2 C eramics Monthly William C. Hunt...... Editor

Barbara Tipton...... Associate Editor

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

Ruth C. Butler...... Copy Editor

Valentina Rojo...... Editorial Assistant

Mary Rushley...... Circulation Manager

Connie Belcher .... Advertising Manager

Spencer L. Davis...... Publisher

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Ceramics Monthly (ISSN 0009-0329) is published monthly except July and August by Professional Publications, Inc.—S. L. Davis, Pres.; P. S. Emery, Sec.: 1609 North­ west Blvd., Columbus, Ohio 43212. Second class postage paid at Columbus, Ohio. Subscription Rates: One year SI6, two years $30, three years $40. Add $5 per year for subscriptions outside the U.S.A. Change of Address: Please give us four weeks advance notice. Send both the magazine wrapper label and your new address to Ceramics Monthly, Circulation Office, Box 12448, Columbus, Ohio 43212. Contributors: Manuscripts, photographs, color separations, color transparencies (in­ cluding 35mm slides), graphic illustrations, texts and news releases dealing with ceramic art are welcome and will be considered for publication. A booklet describing procedures for the preparation and submission of a man­ uscript is available upon request. Send man­ uscripts and correspondence about them to The Editor, Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Indexing: Articles in each issue of Ceramics Monthly are indexed in the Art Index. A 20-year subject index (1953-1972) covering Ceramics Monthly feature articles, Sugges­ tions and Questions columns is available for $1.50, postpaid from the Ceramics Monthly Book Department, Box 12448, Columbus, Ohio 43212. Additionally, each year’s arti­ cles are indexed in the December issue. Copies and Reprints: Microfiche, 16mm and 35mm microfilm copies, and xerographic re­ prints are available to subscribers from Uni­ versity Microfilms, 300 N. Zeeb Road, Ann Arbor, Michigan 48106. Copies in micro­ fiche are also available from Bell & Howell, Micro Photo Division, Old Mansfield Road, Wooster, Ohio 44691. Back Issues: Back issues, when available, are $3 each, postpaid. Write for a list. Postmaster: Please send address changes to Ceramics Monthly, Box 12448, Columbus, Ohio 43212.

Copyright © 1983 Professional Publications, Inc. All rights reserved

December 1983 3 4 Ceramics Monthly Ceramics Monthly Volume 31, Number 10 December 1983

Feature Articles Afghan Refugee Potters by Dennis Maust...... 26 Faenza 1983 29 The 64th May Show...... 33 A Better Vent for Electric Kilns by Ted Scatchard...... 34 A Rob Barnard Teapot by Louise Cort...... 36 Forms around a Vessel by Martin Smith...... 38 Ceramic Portraiture by Beverly Mayeri...... 42 Rick Dillingham...... 44 Portfolio: Earthenware by Walter Ostrom...... 45 Hideto Satonaka by Ban Kajitani and William Hunt...... 53 Glazes for Medium and High Firing by Harold J. McWhinnie...... 58

Departments Letters...... 7 Where to Show...... 11 Questions 13 Itinerary...... 15 Suggestions...... 19 Comment: Carpal Tunnel Syndrome by Ron Sering and Chuck Steinberg, M.D., 21 News & Retrospect 61 New Books...... 77 Technical: Potters and Computers by John Baymore ...... 79 Classified Advertising...... 84 Ceramics Monthly Index January-December 1983...... 87 Index to Advertisers...... 88

The Cover “Paradise Found,” detail, installation of individually mounted ceramic tile, mixed media, by Phillip Ma- berry, for “The 1983 Biennial Exhibition” at the Whitney Museum of American Art, New York City. Though not trained as a ceramist, this artist became interested in clay while working as a technical assis­ tant at the Brooklyn Museum School, and some of the decoration on his earlier slip-cast bowls was in­ spired by Anasazi pots he saw at the museum. Current interests center around ’50s design elements and New Wave attitudes, which pervade his own living space and carry through to other media. Photo: Joshua Schreier, and courtesy of Hadler/Rodriguez Galleries.

December 1983 5

Letters

A Potter’s Dilemma and scratches. Not to mention the wonderful Students who take professional training, Some years ago I asked the abbot of our stacked forms. I may not have the right per­ or actually stick with it and get a degree from monastery if I could make pottery; he said spective to appreciate Pete’s work. I still re­ a school suffering from faculty burnout are okay. In order to find the money for this spect his lifelong attempt to express himself at best wasting their time, their money, and operation I collected black walnuts that grow artistically. But if this is the stuff of legends, possibly learning counter-productive habits. on the abbey property. These sold for about then I believe there are hundreds of mere In the worst scenario a student’s potential $2 per potato sack. I must have picked a mortals who deserve the same status. can be killed by a system designed to protect million black walnuts that fall. Brian Archenbault the teacher. Some of the monks asked me what I was Denton, Tex. Who is to be served by the schools? Are doing. I said: “I’m making glazes.” “And how schools to be protected environments for do you make a glaze from a black walnut?” Voulkos and Rauschenberg teachers, or do teachers work for students? they asked. After reading “Peter Vonlkos in Japan” Consider what would happen to the same “Well, you take the black walnuts to the and “Voulkos on Voulkos,” I quickly turned sort of nonproductivity in the commercial corner grocery store where they give you $2 the page and—zap—Pete changed my life world. per sack. Then you take the $2 to the pottery again. That plate with triangle brought love This letter is not only directed to teachers, supply store where they give you glaze ma­ tears to my eyes. Like life, just when you but also to students who have an obligation terial.” think you’ve got it figured out, it all changes. to demand all they are paying for, and to put I remembered that experience when I read Thanks again and again, Pete. You’re more forth their greatest effort. If you are not a Angela Fina’s very fine article “A Potter’s incredible than any of us know. good student you can hardly expect your Dilemma” (October, page 32). It seems to But, come on letter writers, why all this teacher to fill the gap. me it is always very helpful if you really condemnation of Robert Rauschenberg and My suggestion: Take a good long look at know what you are doing. When you are his work? What do you want him to do, act yourself, teacher or student. If you don’t be­ involved with clay, are you making a living, poor because it’s cool for artists to be poor? long where you are, and you can’t change to having fun, exploring your inner being, mak­ This conventional thinking and ridiculous the point where it is beneficial for all, then ing useful and beautiful objects to bring joy judgment of others and what they make is get out. to the hearts of friends or a combination of what keeps most of us from making art. I Name withheld by request all these? know—this is also a judgment. Pass out the Personally I find that if I really know what stones. I am currently teaching full time and de­ I am doing at any one moment, the dilemmas Rick Berman voting 45-50 hours a week to throwing in seem to disappear. Atlanta preparation for upcoming shows. I’m sure Anthony Bellesorte that other potters/teachers must find them­ Vina, Calif. Rauschenberg Ceramics selves in the same position. Articles concern­ I read CM and wonder how some artists ing the appropriation of time, production October Letters merit publication. Please, no more of the schedules, etc. would be of interest to many To Richard Overman: “to be a notable pot­ Sanibel Island resident. of us with time limitations. ter like John Leach” takes more than a beard. Mary Mollgren Edward Zembrzuski It takes talent, hard work, dedication, out­ Belvidere, 111. Natrona Heights, Pa. standing personality, a wonderful family— and a red beard. I know. I read the Summer Let’s keep art in mind. Ceramics has for­ Beware the Zen-like Vortex issue and went to Muchelney. tunately slipped the bounds of crafts. Let’s It’s really exasperating and at times pain­ Virginia Bailes teach craft readers they have limited their ful reading CM, because it’s continually filled Strasburg, Pa. own scope by limiting their education and with people going on about ceramics in a perspective. This concept is defined by the disgustingly self-indulgent way. Is that the Voulkos in Japan letters previously published as comments on way people talk these days in America? I Is the author Junko Iwabuchi (“Peter Rauschenberg. quote: “these nonrepresentational surfaces are Voulkos in Japan,” September) a real per­ D. A. Mitchell content free and may be read from any cul­ son? My first reaction was that CM was Spring Valley, Calif. tural context”; and again, “each object is a pulling my leg. The name “Junko” expresses fragment of this world; the characters are my feelings for Voulkos’s work. After seeing Quality in Education benevolent creatures documenting my jour­ him in person at a workshop and seeing his Recently I have become more than con­ ney . . .”; “all processes in art are like instru­ work I’m still searching for an answer. Is cerned about the quality of education in a ments to musicians . . .”; etc., etc., etc. Who Voulkos playing a joke on us? very high percentage of ceramic departments wants to know about all this? The only things Frank Mitch across the United States. I have visited schools I look at are the photos, the ads, techniques, Akron where teachers, even though minimally ca­ occasionally the comments, and the sugges­ She is quite real.—Ed. pable artists and potters, seem to hate what tions. It’s such a shame because for better or they do. These teachers don’t often make ob­ worse we are all being sucked into this self- I wish CM writers would quit referring jects in clay; they still do demonstrate, or at indulgent Zen-like vortex. It’s almost as if to Peter Voulkos as a legend. I don’t dispute least some do. They’re simply not involved. Uncle Bernie isn’t dead and nobody is going his role as a catalyst for modern clay trends Interestingly enough, this form of burnout to allow him to die either. and philosophies, but I always grimace when seems to be condoned and supported by the The alternative is this: The same way you I hear adulation such as “legend,” “immor­ tenure system in most colleges and universi­ write about Cretan, Columbian, Turkish, tal” or “peerless.” This is especially true when ties. Teachers are allowed to remain at these African or whatever potters, write about it concerns someone who has devoted much schools for various reasons, all very justifi­ yourselves. Leave out the so-called in-depth time to and made much spending money from able by teachers and school administrations personal construct approach. That’s not creating simple, ugly, heavy plates with holes alike. Yet it simply does not work. Continued

December 1983 7

Letters such a mess. Art is art. Let’s just all strive achieving new personal insights and growth, for excellence in whatever we undertake. for stimulating one’s fantasy. Please keep on teaching anything. If I ask why you do such Please eliminate this nonsense even if there showing us the entire ceramic spectrum. Never and such, and you reply, “to provide a better are only two noteworthy letters each month. give in to the demands of the narrow-minded; surface for burnishing,” I’d be delighted to It would be worth it. they only lead to sterility and isolation (as listen to you. There is someone speaking in Yvonne George history proves). Sometimes people’s letters ringingly clear tones (“John Kudlacek,” Feb­ Houston really give me the chills. ruary 1983). However, should you start by Ronald De Neve saying that the idea is to “present ambiguity Let’s have more pictures, less psycho­ De Pinte, Belgium and mutually exclusive visual cues ... to re­ babble about “inner structures of meaning,” flect a vision of our time” (Robert Kibler’s “experiential motivations” and other such art Midwest Potters’ Economy Alive “Resting Places,” February 1983), then eyes critic rubbish. Tom Wolfe could do us potters I’d like to see more about Oklahoma, Ar­ will roll skyward and miraculously one great some good. kansas and Kansas potters. There are some chasm will appear. Boredom will set in and J. Miller interesting things going on out here, but they a movement elsewhere will take place, leav­ East Grand Forks, Minn. are rarely published. I know lots of potters ing the sentence to trail off into silence. who are basically self-taught and are making W W. Hawes I am a studio potter working alone, so I a pretty good living doing the thing they en­ Barcelona, Spain like to see technical information and other joy most—throwing pots. I’ve been doing the people’s working methods. I see this as a show circuit myself for about ten years, and Subscribers’ Comments sharing of ideas, not “how-to” as some people by now pretty well know the major exhibi­ Art can surely get in the way of a lot of complain. tors. I’ve observed more out-of-state potters good pots. Lois Romanow coming through our shows recently. The Bowen Dickson Beaconsfield, Quebec economy is still alive here and sales are hold­ Kingston, Wash. ing up well for most of us. I am puzzled at the funk-functional ar­ Earline Strom Sincere letters on articles, shows, etc., would gument: I like them both; there is room for Stillwater, Okla. be appreciated but the ongoing gibberish be­ the clay artist and the craftsman in CM. The tween art/funk, functional (“real potters”— world of creative expression is a large one. Share your thoughts with other readers. All ugh!) and nonfunctional makes me sick. If Cathleen 0. Thomas letters must be signed, but names will be this kind of tolerance of fellow artists is re­ Clarksville, Tenn. withheld on request. Address: The Editor; flective of social tolerance in these critics, no Ceramics Monthly, Box 12448, Columbus, wonder the world we live in (and pot in) is Diversity is the basis for discovery, for Ohio 43212.

December 1983 9 10 Ceramics Monthly Where to Show exhibitions, fairs, festivals and sales

Send announcements of juried exhibitions, fairs, Jack Jauquet. Cash awards. Send self-addressed, Craft Enterprises, Box 10, New Paltz, New York festivals and sales at least four months before the stamped envelope to: Patti Brown/Joan Dobrin, 12561; or call: (914) 255-0039.^ entry deadline to: The Editor, Ceramics Monthly, Associated Art Organizations Gallery, 698 Main January 13, 1984 entry deadline Box 12448, Columbus, Ohio 43212; or call: (614) St., Buffalo 14202. New York, New York “WBAI Spring Crafts 488-8236. Add one month for listings in July and Fair” (May 18-20 and June 1-3, 1984) is juried two months for those in August. Regional Exhibitions from 5 slides. Entry fee: $10. Booth fee: $275. Send self-addressed, stamped envelope to: Matthew Al- International Exhibitions December 30 entry deadline perin, WBAI Crafts Fair, Box 90, Warwick, New Boston, Massachusetts “New England Re­ York 10990; or call: (212) 279-0707. January 10, 1984 entry deadline gional Clay Juried Exhibition” (April 3-May 18, January 15, 1984 entry deadline Vallauris, France Ninth “Biennale Interna­ 1984) is open to residents of Connecticut, Maine, Rhinebeck, New York “Rhinebeck Craft Fair” tionale de Ceramique d’Art de Vallauris” (July Massachusetts, New Hampshire, Rhode Island and (June 18-24, 1984) is juried from 5 slides. Entry 6-September 15, 1984) is juried from 5x7 color Vermont. Juried from 6 slides. Send a self-ad­ fee: $5. Booth fee: $250 for a 1 Ox 10-foot space. photographs, up to 2 entries. Awards. Contact: dressed, stamped (37^) envelope to: BVAU, New Contact: Mil Productions, Box 93, Vernon, Con­ Comite de la Biennale, Hotel de Ville, 06220 Val­ England Regional Clay, 77 N. Washington St., necticut 06066; or call: (203) 871-7914 or 745- lauris; or call: 64-24-24. Boston 02114; or call (617) 227-3076. 5071. January 24, 1984 entry deadline January 6, 1984 entry deadline January 20, 1984 entry deadline Newport, Rhode Island “Raku and Smoke San Angelo, Texas “Ceramic Competition ’84” Birmingham, Alabama “Birmingham Art North America” (April 6-May 21, 1984) is open (February 13-March 16, 1984) is open to resi­ Connection” (April 13-14, 1984) is juried from 3 to artists from Canada, Mexico and the United dents of Arkansas, Kansas, Louisiana, New Mex­ slides of work and 1 of display. Jurors: Ivan Carp States. Jurors: Richard Hirsch and Wayne Higby. ico, Texas and Oklahoma. Juried from slides. Fee: and Paul Brach. $12,000 in awards. Contact: Ei­ Awards. Contact: Raku and Smoke North Amer­ $10 for up to 3 works. For further information leen Kunzman, Operation New Birmingham, Suite ica, c/o The Newport Art Museum, 76 Bellevue contact: Martha Wittstruck, Art and Music De­ 501, Commerce Center, 2027 First Ave., N, Bir­ Ave., Newport 02840. partment, Angelo State University, San Angelo mingham 35203; or call: (205) 254-2626. 76909; or call: (915) 942-2223. Saint Louis, Missouri “Laclede’s Landing/ National Exhibitions January 8, 1984 entry deadline Coors Artists’ Showcase” (June 2-3, 1984) is ju­ Detroit, Michigan “Michigan Ceramics ’84” ried from 5 slides. Application fee: $5; booth fee: January 5, 1984 entry deadline (February 10-28, 1984) is open to former and $75. No commission. Contact: Artists’ Showcase, La Grange, Georgia “La Grange National IX” current Michigan Potters Association members, c/o First Street Forum Arts Center, 717 N. First (March 9-31, 1984) is juried from slides; maxi­ and residents of Michigan and Windsor, Ontario, St., Saint Louis 63102; or call: (314) 421-3791. mum 3 entries. Fee: $10 per category (sculpture, Canada. Juried from 3 works. Juror: Anne Chris­ Sugar Loaf, New York Tenth annual “Sugar crafts, photography). Juror: Andy Nasisse. $5000 tenson. Fee: $10 for members, $20 for nonmem­ Loaf Crafts Festival” (May 19-20, 1984) is juried in purchase awards. Contact: Leslie Celis, Lamar bers. Contact: Michigan Ceramics ’84, 4241 from 3 slides of work, 1 of booth. Entry fee: $5; Dodd Art Center, LaGrange College, LaGrange Crestline Dr., Ann Arbor, Michigan 48103. booth fees: $75-$100. Send self-addressed, stamped, 30240; or call: (404) 884-1040. January 18, 1984 entry deadline business envelope to: Dori Denninger, Box 339, January 10, 1984 entry deadline Belleair, Florida “Ceramics Southeast” (March Sugar Loaf 10981; or call: (914) 469-2391. Rochester, New York “Introspectives” (March 23-April 22, 1984) is open to residents of Ala­ January 27, 1984 entry deadline 17—April 28, 1984) is open to women artists. Ju­ bama, Florida, Georgia, Kentucky, Louisiana, Guilford, Connecticut “27th Annual Guilford ried from slides. $1500 in awards. Send self-ad­ Mississippi, North Carolina, South Carolina, Handcrafts Exposition” (July 19-21, 1984) is ju­ dressed, stamped envelope to: Introspectives, Pyr­ Tennessee and Virginia. Juried from slides. Fee: ried from 5 slides. Fee: $10. Awards. Contact: amid Arts Center, 163 Saint Paul St., Rochester $12 for 2 entries. $2000 in awards. Contact: Ce­ Guilford Handcrafts EXPO 1984, Box 221, Guil­ 14604; or call: (716) 232-1376. ramics Southeast, Florida Gulf Coast Art Center, ford 06437; or call: (203) 453-5947. January 13, 1984 entry deadline 222 Ponce de Leon Blvd., Belleair 33516; or call: February 1, 1984 entry deadline Pensacola, Florida Pensacola Junior College’s (813) 584-8634. Indianapolis, Indiana “Talbot Street Fair” “National Portrait Exhibition” (March 9-30, 1984) January 29, 1984 entry deadline (June 9-10, 1984) is juried from slides. Awards. is juried from slides. Fee: $10 for up to 3 works. Huntington, West Virginia “Exhibition 280: Fees: $30 for Indiana Artist-Craftsmen members, $1500 in purchase awards. Contact: Allan Peter­ Works on Walls” (March 4-April 8, 1984) is open $50 for nonmembers. Contact: Talbot Street Fair son, Visual Arts Gallery, Pensacola Junior Col­ to artists living within 280 miles of Huntington. Committee, Box 479, Danville, Indiana 46122. lege, 1000 College Blvd., Pensacola 32504. Juried from works (wall-mounted forms only). Ju­ February 4, 1984 entry deadline February 5, 1984 entry deadline rors: Deborah Frumkin, Clair List and Addison Winnetka, Illinois “11 th Annual Midwest Craft Murfreesboro, Tennessee “Currents ’84” bien­ Page. Contact: Huntington Galleries, Park Hills, Festival 1984” (May 19-20, 1984) is juried from nial crafts competition (March 5-April 6, 1984) Huntington 25701; or call: (304) 529-2701. 5 slides. Awards. Contact: North Shore Art League, is juried from slides of up to 3 works. Fee: $10. March 1, 1984 entry deadline 620 Lincoln Ave. Winnetka 60093; or call: (312) Contact: “Currents ’84,” Art Department, Middle Rockville, Maryland The 16th “Biennial Cre­ 446-2870. Tennessee State University, Box 25, Murfreesboro ative Crafts Council Exhibition” (April 29-May February 8, 1984 entry deadline 37132; or call: (615) 898-2455. 26, 1984) is open to residents of the District of Knoxville, Tennessee The 24th annual “Dog­ February 14, 1984 entry deadline Columbia, Maryland and Virginia. Juried from wood Arts Festival” (April 13-15, 1984) is juried Highland Park, Illinois “The Cup Invitation­ works. Awards. Contact: Marcia Jestaedt, 13300 from 5 slides. Entry fee: $5. Booth fee: $15 for a al” (March 31-May 2,1984) is juried from 3 slides Forest Dr., Mitchellville, Maryland 20716. 10x10-foot space. Contact: Dogwood Crafts Fair, and resume. Send self-addressed, stamped enve­ May 12, 1984 entry deadline 203 Fort Hill Bldg., Knoxville 37915; or call: (615) lope to: Martha Schneider Gallery, 124 S. Deere Toledo, Ohio “66th Annual Toledo Area Art­ 637-4561. Park Dr., Highland Park 60035; or call: (312) ists’ Exhibition” (June 17-July 8, 1984) is open February 15, 1984 entry deadline 433-4420. to residents of northwestern Ohio and southeastern Bethesda, Maryland “First Annual American February 15, 1984 entry deadline Michigan. Juried from works, up to 3 entries. Fee: Designer Craftsmen Festival” (June 22-24, 1984) Cuyahoga Falls, Ohio “Fiber and Clay Na­ $10. Contact: Toledo Museum of Art, Box 1013, is juried from 5 slides. Fee: $130. Send self-ad- tional ’84” (April 1-30, 1984) is juried from slides Toledo 43697; or call: (419) 255-8000. dressed, stamped envelope to: American Designer of up to 3 entries. Cash awards. Fee: $10. Contact: Craftsmen, Marvin Cohen/Michael Strailey, 5704 Claudia Zeber, Cuyahoga Valley Art Center, 1886 Fairs, Festivals and Sales Dimes Rd., Rockville, Maryland 20855; or call: Front St., Cuyahoga Falls 44221. (301) 340-2320. March 1, 1984 entry deadline December 16 entry deadline Worcester, Massachusetts “Worcester Craft Lancaster, California “Desert West Juried Art Milwaukee, Wisconsin “Mayfair Art Fair” Center 14th Annual Craft Fair” (May 18-20,1984) Show” (April 7-12, 1984) is juried from 3 slides. (January 14-15, 1984) is juried from slides. Fee: is juried from 5 slides. Entry fee: $15. Booth fee: Fee: $5 per entry. Contact: Desert West Juried $50. Contact: Cathy Brown, 2500 N. Mayfair Rd., $120 for an 8x 10-foot space. Contact: Worcester Art Show, Box 2811, Lancaster 93539; or call: Milwaukee 53226; or call: (414) 453-6026. Craft Center, 25 Sagamore Rd., Worcester 01605; (805) 948-5886 or 942-0644. January 7, 1984 entry deadline or call: (617) 753-8183. April 25, 1984 entry deadline West Springfield, Massachusetts “ACC Craft- Center Hall, Pennsylvania “First Annual Buffalo, New York “Created by Hand Exhi­ fair West Springfield,” formerly “Rhinebeck,” (June American Designer Craftsmen Festival at the bition” (June 9-July 5, 1984) is juried from slides 19-24, 1984) is juried from 5 slides. Entry fee: Fairgrounds” (May 18-20, 1984) is juried from 5 of 2 works. Fee: $15. Jurors: Nancy Belfer and $20. Booth fees: $300-$650. Contact: American Please Turn to Page 88

