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 Mary E. Beaver. . . Circulation Assistant Jayne Lohr ...... Circulation Assistant Connie Belcher . . . Advertising Manager Spencer L. Davis ...... Publisher Editorial, Advertising and Circulation Offices 1609 Northwest Boulevard Box 12448, Columbus, Ohio 43212 (614) 488-8236 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 $18, two years $34, three years $45. 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 and craft are welcome and will be con­ sidered for publication. A booklet describing procedures for the preparation and submis­ sion of a manuscript is available upon re­ quest. Send manuscripts and correspondence about them to: Ceramics Monthly, The Ed­ itor, Box 12448, Columbus, Ohio 43212. Telecommunications and Disk Media: Ceramics Monthly accepts articles and other data by modem. Phone us for transmission specifics. Articles may also be submitted on 3.5-inch microdiskettes readable with an Ap­ ple Macintosh computer system. 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 © 1986 Professional Publications, Inc. All rights reserved March 1986 3 4 Ceramics Monthly Ceramics Monthly Volume 34, Number 3 March 1986

Feature Articles May I Help You? by Joe Weingarten...... 21 Buffalo Crafts National by Roberley Ann ...... Bell 22 Margaret Chatelain...... 26 Edges, Part ...... 2 27 Toyozo Arakawa by Joseph Pugliese...... 33 Designer Craftsmen Fairs...... 37 The Internationalization of Emily by Everette L. Busbee...... 45

Departments Letters to the Editor...... 7 Where to Show...... 9 Questions...... 11 Itinerary...... 13 Suggestions...... 15 Comment: Marketing by Greg Charleston...... 17 News & Retrospect...... 59 Film and Video...... 62 New Books...... 64 Classified Advertising...... 78 Index to Advertisers...... 80

The Cover Even from a distance you can smell the aroma of wood smoke as tall flames rise quietly from the flue of the 56-foot-long anagama (a Japanese-style tube kiln) at Peters Valley (Layton, New Jersey), a crafts com­ munity occupying land leased from the National Park Service. After the flame recedes, another load of split oak will be stoked. The cycles of stoking and waiting continued throughout the nearly five-day period in this kiln’s first firing to be led by westerners. Turn to page 45 for a complete account. Photo: Barbara Tipton. March 1986 5 6 Ceramics Monthly Letters

Not Ready for Criticism Is every polychrome low-fire sculpture great? in the garage. Also the glaze didn’t freeze off In response to the article on “Ceramic Is a plate that is painted but is not a painting my hands while stirring and mixing. I can Criticism” (December), I have a tendency to dynamic and profound? I think writers have listen to the radio now while I throw. Before, dismiss the entire article as another “let’s try an obligation to write about all aspects of the I couldn’t because I couldn’t hear my phone to make ceramics high art.” I also have a arts (including ceramics) with gusto and in­ ringing in the garage if the radio was on. strong tendency to agree with Jeff Perrone telligence. However, there must also be ce­ There are disadvantages. I am not with [who wrote a section of the article]. I don’t ramic art that is capable of being good enough my family as much. The new house is so big think people who work with clay (as opposed to be written about. Why does ceramics have we seem to spread out and get lost. Also, I to acrylic, metal, plastic or cotton balls) are to be like painting? Why is there such a hol­ lost a lot of regular customers. My gas kiln ready for criticism. Except for a relatively low fuss about ceramics and fine art? still is not operating because of complications small number of artists working with clay, I think it’s because everyone is waiting for in going from a gas line to a tank. I am the general ceramics/pottery community is the Julian Schnabel of clay to appear. The paying a shop to do my firing. still thinking about funk vs. function. first coming of someone—anyone—who can The most surprising disadvantage that I On the other hand, Perrone is completely make some real money from clay in the gal­ did not expect is that my work area does not off base when he mentions “that ceramics lery system. It’s a combination of ego and get cleaned regularly like it used to when it itself has to get its own house in order before economics. Lots of people who work in ce­ was the kitchen counter. it starts commiserating with painting and ramics also teach. The “university” itself is Mary Mulkey sculpture.” I find it very interesting that Jim a unique situation: Teachers and artists? Sumner, Wash. Romberg would pay Jeff Perrone to fly from Teacher/administrator, artist/teacher, never New York City to Sun Valley, Idaho, to take artist/administrator. Strange? Every person Ted Randall part in a symposium [wherein] one would (except Perrone) in the “Criticism” article is After learning of Ted Randall’s death in expect Perrone not to be sympathetic to the a teacher. late 1985, I was prompted to seek out his nonissues. Who is kidding whom about Per­ I think it’s time for a different kind of article “Being and Meaning” (November 1984 rone going with ceramics? And why is it that criticism, possibly some self-criticism. Take Ceramics Monthly). only “ceramists talk about ceramics”? As a closer look at why we ceramic makers are When I re-read it, I was overcome with Patterson Sims (associate curator at the so bound up in the quest for recognition— a sadness because Ted, I am sure, knew at Whitney Museum of American Art) said, [in as if it were some kind of movement. the time of his writing that he was dying of the Whitney collection are] “about 15 works The final irony is Steve Reynolds’s brief cancer. It seems to me that in his writing he which are made of clay and they’re there not horn-blowing, in which he mentioned that was looking for a way to justify his own being because they are made out of clay any more “Peter Voulkos’s bellicose posturings were and meaning; all of which need no justifi­ than we have things