, you may need to construct your own saggar refracto­ ries. Perhaps the easiest way is to throw or handbuild a series of large covered containers. These could then be filled with appropriate combustibles and wares, and loaded into your existing kiln. You could also construct a loose saggar of brick inside a kiln (as shown in “Low-Tem- perature Salt/Saggar Firing” by R. Bede Clarke in the November 1988 CM, and “Decorating with Volatile Materials in Saggars” by Ruth Allan in the January 1992 CM); or cut tongue- and-groove profiles into 2800°F insulating firebrick for a tight saggar. The high-heat bricks are considerably stronger than their lower-temperature counterparts and would stand up to the alteration better. This would be done much in the same way that compa­ nies manufacturing electric kilns use a router or a table saw to cut grooves for the elements. I would suggest having a dedicated saw blade or router bit just for this purpose. And, of course, be sure to have adequate ventilation and wear an approved respirator whenever shaping or cutting bricks. Jonathan Kaplan Ceramic Design Group Steamboat Springs, Colorado Subscribers’ questions are welcome and those of general interest will be answered in this column. Due to the volume received, letters may not be answered personally. Address the Technical Staff, Ceramics Monthly, Post Office Box 6102, Westerville, Ohio 43086- 6102; fax (614) 891-8960 or e-mail editorial@ceramicsmonthly. org

88 CERAMICS MONTHLY December 1996 89 90 CERAMICS MONTHLY Paper-clay scroll with silk-screened photographic images of old French legal documents, approximately 12 inches long, by Amanda Spencer-Cooke, Douvaine, France. Porcelain Documents by Amanda Spencer-Cooke

Like many contemporary ceramists, I telling a story. Paradoxically, the legal fired, giving impatient people like me a first came to touch clay at school. I document becomes a work of art. The chance to see what I have done (and watched the progress of the little green ability of clay to accept a mark or im­ whether or not it worked) while I am frog and a couple of leaning-tower vases, print is probably one of the reasons it still involved with the piece. This is a proudly presented to my pleasing contrast to my larger, mother at Christmas, gradu­ heavier daywork that has to ally making their way from be tackled slowly and treated windowsill to windowsill with more patient respect to from the sitting room to the avoid disasters. top landing. But I was firmly I begin by tearing up rolls kept on an academic path; of white lavatory paper to arts were considered suitable mix with hot water; excess solely for leisure-time activ­ water is poured off. I then ity. I did persist in working blend powdered porcelain with clay, though. As an with hot water to make a adult, I made pots and food smooth cream. The paper for a health and craft cen­ pulp is stirred into the por­ ter—dishes for food and food celain slip, using a propor­ for dishes. Stoneware led to tion of roughly one-third raku—raku to other low-fire paper to two-thirds clay. The and smoking kilns. Drawing result is a thick, creamy paste and etching led to etched that is spread onto plaster books with clay covers. Pho­ bats to dry. I usually pencil tography led to printing im­ “Legal Fragments,” 12-inch scroll formed from a mark the bats with the size ages on clay. mixture of porcelain and white lavatory paper, with silk- of slab required. The work I have been pro­ screened printing, fired to 1260°C (2300°F). The slab is allowed to dry ducing lately is made of pa­ just long enough for it to be per porcelain and is printed with images remains my favorite material with which rolled smoother and flatter; then it is of French legal documents. I like the to create. eased ofF carefully with a palette knife; idea of creating a link to archaic clay Paper porcelain is a relatively new screen-printed with a photographic im­ tablets with their engraved legal con­ discovery for me. I enjoy its resilience age, using underglazes or oxides; and tracts to newer clay technology—a pa- during the working stage and its final shaped into whatever form is required. per-thin sheet of porcelain bearing the fragility. It is easily mixed and dries Drying is swift, and the piece can usu­ image of a legal contract made last cen­ swiftly, allowing one to prepare dry, print ally be fired (to 1260°C [2300°F] in a tury—both objects marking history and and form in a day. It also can be once- gas kiln) the next day. ▲

December 1996 91 Clay Tales from the Bedding Plane by Jane W. Larson

“Bad News, Good News,” 36 inches wide, stoneware on plywood frame, $800, by Jane W. Larson, Bethesda, Maryland.