December 1983 11 12 Ceramics Monthly Questions Answered by the CM Technical Staff

Q During a recent firing, my forced-air kiln was subjected to a power outage which lasted for about three hours. Because the cones were committed, I decided to cool the kiln, put in new cones, and begin the gas firing again in a typical manner. But on opening the door when the kiln was cool, I found that a high percentage of the ware had broken. This has never happened before, and I can't figure out why it should have happened simply because of a false start and power failure. I earn my living from making pots, and it’s important for me to understand this so that it doesn't happen again. Any help you can provide would be appreciated.—R.G. There are a few possible answers to the problem you’ve expe­ rienced, but the most logical one is that your kiln lost power very close to a quartz inversion temperature. Robert Fournier, in his book “The Illustrated Dictionary of Practical Pottery,” notes that “the failure of a kiln at around the inversion point can lead to severe shattering of pottery.” It is unlikely you will experience this problem again, as even if your kiln loses power during another firing, the odds are against it doing so at a point close to quartz inversion. Technically speaking, the shattering results from an uneven and drastic change in the linear expansion of quartz and other free silica in the body. This expansion may be as much as 1% of the ware’s various dimensions in addition to the normal expansion of silica and the other clay materials. It’s a good idea to avoid fast changes in temperature when the pyrometer indicates the kiln temperature is in the vicinity of 1058°F (570°C) and 1922°F (1050°C), where quartz inversion takes place. Avoiding these changes will undoubt­ edly prevent major shattering in the future.

Q Do you have any suggestions about “firing down”an electric kiln that cools too fast? I want to eliminate crazing that I get whenever glazes cool too rapidly.—C.J. Most kilns, with insulating fiberbrick walls from 2½ to 3 inches thick, and particularly those with only refractory fiber insulation, will usually turn out glazes with less flaws if some firing down is applied. A basic firing-down schedule begins with about half an hour on medium or on the midpoint setting as soon as the kiln reaches peak temperature. Some potters extend this soaking period as long as four hours in order to allow gases to come out of solution, to eliminate craters and pinholes, and especially to encourage the growth of micro- and macrocrystalline patterns which break up and make the visual texture of oxidation glazes more interesting. Beyond this, the kiln can be put on low settings until the cooling decline ceases, thereafter letting the kiln cool at its own rate. Insofar as these measures dissolve silica from the clay body into the glaze/ body interface, they help to eliminate crazing. But whenever the shrinkage differential between body and glaze is too great, crazing is only delayed by a slow cooling—such works will craze later any­ way. Since this shrinkage differential is the most common cause of crazing, I suggest you try adding silica to your glaze before at­ tempting a standard firing-down schedule that may prove time con­ suming and bothersome. Try adding 2% increments of flint up to a 10% addition to the dry glaze batch weight. Repeatedly subject the test tiles to heat stress by going from room temperature to boiling water and back to room temperature to see which glazes will not craze under such stresses.

Subscribers’ inquiries are welcome and those of general interest will be answered in this column. Due to volume, letters may not be answered personally. Send questions to: Technical Staff, Ceramics Monthly, Box 12448, Columbus, Ohio 43212.

December 1983 13 14 Ceramics Monthly Itinerary conferences, exhibitions, workshops, fairs and other events to attend

Send announcements of conferences, exhibitions, North Carolina, Winston-Salem through De­ 1984 Dick Evans, porcelain vessels; at the John workshops, juried fairs and other events at least cember 30 Ron Dale, sculpture; at Southeastern Michael Kohler Arts Center, 608 New York Ave. seven weeks before the month of opening to: The Center for Contemporary Art, 750 Marguerite Dr. Editor, Ceramics Monthly, Box 12448, Columbus, Oregon, Gresham through December 30 Lil­ Group Exhibitions Ohio 43212; or call: (614) 488-8236. Add one lian Pitt, raku masks; at Gresham City Hall, Mu­ month for listings in July and two months for those nicipal Educational and Service Center, 1333 N.W. Arizona, Phoenix through February 15, in August. Eastman Ave. 1984 “Gifts of Mother Earth: Ceramics in the Pennsylvania, Erie December 4-January 1, Zuni Tradition.” December 10-January 15, International Conferences 1984 Mark Stanczyk, sculpture; at the Erie Art 1984 The 17th annual “CLAY (Ceramists Liv­ Museum, 338 W. Sixth St. ing Among You) Exhibit,” works by 118 area pot- Canada, Ontario, Toronto February 23-25, Wisconsin, Sheboygan through January 8, Continued 1984 The 72nd annual meeting of the College Art Association of America (at the Sheraton Centre) will include sessions on art history and studio art. A placement service is provided for those interested in college teaching, art administration and related fields. Contact: College Art Association of Amer­ ica, 149 Madison Ave., New York, New York 10016; or call: (212) 889-2113. Massachusetts, Boston April 5-6, 1984 The annual conference of the International Academy of Ceramics, a worldwide invitational organiza­ tion, will meet at the Boston Museum of Fine Arts. Surrounding these dates are associated tours and events in Alfred, Syracuse and New York, New York; and Seattle, Washington. Nonmembers also welcome; registration fee. Contact: David Davison, Ceramics Department, Museum School, 230 The Fenway, Boston 02115.

Conferences Massachusetts, Boston April 9-12, 1984 The annual conference of the National Council on Ed­ ucation for the Ceramic Arts (NCECA); at Boston University, Massachusetts College of Art and the School of the Museum of Fine Arts. Contact: Dav­ id Davison, Ceramics Department, Museum School, 230 The Fenway, Boston 02115. Pennsylvania, Pittsburgh April 30-May 1, 1984 The American Ceramic Society’s annual meeting will focus on “History and Prehistory of Ceramic Art, Science and Technology.” Registration fee: $30. Contact: American Ceramic Society, 65 Ceramic Drive, Columbus, Ohio 43214; or call: (614) 268- 8645.

Solo Exhibitions Arizona, Scottsdale December 1-January 1, 1984 Theresa Bayer, miniature porcelain sculp­ ture; at the Hand and the Spirit Crafts Gallery, 4222 N. Marshall Way. California, La Jolla through January 1, 1984 Laura Andreson; at Gallery Eight, 7464 Girard Avenue. California, San Francisco through December 31 Dorothy Hafner; at Meyer Breier Weiss, Bldg. A, Fort Mason Center. Colorado, Golden December 18-January 18, 1984 Cheryl Lenz, “Excerpts from a Family Al­ bum in Clay”; at the Foothills Art Center, 809 Fifteenth St. Indiana, Indianapolis December 1-31 Scott Frankenberger, pottery; at the Indianapolis Mu­ seum of Art, 1200 W. 38 St. Louisiana, New Orleans through December 18 Toby Buonagurio, sculpture; at Contempo­ rary Arts Center, 900 Camp St. Michigan, Lathrup Village December 10-31 Bennett Bean; at Venture Gallery, 28235 South­ field Rd. Missouri, Kansas City December 9-January 6, 1984 Jim Leedy, sculpture; at Morgan Gallery, 1616 Westport Rd. New York, New York through December 22 Marvin Bjurlin; at Convergence, 484 Broome St. New York, Syracuse through January 8, 1984 “Beatrice Wood Retrospective”; at Everson Mu­ seum of Art, 401 Harrison St. December 1983 15 16 C eramics Monthly Pennsylvania Ave. at Seventeenth Street, NW. Illinois, Highland Park through December 9 Itinerary Florida, South Miami through December 3 Elaine and Tom Coleman, porcelain. Decem­ ters; at the Heard Museum, 22 East Monte Vista “Trifecta” includes Neil Tetkowski, ves­ ber 10-January 12, 1984 “Happy Holidays” show; Road. sels. December 7-31 “No Gift Like the Pres­ at Martha Schneider Gallery, 124 South Deere. Arizona, Scottsdale through January 12, ent”; at Netsky Gallery, 5759 Sunset Dr. Park Dr. 1984 Dora Hernandez and Lynn Smith, “New Idaho, Boise December 16-January 15, Illinois, Naperville through January 6, 1984 Faces, New Spaces”; at Mind’s Eye Gallery, 4200 1984 “Selections from Boise Corporate Collec­ Marcy Glick, pastel-colored vessels and wall forms; N. Marshall Way. tions”; at the Boise Gallery of Art, 670 S. Julia Sue Potts, fantasy sculpture; Hugh Spector, ar­ December 1-January 7, 1984 “Mingei-sota,” Davis Dr. chitectural constructions; Doug Stock, assem­ featuring Minnesota potters working in the Jap­ Illinois, Chicago through February 14, 1984 blages; at Ariel Gallery, 15 W. Jefferson Ave. anese folk tradition selected by and including War­ “Treasures from the Shanghai Museum, 6,000 Years Inaiana, Indianapolis through January 27^, ren MacKenzie; at the Hand and the Spirit Crafts of Chinese Art,” 232 objects from prehistoric to 1984 “Eighteenth-Century English Porcelain”; Gallery, 4222 N. Marshall Way. modern times; at the Field Museum of Natural at the Indianapolis Museum of Art, 1200 West 38 California, Encinitas December 3-31 “Annual History, Roosevelt Rd. at Lake Shore Dr. Street. Holiday Show,” including Nancy Gordon, porce­ December 10-January 29, 1984 “The Pennsyl­ Iowa, Ames December 4-January 29, 1984 lain; and Gwenn Truax, stoneware; at Offtrack vania Germans: A Celebration of Their Arts “Clay/Fiber/Paper-as-Medium ’84”; at the Oc­ Gallery, 510 N. Highway 101. 1683-1850”; at the Art Institute of Chicago, tagon Center for the Arts, 427 Douglas. California, Grass Valley December 4-January Michigan Ave. at Adams St. Please Turn to Page 66 2, 1984 Marianne De Martini, Carole Orr-Mil- ler, Tex Miller, pottery; at the Galleria, 151-1 W. McKnight Way. California, Los Angeles through December 24 “Teapots”; at Garth Clark Gallery, 5820 Wil- shire Blvd. through January 1, 1984 “German Faience from the Hans Cohn and Siegfried Kramarsky Collec­ tions.” through January 22, 1984 “German Expressionist Sculpture.” December 20-February 26, 1984 “The Shogun Age,” 300 Japanese art­ works from the mid-14th to 19th centuries; at the Los Angeles County Museum of Art, 1905 Wil- shire Blvd. December 4-January 5, 1984 Carole Aoki, Cur­ tis and Suzan Benzie, Catharine Hiersoux, Susan Kiok, Sema Kamrass, Susan Sapareto and Linda Spiegal; at the Rodell/Retreat Gallery, 11717 San Vicente Blvd. California, Oakland through December 31 Joyce Howe, Sandra Johnstone, Eunice Prieto and Jan Schachter, “For Everyday Use”; at Collector’s Gallery, Oakland Museum, 1000 Oak St. California, Santa Barbara December 3-Febru­ ary 12, 1984 “From Avery to Zurbaran,” an ex­ hibition of historical and contemporary work from the permanent collection; at the Santa Barbara Museum of Art, 1130 State St. California, Westlake Village through January 7, 1984 “The Great American Tea Party”; at the Retreat Gallery, 3865 E. Thousand Oaks Blvd. Colorado, Colorado Springs December 7-28 “The Commonwheel Artists 7th Juried Fine Arts Show”; at the Equitable Bldg. Colorado, Denver through January 8, 1984 “The Heritage of Tlanuwa: Prehistoric Arts from the Southeast”; at the Denver Art Museum, 100 W. 14 Ave. Pkwy. Connecticut, Middletown through December 11 “Wesleyan Potters 28th Annual Exhibit and Sale”; at 350 S. Main St., Rte. 17. Connecticut, New Canaan through December 24 “Annual Christmas Exhibition and Sale” by guild artists; at Silvermine Guild Center for the Arts, 1037 Silvermine Rd. through December 31 “Christmas ’83”; at Webb & Parsons, 134 Elm St. Connecticut, New Haven through December 23 “15th Annual Celebration of American Crafts,” national invitational and juried exhibition; at Cre­ ative Arts Workshop, 80 Audubon St. through January 9, 1984 “Holiday” on Upper State Street, includes the work of 30 American artists; at Endleman-Kraus Galleries, 981 State St. D.C., Washington through December 31 “Jap­ anese Ceramics from Past to Present”; at the Freer Gallery of Art, Jefferson Dr. and Twelfth St., SW. through January 8, 1984 “Art of Aztec Mexico: Treasures of Tenochtitlan,” includes polychrome ceramics; at the National Gallery of Art, Fourth St. at Constitution Ave., NW. through January 31, 1984 “Ban Chiang: Dis­ covery of a Lost Bronze Age”; at the National Museum of Natural History, Tenth St. and Con­ stitution Ave., NW. through June 17, 1984 “Clay for Walls.” December 16-February 26, 1984 “Contemporary Australian Ceramics”; at the Renwick Gallery, December 1983 17 18 Ceramics Monthly Suggestions from our readers

Bigware Stilts Fire large objects on small chunks of softbrick to ensure even a flat plywood surface can be installed (if needed) above this to hold heating on the bottom of the pot, thus reducing the chance of crack­ ware for glazing. Cut a 14-inch-square hole in the back at the top ing. —Chris Belleau, Sheboygan, Wis. to accommodate an exhaust fan; a furnace filter over the hole will pick up the overspray and prevent the fan from becoming clogged. Making a Glaze Spray Booth Finally, a coat of white gloss enamel will allow easy cleaning. An excellent spray booth can be made from an old refrigerator, —Tom Howarth and Phil Antonelli, Silverton, Colo. preferably the type with a freezer on the bottom. Remove the doors and take the insulation out down to the metal. (Save the light fixture Rolled Texture Laying string on soft clay slabs and then pressing in with a rolling pin is a simple way to make interesting texture and design. — Val Prophet, Dillon, Mont.

Inexpensive and Efficient Mixing Mason canning jars are available in various sizes, and are ideal for holding tests, small quantities of glaze, slips and even kiln wash. The standard-mouth jar fits the cutter assembly of Oster and Ken- more blenders so that mixing and storing ceramic materials can be accomplished in a single container. An added convenience is that these jars also fit most airless spray equipment. —Ronalee Herrman, Santa Barbara, Calif.

Dollars for Your Ideas Ceramics Monthly pays $10 for each suggestion published; submis­ sions are welcome individually or in quantity. Include an illustration or photo to accompany your suggestion and we will pay $10 more and reinstall it later to illuminate the spray compartment.) The if we use it. Send your ideas to CM, Box 12448, Columbus, Ohio bottom freezer section should easily hold a small compressor, and 43212. Sorry, but we can’t acknowledge or return unused items.

December 1983 19 20 Ceramics Monthly Comment Carpal Tunnel Syndrome by Ron Sering and Chuck Steinberg, M.D.