in the museum because sublimely ridiculous,” etc. Certainly, Voulkos cation. they’re made out of canvas and oil. They’re needs no defense, but I would remind Steve He made a tremendous contribution to our there because they have sculptural possibil­ Reynolds that if he (Reynolds) will do half art form and elevated its state to new levels ities, or they seem engaging as sculptural as much as an artist as Voulkos has done, he throughout his life. works of art.” (Reynolds) can then stand up, chest puffed Sheila Rogers There has always been a healthy irritation out like a goosed chicken, and crow till the East Hampton, N.Y. between California and New York City. There break of day. Certainly, Voulkos is not nearly is not a healthy irritation between critics who as bellicose as say, Pee Wee Herman or As the first wave of the contemporary clay write about painting and sculpture and ce­ Sylvester Stallone. experience matures, increasingly there will ramics. It is going to be a very long time Jens Morrison be passages and deaths. We’ve already lost before people like Jeff Perrone can be drugged Carlsbad, Calif. Leach and Cardew and most recently Ted into agreement and submission by black clouds Randall. I think that it would be appropriate of raku smoke. It is going to be decades (if Kitchen-Table Potters for CM to honor the passages of those that ever) before serious writers in New York agree I might be one of the “kitchen-table/ga- have contributed in a major way to clay’s that an “organo” pit-fired bowl is like a rage” potters that Janet Redman (January unfolding with a sizable memorial article about painting or a sculpture. What I truly find Letters) wants to hear from. I began throw­ their life, work and contributions, along with horrifying is the amount of energy spent trying ing pots in my garage about 10 years ago. photos of their work. (I realize that CM ac­ to convince individuals associated with the Because there was no heat out there I moved knowledged Leach and Cardew—I just hope “high fine arts” that what ceramists are col­ the pots in to dry enough to trim, then did it continues.) lectively doing is also “high art.” The crux all the finishing work at my kitchen counter Bill Muerdter of the problem might be that those of us in where I could enjoy warmth, TV/radio and Waynesville, N.C. the country who do not live on the West Coast refrigerator. I loved the flexibility of being or the East Coast have a feeling of isolation able to coffee klatch with neighbors, take care Silica by Any Other Name and a feeling of need to get some kind of of my kids, run a wash, and make saleable Silica is a serious health hazard to those recognition. Maybe there needs to be a more pots all at the same time. Several disadvan­ who work with clay. I don’t think silica should heartfelt approach to who we are and what tages should be noted. It was almost impos­ be called by another name. CM insists upon we make. I doubt very much if anyone is sible to get a spoon out of a drawer with 10 publishing glaze formulas that contain “flint.” ever going to get Robert Hughes [of Time or 12 handles hanging over the counter wait­ I don’t think this is fair to inexperienced magazine] to write about vases and plates. ing for attaching to mugs. Another was the readers who may have heard of silicosis but I have yet to read a “review” about clay continual trail of clay On the floor due to not relate that hazard to the material called by a person who has the insight, the guts and constant movement of pots. “flint.” the ability to say anything negative about a At last, we moved. It has been more than Manufacturers now label their bags of sil­ ceramics exhibiton. Ninety-nine percent of three months now. It is wonderful; my whole ica with the word “Silica,” and they print a the time everything is perfect. None will ever pottery operation is in the large, daylit base­ silica hazard warning on the bag. I have yet say, “This stuff stinks!” Everyone is too sweet, ment on a lakefront lot (except the kilns). to see any bags with a “flint hazard” warn­ too gentle and too kind, making for very bor­ Aside from the obvious advantages, I was ing. ing writing. And yes, very boring language, pleased to discover that the clay was easier Enclosed is a warning label that I cut from too. I am not advocating that writers and to wedge and throw because it was at room a bag. It says, “Contains Free Silica” not critics should be negative only, just honest. temperature—not freezing cold as when stored Please Turn to Page 53 March 1986 7 8 CERAMICS MONTHLY Where to Show exhibitions, fairs, festivals and sales Send announcements of juried exhibitions, fairs,relate to the act of pouring. Send self-addressed, Arkansas, Illinois, Iowa, Kentucky, Louisiana, festivals and sales at least four months before thestamped envelope to: Michael Holohan, Pro Art, Minnesota, Mississippi, Missouri, Tennessee and entry deadline to: The EditorCeramics; Monthly, 5595 Pershing Ave., Saint Louis 63112; or call: Wisconsin. Juried from 6 slides of up to 3 func­ Box 12448, Columbus, Ohio 43212; or call: (614) (314) 361-4442. tional or sculptural works. Fee: $15. Send self- 488-8236. Add one month for listings in July andApril 21 entry deadline addressed, stamped envelope to: Hickory Street two months for those in August. White Plains, New York The “33rd Annual Gallery, 1929 Hickory St., Saint Louis 63104. National Open Juried Exhibition” (October 24-November 9) is juried from slides. Jurors: Miles Barth, John Elliot, Anthony Padavano and Rose- Fairs, Festivals and Sales International Exhibitions anne Raab. Send self-addressed, stamped envelope March 5 entry deadline April 8 entry deadline to: Open Juried Exhibition, Mamaroneck Artists Princeton, New Jersey “Spring Crafts at Golden, Colorado The eighth annual “North Guild Gallery, 150 Larchmont Ave., Larchmont, Princeton” (April 5-6) is juried from 5 slides. Fee: American Sculpture Exhibition” (June 1-July 8) New York 10538. $165 for an 8xl0-foot space. Send self-addressed, is open to artists in the U.S.A., Canada and Mex­ May 10 entry deadline stamped envelope to: Rose Squared Productions, ico. Juried from glossy 8x10 photographs of a Southport, North Carolina “Sixth Annual Na­ 12 Galaxy Ct., Belle Mead, New Jersey 08502; maximum of 3 entries, up to 3 views each. $6000 tional Art Show” (July 2-27) is juried from slides. or call: (201) 874-5247. in awards. Jurors: Albert Wein and Sebastian. Fee: Fee: $15 per entry. Contact: Associated Artists of March 7 entry deadline SI2.50 per entry. Send self-addressed, stamped en­ Southport, Franklin Square Gallery, Box 10035, Minneapolis, Minnesota The 14th annual velope to: The Foothills Art Center, 809 Fifteenth Southport 28461. “Minnesota Crafts Festival” (June 28-29) is ju­ St., Golden 80401; or call: (303) 279-3922. May 23 entry deadline ried from 4 slides. Entry fee: $7.50. Booth fee: $50 April 16 entry deadline Sacramento, California “American Ceramic members; nonmembers $70 for a 12x12-foot space. Vallauris, France The tenth “Biennale Inter­ National IV” (July 1-August 16) is juried from Send self-addressed, stamped envelope to: Min­ nationale de Ceramique d’Art de Vallauris” (July slides. Juror: Rena Bransten. Awards. Send self- nesota Crafts Council Festival, 528 Hennepin Ave., 4-September 30) is juried from up to 2 works, or addressed, stamped envelope to: Institute for De­ #210, Minneapolis 55403. a single large work that does not exceed 175 pounds, sign and Experimental Art (I.D.E.A.), 824½ “J” March 14 entry deadline or 59 inches square if a panel. Application dead­ St., Sacramento 95814. State College, Pennsylvania The “20th An­ line: March 30. Awards include a F40,000 grand June 14 entry deadline nual Sidewalk Sale and Exhibition of the Central prize (approximately $4800). For further infor­ Bethlehem, Pennsylvania “Luckenbach Mill Pennsylvania Festival of the Arts” (July 10-13) mation contact: Mairie de Vallauris, 06220 Val­ Gallery Juried Exhibition of Contemporary Crafts” is juried from 4 slides. Entry fee: $10; booth fee: lauris; or call: 64-24-24. (October 4-November 2) is juried from up to 3 $155. Send self-addressed, stamped envelope to: April 30 entry deadline slides each of 3 pieces including close-ups. Jurors: Lurene Frantz, Box 1023, State College 16804; or Mino, Japan “The 1st International Ceramics David Ellsworth, Peggy W. Hobbs and Lee Sklar. call: (814) 237-3682. Contest ’86” (November 2-9) is open to individ­ Awards. Fee: $10. For further information contact: March 15 entry deadline uals or groups working in ceramic design and/or Janet Goloub, Historic Bethlehem Inc., 501 Main Oakland, California “Festival at the Lake Crafts ceramic arts. Juried from up to 3 works, each St., Bethlehem 18018; or call: (215) 691-5300. Market” (June 6-8) is juried from 5 slides. Fee: category. Jurors: Yusuke Aida, Nino Caruso, Lloyd June 27 entry deadline $125 for a 10x10-foot space. Send self-addressed, E. Herman, Yoshiaki Inui, Takuo Kato, Masahiro Jackson, Wyoming “Art West Open Compe­ stamped envelope to: 15115 Webster St., Oakland Mori, Timo Sarpaneva, Rudolf Schnyder, Peter tition” (September 12-October 3) is juried from 3 94612; or call: (415) 893-0677. Voulkos and Carlo Zauli. Awards include a “Grand slides. Fee: $15. Awards include a three-week solo Louisville, Kentucky “The Kentucky Guild of Champion” per category: ¥2,000,000 (approxi­ exhibition. Contact: Judy Sensintaffar, Art West Artists and Craftsmen’s 25th Anniversary Fair” mately $8440) and a study trip; gold medals: Gallery, Box 1248, Jackson 83001; or call: (307) (July 25-27) is open to residents of Illinois, In­ ¥1,000,000 (approximately $4220); and silver 733-6379. diana, Kentucky, Missouri, Ohio, Tennessee, Vir­ medals: ¥500,000 (approximately $2110). Fees: ginia and West Virginia. Juried from 5 slides. ¥3000 (approximately $13) for 1 entry, ¥5000 $2500 in awards. Fee: $125 fora 12x12-foot space. (approximately $21) for 2, ¥7000 (approximately Regional Exhibitions Contact: KGAC 25th Anniversary, Water Tower $30) for 3. Contact: The 1st International Ce­ March 9 entry deadline Art Association, 3005 Upper River Rd., Louisville ramics Contest ’86, 2-15 Hinode-machi, Tajimi Topeka, Kansas “Topeka Crafts Competition 40207; or call: Mike Imes (502) 549-8102 or Sar­ City, Gifu Prefecture, 507; or call: (0572) 22-1111. 10” (April 6-May 4) is open to residents of Kansas ah Frederick (502) 897-1298. May 26 entry deadline and the metropolitan Kansas City and Saint Jo­ Madison, Wisconsin The Madison Art Cen­ Freiburg, West Germany The “Elisabeth- seph, Missouri, areas. Juried from works. Juror: ter’s 28th annual “Art Fair on the Square” (July Schneider-Award” (October 4-November 22), a Myra Morgan. Fee: $15 for up to 3 works. Con­ 12-13) is juried from 4 slides. Entry fee: $10; biennial ceramic sculpture or objects competition, tact: Gallery of Fine Arts, Topeka Public Library, booth fee: $160. Contact: Art Fair on the Square, is juried from photos, slides or drawings. DM20,000 1515 W. Tenth, Topeka 66604; or call: (913) 233- Madison Art Center, 211 State St., Madison 53703; (approximately $8000) in awards. Contact: Gal- 2040. or call: (608) 257-0158. erie Schneider, Riedbergstrasse 33, D-7800 Frei- March 15 entry deadline March 31 entry deadline burg-Gunterstal; or call: 0761 29406. Pittsburgh, Pennsylvania “Three Rivers Arts Baltimore, Maryland “Artscape ‘86” (July June 30 entry deadline Festival” (June 6-22) is open to residents of Del­ 18-20) is open to craftspeople from Delaware, Toronto, Ontario, Canada “First Annual In­ aware, Washington, D.C., Maryland, New Jersey, Washington, D. C., Maryland, New Jersey, New ternational Miniature Art Exhibition” (November New York, Ohio, Pennsylvania, Virginia and West York, Pennsylvania, Virginia and West Virginia. 