Three years ago, in a last gesture before field. Clay is made up of tiny crystals, What I have come to call bedding retiring as a science-oriented potter, I too small to be seen with the naked eye, planes, then, are made from thin, sturdy, started making clay-canvas constructions with atoms tied together in flat, lattice- clay slabs impressed with plant materi­ with pressed-in subject matter, calling constructed layers. Called platelets, they als and other subject matter. The act of them “Clay Tales from the Living become oriented more closely together making them—the natural process his­ Earth.” More recently, to tidy up my when the clay sheet is rolled and pressed, torians describe—results in distinctive thinking, I put together another collec­ causing increased strength across the top surfaces peculiar to the clay medium tion of slab pieces with pressed-in sto­ surface of the clay, while the bottom and not to be confused with sculpture ries and called them “Clay Tales from surface lies relatively untouched. Thus, in stone. Around every impression are the Bedding Plane.” as the sheet, now cut into pieces, dries, minuscule shoulders of clay that rise The work harkens back to a simpler the top surfaces shrink powerfully and around the pressing as a little clay is day, as in the 1880s, when tiles were the underside lags behind. The finer the moved aside. Clay rises but slightly sometimes pressed with field grasses, clay, the worse the problem; so, in be­ around shallow impressions, and quite covered with translucent glaze, and la­ ginning the bedding plane, rule num­ a lot when the pressing is deep; in beled “natural process” tiles. Personally, ber one is to add grog—20% medium counter-relief seals that are pressed in, I first saw tiles pressed with plants and grade is about right. an image within the stamp rises up, grasses, then covered with celadon glaze, Rule number two is to turn the pieces giving the clay around the impression in a Smithsonian exhibit in the 1950s, over at the leather-hard stage and slap the effect of undulating response. The during my 14-year career reporting on them smartly to the table. One can break background surface of bedding plane nuclear science. Eventually, I was able a tile, of course, if the clay is too dry. imagery thus contributes to its appear­ to report on science by way of the clay Experience helps here. The amazing ance of life. canvas, and the idea of natural process thing is, as Earths history has proven, To glaze with color in a manner com­ tiles became the foundation for science- clay retains pressed-in data even though patible with the natural process concept oriented public commissions. the very mountains heave. One s pressed can be tricky when one departs from But first I had to learn that making imagery will come through such a slap simply coating all with a translucent individually pressed and glazed tile pieces with hardly a notice, and if done cor­ glaze, using the variations in glaze depth is not as simple as it sounds. If one rectly, tile pieces after their final firing to bring forth the image. Alternately, starts with stoneware clay straight out will appear either exactly flat, or a bit for archival quality, I accent only the of the bag, the tiles will warp and crack, plump and nicely alive. It is a trick I impressions themselves, first with stain and become concave in the middle, like learned in the 1960s while watching to clarify hair-fine details, then with mud patties with lifted edges in a potters in an old French factory turn well-chosen glazes. It is a way of dupli­ farmers encrusted, once-flooded corn­ out elegant floor tiles. cating (albeit better and more perma­

92 CERAMICS MONTHLY nently) the film that is embedded in a old leaf-fossils have been found in an and the fire. The glazes may be tested fossil impression as it is found by pale­ ancient lake bed in Moscow, Idaho, in through a variable reduction firing, ei­ ontologists in the shale bed. Such films their original autumnal reds, browns ther with carbon-based fuels inside a are mostly brown or black, and made and greens, although after a minute or saggar in an electric kiln, or through up of iron and carbon silicates—all that two drying in oxygen-rich air, the color chemical assists such as silicon carbide. is left of the ancient, soft-bodied life turned into the usual black wispy film. Have you ever noticed how iron browns form. Sometimes, believe it or not, these The trick, finally, is to find translu­ in an unruly fire will develop areas of films are colored. Twenty-million-year- cent glazes that are responsive to stains green? With natural process techniques, I welcome and try to encourage such a development; again, it provides life. In the same vein, copper greens turning (but not completely) red carry marvel­ ous overtones suggesting autumn weather, spring frosts, natural light or stress of some kind. The longer one lives with such a piece, the more mean­ ing one can read into it. Cobalt blues and yellow turn in color, too; all reduc­ tion-friendly glazes interact with stain and other factors to provide an infinity of unexplored effects. Like many people, I am concerned for the earth, and the possible extinc­ tion of life. I study energy and ecology matters, theories of evolution, theories about bacteria and clay and the origin of life. Did you know that fine clays like bentonite are seriously thought to be involved in the origin of life? Knowing that, I think, can increase ones sensitive use of the clay medium. Then there is the astounding, perti­ nent, controversial theory of Gaia, which evolved while NASA scientist James Lovelock was high in the sky trying to measure the makeup of Earths upper air. He found, to everyone’s dismay, that the gases in the atmosphere are in “a persistent state of disequilibrium,” com­ pared to atmospheres in the rest of the solar system, and the question of course then became, “why?” Through all the arguments since, the tentative conclu­ sion still hovers—it seems possible that Earths atmospheric envelope nourishes life, that Earth and life are tied insepa­ rably together, that Earth is controlled by life and finally that Earth is the larg­ est living organism. Lovelock named the concept after Gaia, a mythical god­ dess. Another scientist has noted that “Earth’s heart (i.e., the iron core) beats with a magnetic rhythm.”

“Flowers Early and Late,” 40 inches in height, stoneware wall plaque, Plexiglas, $950.

December 1996 93 “Fish Burn,” 28 inches in length, stoneware tiles on coated plywood, $700, by Jane W. Larson.