WITH PREPARATIONS for Christmas where it was obvious something was going into high gear, rigorous throwing wrong; my right hand was so numb that schedules will require long hours at the it was almost paralyzed. I couldn’t even wheel. Soreness in the wrist and hands hold a pencil.” may be a normal result of added exer­ It is worth mentioning that entrap­ tion. However, pain and stiffness might ment of the nerves within the carpal tun­ be the early symptoms of carpal tunnel nel may not necessarily be due to oc­ syndrome. cupation. Rheumatoid arthritis, lupus Research on this malady currently is or sclerodoma (hardening of the con­ in preliminary stages. What is known is nective tissue) are also conditions that that the disorder is more prevalent may produce carpal tunnel syndrome. among—but not restricted to—women The swelling that accompanies preg­ and that it somehow involves repetitive nancy or menstruation may cause in­ movements of the wrist. flammation in joints and connective tis­ The carpal tunnel is a narrow com­ sue. A previous injury, such as a fractured partment formed on one side by the bones wrist, might further reduce available of the wrist, and on the other side by carpal tunnel space. the transverse carpal ligament, a wide If such conditions do not exist, then band of connective tissue that spans the the most likely cause of carpal tunnel bottom of the wrist. Through this nar­ syndrome is trauma, or injury. The car­ row passageway run many of the ten­ pal tunnel is a very compact structure; dons and nerves of the hand; it is the there is usually ample room to accom­ crowded nature of this compartment that modate normal wrist movements. But if creates the potential for carpal tunnel for any reason this area becomes con­ syndrome. stricted, nerve entrapment is possible. If the structures that run through the Jack Zellner, Boulder chiropractic tunnel enlarge, or the boundaries some­ doctor, observed: “If the radius and ulna how constrict, the median nerve con­ (the two large bones that comprise the trolling the actions of the thumb and first forearm) are pushed into the wrist three fingers of the hand may be trapped through throwing or centering on the against the transverse carpal ligament. wheel, the effect is for them to spread The result is interruption of nerve im­ apart at the wrist. This causes the pulses, and subsequent pain, burning or [transverse carpal] ligament to swell, and numbness in the hand. nerve impulses to be interrupted.” In the beginning stages of carpal tun­ Carpal tunnel syndrome is referred to nel syndrome, the symptoms occur mainly medically as an overuse syndrome, trau­ at night. “I began to feel numbness in ma related to repetitive activities. In­ my hands, but I didn’t really think any­ flammation, if allowed to continue, be­ thing was wrong,” said Karen Conduff, comes chronic and worsens. a potter working in Boulder, Colorado. Said Karen: “At the time my troubles “I thought that I was just sleeping on began, I was doing a lot of production them improperly because, at least at first, work at a commercial pottery, throwing the numbness went away after I got out steadily, eight hours a day. I’m sure that of bed.” had a lot to do with it.” Symptoms eventually began to persist Before examining methods of treat­ into the waking hours. Even at this point, ment, it should be noted that inflam­ pain and numbness can often be alle­ mation is a process of repair; swelling viated by rubbing or shaking the hand. and redness indicate a higher level of “I kept trying to tell myself that there blood and nutrients in the injured area, wasn’t anything wrong,” Karen re­ and the pain prevents aggravation by re- called. “But eventually it got to the point Continued

December 1983 21 22 CERAMICS MONTHLY Comment effective, and pain and numbness per­ Depending on the severity of nerve sist, simple and accurate tests can be run entrapment, it might be advantageous to striding movement. It is only the fact to determine the presence and extent of examine other forms of treatment. The that the carpal tunnel offers no room for nerve entrapment: your doctor can check factor involved in their consideration is the swelling that creates problems. reflexes in the hands (conduction tests time. If the nerve impulses have not been involving the nerve’s ability to conduct significantly hampered, there may be time Treatment a gentle electrical current give an ac­ for alternative treatments such as the fol­ Should pain and soreness occur after curate picture of its condition). lowing: a day at the wheel, the simplest treat­ Drug treatment includes the admin­ Chiropractic Primarily concerned with ment would be to place an ice pack on istering of anti-inflammatories, a family the manipulation of bones, chiropractic the wrist, much the same way an athlete of compounds divided into steroidal and treatment for carpal tunnel syndrome, might treat a sports injury. If the throw­ nonsteroidal types. Nonsteroidal anti­ according to Jack Zellner, C.D., “con­ ing schedule permits, a day of rest might inflammatories are patterned after as­ sists of trying to return the bones of the provide relief and ensure many more days pirin: administered orally, they block the wrist to their original positions. We do of productivity. A splint or elastic brace chemical process of inflammation, and this by applying opposing pressure to might support the wrist enough to allow thereby reduce swelling. Steroidal drugs the wrist, pulling it away from the hand, some activity. are related to cortisone: injected directly and gently squeezing the bones back to­ The analogy to sports injuries is ap­ into the carpal tunnel, they are more gether.” He also encourages the use of propriate because throwing is at times potent and dangerous than the oral drugs. braces for anyone prone to the condition: a strenuous physical activity; enthusi­ If nerve conduction studies indicate a “A brace can be simple or elaborate, but asm or ambition often lead to overex­ severe shutdown of impulses to the hand, its main function is to squeeze and hold ertion. To meet a rigorous work sched­ often the only alternative is surgery. the bones in place.” ule, early conditioning and strengthening Continued interruption of the nerve’s Rolfing Otherwise known as structural of the wrist (through limbering exercises function can result in shrinkage and im­ integration, this treatment is a method such as yoga) are effective preventives. pairment of the controlling muscles of of deep tissue massage developed over a For the avocational or part-time potter, the thumb. Through surgery, a portion 40-year period by Ida Rolf. “Rolfing ap­ building up gradually and avoiding of the transverse carpal ligament is re­ proaches physical therapy through the overexertion is a must. moved, thereby relieving pressure on the connective tissue,” explained Tom Wing, If preventive measures prove to be in­ nerve. Please Turn to Page 62

December 1983 23

Afghan Refugee Potters by Dennis Maust

Afghan potters, now living in Pakistani refugee camps, have maintained their livelihood through resourcefulness—they can make pots anywhere.

A GROUP OF POTTERS, after fleeing the ture, though myriad cracked pots giving pot to bat and enables bats to be used Soviet invasion of Afghanistan, have es­ strength to the surrounding courtyard several times a day. tablished a pottery in the middle of one wall testify to temperatures reached Noting that their production is cur­ of the many refugee c^mps which shelter sooner than intended. rently limited to unglazed earthenware, an estimated 2.1 million people in Pak­ The rubber is bought by weight. At I asked about their experience with glaz­ istan’s Northwest Frontier Province. Rs.l (8^) per kilo each firing costs ap­ ing and was shown a bowl they had fired Visiting their operation, I was struck by proximately Rs.120 ($9.60), but leaves in Afghanistan. The glaze was an at­ its resourcefulness. Not only their clay, behind a salable residue of wire from tractive copper red with surface texture but also their kilns, houses and mud- steel-belted tires. Although this “rebate” similar to salt-glazed pottery. My re­ walled workspace have been taken di­ isn’t very significant, every little bit counts quest for the recipe spurred a great deal rectly from the earth. since their main production item, a large of discussion, but eventually consensus Their kick wheels are ingeniously flowerpot, is sold in the local market for was reached on 4 kilograms glass ground simple: A 21/2-foot-deep hole in the ground Rs.3. The return on their investment by hand with mortar and pestle, ½ kil­ constitutes the frame. Two lateral braces seems meager, yet hundreds of pots ogram copper filings, ½ kilogram flour support the wooden head, flywheel and stacked on roofs and courtyard walls at­ (for consistency and to help the glaze shaft. A ball-bearing casing under the test to prolific production. In addition to stick to greenware), the contents of 16 flywheel completes the bill of materials. the flowerpots, there is a limited demand standard flashlight batteries, and water, The cylindrical, updraft kilns, ap­ for large, shallow washtubs; spittoons fired all day with wood. proximately 9 feet in height and 4 feet are also a popular item among the camp’s For these potters the functional versus in diameter, are made entirely of mud snuff users. nonfunctional debate is unlikely to arise. brick. The bottom fourth is the firebox, Smaller forms are thrown off the hump, They make what is marketable and that over which a perforated arch supports while larger pieces are thrown on bisqued has always been functional. The ongoing the kiln floor. An inexpensive fuel al­ clay bats, which are curved to eliminate dialogue that continually stimulates the ternative to wood has been found in old the necessity for trimming. A wedged world of ceramic art leads beyond the rubber shoes, scraps and tires. Four hours lump of clay is set down in sand then limitations of flowerpot production, but stoking achieves the desired tempera­ onto the bat. This reduces adhesion of the flow of ideas that can be assumed in

26 CERAMICS MONTHLY A hole in the ground serves as the wheel frame. Lateral wheel- Smaller forms, mostly flowerpots, are thrown off the hump, while head bracing, flywheel and shaft are of scrap lumber. larger objects are thrown on bisqued clay bats.

The bottom fourth of the cylindrical kiln Flowerpots are stacked in layers inside the For pots and potter, it's a balancing act to is the side-stoking firebox, its perforated mud brick kiln, as distant smoke attests to stack the 4-foot diameter by 61/2-foot clay roof serving as the kiln floor. another firing in progress. chamber.

December 1983 27 The firings are often fueled with scrap rubber; an inexpensive An Afghan potter unstacks a recent firing. On the local market a alternative to wood. Four hours stoking achieves temperature. large flowerpot will bring about 24c.

other areas has passed these potters by. ic creations. Paging through, they looked pressed, he tossed his new forms onto a Yet there is much to be admired in these at the kiln and electric wheel ads with pile of clay and resumed the flowerpot men who, despite the dislocation and a keenness I hadn’t anticipated, and production that has been his livelihood. uncertainty of refugee life, are able to pointed out recognizable utilitarian works. produce pots no matter where they are, Then to prove that he could produce The author An M.A. graduate in ce­ without any of the gadgetry or space- similar forms, one potter set to work ramics from James Madison University age materials available to most of us. throwing teapots and pitchers, with the in Virginia, Dennis Maust is currently I took two issues of CM to give them others collaborating on the spout and working with an international assistance a glimpse of the Western world’s ceram­ handle. Satisfied that I was duly im­ agency in Pakistan.

Even broken pots are put to use, lending strength to walls (left and right). Though current work is unglazed and sparingly decorated, pots in Afghanistan were glazed. One recipe calls for ground glass, copper filings and the contents of 16 flashlight batteries.

28 CERAMICS MONTHLY Photos: Collina & Dancsi porcelain, feathers,suspendedfrom Faenza 1983 Plexiglas form,byJo-Anne nylon filament,encasedina Caron-Devroey, Waterloo,Belgium. “Taking Wing,”11inchesinheight,

uy eetd 7 frs y 0 Italians 40 by forms 374 selected jury onl t J-ne ao-ere, Wa­ Caron-Devroey, Jo-Anne to jointly work, the 41st “Concorso Internazionale “Concorso 41st the work, elo Blim ad mdo Galassi, Emidio and Belgium, terloo, nre b 59 rit, seven-member a artists, 549 by entries 1292 of field a From 9. October through Italy, Faenza, in Esposizioni Palazzo the at exhibited was d’Arte” Ceramica della were Roberta Griffith, Otego, New York; New Otego, Griffith, Roberta were re. is pae S15 ws awarded was (S3165) place First tries. and 153competitorsfrom27othercoun­ Americans represented in the exhibition the in represented Americans States: United the from were recipients Predominantly ifornia. ana To f h sx ucae prize purchase six the of Two Faenza. n Ot ad iia en, ji Cal­ Ojai, Heino, Vivika and Otto and oet hy Clmu, ho Other Ohio. Columbus, Shay, Robert and Wyoming; Worland, Fehlberg, Paul etrn sculptural featuring “Altar,” cutandassembledrefractory Faenza. Worksonthispageshared in length,byEmidioGalassi, firebrick sculpture,26inches December 1983 the $3165firstprize.

29

Criticism: A Faenza Juror’s View by Kurt Spurey

On THE FIRST morning, the entries are because this artist won a prize last year, secretary; Claudio Marabini, Faenza crowded on tables, ordered by countries. the jury cannot exclude his/her work journalist; Trinidad Sanchez-Pacheco, Next to each object lays a card with the this year. The majority of the jury then director of the ceramics museum in Bar­ name of the artist. Going from one entry change their decisions. Approximately celona; Marcello Vannuci, Florence art to another, the members of the jury de­ half of the 1292 entries are seen by noon. critic; and myself from Vienna—the ap­ cide immediately on acceptance or re­ Giancarlo Bojani, director of the ce­ pointed jury for the 1983 “Concorso In- jection. Accepted forms are labled with ramics museum in Faenza, Italy; Edoar- ternazionale della Ceramica d’Arte”— a pink slip. Often when an entry is re­ do Dalmonte, president of the compe­ met in Faenza for three days. jected, one of the organizers indicates that, tition; Edmondo Marabini, competition Later in the first afternoon, the pres-

“Black Reverberation,” 26 inches in height, porcelain, ((Red Shift II,” cast, multifired eartheniuare, 11 inches by Giuseppe Lucietti, Bassano del Grappa, Italy. in height, by Bob Shay, Columbus.

30 Ceramics Monthly ident of the concorso tells the other ju­ tion, we get 13 artists. Now the jury is On the third day, we are supposed to rors that, if they are finished already, to examine the work of these artists. I discuss the parallel exhibition “Masters they should select some more works as suggest that each juror should explain of Ceramics,” featuring winners from there are not enough pieces to make an why he has chosen a work. After using past years. The president asks the jury exhibition; these should be marked with this procedure two or three times, it is for candidates for future exhibitions. a yellow slip. This second round adds discontinued. Names of the most famous European ce­ another 60 artists to the 137 originally In the afternoon, the jury should make ramists are mentioned and after lengthy accepted. My objection that this proce­ the final decision about the prizes. My debate, the jury finishes at noon. dure is equivalent to a loss of quality is proposal—not to appoint a first prize Because of its reputation, Faenza could rejected when the president argues that because of the low level of the work— still become an international meeting the concorso has to show a large variety. is supported only by Trinidad Sanchez- place for all who are interested in ce­ Overnight, green slips appear beside Pacheco and is rejected. Therefore, I de­ ramics. The opportunity to inform one­ objects proposed for inclusion by Edoar- cide to abstain from voting on the first self, to make contacts with artists and do Dalmonte, as the number of partic­ prize. After a longer struggle, the de­ exchange information would be gladly ipants is still too small. When I ask why cision is made to make the first prize ex used by museum people, collectors, gal­ quality should not come before quantity, aequo (two artists will receive the Pre- lery owners and artists. However, there the president answers that the organ­ mio Faenza). I agree. The rest of the must be a guarantee that a trip to Faen­ izers like to attract a great number of prizes are now given by majority vote. za would be exciting every year. Now it people and represent a lot of countries. The only prize not awarded is that for is a waste of time. In addition, he mentions that usually two- a young artist; there are only two ap­ Therefore, I propose that the concorso thirds of the entries are accepted. plicants and the jury cannot agree. be dropped for one year and the time be We then proceed to select the prize­ At this point, everyone is tired and used to find a better concept. In a letter winners. Each juror votes for six artists. wants to go home; the green slips are to all people interested in ceramics, the An artist who gets more than one vote forgotten, but I insist that we check so organizers should make a statement about is in the final round. Out of this selec­ that the worst mistakes can be avoided. how this new beginning will be realized:

“Evidence 1” porcelain and paper, 27 inches in height, “Untitled,” 26 inches in height, partially inlaid colored clay, by Erich Haberling, Wald, Switzerland. by Enrico Stropparo, Tezze sul Brenta, Italy.

December 1983 31 The jury should consist only of people continued, and the president and his as­ There are some good ones; therefore, it outside of Faenza; those from the area sistants should not be authorized to give would be more significant to give equal tend to show favoritism to entrants they any recommendations or try to influence prizes to a group of artists. The amount know personally. To avoid provincial­ the jury in any way. Such recommen­ of money concerned should be equal to ism, there should be more people from dations only prove that the artist is more fair market prices. Many artists refuse other countries appointed to the jury. To important than the work entered. I am the purchase prizes which now exist be­ familiarize himself with the work se­ reminded again of two current judging cause the amount received is only a frac­ lected as well as to influence the design criteria: two-thirds of the entrants should tion of the work’s market value. The of the concorso, the exhibition architect be accepted; every country which enters honor of being represented in the Faenza should be on the jury. The names of the should be represented. Such statistical museum does not negate the loss. jurors (and possibly a commissioner se­ criteria should be abolished. Should the The 42nd concorso should pr.esent an lected through another jury) must be an­ number of participants be too small, the overview of the best artists working in nounced in the competition guidelines. organizers could suspend the concorso the medium (note I said artists and not I would also suggest a first selection for a year, thus proving sincere interest ceramists). Such a show will create a through slides, after which those artists in artistic criteria for the medium. base for judgment in the future. If the accepted would send their work. This I imagine that to create variety, one organizers can really make this happen, would save a lot of money for artists year the exhibition could be limited to I am convinced that well-known artists whose work is rejected. young artists, making the concorso avail­ will again send work to Faenza. To win During the final jurying process, the able for discovery of new talents. Or it a prize should not be the main purpose, names of the entrants should not be placed could be a theme exhibition, but only but to be presented in this show and its next to the entries. The practice of ac­ for artistic themes. catalog. At the moment I only can warn cepting work only because the artist won Also the gradation of prizes seems to everybody who does serious work not to a prize the previous year must be dis­ be unreal. There is no “best” ceramist. submit to Faenza.

“Man and His Biosphere ” multipart sculpture, 26 inches in height, trailed decoration, by Van Sogomonyan, Erevan, Soviet Union.

32 Ceramics Monthly The 64th May Show Photos: courtesy of the Cleveland Museum Art

The Cleveland Museum of Art’s 64th Above White earthenware box, 18 inches annual “May Show” featured 33 sculp­ in height, handbuilt from poured slabs, by tural and functional objects by 25 ce­ fudith Salomon, Cleveland. ramists from a total field of 265 works by 234 artists. Clay works received first Left “Maranga I,” handbuilt earthenware, 19 inches in height, black glaze over resist, place in the crafts category and five spe­ by Richard Schneider, Cleveland Heights, cial mentions. Open to artists and crafts­ Ohio. people of Ohio’s Western Reserve dis­ trict, the 1983 competition was juried by retiring museum director Sherman E. Lee [see “A (Not So) Surprising Favor­ ite,” page 91 in the September 1983 CM]. He observed that the large number of special mentions reflects the quality of works submitted, many demonstrating a high degree of imagination and technical proficiency. December 1983 33 Illustrations: Dale Anderson and courtesy of the author harmful gaseswithoutmuchheatlossfrom 34 Ceramics the building. A directlyventedkilncanexhaustmore through a relatively vertical duct (to in­ (to duct vertical relatively a through to expel fouled air fromthebuildingdoes to expelfouled the naturaldraftcanbesupplemented ing) andoutofthebuilding.Ifnecessary, ris­ gases hot of draft natural the duce to air outdoor cold in bringing means Blowing warm. strive keep to year the of much we Vermont, in But workspace. A BetterVentforElectricKilns ue ae udd rm h kiln the from guided are fumes the vent, direct small, a With it. replace outdoors air heated of volume large a keep kiln fumes away from people in the in people from away fumes kiln keep blower powerful a engi­ with hood properly a neered, If system. blower and hood complex or expensive an using out with­ workspace the outside to kiln tric be effectively can process firing the by glazes and clay from driven fumes rosive hnee drcl fo isd a elec­ an inside from directly channeled UNPLEASANT, The M onthly nelh ad cor­ and unhealthy interior