9-December 31) is juried from two-dimensional Virginia. Juried from slides of up to 3 works in Juried from 5 slides. Fee: $75 for a 10x10-foot works in any media. Awards. Fee: $15 (or Can$18) each category. Categories include crafts, and out­ space. Send a self-addressed, stamped envelope to: for up to 3 works. Contact: Del Bello Gallery, 363 door and indoor sculpture. $31,900 in awards. Fees: Artscape ’86, c/o Mayor’s Advisory Committee on Queen St., W, Toronto, Ontario M5V 2A4; or call: $15; any additional category: $10. Contact: Three Art and Culture, 21 S. Eutaw St., Baltimore 21201; (416) 593-0884. Rivers Arts Festival, Gateway Center #5, Pitts­ or call: (301) 396-4575. burgh 15222. Medina, Ohio The 14th annual “Art in the May 2 entry deadline Park” (July 20) is juried from 5 slides. Contact: National Exhibitions Kingston, Rhode Island “RI Earthworks ’86” Art in the Park Screening Committee, Box 339, April 1 entry deadline (May 16-30) is open to current and former res­ Medina 44258; or call: (216) 722-1863. Boston and Hyannis, Massachusetts “Scents idents of Rhode Island. Juried from works, up to April 1 entry deadline and Non-Scents II” (July 1-September 3) is juried 6 entries. Awards. Fee: $5 each. For further in­ Marietta, Georgia “Jubilee Cultural Arts Fes­ from slides or photos of stoppered containers and formation contact: RI Earthworks ’86, Helme tival” (May 24-26) is juried from 3 slides. $12,000 a resume. Send self-addressed, stamped envelope House Gallery, Route 138, Kingston 02881; or in awards. Fee: $75. Send stamped, self-addressed, to: Signature Gallery, Dock Square, North Street, call: (401) 539-7603. legal-sized envelope to: Carolyn Duncan, Mar­ Boston 02109; or call: (617) 227-4885. May 9 entry deadline ietta/Cobb Fine Arts Center, 1256 Church St., April 5 entry deadline Los Alamos, New Mexico “Fourth Biennial Marietta 30060; or call: (404) 424-8142. Corvallis, Oregon “Midnight Summer’s Dream Juried Craft Exhibition” (June 20-July 27) is Morristown, New Jersey Tenth annual “Mor­ Mask Exhibition” (June 5-July 5) is juried from open to craftspeople residing in Arizona, Colorado, ristown CraftMarket” (October 10-12) is juried 3 slides of masks in any medium. Send self-ad­ New Mexico, Texas and Utah. Juried from slides from 5 slides. Fee: $10. Contact: Michael and Bar­ dressed, stamped envelope to: Linda Brewer, 7580 of up to 3 entries. Fees: $12; nonmembers $15. bara Feno, Box 2305-R, Morristown 07960. N.E. Logston Rd., Corvallis 97330; or call: (503) Send a self-addressed, stamped envelope to: Craft Dayton, Ohio The 19th annual “Art in the 745-5772. Biennial, Fuller Lodge Art Center, Box 790, Los Park” (May 24-25) is juried from 3 slides. Con­ April 15 entry deadline Alamos 87544; or call: (505) 662-9331. tact: Don Webb, Art in the Park, Riverbend Art Saint Louis, Missouri “A Week Show of Pour June 15 entry deadline Center, 142 Riverbend Dr., Dayton 45405; or call: Pots/A Juried Invitational” (June 20-July 18) is Saint Louis, Missouri “Mississippi Mud II” DeEarnest McLemore (513) 228-1115. juried from 4 slides and resume. Works should (September 19-October 19) is open to residents of Please Turn to Page 66 March 1986 9 10 CERAMICS MONTHLY Questions Answered by the CM Technical Staff Q I liked the answer about oxidation glazes in the December 1985 issue. One of the things mentioned is using several glazes applied over each other in layers in order to get better oxidation effects. Vve heard that it does not work well to put a shiny glaze over a matt one and vice versa. Would you comment on that?—J.S. There is no reason why one cannot put a shiny glaze over a matt one or vice versa, or layer a variety of shiny and matt glazes, de­ pending on the results desired. In fact, some unusual glaze effects can be achieved in this manner. Try turning some of your usual glazes inside out—that is, put what’s underneath (even if it’s a slip) on top and put the top glaze underneath. On an experimental basis, you might find some surprising and beautiful results. Q I just took down my wood-burning kiln, which has been outdoors since 1973 with little protection, and am delighted how good most of the softbrick looks. However; a great many split in two in the middle, and some split more than that. It might interest you to know that the outer kiln wall was red brick and it held up wonderfully. I want to build a smaller kiln. Do you think I can smash up the really bad softbrick, mix them instead of grog in one of Lowell Baker3s formulas (November 1981), make bricks, fire them and reuse? Or build a new ; one-piece castable kiln, then fire? Also, I clearly remember hearing of kiln domes made of thrown or handbuilt cones (hollow). Do you have any knowledge of that? My main aim is to reuse what I have now with the least possible investment in new stuff. I cannot get Lumnite around here but can get something apparently just like it made by another manufacturer. Also, will any kind of vermiculite do in these cases—the kind the building supply people sell, for example? Or does Baker use some kind of special vermiculite?—L.K. Lowell Baker responds: “My opinion, which I hedge slightly, due to the many types of softbrick available, is that at least ¾ of the grog can be replaced with crushed softbrick. “I don’t see any real advantage in making brick though, and would therefore suggest simply casting the kiln as a unit (in place) for smaller kilns, but in pieces for a larger kiln. “Two problems might arise from using old softbrick: High mois­ ture in the brick might weaken the castable. If the softbrick had been subjected to the fluxing action of salt or wood ash, it may not be suitable for a castable. “All of my best guesses aside; make several small samples and test your castable, being sure to test it under load, at temperature. Place a 2-inch cube under a hardbrick and fire it to the maximum temperature that you might expect to fire the kiln built from this material. Examine the sample after firing for distortion. This test is extreme, but it will give you a very safe test of how well your mix will stand firing. If your sample holds up to only half this weight, it will probably work without problems. “I hesitate to say that all calcium or calcium-aluminate cements are the same, but they should all work in castables. Again, test them. Calcium-aluminate cement makes a good kiln wash, too. You may find that portland cement will also work in your castable. Test it, too. This may save you a lot of money. “About vermiculite: there seem to be several sizes and types of this expanded mica. They are sold under the names ‘Zonolite,’ ‘vermiculite’ and sometimes ‘block fill’ or ‘attic fill.’ I have used many of these and they all seem to work the same. However, you will find that some vermiculites seem to be waterproofed, and others seem to act as a deflocculant in the mix. If the product deflocculates the castable, simply adjust the amount of water used to prevent the batch from being too fluid. As a rule of thumb, less water (to a point) makes a stronger castable.” 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. March 1986 11 12 Ceramics Monthly Itinerary conferences, exhibitions, workshops, fairs and other events to attend