Is Earth, in its way, alive? No won­ Finally, the signs of the fire on “Fish In natural process work, drawing di­ der normal folk look askance at scien­ Burn” were all I could have asked for, rectly on the clay bed itself can seem tists sometimes these days! In “Clay and determine the ultimate message of weak and weightless beside impressed Tables from the Bedding Plane,” I try the piece—that the northern pike is imagery, so I often find myself pressing to move into such themes gently, so threatened with extinction. Look how in things like toys, electrical wiring, that those coming new to the ideas will the fire picked up the glaze on the fish tools—all of which take practice. be positively disposed. One plaque, and burned it to a fossil-like silicate Wooden numbers 0 and 1 are handy in called “Flowers Early and Late,” links a film, and turned leaves of the bleeding my studio for spelling out binary code. lifeless Earth specimen to plant life. Old- heart toward red in a distress that I also use a tongue depressor with a flat fashioned hollyhocks—the disappearing matched my own. The piece also dem­ end for small miscellaneous line addi­ country kind with single, rather than onstrates the two methods of cutting tions. genetically improved double blooms— up a clay canvas, by using secondary If ever an art form was designed to are pressed alongside a placid stream. imagery (the stream), as well as the tile bring civilization into tune with techni­ But, the catch is, some of the flat, rosy grid- cal and scientific understanding through blossoms have been replaced by an ear­ Endless varieties from the plant king­ the art of visual imagery, ceramics is it. I lier Earth effort—iron pyrite “suns” that dom grace my bedding planes, but in have personally concluded that clay and look very similar in growth pattern to a addition, I depend a lot on studio-made its allied melts are unimaginably noble hollyhock flower but have the pyrites stamps. Linoleum blocks and fat pink materials, and a strong fire manipulates glitter. As your geology book will tell erasers are good for miscellaneous de­ them much as the earths biosphere ma­ you, pyrite suns are an ancient mineral signs, cut so the image is on the surface nipulates life. They can make an ex­ growth often found in coal beds. of the stamp, ready to press in along quisite, earth-durable book of our lives. In “Bad News, Good News,” silhou­ with life-forms. I cut certain molecular Incidentally, it has recently been ette stamps are used for the man and diagrams that way—chlorophyll and its pointed out that digital media like mag­ woman; other stamps for the comet near-twin hemoglobin, for example. Sil­ netic tapes and CD-ROMs have an av­ and the symbol for fiber-optic cable. houette stamps out of clay are used for erage lifetime of 30 years. Compared to The clematis is live from my garden; big subjects. I cut silhouettes out of clay ancient Sumer’s cuneiform clay tablets, real chain restrains the vine. Some of from tracings of carefully selected pho­ or the paleontologists bedding planes, the leaves in their copper glaze show tographs, add handles and bisque fire storing information in such an archival moving struggles with turning color. them for strength. manner is pretty iffy. A

94 CERAMICS MONTHLY Cone 5 Blue Glazes by Dwain Naragon

It can be difficult to find glazes for Rutile Blue Glaze Periwinkle: mid-range temperatures that have char­ (Cone 5) Zircopax...... 10.42% acter and a wide range of color and Whiting...... 20.0% Cobalt Carbonate...... 0.52% surface value. The following recipes, fired Potash Feldspar...... 58.0 Copper Carbonate...... 1.04% in oxidation at Cone 5, are just such Barnard Slip...... 3.0 glazes. These blues are determined by Kaolin...... 6.0 Cobalt Blue: adding copper carbonate, cobalt carbon­ Flint...... 13.0 Cobalt Carbonate...... 1.56% ate and rutile to potassium-, sodium-, 100.0% Cobalt Blue Spodumene Glaze lithium- and barium-influenced glazes. Add: Zinc Oxide...... 10.0% (Cone 5) They work well on stoneware and por­ Cobalt Carbonate ...... 0.5% Dolomite...... 21.82% celain. Given recent health concerns Copper Carbonate...... 1.0% Gerstley Borate...... 12.73 about the use of barium, NT 33 Blue Rutile...... 4.0% Glaze should be reserved for use on Spodumene...... 27.27 Potash Feldspar...... 19.09 nonfood surfaces; or substitute 0.75 Floating Blue Glaze Kaolin...... 8.18 strontium carbonate for every 1.00 part (Cone 5) barium carbonate. Gerstley Borate...... 27.0% Flint...... 10.91 .% Nepheline Syenite...... 47.3 100 00 Kaolin...... 5.4 Add: Zircopax...... 5.00-10.00% Wolly Glaze Base Cobalt Carbonate.. 0.25-2.0 0% (Cone 5) Flint...... 20.3 Wollastonite...... 35.35% 100.0% For a matt glaze, decrease the amount Kona (F-4) Feldspar ...... 35.35 Add: Cobalt Carbonate ...... 2.0% of Gerstley borate. Ball Clay...... 29.30 Red Iron Oxide...... 2.0 % 100 .00 % Rutile...... 4.0% N2 Satin Blue Glaze (Cone 5) For a dark navy, add 4.00% cobalt car­ G184 Altered Base Glaze (Conrad) Dolomite...... 3.19% bonate; for medium light navy, add (Cone 5) Whiting...... 4.26 4.00% cobalt carbonate and 5.00% to Dolomite...... 6.25 % Wollastonite...... 19.15 10.00% Zircopax. Gerstley Borate...... 13.54 Kona (F-4) Feldspar ...... 44.68 Whiting...... 8.33 Ball Clay...... 14.89 Copper Blue Glaze Kona (F-4) Feldspar...... 47.92 Kaolin...... 3.19 (Cone 5) Kaolin...... 3.13 Flint...... 10.64 Whiting...... 21.98% Flint...... 20.83 100.00% Potash Feldspar...... 63.74 100.00% Add: Zircopax...... 5.00-10.00% Flint...... 14.28 Cobalt Carbonate.. 0.50-2.00% 100 .00 % Color variations are achieved with the following additions: Add: Zinc Oxide...... 10.99% NT33 Blue Glaze Copper Carbonate...... 1.10% Royal Blue: (Cone 5) Zircopax...... 10.42% Barium Carbonate...... 9.68% Bright Blue Glaze Cobalt Carbonate...... 1.56% Dolomite...... 4.30 (Cone 5) Whiting...... 17.20 Slate Blue: Whiting...... 21.98% Potash Feldspar...... 35.48 Zircopax...... 10.42% Potash Feldspar...... 63.74 Ball Clay...... 11.83 Black Stain 6666 (Mason) .... 0.52% Flint...... 14.28 Flint...... 21.51 Cobalt Carbonate...... 1.56% 100 .00 % 100.00% Add: Zinc Oxide...... 10.99% Blue/White: Add: Zinc Oxide...... 7.53% Cobalt Carbonate ...... 0.50% Zircopax...... 10.42% Zircopax...... 5.00-12.00% Copper Carbonate...... 1.10% Cobalt Carbonate...... 0.26% Cobalt Carbonate.. 0.25-2.00%