ond w lnts f h sanes steel stainless the of lengths two joined minimized. leaks.) two tubes,butwas corrodedtorustflakes e 18 atce Mr Efcec from Efficiency “More article 1981 ber be must leakiness kiln, electric an of ing vent­ direct through effective, For porosity. brick even and holes entry element that mustfindawayoutofthechamber. glaz­ clay; the of out way their smoke or tomato juice can. It fit nicely inside the inside nicely fit It can. juice tomato in amatterofmonths. Inthecoolerparts duct with a sleeve made from a 6-ounce a from made sleeve a with duct peepholes, cracks, out through get fumes es, lustersandwaxesalsoproducefumes firing proceeds.Organiccomponentsburn is moisture the as soon As required. still is propping lid so steam, of volume n eeoig h drc vn sse, I system, vent direct the developing in of condensation fumes emittedduring firings.Atonepoint and nature corrosive instruct. manufacturers kiln as lid, open o cn id einl itiuos by distributors regional find can you reduce to ways describes Kilns” Electric these kiln, hooded or unmodified an In and is closed the lid though, off, steamed kiln-venting materials, bear in mind the mind in bear materials, kiln-venting large this handle cannot vent direct The ex­ the kilnthroughpropped pelled from is and steam to expands moisture ol aalbe t eal upir, but suppliers, retail at available monly this foot, per $4 about Costing outdoors. Flexaust Bendwayductcarriesthefumes et 093 I yu osdr alternative consider you If 01913. setts resistant and easy to cut. It is not com­ not is It cut. to easy and resistant Chestnut Street, Amesbury, Massachu­ Amesbury, Street, Chestnut lxbe uig s ihwih, corrosion lightweight, is tubing flexible the to wall the through elbow the from -nh isd daee) tils steel stainless diameter) (inside 2-inch point wheretheelbowbendsupward.A about is there that so peephole top the porcelain taperedelbowwasinsertedinto fired, thin-walled(½inch) handbuilt and ora t rmv ms o te un­ the of most wanted kilnheatfromtheworkspace. remove to doorway add weather, warm In outside. quietly go air room of amount small a and kiln work­ of the of air heated the warmth and kiln the the the of during most Thus, season heating blower. small a by otcig lxut opn, 11 Company, Flexaust contacting or window a in fan exhaust simple a the inside fumes Only the venting. of for sake away blown be not need space ¾ inch between the kiln surface and the and surface kiln the between inch ¾ A (unleaky). tight very a is with vent modified direct I that kiln cubic-foot uig h frt tg o frn, all firing, of stage first the During Even though a sectional design, the 7- the 7- sectional design, a though Even Crmc Monthly's (Ceramics Octo­ flexible metalduct. eie, emnn ehut on was point exhaust permanent refined, more a wall, kiln the of top the of inches in dnt ae pehl wti 3 within peephole a have don’t many kilns since and unloaded, or loaded is kiln the time each way the of out moved drilling aholeinthetopbrickofkiln, A permanentventmaybeinstalledby inserting stainlesssteeltubinganda equate, a small, squirrel-cage blower can blower squirrel-cage small, a equate, top peephole. This allows room air(along allows top peephole.This be incorporated in the duct near its exit its near duct the in incorporated be ih h kl fms t b dan into drawn the vent,coolingmetalductandlim­ be to fumes) kiln the with prototype my In condensation. collect to from thebuilding. iting the suction on the kiln atmosphere. kiln the on suction the iting the into fits that elbow porcelain hollow the on rests simply duct the of end kiln webs inside the duct can cut down draft, down cut can duct the inside webs In cases where natural draft is not ad­ not is draft natural where cases In slope toward the kiln with no low spots low no with kiln the toward slope must duct The occasionally. it check so (and present) direct vent application, the vent application, direct present) (and tected fromrain,birds’nests,etc.Spider haust end of the vent should be at least at be should vent the of end haust outdoor ex­ outlet; the the vent of height ural draft increases in proportion to the to proportion in increases draft ural sure againstthenaturaldraft.Goodnat­ that thereisneverwindorbuilt-uppres­ withstands temperaturesto500°Fmakes 5 feet above the top of the kiln and pro­ and kiln the of top the above feet 5 so winds prevailing from wall away outside facing an to next located is kiln or metal of sheet a perhaps through easily or most wall a roof, the through go that caulk silicone system, vent the of a good sealant. The nearly vertical duct vertical nearly The sealant. good a lxga rpaig wno pn. My pane. window a replacing Plexiglas can draft) decreases distance (horizontal ic ti pehl vn hs o be to has vent peephole this Since by T ed S catchard

developed for a ten-sided, top loading, debris out of the hole, the element grooves stainless steel-wrapped kiln. (Of course, and the inside of the kiln. I have used a the concept applies to other sizes, shapes 3-inch length of thin-walled, stainless and configurations of electric kilns.) The steel tubing, 1 inch in diameter, with the vent point is chosen by considering the outer end cut at a 45° angle, to carry most direct path up and out of the build- the fumes from inside the kiln to the 2- inch vent tube, but this section could also be made of thin (fired) porcelain. Place the stainless steel tube in the 1-inch hole on the outside of the kiln with the bevel facing up. Make a 1-inch hole (a sharp- pointed serrated kitchen knife works well) in the side of the 2-inch-diameter vent tube about 10 inches from the end and place it over the 1-inch beveled tube. The 2-inch vent tube is held to the kiln with Another exhaust method consists of a duct metal straps or a sheet metal “tent” fas­ resting on a handbuilt porcelain elbow tened to the kiln with short sheet metal inserted into the top peephole. screws. Left open at the end, the 2-inch tube is bent slightly away from the kiln ing, while making sure that the vent tube to direct condensation into an appro­ will not conflict with kiln hinges, lid brace, priately placed drip pan. the lid in the open position, and access An alternative (that I have not tried for loading and unloading. Viewing the but believe would work well and elim­ top of the kiln as a clock face with 12:00 inate many of the metalworking chores) at the hinge, I have placed the vent hole involves drilling a ¾-inch or 1-inch hole centered in the top brick at 11:00 on in the center of the kiln lid. The cor­ several kilns and at 2:00 on others. Us­ rosive (to bricks as well as metal) vapors ing an electric drill, start by drilling a pass through a ceramic tube set partially ½-inch hole from the inside through the into the kiln lid. The tube is part of a center of the chosen firebrick until a dot clay piece thrown specifically to sit on is raised on the stainless steel exterior. top of the lid, letting fumes pass up Retract the drill, invert the dot with a through the clay piece’s center. Thrown center punch, then drill through the shell something like an angel food cake pan, Should natural draft not be strong enough from the outside. Stainless steel—even the clay form is designed to also catch to direct fumes outdoors, a small squirrel- the thin sheet encasing your kiln—can condensation from the duct and hold the cage blower may be incorporated in the easily dull and burn a drill bit. A squirt vent tube in position. This form would, duct near its exit from the building. of Tapfree aerosol makes drilling the steel of course, have to be moved to open the easy with a good, sharp bit. Next, mak­ kiln lid. windows near the ceiling, my 20x24x9- ing a neat, 1-inch-diameter hole in the My prototype direct vent system con­ foot shop was uninhabitable in the later stainless steel (the center of which you tinues to serve well after about three years’ stages of a bisque firing. have just defined with the ½-inch hole) use. Densely loaded stoneware can be Finally, a secondary benefit derived is something of a challenge. Punching bisque fired without the nasty blue haze from this direct vent system is that the and chiseling and otherwise trying to bully materials of the kiln are not exposed to a hole in the stainless backed by fragile as much of the corrosive fumes and con­ insulating brick is very unwise. Try us­ densation normally forced out through ing a hole saw set, consisting of about element entry holes, peepholes, etc. I’ve seven circular blades fastened together, seen some large, front-opening electric with a ½-inch drill bit at the center— kilns with severe damage to the steel commonly found in hardware stores for structure, hinge and the top corner of about $5. With the hole saw attached to the door where the moisture and fumes an electric drill and an application of a from the firing chamber have attacked metal-machining aid such as the Tapfree metal parts. Elements are known to last mentioned earlier, cut through the shell longer in a clean, oxidizing atmosphere, and continue 1 inch deep into the in­ The outdoor end of the exhaust vent should and the wiring harness, element con­ sulating firebrick. Then, working care­ be at least 5 feet above the top of the kiln, nectors and kiln sitter (as well as the fully from the inside of the kiln, expand and protected from prevailing winds. potter) benefit from a cleaner atmo­ the ½-inch hole to ¾ inch with a hand­ sphere. held ¾-inch drill bit, a piece of tubing that used to cause a bad taste in my with the end made jagged or a round mouth, as well as a headache, cough and The author Stoneware potter Ted file; insulating brick is too soft and frag­ sore throat. Previously, even after open­ Scatchard has maintained a studio in ile for power tool usage. Vacuum the ing both the door and 20 square feet of Charlotte, Vermont, since 1965. December 1983 35 A Rob Barnard Teapot by Louise Cort

During the past eight years, Rob Bar­ high, but firmly rounded (to the eye and base (which are the same), the handle, nard has been working exclusively with to the touch) like a slightly underripe the spout. Because each part is in its unglazedwood-fired stoneware. His first squash. It has just the right roundness right place, the pot is stable and calm. contact with this type of pottery came (organic, not geometric) to be comfort­ Beyond structure, the clay itself unites while he was a student at Kyoto Uni­ able in the hand and to hold tea for two the parts. The clay is charcoal gray. That versity of Fine Arts in Japan. Not long people. A conical, open handle rises from gray seems monochrome at first, but tones after that introduction he moved to a small one side and, around the pot at a right of ocher and orange hover just below the village near the potters3 town of Shiga- angle, a short, upright spout projects. surface in some areas. Near the base on raki where he established a studio and The lid is a slice of clay that balances the side opposite the spout lies a band built his first anagama kiln. In 1978 he on a broad rim. of burnt orange that is revealed only when returned to the United States} was To pour, I lift the pot by its handle the pot is tipped for pouring. The clay awarded a Crafts Fellowship from the with my right hand and secure the lid in that area is also glossier: the same National Endowment for the Arts and with my left. A stream of tea arcs into lick of wood flame that brought out the built a studio plus an anagama near the cup when I bend my right wrist, color also seared and polished the clay. Timberville, Virginia. Approximately 60 stops neatly when I right the pot. All The predominantly gray substance of pots from this kiln were exhibited re­ the parts of the pot work harmoniously the pot has the dense but porous texture cently in a one-man show at Anton Gal­ in use: the full pot is not too heavy to of good gray flannel. But if it were flan­ lery in Washington, D.C.—Ed. lift with one hand; it doesn’t dribble. nel, the color would have come not from Visually, too, the component parts seem a chemical dye but from fine-spun, nat­ For a WHILE NOW I’ve been using a perfectly placed. It offers a lucid rela­ urally dark fleece. Rob says that the clay teapot that Rob Barnard made. It’s a tionship of diameters, in progressively is simply Jordan clay, unmixed, and that small pot, somewhat broader than it is smaller measures—the pot, the lid and knowledge supports the visual impres­

36 Ceramics Monthly Photos: Steve Zapton ter of wood smoke and unmodified clay. unmodified and smoke wood of ter encoun­ the through develop to allowed wood-fired of sort different very a is it the clayitself. within from up wells color the that sion wl, bt tik ai eerd o the to referred Yagi think I but “wild,” sometimes was work Rob’s that mented ttmn fo wa w ae sd to used are was color purity, the With severe seeing. we what from statement ot f ides ht se n hs tea­ this in see I that wildness of sort o’ tahr Kzo ai oc com­ once Yagi, Kazuo teacher, Rob’s hs ept a frd ih od but wood, with fired was teapot This to the material itself, rather than being than rather itself, material the belong to texture and color The gressive. not but type, to conformation genetic ehncl te oo rtcn, o ag­ not reticent, color the mechanical; branching limb, disciplined by an almost disciplined byan branching limb, gne n smlct. e js fr that for just Yet simplicity. and egance reason, the pot is a comforting presence comforting a is pot the reason, ened applepartiallyshadedbyleaves. thesunspotsonatree-rip­ applied—like a like natural forms assembled pot—the rdc o a euto t eeetl el­ elemental to reduction a of product n vr rset ti tao i the is teapot this respect, every In of human needs. This teapot suggests to suggests teapot This needs. human of cups. porcelain even or pottery glazed to raisethoseissues,andunfoldnewas­ me that,initsquietway,itwillcontinue level the at ceramics of issues aesthetic for company wonderful and table, the on Rob has said that he wants to deal with deal to wants he that said has Rob pects ofthem,everytimeIuseit. Japan, RobBarnardreturnedtothe seum specialist for ceramics at the Freer the at ceramics for specialist seum h author The Shigaraki, Japan. Left Above Afterstudyingandworkingin Gallery ofArt,Washington,D.C. built ananagamakilnnearTimberville, United States,establishedastudioand Virginia. Rob firingShiroOtaniskiln, oie ot s h mu­ the is Cort Louise December 1983

37

Forms around a Vessel by Martin Smith

A two-year traveling exhibition of mass with its main axis lying normally It is possible to look at the solid mass sculptural vessels by London artist Mar­ either vertically or horizontally, and a as having two separate surfaces: the in­ tin Smith opened at the Leeds Art Gal­ series of minor axes lying at any point side and the outside. The way these two leries and was featured recently at the in between. From another view, the solid surfaces come together at the rim is of Crafts Study Centre, Bath.—Ed. mass becomes hollow and hence enclos­ great importance for one’s perception of es, to some extent, a negative mass as the whole. The surfaces may be allowed ALMOST from the very beginning it has space. The solid mass may completely to actually meet at the rim and maintain never been enough for the vessel to re­ contain or dominate the negative spatial their separate identities, or they may flow main at its most basically functional form. mass, or it may merely hint at some vast effortlessly to become a single continu­ There is, throughout time, a continuing space beyond the physical reality of the ous skin. They may also remain defi­ desire to instill some aspect of its being enclosing form. The negative mass may nitely separated at this point either by special. The vessel can cease to be di­ be much the same shape and size as the the introduction of a third surface or the rectly functional in a physical sense and volume displaced by the positive mass, exposed fabric of construction. begin to take on symbolic functions. or it may be very different, depending My work has progressed through a From a position outside the form, it on the way the material of the positive number of phases. By slightly shifting may be considered as a solid, positive mass is handled. the parameters each time the problem is Photos: Ron Collier and courtesy of Leeds Art Galleries

“Barromini Cloister Piece No. 1 ” press-molded earthenware, with aluminum and resin filler, 6 inches in height. reworked, a greater understanding of the sociated with a plinth [classical column grog made from the same clay fired to concerns involved has developed. How­ base]. Sometimes a piece will remain 1742°F (950°C). This is to aid drying ever, each piece is definitive in its own general in nature, only making an oblique and give strength through most of the right. Sometimes there have been quite reference to a number of places and firing cycle; upon maturity it becomes sudden shifts of emphasis or area of con­ qualities. In other works a statement may homogeneous with the rest of the body. cern; at others the transformation may be much more specific, referring to par­ The bisque firing is the highest and have been more gradual. ticular configurations, as in those that ranges from 1832°F (1000°C) to 1922°F I tend to work in quite a free way, explore aspects of the corner space (1050°C) depending on the color re­ responding intuitively to vague feelings. bounded by the meeting of two vertical sponse required; the higher the temper­ Only then is one able to come to grips and one horizontal surface. The state­ ature, the darker the color. with the problem and rework it. I see ment hints at a well-defined space in Final adjustment of the form takes my work as acting basically through the contrast to the loosely worked but rigidly place on a lapidary wheel, using silicon visual and tactile senses, allowing it to confined space within the vessel. Further carbide grit as an abrasive to grind away function as a trigger, releasing the mind works may make reference to specific excess material. to a different perceptual awareness of places but explore various aspects of them Tonal changes on the interior surfaces both the work in question and the con­ in a number of different ways. and any drawing on the exterior are done nections and references made. All forms are worked out in terms of with terra sigillata made from the same The recent work has been a sum­ full-sized solid models made in either clay as the piece and darkened with ox­ mation of my feelings for the spatial plaster or styrene foam. From these, molds ides. This is applied to bisqueware by qualities inherent in buildings of the are made, the form being produced by spraying and pouring. Then the work is Italian Renaissance and the baroque pe­ pressing plastic clay into them. fired to a temperature 50°F (10°C) low­ riod, worked through and around the The body is a fine-grained red ear­ er than the bisque, and individual ele­ particular spatial aspects of a vessel as­ thenware opened up by the addition of ments are bonded together with epoxy.

December 1983 39 Above "Sloping Vessel,” press- molded earthenware, 13 inches in length.

Far left “Baroque Wall Piece No. 2” handbuilt earthenware, 13 inches in height, with terra sigillata and slate.

Left ".Baroque Wall Piece No. 1,” handbuilt earthenware, 11 inches in length, with terra sigillata and slate, by Martin Smith.

Right “Arezzo Piece No. 2,” handbuilt earthenware and aluminum, 15 inches in length. Clay is pressed in molds cast from plaster or styrene foam models, then fired at temperatures ranging from 1832 to 1922°F. After firing, forms are further refined on a lapidary wheel. Works with terra sigillata are refired slightly lower than the bisque, then individual components are epoxied together.

40 CERAMICS MONTHLY

Ceramic Portraiture by Beverly Mayeri

A solo exhibition of clay figures and a distance points out problems in pro­ masks by California artist Beverly May­ portion, stance and contrast—for in­ eri (Mill Valley) was featured recently stance, whether there are deep enough at Ivory/Klimpton Gallery in San Fran­ shadow areas or depth in the hair, under cisco.—Ed. the brows, in the cheeks. Changing the light from side to side, above and below I THINK of my life-size clay busts as reveals bumps and hollows. being caught in a moment of transition, I love detail and refinement, and spend perhaps an emotional turning point, de­ much time working on the expression of tached from everyday concerns—people the eyes, the delicate folds of the eyelids, fixated on inward events, their expres­ the depth and spacing between them, the sions dreamlike, ethereal and intense. set and curves of the mouth, how the Some are portraits of friends, family or hair grows from the head and frames it. myself, but I’m not concerned with doc­ These details are finished off with the umenting their real hair color or specific help of photographs and measurements facial characteristics; I’m interested in a of the subjects, anatomy books, the mir­ character aspect that is a step removed ror, and occasional models. from outer reality. Expression, age, what After completing one or two life-size they’re wearing, body tattooing or an ac­ forms, I often work on shorter-term companying animal provide clues as to masks. These are pressed in plaster molds what is happening to them. cast from handbuilt faces, then altered Although many of my ideas stem from for various effects. I feel freer to exper­ “The Braid ” life-size sculpture, coiled and personal experiences, forms sometimes iment with these, and some ideas from hand built clay, fired to Cone 01. come about almost by chance. Lately I’ve the masks are later applied to larger been segmenting faces and reassembling works. them. These masks hang together in a course I try to keep these studies sepa­ Although I often visualize a work in tenuous wholeness, as if the sliced parts rate from the studio. Analysis comes af­ color while shaping clay, it’s difficult to are ready to shift or reshuffle in some ter the fact; creativity is better aligned recapture this image after the long delay new way. with intuition and emotion. between drying and firing. When fired, I didn’t always work in clay; I was a After graduate school, I set up a stu­ the form looks very white and flat, and watercolorist until my junior year at the dio at the Industrial Center Building in it takes a while to reestablish the feeling University of California, Berkeley. Ma­ Sausalito. Here over 40 artists work in I had during its modeling phase. joring in science, I began to spend as separate spaces, visiting informally and My palette is simple; light washes of much time as possible learning pottery. exchanging information. Often we dis­ pastel acrylics are brushed on, one color Clay work after graduation included cuss exhibitions in town, as well as news blending into the other, allowing the clay planters, cups and platters with molded of a gallery looking for artists or dead­ surface to show through. The pale cast faces and figures. Most of these early lines for juried shows. I especially ap­ of pastels gives an ethereal, other-world­ efforts were functional, until a show in preciate the attention given to one an­ ly quality to the figures. More intense San Francisco of Karen Breschi’s work other’s work and advice on problems colors highlight the eyes, strands of hair made me realize how clay could be used related to the business aspect of art. It’s or maybe an animal that is part of the to convey personal feelings and ideas. In much more stimulating than working composition. Clues to accentuating the 1974 came graduate school at San Fran­ alone at an isolated studio. form with paint come from shadows cast cisco State University, working with Jose A life-size bust takes up to four months by side lighting. Arguelles, Karen Breschi and Stephen to form. I work with a Cone 06 buff clay The process is a constant challenge, DeStaebler. fired to Cone 01 so the body is less po­ a grasping for something that feels right. Jose pointed out some similarities my rous. The torso or head is begun by When things do begin to come together images had with occult, primitive art and stacking thick coils of clay around a in a work, it seems to happen when it’s Jungian dream symbols. I had not re­ newspaper armature. After the propor­ least expected. Many days I force myself alized before that some of these images tions and shape are developed, general into the studio, not in the mood, not feel­ had occurred in other cultures. An im­ musculature and features are added. ing “creative,” and then I can be swiftly portant book at this time was Erich Rotating the form on a sculpture stand and surprisingly inspired by just hang­ Neumann’s The Great Mother, which helps me to work in a unified way on ing in there and doing something. So I discusses the meanings of feminine im­ all sides. When checking for symmetry, trust in that happening and look for­ ages in conjunction with the moon, an­ curves and expression, a mirror is good ward to feedback from others. When the imals, flowers, etc. Jose also introduced for determining if one eye is lower than forms have an impact on viewers, it is a me to the lectures of Joseph Campbell, the other or if one side of the face spreads pleasure for me to feel I am communi­ who interprets art in Jungian terms. Of out too much. Looking at the figure from cating through the work.

42 Ceramics Monthly Photos: M. Lee Fatherree, Beverly Mayeri, Colin McRae, John Salz

Beverly Mayeri Press molded, altered “Suited Man” life-size sculpture, whiteware mask. handbuilt clay, acrylic paint.

“Renaissance Woman,” handbuilt, fired to Cone 01. The artist finishes her sculptures with light washes of acrylic paints, applying more intense color to the eyes, a strand of hair or an animal that is part of the composition.