Send announcements of conferences, exhibitions, tails, consult CM October Itinerary. Contact: Steve California, Napa March 10-April 4 Tony workshops, juried fairs and other events at leastReynolds, Division of Art and Design, University Hepburn and Jun Kaneko, unfired sculpture; at two months before the month of opening to: of The Texas, San Antonio 78285; or call: (512) 537- the Napa Valley College, 2277 Napa-Vallejo Editor, Ceramics Monthly, Box 12448, Columbus, 4867 (home) or 691-4382 (school). Highway. Ohio 43212; or call: (614) 488-8236. Add one California, San Diegothrough March 6 month for listings in July and two months for those “Pacific Connections,” contemporary clay works in August. Solo Exhibitions by Japan and California artists; at the San Diego Arizona, Scottsdalethrough March 25 Linda State University Art Gallery. Haworth, wall forms. March 27-April through April 13 “Bead It!” ethnic beadworks; International Conferences 22 Christopher Heede, large vessels; at the Mind’s at the San Diego Museum of Man, 1350 El Prado, Canada, Alberta, Medicine Hat May 9-11 Eye Craft Gallery, 4200 N. Marshall Way. Balboa Park. “Medicine Hat Ceramic Symposium” will include California, La JollaMarch 4-22 Byron Tem­ California, San Francisco through March 9 workshops, slide lectures, meetings, a forum and ple, “Objects of Virtue”; at Grove Gallery, Uni­ “The Lure of the Past: Classical Art from Cali­ social events. Presenters: Walt Dexter, Anita versity of California Crafts Center. fornia Collections,” includes Greek amphoras and Dumins, Jim Etskorn, Robin Hopper, William California, Los Angelesthrough April 6 “The pottery dating from the eighth century B.C. to the Hunt, Luke Lindoe, Les Manning, Baco Ohama Amasis Painter and His World: Vase Painting in fifth century A.D.; at the M.H. de Young Me­ and Garry Williams. Fee: $95, includes some meals. Sixth-Century B.C. Athens”; at the Los Angeles morial Museum, Golden Gate Park. Contact: Arne Handley, 574 Sixth St., NE, Med­ County Museum of Art, 5905 Wilshire Blvd. Colorado, Denverthrough April 13 “Regional icine Hat, Alberta T1A 5P3; or call: (403) 529- March 1-April 2 Anne Kraus, “Narrative Ves­ Artists in the Permanent Collection.” March 3844. sels”; and Kenneth Ferguson, “New Works”; at 1-May 25 “Mayan Pots from the November Canada, British Columbia, VancouverJuly Garth Clark Gallery, 170 La Brea. Collection”; at the Denver Art Museum, 100 W. 22-25 The “World Conference on Arts, Politics March 14-April 21 Karen Koblitz, “Still Life 14 Ave. Pkwy. and Business.” For details consult February CM. Tableaux”; at J. Darraby Gallery, 8214 Melrose Colorado, Goldenthrough March 19 Fee: Can$175 (approximately $132). After March Avenue. “Colorado Clay,” sculpture and functional works 31: Can$225 (approximately $170). Contact: 1986 California, Mill Valley March 17-April 12 by 30 potters; at the Foothills Art Center, 809 World Conference on Arts, Politics and Business, Barbara Sebastian; at Susan Cummins Gallery, Fifteenth St. 5997 Iona Dr., Vancouver, British Columbia V6T 32B Miller Ave. D.C., Washingtonthrough March 7 John Gill, 2A4; or call: (604) 222-5232. California, Sacramento through March 15 Graham Marks, Christopher Richard, Toshiko Finland, Helsinki June 11-13 “Clay AZ Art Susan H. Smith, slab-built sculpture; at Jenifer Takaezu and James Tanner, “Ceramic Invitation­ International Conference/Finland 86,” at the Ara­ Pauls Gallery, 1020 Tenth St. al,” plus new work by Don Reitz; at Maurine bia Factory, will include exhibitions, demonstra­ California, San FranciscoMarch 6-28 Jamie Littleton Gallery, 3222 N St., Georgetown Ct. tions and lectures with participants from Finland, Walker; at Dorothy Weiss Gallery, 256 Sutter St. through March 9 “The Treasure Houses of Brit­ Japan, New Zealand, Norway, Sweden and the Illinois, Chicagothrough March 18 Paul ain: Five Hundred Years of Private Patronage and U.S.A. Contact: Joel Eide, Northern Arizona Uni­ Soldner, “Personal Aesthetic”; at Esther Saks Gal­ Art Collecting,” includes Meissen, Sevres, Chel­ versity Art Gallery, Box 6021, Flagstaff, Arizona lery, 311 W. Superior St. sea, Derby and Chinese porcelain; at the National 86011; or call: (602) 523-3471. Massachusetts, BostonMarch 8-April 4 “Colin Gallery of Art, Fourth Street at Constitution Av­ New Zealand, Christchurch May 16-18 The Pearson: Winged Pots and Other Containers,” enue, NW. New Zealand Society of Potters annual conven­ stoneware and porcelain pots and jugs; at West­ through March 9 “Treasures from the Land: tion; at Christ’s College. Guest artist: Australian minster Gallery, 132A Newbury St. Twelve New Zealand Craftsmen and Their Na­ salt-glaze potter Janet Mansfield. Accommoda­ Michigan, Detroit March 14-April 12 Val tive Materials,” includes jars by Barry Brickell tions can be arranged with potters. Contact: New Cushing; at Pewabic Pottery, 10125 Jefferson Ave. and sculpture made from tidal mudflats by Denis Zealand Society of Potters, “Canterbury ’86,” Box New Jersey, TrentonMarch 29-May 18 John O’Connor; at the Renwick Gallery, Pennsylvania 29-208, Christchurch. Shedd, “Silicate Solutions: Glazes on Clay”; at the Ave. at 17th St. Turkey, Kiitahya July 6-11 “First Interna­ New Jersey State Museum, 205 W. State St. through March 18 A