December 1996 95 A Small Handbuilding Operation by Judy Goulder

Stained stoneware vessels, up to3V a inches in height, pinched and sanded, glazed on the interiors, by Judy Goulder, Ashland, Oregon.

Is it possible to have a small-scale, low- tech operation; be mainly self-educated; produce small, delicate stoneware ves­ sels; and still be a serious artist? Yes, I think so. I work in the kitchen of a rented cottage, and have a small electric kiln and shelves in the shed across the lawn. My supplies are kept in one section of my pantry. Twenty-some years ago, I took a ce­ ramics course at the Cleveland Institute of Art, having taken design as a prereq­ uisite. A nerve injury to my left hand left some of my fingers without feeling, so use of the wheel was not an option for me. I was more attracted to hand- building, anyway. In the years that fol­ lowed, with an added course in sculpture to broaden my awareness of form, I played and experimented with clay. A great deal of this time was spent on the Pacific coastline, where I was influenced by, collected and studied small, natural objects of beauty. I was Handbuilt stoneware vessel, 3 1/4 inches in height, pinched, also inspired by Paulus Berensohns Find­ paddled, sanded and glazed. ing Ones Way with Clay. I recognized myself in that book, and was immedi­ ately attracted to the use of colored clay.

96 CERAMICS MONTHLY Using Berensohn’s book as a text, I me company. Then the tedium becomes Many people who would like to work taught myself “advanced pinching tech­ most rewarding as the initial clunky, with clay stop short because of the seem­ niques.” From there, I evolved my own pinched forms metamorphose. ing complexity of setting up a studio. It techniques and style: hand mixing stains The vessels are pinched from a com­ doesn’t have to be so. Handbuilding and oxides into white stoneware; pinch­ mercial buff stoneware rich in grog, can be relatively unmessy, needs little ing and paddling; carving out the thick sanded, then often rubbed on the out­ space and cleanup is easy. interiors; and sanding the dry forms side with liquid red iron oxide and rutile Start simply—use an area of your before bisquing. (the rutile keeps the red iron from turn­ laundry room or garage. (Bucketsful of Sanding can be a tedious affair. I can ing brown). Dry commercial glazes are water can be brought in where there is spend up to two hours on one piece, combined to make richer, personalized no plumbing). Take your pieces else­ refining it to my liking. I sand into a colors. I then glaze the insides only, where to be fired. I did this up until six bucket, then reconstitute the dust for using a brush, sometimes sponging other years ago, when I first bought my kiln. future use. Though I prefer to form and colors over the brushed coat. After the Handbuilding is beautiful, and prac­ glaze my work in solitude, I often sand glaze firing to Cone 6, I sometimes tical, and accessible to nearly everyone, outdoors, sometimes going to a nearby sponge on a mixture of India ink and a and the rewards of feeling the clay in park where nature and passersby keep bit of metallic acrylic paint. your hands are many. ▲

Vessel, 3½ inches in height, pinched stoneware with inlaid colored clay pattern sanded, glazed on the interior.

December 1996 97 Bamboo Tools by Mel Malinowski

Most potters, I suspect, are drawn to ingly true in our modern age as more encountered the Japanese high regard their craft because of the inherent sim­ and more become hands-off—at a dis­ and universal appeal of humble bam­ plicity of taking a piece of nondescript, tance, remote and too often machine- boo as a tool. It is used for everything unformed clay and making from it any made and machine-controlled. There is from chopsticks to fans to scaffolding one of infinite possibilities of shape and a nostalgia in handmade things that rivaling skyscrapers in lashed-together function. There is something pleasing causes one to want to reach back into height. In many books and films on in that those possibilities never go away, the past for the simpler tools and the Japanese potters, I often saw bamboo never lessen in spite of the passing of simpler ways of getting things done. It tools being put to use. Thus, about a the years, or the intricacies of glaze reci­ was this feeling that drew me to hand­ year ago, I thought that it was time for pes, firing schedules, kiln repairs and made bamboo tools. me to give bamboo a try myself. tax forms. Simply put, it is good to I’ve always been attracted to the Japa­ There is an inherent danger in reach­ work with basic things with basic talent nese traditions, in pottery, philosophy ing back into the past for traditional to make basic things. This is increas­ and martial arts. In my studies, I often ways and tools. Often, these old items,