December 1983 43 Rick Dillingham

“These ‘GAS cans’ are like three-di­ Above "Gas Cans” the tallest 22 inches, mensional paintings within the vessel handbuilt, bisque fired, broken into format,” observed Santa Fe ceramist Rick sections, glazed, fired, and reassembled. Dillingham, whose work was exhibited Occasionally the artist applies copper, gold recently at Hadler-Rodriguez Gallery or silver leaf to unglazed clay surfaces. in Houston and at Delahunty Gallery Left “Flaming Gas Can,” 20 inches in in Dallas. “In them I can combine the height, coil-built earthenware with matt three elements of visual art—vessel, glazes. sculpture and painting—into one ce­ ramic statement.” The forms were coil built, scraped and sanded. After bisque firing, they were broken into sections, glazed with matt lead recipes, underfired at Cone 08-06 for a rough, not-quite-melted surface texture, then reassembled. Unglazed surfaces were sometimes accented with copper, gold or silver leaf, affixed to the clay with acrylic spray.

44 C eramics Monthly

A Ceramics Monthly Portfolio

Ceramics Monthly Portfolio A

Earthenware baker, 16 inches in length, thrown as a bottomless cylinder, altered to a long, narrow oval and joined to a slab base; with white slip, sgraffito, underglazes, colored glaze on the interior and clear glaze over all, by Walter Ostrom. Terrine (an earthenware baking dish), 9 inches in length, thrown, altered earthenware, with white slip, sgraffito, colored glazes, by Walter Ostrom. Ceramics Monthly Portfolio A

Terrine, 12 inches in length, thrown, altered, with white slip, sgraffito, colored glaze decoration, clear glaze over all. A Ceramics Monthly Portfolio decoration andclearglaze. with sgraffito, polychrome slip thrown, altered, white slipappliedoverall Top then wipedaway fromtherimandbase, Baking dish,12inches inlength,

by Walter Ostrom. Above thrown, alteredcylinders joinedtoanoval glaze decoration, then clear glazedover all, slab base,withslip, sgraffito,colored Baking dishes,each 7inchesinlength,

Hideto Satonaka by Ban Kajitani and interviewed by William Hunt

When we think of contemporary Jap­ studio that you are interested in inter­ Tokyo. Their attitudes toward clay were anese ceramics, most of us turn our minds national aspects of art. Can you tell us fresh to me. I disliked construction, even to a variety of handsome traditional ob­ something about that? throwing a piece to get a form. I didn’t jects from the teabowls of Living Na­ Satonaka: When I started working with like just making pottery. I was not pre­ tional Treasures to the folk wares of clay, there was already the Sodeisha group paring to do so. I started melting clay peasant potters. But in Japan today there led by Kazuo Yagi, who was classified as a concept—like ceramic cones heated are other types of ceramists; perhaps the as an avant-garde ceramist. I respected to certain temperatures. I applied that least seen in America are the avant-garde. him a lot. At the same time, there was to clay mixed with different percentages Exemplary of this growing genre is Hi­ the old tradition of the tea ceremony, of oxides, so that after firing you would deto Satonaka, one of Japan’s leading which requires a great deal of money. see some sequence. We had a pollution clay artists as well as an author, critic Classwise, the whole ceremony is out­ problem at the time; the water could eat and professor at Bunkyo University in rageous. When it began in Japan (ex­ away the faucet itself. So I made a series Tokyo. ported from Korea), they used an “un­ of melted clay faucets as a warning. But Now 50 years old, Satonaka first came known” pot like a temmoku-glazed rice claywork, except for the tea ceremony to the general public’s attention upon bowl made by anonymous Korean pot­ vessels, still was not recognized as art. winning the Foreign Minister’s Prize in ters. The potter has become more im­ Even today, non-tea ceremony ceramics the 1971 “Japan Ceramics Exhibition” portant in today’s attitude. And there are are not accepted as fine art as readily as for a series of sculptures representing too many bowls priced too high. My work painting or sculpture. sinks and faucets gradually melting away was also influenced in part by the 1964 Interviewer: Even now? Is it better than because of polluted water—a warning exhibition of clay objects by Robert it was? to Japanese society that was widely cov­ Arneson, Richard Shaw and Peter Voul- Satonaka: When you close the kiln, the ered by the news media. Satonaka is kos at the National Modern Museum of artist cannot see anything; it is like a deeply concerned about environmental issues, and through his work, found an artist’s way to focus national attention Hideto Satonaka on them. (pronounced He- Although born in Nagoya (a center of day-toe Sah-toe-nah- ceramic activity surrounded by such fa­ ka) at home during an interview in mous historic kiln sites as Seto, Toko- Kasama, a potters' name, Mino and Tajimi), he completed town near Tokyo. university studies in architecture-craft Often the subject of without taking ceramics. Later, inspired controversy, and by the writing of Nobel Prize winning heavily influenced author Yasunari Kawabata, Satonaka by the West, became interested in clay as a means of Satonaka works expression. (Kawabata’s novel, Senba- alone in this nation zuru, compared the beauty of figures to where groups a beautiful Shino glaze.) dominate. Denying the value of ware for Eventually, Satonaka became a mem­ the tea ceremony ber of the Sodeisha group of potter-art- and the mystique ists. Founded after World War II by Ka- surrounding it, this zuo Yagi, they were interested in artist seeks to sculptural forms and took the position confront society with that utility, a fundamental attribute of works of social and traditional Japanese ceramics, was not ecological comment, essential to objects made in clay. But Sa­ forging new limits tonaka left the group in 1979 (after Yagi for ceramic art in Japan. died) because he felt it had lost its vi­ tality and purpose. Since then he has refused to affiliate himself with any group, and has pursued an independent career. The following conversation took place at the artist’s home in Kasama, a coun­ try town outside of Tokyo: Interviewer: It is obvious from looking at your Western-style home/gallery/ Hideto Satonakas house and studio are a feast of minimalism with interiors entirely in black, white and grays—colors often dominant (along with brown-blacks) in his ceramic sculpture. The living room is shown (left) with a view of the gallery through the door. Curved exterior walls are of gray Transite or sheet rock, the substance commonly used to face kilns. This artist's living and working environments are a curious blend of East and West. secret room. No other artwork has that paper in Japan, Asahi, selected the five kind of process. So ceramics, because of best artworks of the year—sculpture, this, is considered by its critics to be more painting, anything—and my work was coincidence than planning—particu­ included. larly because of the firing. What I’ve Interviewer: Do they normally select been working on is a clear distinction cl ay work? about that; I am not expecting coinci­ Satonaka: Never before. The first was dence. mine in 1971. So I think that was good Interviewer: Do you have a strong tech­ news for those who work in clay. That nical background in ceramics? meant they had a chance for normal rec­ Satonaka: Yes. After postgraduate stud­ ognition in the art world. Then artists ies, I apprenticed with Mia Nojara, a were selected by the Japanese govern­ traditional potter—one of the top clay ment for scholarships to visit the United artists in Japan. States, and I was the first clay artist in Interviewer: It is obvious you have cho­ the program. sen the colors in this house very care­ Interviewer: Are there other Japanese, fully—all shades of gray, black and white. artists now who, because of you or along You seem to do the same thing thing with with you, are trying to make social com­ materials in your work—choosing very ment with clay? carefully. Satonaka: There are none. Satonaka: Yes. You see what I am doing Interviewer: Why not? takes time. Satonaka: I think there is some special Interviewer: How do process and the barrier against this type of work—com­ technical side of ceramics fit into the ment in clay. If such work is misinter­ avant-garde work you are doing? You preted, people may go the wrong way. seem very different from American avant- So most clay artists are afraid to make garde ceramists today, who often say ma­ too strong a comment. They don’t want terials and technique are unimportant. to make enemies by doing that. Most You seem to have a strong interest in Japanese ceramists play it safe. choosing just the right materials and Interviewer: Does this make you feel processes. alone? Satonaka: I do not have such a love for Satonaka: I don’t feel that; I hope not. clay, the material. I like the capabilities I have started writing comments. This of clay more than the material itself. For reconnects me with other artists. As a example, I fire some forms four or five writer or critic and an artist, I am get­ times to reach a certain goal. I seek real­ ting to the problems. Other critics can’t ity in new work. Reality through ma­ be trusted. Their knowledge of clay is terials realization, getting the best out often very low because they have never of the materials. worked with it. Interviewer: So what would you like Interviewer: Is writing part of your art? people to do with your work? Do you Satonaka: I think so. I do my very best want them to feel something? in writing as well as in art. Satonaka: I use clay as a medium for Interviewer: Do you write about your social comment. I was the first in Japan work or about other people’s art? to challenge social problems through clay Satonaka: I almost never write about art. I used to live in Tokyo. It is a sick myself, but have written critiques every city. It is hard to make a living as a human being. So I moved to the country. During the 1970s, Japanese artists But I want to give people some warning. and critics were debating issues I want the people to notice what they still discussed today: If the ceramic live in, to see the problems. process of firing takes objects out of Interviewer: What did people do? What the producer's hands and drastically changes was the result of your work? their final visual character, how can Satonaka: I won a grand prize at the ceramics be art when so much of the surface Japan Ceramics Exhibition. It was di­ depends on the vagaries of nature rather than on the concept and skill of the vided into three categories: traditional, artist? In 1973, Hide to Satonaka challenged avant-garde and mingei (folk craft). So the critics of ceramics-as-art with this I applied to the second and won. This work, “Baby’s Hat,” a handbuilt made news on TV, newspapers, all the sculpture of progressively fluxed media. It was in boldface text. There clay compositions, using firing as was shock, particularly among tradi­ a tool to discuss issues of society tional ceramists. Then the largest news­ and pollution.

December 1983 55 Unlike American avant- garde ceramists who often say materials and processes are unimportant, Hideto Satonaka exhibits a strong interest in choosing just the right materials. At the left, various clay compositions show their individual surface qualities and drying patterns. This care in materials selection is not out of a particular love for clay, but rather out of an interest in its capabilities. For one work, Satonaka coated an entire gallery with clay (below). As it cracked and dried, it fell first from the ceiling, and from areas that were touched often, such as the door. Photo documentation was kept throughout the exhibition. Earlier process works, such as the one at the bottom, dealt more obviously with social commentary, relying more heavily on California clay traditions. Photos: William Hunt, Hiroaki Tanaka and courtesy of the artist

56 Ceramics Monthly month in a magazine called The Ce­ ramics. I moved on to other contempo­ rary subjects because I know them bet­ ter. Other writers, other critics are afraid I’rrvgetting into their job area. Interviewer: Where else have your writings been published? Satonaka: Newspapers (the Mainichi News), a report for the Faenza exhibi­ tion in Italy, and so on. Interviewer: In America, avant-garde artists often do something else to make a living. Is that necessary here? Satonaka: In Japan, the same thing happens; I teach at the university. Teaching is the major income. Four hundred letters in the newspaper pay 6000 yen. About 50,000 yen for a major article. Interviewer: Two hundred dollars; not much. Difficult to make a living. In America, many people judge success by how much money you make. Do people in Japan look at ceramic artists this way, or is there another standard? Satonaka: Work comes first—what the artist is doing. And it doen’t matter how much you get. Only some tea ceremony potters make a lot of money from clay- work, but many others are quite suc­ cessful in another sense. Well, of course, who wouldn’t like to have money; but there is some morality involved in my work, and that is more important. For example, I won the grand prize in the largest ceramics competition in Japan ten years ago, but incomewise the young potters who live nearby (here in Kasa­ ma) get more because they are working toward money. They make salable ware; they are flattering the audience. They make what people want to buy. I am not. For me the important thing is what I am doing—making a statement with clay. In an ongoing series of Interviewer: How often do you show tiles, each approximately your work? Do you show in a gallery? 12 inches square, Satonaka: I do a solo show biennially Hideto Satonaka inlays at Aoyama Gallery in Tokyo. Once I colored clay lines, then plastered the entire gallery with wet clay. lays the same clay That resulted in an invitation to do an shape as a coil on top of installation in a museum in Tokyo. And the tile. As the clay I have had other invitational one-man dries and passes through its subsequent shows—one in Canada this year. firing, the lines on top Interviewer: Where do you see your ca­ shrink, warp and crack, reer going in five or ten years? What do assuming their own you want to be doing then? shape. The series Satonaka: Someday I would like to be addresses process and a novelist and also work with clay. That’s how it can, by its own kind of popular in Japan; artists, paint­ nature, impose control ers, whatever, are writers at the same or exercise limitations time. on an art object. December 1983 57 Glazes for Medium and High Firingby Harold J. McWhinnie

An advantage in using a computer for The next six recipes may be converted Hal’s Copper-Iron Satin-Matt Glaze glaze calculation is that glaze families to Cone 5-6 simply by substituting (Cone 8-9, reduction) based on the same materials can be nepheline syenite for Custer feldspar. Barium Carbonate...... 7.6% quickly developed for testing. Even sub­ Whiting...... 10.4 tle differences in ingredients can sub­ Hal’s Temmoku Glaze Custer Feldspar ...... 46.2 stantially alter results, and simple sub­ (Cone 8-9, reduction) Edgar Plastic Kaolin ...... 12.2 stitutions can lower or raise firing Barium Carbonate...... 14.9% Flint ...... 23.6 temperatures. Many of the following mid- Magnesium Carbonate...... 3.7 100.0% to high-fire recipes are variations of clas­ Whiting...... 9.7 Add: Zinc Oxide...... 5.9% sic Chinese formulas: Custer Feldspar ...... 40.4 Copper Carbonate...... 5.6% Edgar Plastic Kaolin ...... 10.6 Red Iron Oxide...... 4.5% Ash Blue Matt Glaze (Cone 6) Flint ...... 20.7 A medium temmoku. Barium Carbonate...... 4.4% . % Magnesium Carbonate...... 5.1 1000 Add: Cobalt Carbonate...... 2.7% Whiting...... 10.3 Red Iron Oxide...... 9.1% Hal’s Speckled Iron Glaze Nepheline Syenite...... 30.5 (Cone 8-9, reduction) Spodumene...... 3.3 A very dark temmoku with a nice satin- Barium Carbonate...... 2.0% Edgar Plastic Kaolin ...... 12.7 matt surface. Magnesium Carbonate...... 8.1 Flint ...... 33.7 Whiting...... 10.1 100.0% Hal’s Iron-Green Matt Glaze Zinc Oxide...... 0.7 Add: Tin Oxide...... 5.1% (Cone 8-9) Custer Feldspar ...... 44.6 Zinc Oxide...... 3.3% Barium Carbonate...... 15.8% Edgar Plastic Kaolin ...... 11.7 Copper Carbonate...... 3.0% Whiting...... 10.9 Flint ...... 22.8 Custer Feldspar ...... 41.3 A medium blue matt; add 20% wood ash 100.0% Edgar Plastic Kaolin ...... 10.9 for color variation. Additions of 15 to Add: Manganese Dioxide...... 5.4% Flint ...... 21.1 20% silicon carbide will yield a nice lava Red Iron Oxide...... 5.0% glaze. To lower the firing temperature 100.0% A medium speckled iron semimatt. to Cone 4, add 20% Gerstley borate. Add: Nickel Oxide...... 5.0% Red Iron Oxide...... 6.2% Light Green Semimatt Glaze Hal’s Speckled Gloss Glaze (Cone 6, reduction) Hal’s Yellow Semimatt Glaze (Cone 8-9, reduction) Magnesium Carbonate...... 1.3% (Cone 8-9, reduction) Barium Carbonate...... 1.7% Whiting...... 13.1 Barium Carbonate...... 6.2% Whiting...... 15.4 Zinc Oxide...... 1.2 Magnesium Carbonate...... 2.6 Zinc Oxide...... 2.0 Nepheline Syenite...... 66.4 Whiting...... 14.6 Custer Feldspar...... 45.6 Spodumene...... 5.7 Custer Feldspar ...... 43.2 Edgar Plastic Kaolin ...... 12.0 Flint ...... 12.3 Edgar Plastic Kaolin ...... 11.3 Flint ...... 23.3 100.0% Flint ...... 22.1 100.0% Add: Tin Oxide...... 1.1% 100.0% Add: Copper Carbonate...... 4.1% Copper Carbonate...... 1.1% Add: Zinc Oxide...... 3.9% Manganese Dioxide...... 6.5% Light Rutile...... 1.2% Red Iron Oxide...... 6.2% A medium speckled ironlike gloss when Red Iron Oxide...... 1.1% Vanadium Pentoxide .... 13.3% fired in medium reduction. To make this a Cone 4 glaze, add 11.5% A medium yellow when fired in medium The next three recipes can be adjusted Gerstley borate. reduction. to fire at Cone 5-6 by substituting

58 Ceramics Monthly nepheline syenite for dolomite, or at Cone 10-11 by substituting Cornwall stone for dolomite. Hal’s Cornwall Glaze 2 (Cone 8-9) Barium Carbonate...... 0.8% Colemanite...... 22.3 Dolomite...... 11.1 Talc...... 6.4 Spodumene...... 47.9 Edgar Plastic Kaolin ...... 8.1 Flint ...... 3.4 100.0% Add: Tin Oxide...... 0.6% Copper Carbonate...... 2.1% Light Rutile...... 2.1%

This variation yields an even higher me­ tallic green gloss due to the dramatic increase in spodumene. Hal’s Cornwall Glaze 3 (Cone 8-9) Barium Carbonate...... 17.1% Colemanite...... 17.3 Dolomite...... 9.3 Talc...... 4.2 Spodumene...... 16.1 Edgar Plastic Kaolin ...... 30.5 Flint ...... 5.5 100.0% Add: Tin Oxide...... 1.9% Copper Carbonate...... 0.3% Light Rutile...... 0.7% A blue-green satin or semimatt. Hal’s Cornwall Glaze 4 (Cone 8-9) Barium Carbonate...... 30.0% Colemanite...... 21.3 Dolomite...... 25.0 Talc...... 2.3 Spodumene...... 14.2 Edgar Plastic Kaolin ...... 7.2 100.0% Add: Tin Oxide...... 0.6% Copper Carbonate...... 0.8% Light Rutile...... 1.8% A satin matt with an interesting green luster surface. Karen Glaze (Cone 8-9) Magnesium Carbonate...... 2.6% Whiting...... 22.6 Wood Ash...... 1.2 Buckingham Feldspar...... 28.8 Edgar Plastic Kaolin ...... 16.2 Flint ...... 28.6 100.0% Add: Black Iron Oxide...... 0.8% Yellow Ocher...... 0.3% A yellow gloss glaze with a very light, speckled opal effect. Its subtle color and texture work well over white clay bodies. December 1983 59 60 Ceramics Monthly News & Retrospect