dual show with ceramic tional Congress on Turkish Tiles and Ceramics” New York, New YorkMarch 4-April 5 Lidya sculpture by Jeff Kirk; at Holly Ross Associates will discuss traditional tile and ceramics and their Buzio, “Roofscapes,” vessels; and Susan Shutt, “The Gallery, 516 C St., NE. contributions to contemporary works. Paper ab­ Still Life”; at Garth Clark Gallery, 24 W. 57 St. Florida, Boca Ratonthrough March 5 The stracts, slide presentations and videos are being March 11-29 Esther Grillo, “Narrative Sculp­ Professional Artist Guild of Boca Museum “An­ considered. Entry deadline for abstracts: March ture,” multimedia works; at 14 Sculptors Gallery, nual Juried Exhibit”; at the NCNB Palmetto Gal­ 15. Fees: delegates $100; accompanying persons 164 Mercer St. lery, 150 E. Palmetto Park Rd. $75. Participation fees: $255-$360 per person, in­ Ohio, Akronthrough April 6 Michael Chip- Florida, Coconut Grovethrough March 22 A cludes ground transportation, accommodations, all perfield, sculpture; at the Akron Art Museum, 70 two-person exhibition with Aurora Chabot, sculp­ meals, tours and a cruise. Contact: VIP Tourism E. Market St. ture and drawings; at Netsky Gallery, 3107 Grand Pirin^cioglu Inc., 3 E. 54 St., New York, New Oregon, Portlandthrough March 25 Lillian Avenue. York 10022; or call: (212) 421-5400. Pitt, “Spirits Gathering,” raku-fired masks; at Florida, Orlandothrough March 14 “On Site/ Center Gallery, Multnomah Art Center, 7688 S.W. In Sight,” environmental sculpture. March Capitol Hwy. 26-May 2 “A.D. IV,” works by faculty and staff; Conferences Pennsylvania, Pittsburghthrough April 6 at Valencia Community College East Campus California, Oakland June 4-7 “Art/Culture/ Robert Turner, “A Potter’s Retrospective”; at the Gallery, 701 N. Econlockhatchee Trail. Future: American Craft ’86,” organized by the Carnegie Institute, Museum of Art, 4400 Forbes March 10-April 23 “Craftwork: A Southern American Craft Council, will include workshops, Avenue. Tradition”; at the Valencia Community College demonstrations, films, exhibitions and tours. For Texas, Houstonthrough March 14 Nicholas West Campus Gallery, 1800 S. Kirkman Rd. details, consult CM November Itinerary. Contact: Wood, sculpture; at the University of Texas at Illinois, Chicagothrough March 29 “Material Susan Harkavy or Patricia Greenhill, American Houston, Clearlake Exhibition Center. and Metaphor: Contemporary American Ceramic Craft Council, 45 W. 45 St., New York, New York Sculpture”; at the Cultural Center, 78 E. Wash­ 10036; or call: (212) 869-9425. ington. Louisiana, New Orleans April 3-9 The Na­ Group Exhibitions through April 12 Jay Sims and Eric Doctors, tional Art Education Association annual conven­ Arizona, Mesa March 14-April 19 “Eighth “New Chicago Talent”; at Lill Street Gallery, 1021 tion; at the Hyatt Hotel. Contact: The National Annual Vahki Exhibition,” national competition; W. Lill St. Art Education Association, 1916 Association Dr., at Galeria Mesa, 155 N. Center St. March 21-April 26 Ron Fondaw and Aurora Reston, Virginia 22091; or call: (703) 860-8000. Arizona, Scottsdalethrough March 20 Nancy Chabot, includes work completed in the John Mi­ New York, New YorkApril 28 “Ninth An­ Youngblood Cutler, Santa Clara tradition pottery; chael Kohler Arts Center arts/industry residency nual Whitney Symposium on American Art.” Open and Nathan Youngblood, Tafoya-family-style ce­ program; at Esther Saks Gallery, 311 W. Superior free to the public; reservation required. Contact: ramics. March 6-19 A group exhibition with Street. Public Education Department, Whitney Museum Jody Folwell ceramics; at Gallery 10, 7045 Third Illinois, Evanstonthrough March 30 “Roots: of American Art, 945 Madison Ave., New York Avenue. A Contemporary Inspiration,” works by 33 Chi- 10021; or call: (212) 570-3651. Arizona, Tempe March 23-April 27 “Pacific cago-area black artists; at the Evanston Art Center, New York, RochesterApril 2 “Architecture Connections,” an exhibition of contemporary clay 2603 Sheridan Rd. of the Vessel” symposium. Contact: Rochester In­ works by Japan and California artists; at the Mat­ Illinois, Highland Park through March stitute of Technology, Box 9887, Rochester 14623; thews Center, University Art Collections, Arizona 20 “Teabowls.” March 22-April 17 Paula or call: Betty Adams, (716) 262-2626. State University. Rice and Don Reitz; at Martha Schneider Gallery, Texas, San AntonioMarch 19-22 The an­ California, La Jollathrough March 8 “Art in 2055 Green Bay Rd. nual conference of the National Council on Ed­ Entertaining,” coordinated table settings and ac­ Indiana, LafayetteMarch 21-April 27 ucation for the Ceramic Arts (NCECA). For de­ cessories; at Gallery Eight, 7464 Girard Ave. Please Turn to Page 68 March 1986 13 14 Ceramics Monthly Suggestions from our readers

Easy-to-Make Drying Bats Small concave plaster drying bats very nicely stiffen up slip left from potter’s wheel cleanup in the studio, and may be easily made by casting them inside commercially available plastic buckets. Ob­ tain a fairly flexible plastic bowl with a large, rolled rim a little narrower in diameter than a plastic pail or pastry bucket. Invert the bowl and place it in the bucket so that the bottom of the bowl

is at least 2 inches below the top of the bucket. Coat the plastic surfaces with mold soap; then mix plaster with water and pour it over the bowl to fill the bucket. When the plaster has set up, release the drying bat by inverting and gently tapping the bucket over two boards. —Harlan Owens , Eau Claire, Wis. For Apartment Potters If you live where you’re concerned about keeping workroom walls clean (such as an apartment), try covering them with plastic sheets suspended from molding strips. Because the molding is attached at the upper perimeter of the walls, the screw holes are up out of normal viewing range and, thus, less unsightly. The screws can be spaced at 45-inch intervals because the molding is relatively light­ weight and doesn’t need a lot of support. Take measurements for the length of the molding, the width and length of the plastic and decide how many screws are needed. Keep in mind doors, windows and other obstructions where molding and/ or plastic won’t be used. You’ll need extra plastic to allow for areas where sheets overlap at the sides. A 4-inch overlap eliminates gaps where clay and debris might get through to the wall. Fasten the upper edge of the plastic along the top rim of the molding strip with a staple gun or strong tape, and, sandwiching