98 CERAMICS MONTHLY while warmly nostalgic to use, are sim­ One final point: Bamboo isn’t as ply not up to the standards of modern readily available as most woods. There materials. In other words, there is often are, however, a couple of sources you a very good reason for change and that can try. For smaller tools, at least, check reason is usually improvement or greater at a local greenhouse. You should be ease of doing things. Beethoven, you able to find thin bamboo in lengths of 5 can be sure, would have used a synthe­ to 6 feet and with a diameter of ½ inch sizer if he had had one. And how about or so. A better source, one which I have Shakespeare? I am sure that he would used, is your local kendo (Japanese fenc­ have loved to use my computer. Still, I ing) teacher. Kendo practitioners use liked the idea of using bamboo, and swords made of four tapered and gave it a try. I’ll never use anything else. smoothed strips of bamboo lashed to­ So far, all my basic tools have far ex­ gether. The strips are resilient, flexible ceeded my hopes and expectations. and absorb incredibly quick and hard Bamboo is actually a grass and, as a blows that the fencers inflict upon one result has a long, running “grain” that another. They used to use swords made makes for an incredibly durable and from one length of solid wood. Even flexible material. With a sharp knife, though they do wear armor, this prac­ bamboo can be readily shaped and will tice, unfortunately, resulted in high hold an edge that stands up to heavy numbers of deaths. usage far beyond most woods. It is also Due to the vigorous nature of the far superior to wood in terms of its art, the bamboo swords, the shinai, can water-resistant features. I have often left become damaged. I traded a bowl for these tools standing in my water bucket, the remains of three, and both the sometimes over holidays for weeks at a teacher and I came away happy. time, and they never become soft, wa­ Thus, with bamboo in hand, I fash­ terlogged, cracked or warped. ioned the tools illustrated here. You will, no doubt, find other uses once you have tried this marvelous, traditional mate­ rial yourself. ▲

December 1996 99 100 CERAMICS MONTHLY December 1996 101 Ceramics Monthly Annual Index January-December 1996

