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Here by Louana M 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,
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