the plastic between the wall and molding strip, attach the plastic/ molding units to the workroom’s plaster walls (I used 1 ½-inch-long drywall screws). The job goes easier with a drill. When the units are attached to the wall at the top, staple or tape the bottom edge of the plastic sheets to the baseboard. I covered a 9x10-foot room for about $45, including the cost of new molding, screws and plastic. I used eight sheets of 45-inch- wide, medium- and heavy-thickness plastic. Thinner plastic is less expensive and probably would be good enough to do the job. If you think it’s necessary, get clearance from landlords before you begin. —Joyce Jackson, Schenectady, N.Y.

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 if we use it. Send your ideas to CM, Box 12448, Columbus, Ohio 43212. Sorry, but we can’t acknowledge or return unused items. March 1986 15 16 Ceramics Monthly Comment Marketing by Greg Charleston

Andy Warhol has practically become a their work, artists must market them­ household name because of it. selves. I think one of the main reasons Christo employs it as an integral part the Indiana Arts Commission received of all his projects. the second highest increase in its history Marketing. It’s an important word in this year is because the Commission and the arts today. One of those buzzwords the Indiana Advocates for the Arts made that’s been kicked around for the last the legislators aware of what was going few years, marketing is a promotion/ on. Making themselves visible, they publicity/sales/awareness phrase en­ marketed the Commission. Advocacy, you compassing everything from fund rais­ see, is in large part marketing. ing to sales to advertising to distribution. At a recent conference, a speaker sug­ Public relations experts have been toss­ gested that artists need to be aware of ing the word out for years. Marketing marketing themselves and their work. has invaded corporate boardrooms, and One particular artist took great offense more recently, artists’ studios, rehearsal at the speaker’s remarks, saying that the halls, backstages and box offices. business of artists is to create art, not The importance of marketing has been market it. People should want and need demonstrated by promotions for design­ their art and should come to them. er jeans, Cabbage Patch dolls and Clas­ Maybe that’s how it should be, but it sic Coke. These examples, a bit extreme isn’t and never has been. No one is going and bordering on hype and commer­ to seek you if they don’t know you exist. cialism, point out that public awareness, The major offshoot of this is hype and sales and the effectiveness of anything commercialism; both take marketing into are based on marketing. Exhibitions are different perspectives, with a fine line standing-room-only, concerts are sold out, between them. Was Classic Coke mar­ books sell thousands of copies and rec­ keted or hyped? Is Andy Warhol mar­ ords go platinum because of marketing. keted or hyped? We must think about Not that the product doesn’t have marketing—who we reach and why— anything to do with it. Yet if people don’t in selling our art and organizations. In know about it, they won’t attend. Or finding employment for our artists. buy. As composer Stephen Sondheim says Defining marketing is not easy, and I to artists in his musical Sunday in the turned to the library for help. Entire Park with George: “Keeping at a dis­ books along with hundreds of articles in tance doesn’t pay/ Still if you remember corporate, PR and economic journals have your objective/ Not give all your privacy been written and numerous speeches away/ A little bit of hype can be effec­ made by scholars and experts on the tive/ Long as you keep it in perspective.” subject. Somewhere is the definition that Perhaps that’s what we need for the marketing is all of the activities involved arts in 1986. Marketing—in perspec­ in identifying, coordinating, promoting tive. and selling a work, event or activity. That’s fairly encompassing. The author Greg Charleston is direc­ That’s precisely the point. To sell tor of administration for the Indiana Arts tickets, arts organizations must market Commission. Reprinted with permission themselves. To become employed or sell of Arts Insight. March 1986 17

20 Ceramics Monthly May I Help You? by Joe Weingarten

The worst that can happen is your pro­ else you would like?” Believe it or not, The WORDS “May I help you?” seem spective customer will say, “No.” this works. Some argue against credit to be hard for many craftspeople to say, Another factor affecting sales is the card sales because of the commission paid yet that simple question is one of the display of ware. For ideas, just visit the to the bank, yet these same craftspeople best ways to increase sales at fairs. better department stores as well as spe­ will consign items to a gallery that takes Though such shows are often major sales cialty shops in your area. Many rely on a 40% commission. I am always happy outlets for their ware, many craftspeople professional concepts designed to get the to give someone 3-4% to help me sell do not take full advantage of the op­ public to spend. You might as well take an item. If you do not accept credit cards portunities there. We must be profes­ advantage of their research. Also look at now, call your local bank and ask about sional business people, as well as de­ other booths at the various shows, but its program. signers and producers. Your 10x10-foot refrain from copying exactly; you may I have also found that many crafts­ booth is your gallery. Just like the suc­ be assigned an adjacent space at a future people