Ceramics Monthly has indexed the year's articles in each Transcending Tradition, Hluch, Mar., p 96 Vallauris, Past and Present, Dec., p 64 December issue since 1962. An index covering January Ugly Pots, Keenan, June/July/Aug., p 120 Virginia Clay, Oct., p 55 1953 through December 1961 was published in the Wayne Ferguson, Dec., p 40 January 1962 issue. Additionally, a 20-year (1953- Decoration 1972) subject index, covering feature articles plus the 19th-Century Portuguese Palissy Ware,Katz, Mar., History Suggestions and Questions columns, is available for $1.50, p 50 19th-Century Portuguese Palissy Ware,Katz, Mar., postpaid, from the CM Book Department, Post Office BoxClay Tales from the Bedding Plane, Larson, Dec., p 50 6102, Westerville, Ohio 43086-6102. p 92 Echizen Stoneware: 800 Years of Japanese Coat of Many Colors, A, Kavanagh, Jan., p 47 Tradition, Hillhouse, Apr., p 39 Business Contempo-Baroque Majolica: The Art of Simona Gleanings: A Potter in China, Troy, Nov., p 46 13th Annual Oregon Showcase, Sedlak-Ford, Mar., Alexandrov, Melton, May, p 51 In Their Cups, Robinson; Making a Puzzle Mug, p 33 Emma Luna, Larsen, June/July/Aug., p 65 Oct., p 95 Ceramic Art in Senegal, Overton, Mar., p 35 Invisible Gesture, Rozman, Sept., p 61 Reproduction of a Goddess: A Study of Late Bronze Finding Your Niche, Sondahl, June/July/Aug., p 37 Koichi Takita and the New Mingei, Stewart; Potters Age Ceramics, Saupe, Sept., p 50 Frank Philipps: Rollin’ the Dice, Daly, Apr., p 46 Kummon, Dec., p 58 Miscellaneous Maria Alquilar: A Perspective on Public Art, Marsha McCarthy: Drawings on Clay, Frechette, 25 Years at Frog Hollow, Esch and Zimmer, Apr., p 67 Valencia, May, p 31 Sept., p 43 Four Steps of Critical Observation, DeMay, May, Michael Jenson, Harding, Sept., p 53 Painting with Fire, Radca with McNeely, Feb., p 49 p 90 Questions to Ask a Gallery, Shelly-Genther, Porcelain Slip Glaze, Godwin, Nov., p 41 Korea’s International Ceramics Workshop, Wouters, May, p 86 Raku How-To, A: Gloss Crackle Glazing, Sherrill, Apr., p 50 Painting with Fire, Radca with McNeely, Feb., p 49 May, p 56 Mudflat Studio: 25 Years of Community Claywork, Rich Hepp’s Robledo Mountain Pottery, Side Firing: WTiere the Life Is,Lehman, Apr., p 53 Long, Becker and Gervens, Oct., p 56 Manchester, Oct., p 92 Smoke-Fired Pottery, Perryman, Apr., p 42 Reconstructing the Augsburg Kachelofen, Nowka, Salty Dog Pottery: 20 Years On, Kangas, Jan., p 42 Tribute to the Sentinels,Shafer, June/July/Aug., June/July/Aug., p 49 Shopping for Bargains at the Tax Fair, Desmond, p 71 Texas Pennypincher Moves Kiln Egyptian Style, Feb., p 39 Using Soluble Colorants at Stoneware Tempera­ Laughlin, Feb., p 90 Trials and Tribulations of Turning Professional, tures, Wild, Sept., p 79 Watershed—A New Rawness,Hepburn; Challenge, Baker, May, p 41 Departments Renewal and Inspiration, Gipson, May, p 39 Wilton Pottery, Creber, June/July/Aug., p 74 The following departmental features appear Clay and Glazes monthly except as noted: Potters and Pottery Avoiding Common Problems, Zamek, Sept., p 106 Calendar Art, Influence and Culture, Sweet, Sept., p 65 Barry Bostwick: Student Potter, Sept., p 46 Beyond Graduate School, Henry, Nov., p 65 Call for Entries Daly, Brother Thomas Bezanson, Mar., p 63 Ceramic Folklore, Lewis, Nov., p 98 Classified Advertising Cathy Kiffney, Sept., p 58 Coat of Many Colors, A, Kavanagh, Jan., p 47 Letters Ceramic Art in Senegal, Mar., p 35 Cone 5 Blue Glazes, Naragon, Dec., p 95 New Books: Jan., p 24; Feb., p 24; Mar., p 28; Overton, Challenge of Making Pots at a University, The, Contempo-Baroque Majolica: The Art of Simona May, p 26; June/July/Aug., p 30; Sept., p 28; Feb., p 55 Alexandrov, Melton, May, p 51 Oct., p 24; Nov., p 26; Dec., p 28 Staley, Collaborative Throwing, Whalen, Feb., p 62 Deities of Sound, The, Ransom, Dec., p 42 Questions Answered by the CM Technical Staff Contempo-Baroque Majolica: The Art of Simona Emma Luna, Larsen, June/July/Aug., p 65 Suggestions from Readers Alexandrov, May, p 51 Flexible Molds for Ceramics, Smith, Feb., p 30 Summer Workshops 1996, Apr., p 34 Melton, David MacDonald, Zakin, Oct., p 52 Holly Hanessian, Ariail, Mar., p 67 Up Front Daphne and Gary Hatcher, June/July/Aug., p 39 In Search of Samarra Soda, Rafla, June/July/Aug., Video: Feb., p 66; Sept., p 26; Nov., p 30 Don Davis, Nov., p 68 p 40 Daniel, Exhibitions Emma Luna, Larsen, June/July/Aug., p 65 Invisible Gesture, Rozman, Sept., p 61 11th Annual San Angelo National, Nov., p 35 Floating Pottery of Myanmar, The, Danisch, June/ Mark Messenger, May, p 55 19th Fletcher Challenge, Jan., p 56 July/Aug., p 53 Narrative Mural, Baxter, May, p 44 Thacker, Frank Philipps: Rollin’ the Dice, Apr., p 46 NCECA GlazeBase: An International Database of 25th Anniversary Show at Jane Hartsook Gallery, Daly, Functional/Sculptural Concerns, Cuzick, Apr., p 64 Glazes, Malmgren; How to Access the Ceramics Thorson, Jan., p 51 Alabama’s Monarch National, Feb., p 41 Gleanings: A Potter in China, Troy, Nov., p 46 Gopher, Burkett, Jan., p 50 Interplay of Craft and Wit, An: Conceptual Object Lessons at the European Ceramic Work Brother Thomas Bezanson, Mar., p 63 Functional Vessels by Eric Van Eimeren, Center, Scotchie, Oct., p 42 Cathy Kiffney, Sept., p 58 Ceramics Israel, Feb., p 59 Messenger, Oct., p 49 Personal Aesthetic, A, Koerth, Dec., p 51 Clark, Invisible Gesture, Sept., p 61 Porcelain Slip Glaze, Godwin, Nov., p 41 Ceramics Kentucky, Sept., p 71 Rozman, Clay/Wood/Fire/Salt, Dec., p 46 James Lovera, Leader, Oct., p 45 Raku How-To, A: Gloss Crackle Glazing, Sherrill, David MacDonald, Oct., p 52 Ken Ferguson’s Legacy, Katz, Fricke and Akers, May, p 56 Zakin, June/July/Aug., p 58 Rules, Rules, What Rules? Sculptural Freedom with Daphne and Gary Hatcher, June/July/Aug., p 39 Koichi Takita and the New Mingei, Stewart; Potters Paper Clay, Gault, June/July/Aug., p 77 Don Davis, Daniel, Nov., p 68 Kummon, Dec., p 58 Side Firing: Where the Life Is,Lehman, Apr., p 53 Esperanza Romera, Jan., p 55 Louis Katz, Mar., p 43 Tribute to the Sentinels,Shafer, June/July/Aug., Fifth Cup National, Parsons-O’Keefe, Mar., p 65 Fourth jAnnual Strictly Functional, Dec., p 56 Marian Baker, June/July/Aug., p 35 P 71 Mark Messenger, May, p 55 Using Soluble Colorants at Stoneware Tempera­ Independent Makers, Sept., p 40 Martina Zwolfer, Lehner, Nov., p 52 tures, Wild, Sept., p 79 Jean-Luc Mas, Oct., p 39 Michael Jenson, Harding, Sept., p 53 Wood Firing in Jamaica, King with Cox, Jan., p 31 Louis Katz, Mar., p 43 Marian Baker, June/July/Aug., p 35 My Work as a Potter, Gess, Jan., p 59 Commentary Mark Messenger, May, p 55 New York Influences, Weissman, Nov., p 70 Art of Critique, The, Malmgren, Sept., p 116 Million Pounds of Clay, A: 30 Years at Pottery Painting with Fire, Radca with McNeely, Feb., p 49 Clay Slump, The, Robinson, Jan., p 94 Northwest, Kangas, Nov., p 54 Potters of San Vicente de Nicoya, The, Long, Feb., Confessions of a Neo-Leachian, Britt, May, p 94 New York Clay, Schwartz, May, p 47 p 44 Journey, The, Engley, Nov., p 102 North American Free Clay Agreement, Apr., p 33 Rich Hepp’s Robledo Mountain Pottery, Market Forces as Moral Value: Questionable Northern Stars: Women Potters from Canada and Manchester, Oct., p 92 Aesthetic, Fariello, Feb., p 94 Minnesota, Jan., p 36 Ron Meyers: Thirty Years; May, p 35 Old Dog/New Tricks, Hof ted, Dec., p 104 Ron Meyers: Thirty Years; May, p 35 Shifting Focus: From Vessels to Tile Murals, Psychology of Mud, Astor, Oct., p 100 Steeped in Clay, Mar., p 45 Weissman, Apr., p 61 Sacrifice to the Art Gods, Tilghman, Apr., p 104 Table Is Set, The, Oct., p 33 Side Firing: Where the Life Is,Lehman, Apr., p 53