Nicholas Homoky shown at the Art Institute of Chicago, and of people who had asked for something by “Ideas start with functional form and de­ later at the Japanese-American Cultural and Ben and I wrote notes to all of them. There velop into abstract relationships,” comment­ Community Center in Los Angeles. Among was such a crowd and everyone was so hap- ed Nicholas Homoky , faculty ceramist at the 42 ceramic objects in the exhibition was py” Bristol Polytechnic, “but they are nice if they the square bottle shown, approximately 9 retain certain references to their origin.” inches in height, made in 1971 by Shoji Ha- New IAC Members Characteristic of his recent work presented mada (1894-1978), and this Bizen-style water Ten Americans were among the 22 can­ didates elected to membership at the 1983 general assembly of the International Acad­ emy of Ceramics (IAC) held in October at Ittengen, Switzerland. Headquartered in Geneva at the Ariana Museum, the IAC is a nonprofit association linked to the United Nations through UNESCO. Its goals are to stimulate international cultural cooperation between ceramists of all countries, and to fa­ cilitate communication among ceramists, cu­ rators, connoisseurs, amateurs, institutions Inlaid porcelain teapot and vase and cultural organizations interested in the in a one-man show at Oxford Gallery, En­ promotion of ceramic art. Joining the ap­ gland, through October 19, are the teapot proximately 400 other members from 40 and vase, above, to approximately 6 inches countries are: Rudy Autio, Missoula, Mon­ in height, porcelain with inlaid lines drawn tana; Kendra Davison, Dunstable, Massa­ chusetts; Wayne Higby, Alfred, New York; with a trimming tool, fired and polished. Toyo Kanashige’s 7-inch-high covered water pot Richard Hirsch, Boston; Warren Mac- pot (for the tea ceremony), made in 1963 by Kenzie, Stillwater, Minnesota; Dennis Parks , Japanese National Treasures Toyo Kanashige (1896-1967). Photos: cour­ Tuscarora, Nevada; Don Reitz, Marshall, tesy of the Art Institute of Chicago. To preserve the art of traditional hand­ Wisconsin; Robert Sperry, Seattle; Neil Tet- crafted wares in the midst of rapid indus­ kowski, Buffalo; and Patti Warashina, Se­ trialization, the Japanese government enact­ Ben Owen, 1904-1983 attle. ed the Important Intangible Cultural Word has just reached CM that North Properties Act in 1955. Since then this des­ Carolina potter Ben Wade Owen died this Ontario Crafts ’83 ignation has been given to approximately 70 fall at the age of 79. Recognized as a leader The tenth annual all-Ontario crafts ex­ artisans who have perpetuated traditional among folk craftsmen, Ben began making hibition opened at the Craft Gallery in To­ styles and techniques. Popularly known as pottery as a youth on his father’s farm in ronto and is touring the Atlantic provinces. “Living National Treasures,” each receives northern Moore County. Among the 26 clay works selected for pre­ an honorary annual stipend of approximate- At 18, Ben was hired by Jacques and Ju­ sentation in “Ontario Crafts ’83” is this white liana Busbee to throw in their fledgling Jug- town Pottery at Seagrove, North Carolina. Together with Jacques, he visited art schools and museums in New York, Washington and New Orleans to study ancient Korean and Persian forms and glazes—then subsequent­ ly introduced a celadon glaze known as “Jug- town blue” and classical Oriental designs into local folk pottery production. After nearly 40 years as the renowned master potter at Jugtown, Ben opened his own pottery in 1959. Thirteen years later, ill health forced him to close, but with a large amount of unfired or bisqued ware on the Mary Bon ’s “Reel Good Eatin ’ ” shelves. stoneware form, approximately 12 inches in In October 1981, his son, Ben Jr., and diameter, painted with acrylics, by Mary Bon. grandson, Ben III, then only 13, fired the kilns and finally completed the run. Ben’s wife, Lucille, remembered: “I kept the names Tom Supensky Baltimore ceramic artist Tom Supensky recently completed a one-year Fulbright ex­ You are invited to send news and photo­ Salt-glazed bottle by Shoji Hamada change professorship in England with an ex­ graphs about people, places or events of hibition of brightly colored sculpture at King ly $7000 to enable him or her to apprentice interest. We will be pleased to consider Street Gallery in Bristol. Many of the works students to carry on the centuries-old art. them for publication in this column. Mail represent brick or stone walls embedded with Works by most of the recipients were fea­ submissions to: News and Retrospect, fossil-like forms and archaeological images, tured in the traveling exhibition “Living Na­ Ceramics Monthly, Box 12448, Colum­ hidden in gaps and crevices to reward the tional Treasures of Japan,” which opened at bus, Ohio 43212. the Boston Museum of Fine Arts, then was Continued December 1983 61 Comment Continued from Page 23

a senior Rolfer on the staff at Wellspring Health Center in Boulder. “We deter­ mine which ligaments and tendons are too short, or too thick and less flexible than they should be; and then work with them to maximize their potential.” By applying pressure in different ways, Rolfers manipulate the tissue to make it more supple and relaxed. Acupuncture “Carpal tunnel syndrome is primarily a structural problem,” said Bruce Madison, a Denver physician trained in acupuncture techniques. “And if the problem is serious, then surgery might be the only answer. However, if you can get to the problem early on, acupuncture can be effective in relieving pain without side effects, and can op­ timize the conduction of nerve impul­ ses.” Ultimately, the cure for carpal tunnel syndrome lies in discovering the initial causes for its onset. Repetitive motions of the wrist and hands certainly have much to do with it, though it isn’t known how many repetitions of the same move­ ment will bring on the condition. “Any unusual strain, done on a chron­ ic basis, can create inflammation, and compression of the median nerve,” said Bruce Druyfess, a physician specializing in Occupational Medicine at the Denver Clinic. “In particular,” he continued, “extreme cocking of the wrist causes compression of the carpal tunnel, and though it won’t guarantee that inflam­ mation will not occur, it’s best to avoid this extreme position of the wrist as much as possible. Any position which bunches up the tissue within the carpal tunnel may cause inflammation.” The best suggestion to reduce stress on the wrists is to break up the throwing schedule, and try to avoid spending ex­ tended periods of time at the wheel. This gives the wrist a chance to rest, and will help compensate for the extreme wrist positions sometimes necessary for throwing and centering. Be sensitive to your body, its needs, and condition. If pain occurs, take steps to eliminate it before it flares into some­ thing serious, and deprives you of the rewards of working with your hands.

The authors Chuck Steinberg is an M.D. in Boulder; Colorado; free-lance writer Ron Sering resides in Eldorado Springs, Colorado.

62 Ceramics Monthly News & Retrospect as; Pompeo Pianezzola, Italy; Carmen Dio- nyse, Belgium; and Ryoji Koie, Japan. For curious. This theme of the wall as a container further information contact: Editions Oli- of histories, which ran throughout the show, zane, Rockefeller Center Station, Box 1953, is the result of Tom’s assimilation of the En­ New York City 10185. glish land- and townscapes, from ancient standing stones and Roman walls onward to Maria Alquilar modern derelict houses. During the seventies, California painter Works based specifically on walls led to a Maria Alquilar of Roseville began to make series of simplified, abstract monoliths—rec­ ceramic sculpture. Many of these works in­ tangular forms serving as vehicles for Tom’s corporated animal imagery, with a fantasy interest in surface quality and mask-making. overtone that had been an element in her paintings—idyllic settings threatened by dev­ ils and predatory beasts. “The rampantly indulgent plant and an­ imal life in my work,” Maria commented, “serves as a vehicle to express my perceptions of contemporary human feelings and emo­ tions. For me, there are specific meanings in life—those between plants and animals, past and present, primitive and sophisticated that exist on a subtle yet distinguishable level. “Until I visited Mexico several years ago I avoided depicting the human figure. This was perhaps due to a background that dis­ allowed the human form in religious art. I work for extended periods, months, in each media—the one acting as a catalyst for the other.” In a recent solo exhibition at Sacramento’s Matrix Gallery, her painted clay forms, such as “On the Road,” 42 inches in height, depict hungry cattle or horses, caught between life’s abundance and its dearth. Uplifted rocks,

31 -inch-high “Deruta II” This concept is taken a stage further in works such as “Deruta II” where the three-dimen­ sional form of a majolica pot (Deruta, Italy, is a center for tin-glazed ware) begins to emerge from its own outline inscribed on the supporting block of clay. Text: Alan Phillips.

International Monographs “Ceramics Today,” a series of monographs published under the patronage of the Inter­ national Academy of Ceramics in Geneva, focuses on individual ways of approaching clay and specifically contemporary uses of materials. “The artists are not only present through their works, but also through their own conception of their activity,” explains Rudolph Schnyder, IAC president, “for it is they themselves who speak to us in these 42-inch-high painted clay “On the Road” monographs.” Since the artists have the op­ showing the strata of the ages, form a back­ portunity to present their works in their own drop, while a brilliant moon washes light way, the publications vary; however, each over the scene. “My new work concerns itself contains 24 color pages, with plate notes de­ with polarities in nature and light,” Maria tailing construction and glazing processes, a explained. “I seem constantly to draw from biography, in studio black-and-white pho­ desert life to express nature’s conflicts and tographs, sketches and technical information. sufferings, as well as its great beauty and Printed in English, French and German, the dignity.” monographs are available individually or by The designs were formed as wholes, then subscription (five issues per year). The first divided into individual tiles. Separately fired five are on Aline Favre and Florent Zeller, in an electric kiln at Cone 04, the tiles were Switzerland; James Romberg, Boerne, Tex­ Continued

December 1983 63 News & Retrospect

then reassembled into sections. Rather than glazing the clay, Maria applies acrylic paints and stains. The textured clay (sometimes em­ bellished after firing with paper) “serves as a surface for abstract patterned paintings,” she observed. After painting, the tile sections were mounted on wood with epoxy. “When visiting the Southwest,” Maria noted, “I felt a sense of being that I had never experienced any place else in the United States. I believe the Anasazi culture links our cul­ ture with that of Europe and Asia much more than the immigrants who came to the United States to make a new home. My Southwest series deals with these feelings and with the polarities that exist in a desert environment: the spring and summer that renew life swept away by the harshness of winter, the abun­ dance of life that mocks the dead bones and shriveled cactuses, the hovering presence of cliff dwellings where ancient peoples suf­ fered the extremes of climate, the desert light that suffuses the landscape with fiery sunsets and eerie night images.” Text: Janis Ed­ wards.

Detroit Teapot Invitational “Teapots,” a national invitational show featuring approximately 30 artists, was pre­ sented at the Detroit Gallery of Contempo­ rary Crafts through November 30. Marek Cecula, New York City, considered both functional design and sculptural expression for his exhibited tea set, tray 16 inches in

Marek Cecula's “Ceremonial Set” length, slip-cast and assembled porcelain, Cone 7 gloss glazed, with a decal on the tea­ pot lid. Photo: Bill Waltzer.

Rhinebeck Farewell Total sales broke the record by topping $6 million for. the American Craft Council’s last “Fair at Rhinebeck” (next year the annual wholesale/retail market will move to a “more convenient” location in West Springfield, Massachusetts). In fact all the media re­ ported increases over recession-plagued sales in 1982. Basing figures on statements turned in by 324 of the 525 exhibitors, the ACC estimated the average ceramics booth had $2735 in retail sales (up 76%) and $6602 in wholesale (up 37%).

Martha Holt Wall forms consisting of alternating panels of ceramic tiles and photograms by Martha Holt (Cambridge Springs, Pennsylvania) were

64 Ceramics Monthly exhibited recently at the Pittsburgh Center for the Arts. The ceramic tiles in “Double- Cross,” 62 inches in length, were formed in molds taken from the artist’s concrete and

62-inch clay and photogram “Double-Cross” wood studio floor, bisqued, then colored with slip and glazes. The photograms were pro­ duced by placing objects on photographic pa­ per and exposing it to a light source for sev­ eral seconds. Where light does not contact the paper, it remains white when developed. Mounted onto matt board and glued to a ½- inch-thick plywood backing, the photograms were thinly coated with resin. Then the clay tiles were glued to the plywood.

Christine Pendergrass Wheel-thrown straps were assembled as flowing rivulets for sculpture presented in “Water Works,” a solo exhibition by Chris­ tine Pendergrass (Klamath Falls, Oregon) at Butte College in Oroville, California, through November 4. “Living in the Pacific North­ west has heightened my awareness of the multitude of forms taken by rushing water,” Chris commented. Individual clay straps were

26-inch “Water Window” clay and wood glazed in various cobalt-based hues, fired in oxidation to Cone 6, then assembled with wire and strips of Mylar polyester film. “The Continued

December 1983 65 Itinerary Continued from Page 17

Iowa, Mason City through January 8, 1984 “Iowa Crafts: 16” competition exhibition; at Charles H. MacNider Museum, 303 Second St., SE. Kansas, Wichita through December 10 “Trea­ sure of the Quicksilver Galleons”; at the Ulrich Museum, Wichita State University. Louisiana, Shreveport through December 5 “SPAR National Art Show ’83,” juried exhibition; at 800 Snow St. Massachusetts, Boston through January 1, 1984 “Animals Animals Everywhere,” whimsi­ cal and realistic multimedia figures; at the Society of Arts and Crafts, 175 Newbury St. Massachusetts, Cambridge through December 24 A dual exhibition with Daisy Brand; at Edna Stebbins Gallery, 0 Church St. Massachusetts, Northampton through January 8, 1984 Fourth Annual “A Tea Party”; at Crafts- market Gallery, 150 Main St. Michigan, Birmingham through December 31 A dual exhibition with Marek Cecula, porcelain; at Carol Hooberman Gallery, 155 S. Bates. Michigan, Detroit through December 30 Shir­ ley White Black, Susan Crowell, Kathy Dambach, Rafael Duran, Jim Leacock, Tom Phardel, John and Susanne Stephenson, Marie Woo, Georgette Zirbes; at Focus Gallery, 743 Beaubien. through January 8, 1984 “Annual Christmas In­ vitational Exhibit of Ceramic Art”; at Pewabic Pottery, 10125 E. Jefferson Ave. December 14-February 19, 1984 “Design in America: The Cranbrook Vision 1925-1950”; at the Detroit Institute of Arts, 5200 Woodward Ave. Minnesota, Rochester through December 31 “New Directions”; at Upstairs Gallery, Rochester Art Center, 320 E. Center St. New Hampshire, Concord through December 30 “The League of New Hampshire Craftsmen 1983 Annual Juried Exhibit”; at the League Gal­ lery, 205 N. Main St. New Jersey, Camden through December 30 “Soup Soup Beautiful Soup,” tureens; at the Campbell Museum. New Jersey, Newark through January 20, 1984 “Tempered by Time: 800 Years of South­ west Indian Pottery.” through January 23, 1984 “Japan: The Enduring Heritage”; at the Newark Museum, 49 Washington St. New Mexico, Albuquerque through December 16 “Contemporary Crafts Exhibition”; at the University of New Mexico Art Education Gallery. New Mexico, Taos through January 14, 1984 A dual exhibition with Ginger Mongiello, painted porcelain vessels; at Clay and Fiber Gallery, N. Pueblo Rd. New York, Brooklyn December 3-January 12, 1984 Kathryn Berd, Joanne Rae Davis, Lewis and Risa Dimm, Sally Ann Endelman, Deborah Monaghan, Mara Superior, Brad Wiseman, San­ dra Wyner, Christine Demeter Zimmerman and Shellie Zimmerman; at the Clay Pot, 162 Seventh Avenue. New York, Hastings-on-Hudson through Jan­ uary 1, 1984 “Artisans ’83” includes functional ceramics by Sophia Fenton, Judith Kandler, Lily Schor, Barbara Strassman and Elizabeth Surbeck; at the Gallery at Hastings-on-Hudson, Municipal Building. New York, New York through December 8 “Potters and Sculptors Christmas Celebra­ tion.” December 11-22 “Faculty Exhibition”; at Greenwich House Pottery, 16 Jones St. December 1-31 Jan Burtz, Barbara Cahn, Syl­ via Finkle, Linda Marks, Carol Richman, Janis Schneider and Roxy Wright Weil, earthenware, porcelain and stoneware pottery and sculpture; at Downtown Potters Hall, 113 Mercer St. December 8-January 22, 1984 “Auspicious Spirits,” Korean folk objects; at Asia Society Gal­ lery, 725 Park Ave. New York, Rochester through February 24, Continued

66 Ceramics Monthly News & Retrospect

use of the. reflective film and glossy glazes contributes to the shimmering, fluid nature of the pieces.”

Gary McCloy Among the works shown in a ten-artist invitational at del Mano Gallery in Los An­ geles through October 26 was “Mandarin Hat Jar,” 16 inches in height, by Gary

16-inch white earthenware “Mandarin Hat Jar McCloy, Hollywood, California. Thrown from white earthenware, the form was matt glazed, then low fired several times for ad­ ditional glaze effects. Painterly Ceramics in the Bay Area An exhibition of “Painterly Ceramics” by Bay Area artists Scott Chamberlin, Ann Christenson, Tony Costanzo, Viola Frey, Thomas Heid, Juta Savage, Nancy Selvin, Peter Vandenberge; and Syracuse, New York artist Margie Hughto was featured at the College of Notre Dame in Belmont, Cali-

Thomas Heid’s 22-inch platter fornia, recently. Brushed and trailed with polychrome underglaze and glaze, from the exhibition is Thomas Heid’s low-fire platter (above), 22 inches in width. Jolyon Hofsted Clay and mixed-media paintings by Jolyon Hofsted, Shady, New York, were featured at Pindar Gallery in the Soho district of New Continued December 1983 67 Itinerary

1984 “The Arts and Crafts Movement in New York State (1800s-1920s); at the Margaret Wood­ bury Strong Museum, 1 Manhattan Square. through December 30 “Small Works National ’83” juried exhibition; at Zaner Gallery, 100 Alexander Street. New York, Scarsdale through January 7, 1984 “Craftworks Celebration 1983” at the Craftsman’s Gallery, 16 Chase Rd. New York, White Plains through January 6, 1984 “Holiday Show,” multimedia; at the West­ chester Art Workshop Gallery, Westchester Coun­ ty Center Building. Ohio, Cleveland through December 31 “Clay Invitational 1983”; at DBR Gallery, 13225 Shaker Square. through February 26, 1984 “Highlights of the Rococo: Norweb Ceramics and Related Arts”; at the Cleveland Museum of Art, 11150 East Blvd. Oklahoma, Oklahoma City December 4-Jan­ uary 3, 1984 A dual exhibition with Jan Eck- hardt-Butler; at Artsplace II, 115 Park Ave. Pennsylvania, Harrisburg December 4-January 13, 1984 Carl Beamer, Ann Hettmansperger, Lynette King, pottery, and Henry Casilli, sculp­ ture; at DOSFII Center for Contemporary Art, 1435 N. Second St. Pennsylvania, Philadelphia through January 29, 1984 “Contemporary Artifacts 1983,” third annual invitational exhibition of Judaic crafts; at the Museum of American Jewish History, 55 N. Fifth St., Independence Mall. Tennessee, Gatlinburg through January 7, 1984 “The Figure: New Form, New Function” national juried exhibition; at the Arrowmont School of Arts and Crafts. Tennessee, Oak Ridge through December 18 “Southeastern Potteries,” contemporary folk works; at the Children’s Museum, 461 West Outer Dr. Texas, Austin through December 31 “Latin American Art from University of Texas Collec­ tions,” includes contemporary and pre-Columbian works; at the Ransom Center, University of Texas. Wisconsin, Sheboygan December 4-February 12, 1984 “The Alternative Image II”; at the John Michael Kohler Arts Center, 608 New York Ave.

Fairs, Festivals and Sales Arizona, Tempe December 2-4 “Old Town Tempe Festival ’; at Mill Avenue Merchants As­ sociation, 520 Mill Ave. Arkansas, Little Rock December 2-4 Ozark Foothills Craft Guild “5th Annual Christmas Showcase”; at the Statehouse Convention Center, 100 Markham St. Colorado, Golden through December 11 “Hol­ iday Art Market”; at the Foothills Art Center, 809 Fifteenth St. Connecticut, Brookfield December 2-11 Fifth annual “Brookfield Craft Center Members’ Sale”; at the Brookfield Craft Center, Route 25. Florida, Miami December 3-4 “Ceramic League of Miami 34th Annual Fair”; at Tropical Park, Bird Rd. at Palmetto Expwy. Florida, West Palm Beach December 9-12 “The Ceramic League of the Palm Beaches Ex­ hibition and Sale”; at Norton Gallery of Art, 1451 S. Olive St. Massachusetts, Worcester December 9-11 “Christ­ mas Art and Craft Show”; at the Centrum, Worcester Civic Center. New Jersey, Wayne December 2-4 New Jer­ sey Designer Craftsmen juried “A Show of Hands”; at William Paterson College Student Center Ball­ room. New York, New York December 1-4, 8-11, 15- 18 “12th Annual WBAI Holiday Crafts Fair”; at Columbia University Ferris Booth Hall. December 6-16 “YMCA Craft Students League Juried Holiday Sale”; at the YMCA, 610 Lex­ ington Avenue. Continued

68 Ceramics Monthly News & Retrospect

York City earlier this year. Shown from the exhibition is “Deanies Cross Stroke,” 38 inches in height. “My clay paintings have been going

“Deanies Cross Stroke” on for a period of seven years,” the artist commented. “They are like blown up pages from a sketchbook, each one reflecting a dif­ ferent aspect of day-to-day life. Whatever is going on with me, from money problems to the weather, gets captured in my work. As a series, the paintings can almost be read as a diary, recording personal experiences and influences.” Photo: R. J. Kelly.