102 CERAMICS MONTHLY Smoke-Fired Pottery, Perryman., Apr., p 42 Louis Katz, Mar., p 43 Digging a Hillside Kiln, VanNostrand, May, p 87 Thrapsano: Crete’s Center of Traditional Pottery, Maria Alquilar: A Perspective on Public Art, Flexible Molds for Ceramics, Smith, Feb., p 30 Tsikalas, June/July/Aug., p 46 Valencia, May, p 31 Floating Pottery of Myanmar, The, Danisch, June/ Trials and Tribulations of Turning Professional, Marlene Miller, Brethorst; Psychological Undercur­ July/Aug., p 53 Baker, May, p 41 rents of Marlene Miller’s Figures,Butler, Nov., Kiln that Consumed Elkton, The, Kiefer with Tribute to the Sentinels,Shafer, June/July/Aug., p 61 Lipman, Dec., p 35 Marsha McCarthy: Drawings on Clay, Frechette, Koichi Takita and the New Mingei Potters ..P 71 . Stewart; Vivika Heino: On Pottery, Mar., p 40 Sept., p 43 Kummon, Dec. p 58 Wayne Ferguson, Dec., p 40 Martin Hearne, Sept., p 37 Modular Inquiries, Lehr with Marrone, May, p 61 Wilton Pottery, Creber, June/July/Aug., p 74 Mexican Candelabra, Beall, May, p 59 Mudflat Studio: 25 Years of Community Claywork, Wood Firing in Jamaica, King with Cox, Jan., p 31 Modular Inquiries, Lehr with Marrone, May, p 61 Long, Becker and Gervens, Oct., p 56 Wood Firing in Maryland, Engley; The Gapland Mosaic Challenges, Kaserman, Feb., p 35 Narrative Mural, Baxter, May, p 44 Wood Kiln, Finnegan and Van Gilder, Mar., Narrative Mural, Baxter, May, p 44 Painting with Fire, Radca with McNeely, Feb., p 49