Rina Peleg at Artpark Fascinated by the way clay was used to seal ancient baskets and how baskets were used in making early pottery, Rina Peleg has developed a clay forming process from these techniques (see “Plaited Clay,” February 1981). With traditional basket-weaving methods, she plaits vessels from extruded earthenware pipes, coils and ribbons. In her New York City studio, construction difficulties such as regulating the drying time and providing support for the complicated shapes (by building in plaster forms or some­ times including ceramic fiber as one of the weaving elements) can be overcome effec­ tively. However, the size of the loft and the electric kilns limited scale. With a much larger woven sculpture in mind, Rina accepted an artist-in-residence position at Artpark in Lewiston, New York. In the building stages, the clay form had to withstand heat, rain, wind and curious on­ lookers. Then a kiln had to be constructed around it, and when fired, the sculpture had to be durable enough to remain outside. Rina began the project by leveling the site and laying down four silicon carbide shelves to form a 70-inch square. On this a clay slab Continued December 1983 69 Itinerary December 11 The annual “Holiday Pottery Sale”; at Greenwich House Pottery, 16 Jones St. North Carolina, Winston-Salem December 3- 4 “The Crafters Holiday Craft Show & Sale”; at Winston Square, S. Marshall St. Ohio, Columbus December 1-4 Ohio De­ signer Craftsmen “Winterfair”; at the Bricker Multipurpose Building, Ohio State Fairgrounds. Pennsylvania, Wallingford December2-4 Show and sale by the Potters Guild of the Community Arts Center; at 414 Plush Mill Rd. Washington, Spokane December 1 Fourth annual “Yuletide,” benefit sale; at the Spokane Art School, S. 118 Lincoln.

Workshops Georgia, Atlanta January 14, 1984 Don Reitz, slide lecture and demonstration. Fee: $25. Contact: Glenn Dair, Callanwolde Art Center, 980 Briar- cliff Rd., NE, Atlanta 30306; or call: (404) 874- 9351. New York, Albany January 16 and 23, 1984 Jayne Shatz, “Architectural Ceramic Sculpture: Building a Mural,” a two-part session on plan­ ning, drying, firing and installing. Fee: $15. Con­ tact: Albany Ceramic Institute, 305 Hamilton St., Albany 12210; or call: (518) 463-2946.

International Events Australia, New South Wales, Darlinghurst December 6-24 Christmas exhibition by mem­ bers of the Potters’ Society of Australia; at the Potters’ Gallery, 48 Burton St. Belgium, Brussels through January 1, 1984 Francis Behets, sculpture; at La Main, 209 Chaussee de Charleroi. Canada, Alberta, Banff January 9-20, 1984 “Function and Form Workshop” with Tom and Ginny Marsh. Fee: $240. Contact: The Banff Centre, School of Fine Arts, Box 1020, Banff, Al­ berta TOL OCO. Canada, Ontario, Ottawa December 7-18 “Christmas Craft Sale”; at the Civic Centre. Canada, Ontario, Toronto through Decem ber 31 “Christmas Show”; at the Pottery Shop, 140 York- ville Ave. through January 8, 1984 “Silk Roads/China Ships,” approximately 300 objects pertaining to trade with the East from the first to the 19th cen­ turies; at the Royal Ontario Museum, 100 Queens Park. England, London through December 12 “De­ cember Collection”; at British Crafts Centre, 43 Earlham St., Covent Garden. England, Nottinghamshire through January 8, 1984 Bill Brown, John Gibson, John Pollex and Robin Welch, “Plates”; at Rufford Craft Centre, Rufford Country Park, Ollerton, Near Newark. England, Oxford through December 28 Alison Britton, earthenware; at Oxford Gallery, 23 High Street. France, Nice through December 22 Setsuko Nagasawa, “Horizontal, Vertical,” a clay instal­ lation; at Sans Titre Gallery, 3 rue de Saint-Fran- fois-de-Paule. France, Paris through December 12 “L’Expo des Expos”; at the Musee des Arts Decoratifs, 107 rue de Rivoli. through December 31 Paul Badie, stoneware and porcelain; at Boutique Plaisances, 38 rue de Quin- campoix. December 1-31 Jean-Pierre Michel, porcelain and stoneware; at Galerie Caroline Dauch, Centre Commercial (78) Velizy II. December 2-4 “Art Objet 83”; at the Grand Pa­ lais galleries. December 2-11 “Village des Artisans d’Art” fair; at Braderie de Paris, Palais des Expositions, Porte de Versailles. France, Saumur December 9-25 Guy Ducor- net and Charles Hair, stoneware and porcelain; at Theater Gallery.

70 Ceramics Monthly News & Retrospect base was positioned and marked for the first placement of the woven elements. As she plaited the coils, larger extruded tubes were

Slab base for woven sculpture incorporated into the corners to reinforce the structure; the curved developing walls pro­ vided additional strength. Stacked firebrick

Wrapped to control drying

Tented for rain protection was also used to support the loose, wet coils. While work continued, the bottom had to be wrapped in plastic to control drying and, at night, the entire structure was covered with Continued December 1983 71 72 Ceramics Monthly News & Retrospect natural objects. An autumn leaf or a seashell contains an awesome and authentic beauty. plastic held by duct tape. When rain threat­ ened, a plastic tepee was erected over the form. After it had dried uncovered for two

Completing the softbrick wall 9-inch “Ribbed Teapot ” press molded and handbuilt days, around the sculpture Rina and her as­ The second aspect of my ceramic work has sistants built a softbrick kiln. For a roof, ce­ been an ongoing fascination with historical ramic fiber blanket was placed over the four ceramic objects—Chinese I-Hsing ware, in walls and held in place with bricks. Follow­ particular. Third, I have been intrigued ing the 44-hour firing to Cone 04, the kiln working within the seemingly confining and was cooled and dismantled. The successfully mundane parameters of utility.” Photo: Kev­ in Hluch. Philadelphia Craft Show Approximately 120 craftspeople from throughout the United States participated in the Philadelphia Museum of Art’s seventh annual “Philadelphia Craft Show” in No­ vember. Among the ceramic objects shown

Rina Peleg’s 6-foot plaited sculpture Patricia Fahie’s “Bowl with Chopsticks” fired sculpture, 6 feet in height, made from were some abstract traditional forms, such as approximately half a ton of white earthen­ “Bowl with Chopsticks,” 4½ inches in height, ware in about three weeks, remains a per­ glazed earthenware, by Patricia Fahie, manent installation on the site. Text: Ramah Kingston, New York. Commanday. California Clay in New York Kevin Hluch Small functional porcelains by Annette “My current work springs fundamentally Corcoran, smoked forms with incised Japa­ from three areas of interest,” explains Kevin nese poems by Rob MacConnel, figurative Hluch, Frederick, Maryland, whose white sculpture by Rosemary Ishii MacConnel, all earthenware forms were exhibited recently from Mill Valley; saggar-fired vessels by David at Montgomery College in Rockville, Mary­ Bigelow, Santa Barbara; narrow-based thrown land. “Chief among these is my concern for ware by Bill Ellis and airbrushed wall slabs organic form as manifested by nature and Continued

December 1983 73 74 Ceramics Monthly News & Retrospect with copper wire. The metallic black torso of the closed sculpture opens to a gloss red by Maureen Daniel-Ellis, San Rafael, were interior. featured in “California Clay” at Convergence New Boston Signature Gallery A second Signature Gallery opened this fall in downtown Boston, adjacent to the Bos­ tonian Hotel. Like the original in Hyannis, Massachusetts, the new establishment fea­ tures functional and decorative objects by American ceramists, as well as glass, wood and jewelry in various media.

In Hamburg and Rotterdam “Five Artists, Five Aspects of Ceramics” was presented recently at the Museum for Arts and Crafts in Hamburg, West Ger­ many, then at the Museum Boymans-van Beuningen in Rotterdam, The Nether­ Maureen Daniel-Ellis’s airbrushed wall plate lands—both of which have been acquiring in New York City through November 6. contemporary ceramics since around 1945, Characteristic of Maureen’s work is this 24- and now have nucleus collections of work by inch, ragged edged whiteware plate. Photo: internationally influential ceramists. Fea­ M. Lee Fatherree. tured in the exhibition were: the pot as an object of utility, Richard Batterham, Great Esther A. Grillo Britain; pot and decoration as unity, Lies “The Ambiguous Sculptural Image,” a solo Cosijn, The Netherlands; the vessel as an exhibition of clay and mixed-media forms by expression of philosophy, Richard DeVore, Esther A. Grillo, Howard Beach, New York, Boulder, Colorado; nonfigurative sculpture was presented at 14 Sculptors Gallery in New built from thrown parts, Beate Kuhn, West York’s Soho district through October 15. One Germany; and slab-built figurative sculp­ surrealistic figurative work, “Uft Shtel Bet- ture, Jose Vermeersch, Belgium. tle” (“Upright Bed” in Yiddish), 50 inches Characteristic of Richard Batterham’s work in height, was constructed around two Vene­ is this thrown stoneware jar, approximately tian blinds, reinforced with steel and hinged 23 inches in height, glazed green, fired with at the bottom so the sculpture could be viewed in open and closed positions. The low-fire

Richard Batterham’s 23-inch stoneware jar wood and oil. Born in 1936, Richard works in a combination of English and Oriental traditions. He works in series of shapes. Hundreds of bowls, jars, etc. are thrown in Clay and Venetian blind “Uft Shtel Bettle” groups in order to let the rhythm of throwing clay segments forming the figure were press have its way. He believes that an object for molded in a plaster cast of a live model, daily use should have the qualities of a form bisqued, then accented with underglaze pen­ made only once. All his works are soberly cils, commercial glazes, pieces of stained glass decorated by incising or by applying a and copper positioned on the concave sur­ brushstroke of contrasting oxide. He begins faces. After firing up to Cone 5 in an electric firing his three-chambered kiln with wood, kiln, the segments were attached to the blinds Please Turn to Page 85

December 1983 75 76 Ceramics Monthly New Books

Brothers in Clay of this 16-province (out of 26) survey which The Story of Georgia Folk Pottery relates the styles and techniques of historical by John A. Burrison ceramics to current production. Throughout China old forms have been revived and new Since the first shop was set up at Savannah ones developed. The text’s photographs and in 1738, Georgia potters have produced a drawings compare the old and the new, as variety of objects to meet utilitarian needs. well as illustrate contemporary work spaces But “the task of reconstructing the lives and and kilns. “Progress alters the old ways grad­ work of 400 humble artisans who, for the ually,” the authors conclude, “but inevitably most part, escaped the notice of chroniclers with the changes of the present day there will is complicated by the fact that these potters emerge fresh aspects of this ancient ceramic seldom left behind written records,” notes the craft.” 144 pages including chronology of pe­ author of this history emphasizing the hu­ riods and dynasties, glossary, Wade-Giles/ man dimensions of craftsmanship. “The Pinyin conversion guide, bibliography and relaxed attitude of many southern folk pot­ index. 38 color plates; approximately 450 ters toward record keeping was best de­ black-and-white photographs and drawings; scribed by Mark (Buddy) Baynham, Jr., 18 maps. $30. Australian National Univer­ present owner of the South Carolina Pottery sity Press, c/o Publishers Distribution Cen­ at North Augusta, whose father ‘jotted all ter, Box c831, Rutherford, New Jersey 07070. his accounts on chips of wood and then burned them for fuel in his kiln.’ ” Piecing together information from oral reports, family docu­ History of American Ceramics ments and photographs, deeds, estate inven­ An Annotated Bibliography tories, tax records, etc., the author has traced by Susan R. Strong the development of pottery traditions “ ‘Of the art of the potter in the United States throughout the state. “Born with clay in our there is not much to be said.’ This harsh veins,” these folk potters (past and present) judgment was passed by George Nichols af­ utilized similar styles, glazes and kilns, ter viewing the American ceramics display “turning” and “burning” clay to make pots at the Philadelphia Centennial Exhibition of “to put stuff in.” 326 pages including bibli­ 1876,” notes the author of this bibliography ography, list of Georgia folk potters and in­ on American ceramics from colonial times to dex. 12 color plates; 154 black-and-white 1966. “Another viewer remembered the dis­ photographs; 3 maps. $35. The University of play as a ‘mortifying showing,’ particularly Georgia Press, Athens, Georgia 30602. when contrasted to the quality of European and Japanese ceramics. Abuse was general; China Mending the dismay of American visitors echoed the by Echo Evetts disparagement of European critics. Dis­ Of interest to collectors, this updated paper­ tressed observers began to suggest methods back edition of the 1978 publication is a guide to improve American artistry, perceived as to modern techniques and materials for the ‘lower than any other civilized nation.’ restoration of broken or poorly mended ce­ “The response to this humiliation was im­ ramic objects. Following a brief introduction, mediate, lasting and remarkably productive, the text suggests optimum working facilities, for it resulted in a national consciousness of tools and equipment, then explains the prop­ the value of ceramic art. Cultural energies, erties of various mending materials including stimulated from abroad by the first stirrings adhesives, fillers and surface finishers. Step- of the Arts and Crafts Movement, the estab­ by-step instructions describe how to put the lishment of art education programs and the pieces together, replace missing parts and spectacle of international expositions, were match decoration colors. 156 pages including suddenly focused and a series of artistic glossary, index, lists of reference books, ma­ movements began which transformed Amer­ terials and suppliers. 28 black-and-white ican ceramics. Its literature was created at photographs; 16 line drawings. $6.95. Faber the same time; in fact, it is very difficult to and Faber, Inc. 39 Thompson Street, Win­ find any books written before 1876 that dis­ chester, Massachusetts 01890. cuss pottery in the United States.” The entries are organized by 22 subject areas including technique, manufacturing, China: Ancient Kilns and Modern antiques, folk and art pottery, White House Ceramics china, tiles and modern ceramics. Each is by Wanda Garnsey with Rewi Alley annotated with a brief description of the pub­ “The skill and perfection achieved by Chinese lication’s contents. 184 pages including au­ potters a thousand or more years ago is the thor, title and subject indexes. $16. Scarecrow basis on which the craftsmen of today are Press, Inc., 52 Liberty Street, Box 656, Me- making their contribution,” note the authors tuchen, New Jersey 08840.

December 1983 77 78 Ceramics Monthly Technical

Potters and Computersby John Bay more

So you can’t afford a computer and don’t Programming Writing instructions in the know how to program anyway. Surprise! You computer’s language. A lot of programs have don’t need to know how to program, and for been written so that they can be used without only around $100 you can enter the 21st cen­ any technical computer knowledge. tury—high technology has dropped into the Language The “words” the computer rec­ budget range of the craftsperson while we ognizes to perform particular functions. weren’t looking. Best of all, you don’t have BASIC An acronym for Beginners All-pur­ to be a “whiz kid” to use it. pose Symbolic Instruction Code—the most Many potters cannot identify with the common language for personal computers. “image” of computers, and feel that somehow Some BASIC features may vary slightly from such a device is antiethical to the very mean­ one computer to another. ing of their work. This is understandable, Memory One of the most useful aspects of a since craftspeople haven’t had computers computer is its ability to store and retrieve around much. But a computer is just a tool— information quickly. The amount of memory no more, no less. is a function of hardware, and is measured One of the lower-priced machines capable in bytes. of doing myriad tasks in the studio is the Bytes Space available in memory to hold data. Timex/Sinclair 1000 (also marketed as the Think of one byte holding one character or Sinclair ZX-81); the basic computer with a number. Memory is measured in thousands memory expansion unit can be found on sale of bytes, abbreviated as K. The Timex RAM for $80 or less. It’s tiny and plastic, but it’s Memory Module has 16K of storage. For no toy. It can be a powerful tool for all of about $120 you can buy a TS1000 add-on the record keeping, information storage, in place of the 16K RAM and bring memory analysis and technical calculations which up to 64K. You can even get a system that plague any craftsman. While it has certain has 1,000,000 bytes of RAM—that’s about shortcomings when compared to the capa­ 4000 glaze formulas. bilities of more sophisticated computers, the RAM An acronym for Random Access TS1000 costs only about as much as a few Memory—the active, temporary repository kiln shelves, not the whole kiln. Besides, there of information while it is being manipulated are many in use in both this country and inside the computer. For the TS1000, this England; a whole industry is developing to type of memory determines the maximum support them with add-ons, programs, books amount of information which can be pro­ and magazines. Yet most accessories are rel­ cessed at one time. Most computer RAM is atively inexpensive; programs cost no more volatile, which means when the power is than $15 on the average. Also, because so turned off, the information is lost. many people have used them to get a start ROM Read Only Memory is where the lan­ in computing, there are large numbers turn­ guage (BASIC) interpreter is stored in the ing up as used equipment at very good prices. computer; it is nonvolatile. Storage Where the information in volatile Shop Talk RAM is transferred before turning off the Computer jargon sounds as undecipher­ power. The TS1000 uses an audio cassette able to us as potters’ shop talk sounds to our system for storage. Once information has been nonpotting friends. But once you become fa­ saved on tape, it can be loaded back into the miliar with the terminology, “bytes” make as computer at a later time. A C-10 cassette will much sense as “cones.” Let’s look at some hold about 32K bytes of information. common terms: Interface Hardware that connects the com­ Hardware The circuitry and mechanical de­ puter to another part of the system. The key­ vices which make up the computer system. board is the interface between the computer Software The coded instructions which tell and the human user. the computer what to do; software and pro­ Peripheral Any piece of equipment other than gram are the same. Continued

December 1983 79 80 Ceramics Monthly Technical easier, and will let you store records much more compactly. Checkbook programs are the central computer; includes such add-ons great; just hit the “sort-by-payee” code, type as MODEMS and line printers. in the account name or number and complete MODEM A Modulator/Demodulator is an information on all checks sent to that name interface which allows the computer to com­ in the past year will be displayed. municate via the telephone with other com­ There is software available to do the entire puters. With a MODEM you can “access” IRS 1040 form and all schedules. Because the information stored in another computer information can be quickly updated, it will memory, called a data base. help you plan tax strategies; change an entry and see the net result in your tax liability. Putting Hardware Together By the way, don’t forget to deduct the entire To have a complete computer system you cost of your computer system on your de­ will need more than the computer and mem­ preciation schedule. ory module. You also need a video display so Data processing and analysis Many busi­ you can see what the computer is doing, and nesses have a lot of cash flow but aren’t mak­ a means of saving information. The TS1000 ing much money. Sometimes the overall fi­ uses any standard black-and-white or color nancial picture is hard to see; there is just TV as a video display, while data storage is too much information to sort through. With on standard audio cassettes, using a simple a financial analysis software package you don’t cassette recorder. Buying used equipment have to be an expert at financial planning. could bring the price of the system down to It can identify which galleries or items are less than $100. (Check with amateur radio making or losing money for you. It will let buffs and computer clubs to find out about you know the exact financial status of your equipment flea markets.) business, and can suggest the best changes If you want to add a printer, the Timex for you to make. 2040 sells for about $99. A dot matrix printer If you do a lot of clay and glaze testing, (each character is composed of dots), it pro­ the computer can free you for the more cre­ duces copy 32 characters wide and is not ative aspects of such work. You spend your suited for correspondence in general. A good time deciding what to do with a large amount letter-quality printer, such as the Prowriter, of information, not in doing math. For ex­ with an interface for the TS1000 will cost ample, the program near the end of this ar­ about $500. ticle is capable of generating thousands of The physical hookup of the system is quite formulas in an orderly way. How long would simple, but both the RAM connection and that take you? Once you understand how the the cables leave something to be desired. To Stoneware 1 program works, you can adjust keep from losing information because of loose it to meet your specifications. connections, glue the rubber feet of the com­ I have written software which generates puter to a large piece of Plexiglas or wood not only an orderly sequence of unified mo­ and tape down the cables; then wedge a thin lecular formulas, but also the batch formula piece of plastic under the RAM unit to tip for each glaze; programs which let the user it toward the computer. enter a batch formula and return the molec­ ular formula; ones that take the input of any It Can’t Fire the Kiln ... Or Can It? molecular formula and give a batch formula; The first question people ask about my and one that even finds the trends in molec­ computer usually pertains to zapping aliens. ular formulas based on observed results. I While some very good software is available also have one that compares two different for the TS1000, it is not a good game ma­ firing curves (or groups of curves) to find chine. Some limitations in display circuitry precise differences and the cause of defects. make the action slow and the graphics coarse. Word Processing With word processing soft­ But you don’t need color, high-resolution ware and a good line printer you can com­ graphics and fast display action for the fol­ pose a letter, resume, magazine article, etc.; lowing pottery business applications: correct spelling; insert and delete words, sen­ Data base management Think about record tences or paragraphs; change the sequence keeping in your studio—boxes, bags and fil­ of paragraphs; add or delete headings such ing cabinets full of glaze and clay formulas; as addresses; then, when all is perfect, print gallery contacts; inventories of stock in var­ it at the rate of about 120 characters per ious stores; mailing lists; library records; ware second. sizes and weights, etc. Filing software will Even though the Timex 2040 line printer allow you to store a huge amount of infor­ is not suited to some applications, it still saves mation on a single C-60 cassette, and to ma­ an enormous amount of time because of the nipulate the input—finding, sorting, adding ease of composition, and the print-out is easy and deleting data in seconds. A general pro­ to read for retyping. Without a printer you gram such as “The Organizer,” also called can still type the composition yourself as you Vu-File (approximately $15), will handle a read the final copy from the screen. wide range of filing needs. Invoicing A computer can write out bills at Financial records and projections How long the correct time of the month, follow inven­ does it take to do your end-of-the-month tory changes at shops, notify you of delin- books? Software can make this chore much Continued