P55 New York Influences, Weissman, Nov., p 70 Philip Bellomo’s Ceramic Screens, Vanderpool, Jan., Nordic Ode: New Works by Les Manning, Koester, p 63 Sculptors and Sculpture Sept., p 77 Potters of San Vicente de Nicoya, The, Long, Feb., Anthropomorphic Attitudes, Stiles, Sept., p 73 Object Lessons at the European Ceramic Work p 44 Architectural Ceramics Workshop in Costa Rica, Center, Scotchie, Oct., p 42 Raku Sculpture, Kelly, Jan., p 38 An, King, June/July/Aug., p 68 Personal Aesthetic, A, Koerth, Dec., p 51 Reconstructing the Augsburg Kachelofen, Nowka, Art, Influence and Culture, Sweet, Sept., p 65 Philip Bellomo’s Ceramic Screens, Vanderpool, Jan., June/July/Aug., p 49 Beyond Graduate School, Henry, Nov., p 65 p 63 Rich Hepp’s Robledo Mountain Pottery, Bill Grace: Marks of Process, Thompson, Oct., p 63 Porcelain Documents, Spencer-Cooke, Dec., p 91 Manchester, Oct., p 92 Bridging Reality, Wible, Sept., p 59 Raku Sculpture, Kelly, Jan., p 38 Salty Dog Pottery: 20 Years On, Kangas, Jan., p 42 Cathy Kiffney, Sept., p 58 Reconstructing the Augsburg Kachelofen, Nowka, Side Firing: Where the Life Is,Lehman, Apr., p 53 Ceramic Art in Senegal, Overton, Mar., p 35 June/July/Aug., p 49 Smoke-Fired Pottery, Perryman, Apr., p 42 Ceramic Mural for Santa Catarina, A, Anderson, Robert Kvenild, Leader, Mar., p 48 Texas Pennypincher Moves Kiln Egyptian Style, Nov., p 57 Rules, Rules, What Rules? Sculptural Freedom with Laughlin, Feb., p 90 CCAD’s Mural Wa, Takada, Sept., p 67 Paper Clay, Gault, June/July/Aug., p 77 Thrapsano: Crete’s Center of Traditional Pottery, Clay Tales from the Bedding Plane, Larson, Dec., Valuable Offerings: The Ceramic Sculpture of Tsikalas, June/July/Aug., p 46 p 92 Indira Freitas-Johnson, Padgett, Apr., p 58 Tribute to the Sentinels,Shafer, June/July/Aug., Czeslaw Podlesny, Clark, June/July/Aug., p 62 Venturing into the Unknown, Hay don, May, p 36 p 71 Deities of Sound, The, Ransom, Dec., p 42 Wilton Pottery, Creber, June/July/Aug., p 74 Doug Baldwin: The Duck Stops Here, Lackey, Dec., Studio, Tools and Equipment Wood Firing in Jamaica, King with Cox, Jan., p 31 p 48 $50 Ball Mill, A, Cogbum, Feb., p 65 Wood Firing in Maryland, Engley; The Gapland Esperanza Romera, Jan., p 55 Architectural Ceramics Workshop in Costa Rica, Wood Kiln, Finnegan and Van Gilder, Mar., Flexible Molds for Ceramics, Smith, Feb., p 30 An, King, June/July/Aug., p 68 P 55 Functional/Sculptural Concerns, Cuzick, Apr., p 64 Bamboo Tools, Malinowski, Dec., p 98 Wood Kiln for the Lone Potter, A, Swanson, June/ Generic Deities, Kerrigan, Oct., p 61 CCAD’s Mural Wa, Takada, Sept., p 67 July/Aug., p 44 Holly Hanessian, Ariail, Mar., p 67 Ceramic Art in Senegal, Overton, Mar., p 35 Woodstoke: A Cooperative Anagama Experience, Jean-Luc Mas, Oct., p 39 Collaborative Throwing, Whalen, Feb., p 62 Trollinger, Oct., p 35

December 1996 103 living there? If not, when did you move, private place the student (with eight Comment and how long did you live there? What is brothers and sisters) had, a large ranch memorable to you about the house/room? with a brother and his friends growing Old Dog/New Tricks I have been teaching now for 34 years marijuana and getting high on the roof, by Jolyon Hofsted and this has to be the most interesting and a front porch down South (this was project I have ever assigned. At Queens her world since she couldn’t leave home College, City University of New York, while her parents were working and the Who says you cant teach an old dog new there is a diverse student population. I house was too hot and the yard just red tricks? This old dog has mellowed—I have students from Japan, Korea, Thai­ dust). Then there was the large cupboard now realize I know very few of the an­ land, Ireland, Greece, Israel, several coun­ in an apartment over a pub in Ireland swers, am game to try new things and to tries in Africa, Turkey, Norway, Russia, where a young girl would hide when give credit where credit is due. etc. What made this project so interest­ brawls erupted. I recently came across a project by ing and captivating beyond my wildest One of my classes has a number of Jack Troy of Juniata College. I senior citizens mixed in. When changed the project somewhat, I have been teaching now for 34 years one older man discussed the and assigned it to all of my treehouse he and his friends classes: Ceramics 1, 2, 3, 4, 5, and this has to be the most interesting project played in for many years on a Graduate and Masters in Edu­ vacant lot in Queens, a woman cation, all mixed together. I have ever assigned. hollered, “I know that house!” The “Clay Village Project” Quoting the exact address, she consisted of the following: Make a model dreams was the diversity of backgrounds, added, “No girls were allowed; you used of a house (or one room) you have lived locations and economics. to beat us up. I lived across the street and in. The base should approximate the size During the presentation of the projects, I’m still mad.” These people had not seen of our 19x24-inch kiln shelves. “Walk” more than one student commented that each other in over 50 years. through the house/room in your mind; “if anyone could keep a dry eye during I thought about putting the whole recall its interior and figure out how it that, I would be surprised.” The result thing on videotape, but realized it would was constructed. Keep this in mind as was overwhelming, given the large class be like invading someone’s diary; the re­ you work, mainly so it will be structur­ sizes and number of interpretations. I sults were so personal and the students so ally sound. Think about the character of was spellbound. Projects included a cave open about their feelings. the house or room. What made it “yours”; in Korea, a lighthouse, a homeless shelter This project is a keeper I plan to do which features do you recall best? where one student raised her daughter, a once a year. I highly recommend it— Write a paper, the title of which is the war-time Quonset hut, a seventh-genera­ even to you “old dogs.” address of the house. Describe the house tion palace in Korea from which a gov­ or room so that the reader has a sense of ernment takeover displaced the family The author Jolyon Hojsted maintains a what it was like to live there. Are you still forever, a bathroom that was the only studio in Shady; New York.

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