December 1983 81 82 Ceramics Monthly Technical more potters use them, the more quickly pro­ grams and applications will be developed and quent accounts, make out packing lists, and shared. We could put together a worldwide generally keep track of cash flow and stock ceramics information library in one com­ movements. With invoicing software you could puter; individuals could gain access via their check the status of a gallery’s account, find personal computers and MODEM inter­ out that it is 60 days overdue on the last faces. And if the system is two-way, anyone invoice and due for another shipment this would be able to augment the information in week, print a “second notice” bill and set up the data base. the next invoice for C.O.D. terms. This would only take a minute or so. STONEWARE 1 Equipment control Control functions re­ 1 REM “STONEWARE 1” quire some sort of interface. For example, 2 REM COPR. 1982 J. BAYMORE 10 REM STONEWARE GLAZES electric kilns can be controlled with a stock 80 FAST A-D/D-A (Analog to Digital and Digital to 90 LET A=0 100 FOR Z = 0 TO 5.75 STEP .25 Analog) interface to change voltage to digital 110 FOR Y=0 TO .31 STEP .01 information, a thermocouple and a contrac­ 120 FOR X=0 TO .31 STEP .01 130 LET CA0 = .4 + X tor. Writing the software is the most difficult 140 LET KNA0 = .6—X part, but for approximately $150 above the 150 LET AL203 = .3+Y cost of the computer system you can program 160 LET SI02 = 2.0+Z 161 LET A=A+1 the exact rate of climb, soak periods and cool­ 165 GOSUB 1000 ing rate for your kiln. An easier system in­ 170 NEXT X 180 NEXT Y volves a recording pyrometer; the computer 190 NEXT Z stores readings taken from a thermocouple 200 STOP (through an A-D/D-A interface) for later 1000 REM SCREEN PRINT ROUTINE 1001 SLOW recall and graphing. 1010 SCROLL 1020 PRINT TAB 6; “SEGER GLAZE SERIES 1” What About Programming? 1030 SCROLL 1040 PRINT; “MOLE FORMULA:A;” CONE 9” Personal computers come with manuals 1050 SCROLL explaining the proper commands and pro­ 1060 SCROLL 1070 PRINT “KNAO KNAO; TAB 11; ” AL203 AL203; gramming sequences for beginners; in other TAB 23; “SI02 SI02 words you need to learn the computer’s lan­ 1080 SCROLL 1090 PRINT “CAO CAO guage. A particularly nice feature of BASIC 1100 SCROLL is that it is very much like English—com­ 1110 SCROLL 1115 PRINT “ALUMINA/SILICA RATIO: 1 TO”; INT((SI02/ mands such as PRINT, RUN, GO TO and AL203) * 100 + .5)/100 END are self-explanatory. 1120 SCROLL Once you begin using any computer, you 1125 PRINT “****-32 asterisks-***” 1130 PAUSE 600 will invariably find the stock software good, 1135 FAST but just a bit different than you would write 1140 RETURN it; you always want something it doesn’t in­ Stoneware 1 is a simple program for gen­ clude. For those of us who can’t live with erating unified molecular glaze formulas for this there are two solutions: hire a program­ Cone 9. It systematically varies the relation­ mer or write programs yourself. Learning to ship of CaO to KNaO for each ratio of Al2O3 program is like learning to handbuild or throw. to SiO2. You should watch what others are doing, The values of X,Y and Z determine the practice a lot and have some patience; it won’t limit formula range of the various oxides; you take as long as you think. And remember can experiment with changing the values for you only need programming skills for specific different cone ranges. The value of the STEP applications, not to use the computer. in each FOR line sets the amount of change The results of a computer’s calculations for the oxides each time through the loops; and analysis are only as good as the data this can also be altered. If you have a line with which it works. If you have a program printer, change each PRINT and SCROLL which will read temperature from a ther­ in the program to LPRINT. Also delete lines mocouple signal and you use the wrong type 1001 and 1130 which slows down the display of thermocouple for the temperature range on the screen so you can read or copy it on you are measuring, the results will be quite paper. The variable names have been chosen inaccurate. Most mistakes blamed on com­ for clarity, so CaO is the variable name for puters are the result of programming or op­ the number of moles of CaO. You could change erator errors. Few problems are directly re­the particular fluxing order if you wish. lated to hardware. The major hardware As it is listed Stoneware 1 will generate problem with the TS1000, once you have it 19,800 glaze formulas. It was designed to be rigidly mounted, involves having the volume easily understood by those just learning pro- control on the tape player too high or low gramming. For those who know how to pro­ when you transfer programs. gram, it should be considered a subroutine to be used in more extensive programs. Where to from Here? The challenge is before us. Because of the The author Production potter John Baymore price and ease of usage, an awful lot of pot­ maintains a studio in Wilton, New Hamp­ ters can explore working with computers. The shire.

December 1983 83 84 CERAMICS MONTHLY News & Retrospect then inlaid with colored clay. Some of the Continued from Page 75 slab and handbuilt elements added to the in­ terior were left unattached so that the viewer burns oil during the middle of the cycle and could change their orientation. finishes with wood. At the opposite end of the range of exhib­ Sandra Wyner ited work is Jose Vermeersch’s figurative “Clay as vessel (vessel as utensil) is the sculpture, such as this headless couple, to form with which I work,” observed Sandra Wyner, Hinesburg, Vermont. “Thus is every impulse tempered by handles that do not heat, cups that feel inviting to the lips, pots with the capacity to fill all the cups in the set, glazes that are food safe—but always accen-

Slip-cast porcelain pitcher and tumblers tuating design.” Shown in a recent exhibition of Sandra’s work at the Society of Arts and Crafts in Boston, this beverage set, pitcher approximately 14 inches in height, was glazed yellow on the interiors, red on the exteriors.

Jose Vermeersch’s life-size earthenware figures “My approach,” continued the artist, “is to make shapes that stand on their own yet de­ approximately 58 inches in height, slab-built mand equally singular colors to describe the earthenware, burnished, fired in an electric lines.” kiln. Born in 1922, Jose, as he says, creates “presences” with his sculpture. Originally a painter, he started about 15 years ago to make Lana Wilson distorted forms as an expression of the gen­ An exhibition of handbuilt porcelain chairs eral human condition. Often he puts a dog by Lana Wilson, San Diego State University, next to a figure, the dog reflecting the mood was presented at Gallery Eight in La Jolla, of man, his boss; the man reflecting his own California, through October 28. Ranging from character in the dog, his companion. The life- 7 to 12 inches in height, the chairs were sag- size figures are built with small slabs cut from blocks of marbled or monochrome clay, and fired in oxidation. Text: Dorris Kuyken- Schneider; photo: Frequin.

Joan Rosenberg Ann Arbor, Michigan, ceramist Joan Ro­ senberg recently presented new work from her “Dockside Memoirs” series at the Private Collection in Cincinnati. The porcelain forms,

7-inch-high chair with pinks and oranges from seaweed gar fired to Cone 06 “with lots of seaweed and a little sawdust,” according to the artist. “The rich surfaces and subtle colors are par­ 17-inch “Graffiti” tially created by eggshells embedded in the such as “Graffiti,” 17 inches in diameter, were surface of the slabs. The eggshells react with wheel thrown in a mold, removed and pad- the seaweed and sawdust, and create dark died when leather hard to avoid warpage, halos and irregular textural effects.”

December 1983 85 86 Ceramics Monthly CERAMICS MONTHLY Index January 1983—December 1983

Business Mindscape Raku, Feb., p 48 Business of Art and Craft, The, Summer, p 36 Mindy Shrago, Jan., p 31 Mail-Order Marketing, Black, Oct., p 46 Minnesota Invitational, Hluch, Feb., p 53 Potters and Computers, Baymore, Dec., p 79 Mitch Lyons: Clay Monoprints, Summer, p 51 Three Berea Potters, Barker, Summer, p 39 Pattern, Mar., p 52 Two Production Potters, Hewko, May, p 54 Paul Chaleff, Apr., p 49 Clay and Slip Pewabic Exhibition, May, p 25 Bob Shay: New Work, Horrell, Feb., p 31 Philip Jameson, McLean, May, p 42 Colored Clay Invitational, Sept., p 50 Pitchers, Feb., p 70 Cone 06-6 Oxidation Clay Bodies, Rowan, Apr., p 28 Polly Frizzell, Mar., p 29 Early Thai Civilization, Nov., p 60 Reitz/Soldner/Sperry Exhibition, Sept., p 45 Methylcellulose, Stimers and Greminger, Jr., Mar., p 83 Rhode Island Influences, Nov., p 29 Mitch Lyons: Clay Monoprints, Summer, p 51 Richard Bresnahan, Apr., p 29 Commentary Rick Dillingham, Dec., p 44 Aesthetic Vocabulary, Moeran, Nov., p 21 Robert Kibler’s Resting Places, Feb., p 35 Carpal Tunnel Syndrome, Sering and Steinberg, Dec., p 21 Robert Rauschenberg Ceramics, May, p 39 Change of Attitude, A, Ase, Apr., p 23 Robert Winokur, Summer, p 66 Coffee Bowl, A, Nasisse, Summer, p 63 Scripps Invitational, Soldner, Feb., p 60 Continuity and Change, Counts, Jan., p 51 64th May Show, The, Dec., p 33 Ethic of Craftsmanship, The, Kling, Mar., p 21 Sun Valley Exhibition, Feb., p 52 Facing Maturity, Krakowski, Summer, p 23 Ted Vogel, Feb., p 69 Faenza Juror’s View, A, Spurey, Dec., p 30 Thom Bohnert, Howard, Feb., p 39 Forms Around a Vessel, Smith, Dec., p 38 Ultimate Cookie Jar, The, May, p 45 Kirlian Images of Clay, Flodin-Moreno, Feb., p 21 Virginia Cartwright, Jan., p 49 Onta Folk Potters, Moeran, May, p 27 Weightless Form: John Stephenson, Sept., p 51 Potter’s Dilemma, A, Fina, Oct., p 32 Glazes and Glazing Potters’ Portraits, Baker, Oct., p 42 Approach to Glazemaking, An, Green, Sept., p 62 Rob Barnard Teapot, A, Cort, Dec., p 36 Beatrice Wood, Handley and Danisch, Apr., p 32 Survey of Modern Japanese Pottery, A, Part 4, Moeran, Jan., p 54 Changes, Shacter, Nov., p 32 Teapots at Cardiff, Casson, Apr., p 44 Cone 5-6 Slip Glazes, Rowan, Oct., p 63 Technological Thrills, Soubriquet, Oct., p 23 Cone 6 Oxidation Slips and Glazes, Rowan, Summer, p 64 Thom Bohnert, Howard, Feb., p 39 Glazes for Medium and High Firing, McWhinnie, Dec., p 58 Toward a Ceramics Aesthetic, Rand, Jan., p 25 Potters and Computers, Baymore, Dec., p 79 Toward a Postmodern Pottery, Ruff, Sept., p 27 Some Thoughts on Studio Pottery, Oestreich, Oct., p 52 Two Energy Scenarios, Baker, May, p 23 Two Production Potters, Hewko, May, p 54 Voulkos on Voulkos, Woodcock (ed), Sept., p 53 Utah Symposium, A, Tipton, Oct., p 48 Decoration Wood-Ash Glazes in Oxidation, Cardinalli, Jan., p 58 Anagama—The Fiery Brush, Troy, May, p 34 Handbuilding Pattern, Mar., p 52 Ceramic Portraiture, Mayeri, Dec., p 42 Robert Kibler’s Resting Places, Feb., p 35 Clay Art in Industry, Horrell, Nov., p 48 Robert Rauschenberg Ceramics, May, p 39 Colombian Roof Tiles, Dorrance, Feb., p 45 Studio Raku, Polseno, Jan., p 42 History Departments Early Thai Civilization, Nov., p 60 Consult the Contents page of each issue for the following departmental features'. Jugtown Pottery, Fields, Mar., p 53 Classified Advertising Mary Chase Stratton, Garwood, Sept., p 29 Itinerary Miscellaneous Letters to the Editor Clay Architecture, May, p 46 New Books: Mar., p 85; Apr., p 85; Summer, p 103; Sept., p 67; Nov., p 81; Designer Craftsmen Fairs, Apr., p 38 Dec., p 77 Nader Khalili: Fired Houses, Danisch, Nov., p 50 News & Retrospect Utah Symposium, A, Tipton, Oct., p 48 Questions Answered by the CM Technical Staff Portfolios Suggestions from our Readers Earthenware, Ostrom, Dec., p 45 Summer Workshops: Apr., p 53 Jugtown Pottery, Fields, Mar., p 53 Where to Show Old and New Pots, Simon, Summer, p 53 Exhibitions, International Works Potters and Pottery British Ceramics in Boston, Jan., p 28 Afghan Refugee Potters, Maust, Dec., p 26 Canadian Plates, Mar., p 50 Beatrice Wood, Handley and Danisch, Apr., p 32 Early Thai Civilization, Nov., p 60 Bob Shay: New Work, Horrell, Feb., p 31 Faenza 1983, Dec., p 29 Ceramic Portraiture, Mayeri, Dec., p 42 Faenza’s 40th International Competition, Feb., p 49 Changes, Shacter, Nov., p 32 Forms Around a Vessel, Smith, Dec., p 38 Doug Baldwin, Gellner, Oct., p 28 Gordon Baldwin, Nov., p 30 Hideto Satonaka, Kajitam and Hunt, Dec., p 53 Henry Pim, Nov., p 40 Jan Richardson, Kooyman, Oct., p 58 Japanese Ceramics Today, Mar., p 41 Onta Folk Potters, Moeran, May, p 27 Japanese Historical Ceramics, Sept., p 46 Potters of Nepal, Danisch, Sept., p 55 John Leach: Functional Ware, Summer, p 45 Ruenell Foy Temps, Burstein, Jan., p 33 Peter Voulkos in Japan, lwabuchi, Sept., p 52 Salt and Form, Walton, Nov., p 55 Scandinavian Modern, Mar., p 36 Some Thoughts on Studio Pottery, Oestreich, Oct., p 52 Svend Bayer, Summer, p 30 Studio Raku, Polseno, Jan., p 42 World Ceramics in Cleveland, Jan., p 38 Three Berea Potters, Barker, Summer, p 39 Exhibitions, United States Traditional Potters of Icheon, Korea, Zakin, Nov., p 43 Akio Takamori, Sept., p 37 Two Production Potters, Hewko, May, p 54 Ancient Inspirations/Contemporary Interpretations, Feb., p 62 Walter Keeler, McLean, Sept., p 41 Beth Changstrom, Jan., p 50 Byron Temple Exhibitions, Sept., p 102 Potter’s Wheel Changes, Shacter, Nov., p 32 Christine Federighi, Mar., p 48 John Kudlacek, Feb., p 40 Collectors, Feb., p 42 Ruenell Foy Temps, Burstein, Jan., p 33 Colored Clay Invitational, Sept., p 50 Three Berea Potters, Barker, Summer, p 39 Continuity and Change, Counts, Jan., p 51 Traditional Potters of Icheon, Korea, Zakin , Nov., p 43 David Keator, Wegner, Mar., p 38 Two Production Potters, Hewko, May, p 54 Dennis Gallagher, May, p 24 Elizabeth MacDonald, Apr., p 48 Schools Eve Watts, Apr., p 43 Maryland Institute, The, Lackey, Summer, p 32 Functional Ceramics 1983, Oct., p 31 Studio, Tools and Equipment Great American Bowl, The, Mar., p 30 Anagama—The Fiery Brush, Troy, May, p 34 James and Karen Chalkley, Sept., p 34 Arkansas Sandblaster, The, Baker, Mar., p 61 Jill Bonovitz, Beckman, Nov., p 41 Better Vent for Electric Kilns, A, Scatchard, Dec., p 34 John Kudlacek, Feb., p 40 Filtered Spray Booth, A. Cerrone, Apr., p 52 Ken Vavrek’s Wall Sculpture, Mar., p 34 Fuel-Saving Timer, A. Brown, Apr., p 87 Lois Hennessey, Jan., p 48 Insulating Existing Kilns, Brodie, Sept., p 38 Louisville Alumni Invitational, Apr., p 46 Potters and Computers, Baymore, Dec., p 79 Marietta Crafts National, Feb. p 36 Rammed Earth Studio, A, Selsor, May, p 51

December 1983 87 Where to Show Continued from Page 17

slides. Fee: $130. Send self-addressed, stamped en­ velope to: American Designer Craftsmen, Marvin Cohen/Michael Strailey, 5704 Dimes Rd., Rock­ ville, Maryland 20855; or call: (814) 238-5715. March 1, 1984 entry deadline Denver, Colorado “The Art of Crafts—Festi­ val ’84” (August 24-26, 1984) is juried from 5 slides. Jurors: Garth Clark, Carol Maree Hoff­ man and Dianne Vanderlip. $1500 in awards. En­ try fee: $10. Booth fee: $150. Contact: The Art of Crafts, Box 38233, Denver 80238; or call: (303) 771-0042 or 771-4544. Minneapolis, Minnesota The 12th annual “Minnesota Crafts Festival” (June 23-24, 1984) is juried from 4 slides. Entry fee: $7.50; booth fee: $50 for members of the Minnesota Crafts Council, $70 for nonmembers, for a 12x12-foot space. Send self-addressed, stamped envelope to: MCC-Festi- val, 528 Hennepin Ave., Room 210, Minneapolis 55403; or call: (612) 333-7789. Charlotte, North Carolina “Third Annual Springfest” (April 27-29, 1984) is juried from 4 slides of work and 1 of display. $10,000 in cash and purchase awards. Fee: $35 for a 12x12-foot space. Send self-addressed, stamped, legal size en­ velope to: Springfest, 110 E. Seventh St., #210, Charlotte 28202; or call: (704) 332-0126. March 10, 1984 entry deadline San Francisco, California “ACC Craftfair at San Francisco” (August 8-12, 1984) is juried from 5 slides. Entry fee: $10. Booth fees: $300-$650. For further information contact: American Craft Enterprises, Box 10, New Paltz, New York 12561; or call: (914) 255-0039. March 30, 1984 entry deadline Mountain View, Arkansas “The Ozark Foot­ hills Craft Guild 22nd Annual Spring Show and Sale” (April 20-22, 1984) is juried from 5 slides. Application fee: $5; booth fee: $20. Commission: 15% retail, 5% wholesale. Contact: Ozark Foot­ hills Craft Guild, Box 800, Mountain View 72560; or call: (501) 269-3896.

88 Ceramics Monthly