do not like to collect sales tax and cessful gallery or shop owner, you should show. Good lighting is important, too. sometimes even pay this out of profits project a professional (courteous, inter­ Make sure all floodlights are at just the when the tax collector shows up at the ested, knowledgeable) image when deal­ proper angle to highlight your work and end of the fair. People are used to paying ing with the public. not aimed at the customer’s eyes. taxes and will not complain about this Just a few words can make a differ­ While on the subject of display, let’s kickback to the government. So collect ence. By saying, “May I help you?” or talk inventory. If you have a large in­ taxes, turn them in and avoid any prob­ something like that to start a conver­ ventory, you will make money. If you lems with the locals. In the long run, sation, you can increase sales. Most peo­ don’t, you won’t. The most successful you will be ahead. ple feel talking to you is something of a people at the fairs are those with large If you take orders, make sure you have commitment. Of course, words alone inventories and, of course, quality. Do a printed order pad and you give the won’t automatically effect purchases. The not bring only your best, most expensive, customer a carbon copy complete with emphasis here is on attitude. gallery-quality items. Bring a range of your name, address and, most impor­ Always be available for customers. We items suited to the type of show. This is tantly, your phone number. Point this craftspeople are a nomadic tribe, trav­ particularly important at Christmas fairs out to the customer. It instills confidence eling around the country and making where people are looking for inexpen­ that the product will be shipped by the many friends at shows. Sometimes you sive gifts. Actually, people are looking date you’ve estimated. won’t see these friends until your paths for inexpensive gifts all the time. Not Finally, consider this myth about show once again cross a year later. While it everyone is going to want that $500 item. promoters: 99.9% of the promoters are is hard not to talk about old times and You can make all your expenses at the out to get your entry fee and pocket all what has happened since you last met, show with ware priced below $20. I have the money; they are doing this for the don’t! Say a brief hello and set a time a small item that sells for $2.50; it has short term buck and could care less about to get together after or before show hours. paid my expenses at every show I’ve done the long run for the show; they know Stay in your booth as much as possible. in the last five years. Still, an item priced you will be back next year even if no In most cases, it would pay you to hire at a few thousand dollars may never sell one shows up to buy because you like someone to run the booth when you leave at a fair, but it may help sell your lower to punish yourself. for food or rest. I have had no problem priced ware by drawing attention. Actually, nothing could be further from finding helpers. In fact, many noncrafts­ Be prepared to handle sales. Remem­ the truth. The show promoter wants a people find working at a fair interesting. ber your pen, sales receipts, business cards show with high sales, good crowds and They enjoy seeing the fair from the oth­ and change. And make sure you accept happy craftspeople. If you have a prob­ er side of the table. credit cards. My average sales at a show lem, talk it over in a reasonable manner. In addition to being in your booth, are 25-30% higher with credit cards. If you have been to another show where smile, act wide awake and talk to cus­ Today, most people don’t carry much cash, some aspect was highly successful, pass tomers; force yourself if necessary. An­ or they may have spent all they brought along the tip to other promoters for their swer questions, even if you feel like say­ with them at other booths. Women do next shows. They really do want a good ing, “Why are you asking me this for carry checkbooks most of the time, but show and in some cases need input from the millionth time?” Don’t sit there men usually carry only one folded check the exhibitors. reading the paper, listening to the radio in their wallets. A man almost always Try some of these ideas at your next or knitting. Few people will buy from pays by credit card. If you have very show. They may double your sales. you if you appear aloof and bored. Take expensive ware, acceptance of an Amer­ a hint from local stores. Have you ever ican Express charge is a must. While The author Dayton craftsman Joe walked into a department store and im­ you’re filling out the charge slip, the client Weingarten also wrote “Selling by Mail- mediately been attacked by 32 salespeo­ is usually looking at more of your work. Order Catalog* in the December 1984 ple saying, “May I help you?” The only So, just before you total the slip, ask, CM, and “Marketing Alternatives” in reason they do this is because it works. “Should I total this or is there something the February 1985 issue. March 1986 21 Buffalo Crafts National a review by Roberley Ann Bell

There is a need for national, all-in- Set aside from the other media rep­ The recent “Crafts: National” at the State clusive craft exhibitions. Exhibitions resented (fiber, metal, glass and wood), University College at Buffalo, New York, which focus on specific geographic pock­ ceramics did not fare well in the Buffalo represented the strength and vitality of ets are essential to further the studies of national. Out of 164 entries, the jurors today’s craft movement. As an inaugural cause and effect on the regional scale selected 26 objects by 23 ceramic artists. exhibition, it proved itself worthy of not (despite the fact that our regions expand The works chosen, except for a few no­ only being seen as a leading statement through television and the press); how­ table examples, say little for the current for contemporary crafts but of filling the ever, there is a strong need to juxtapose state of ceramics. There is better work void left by the ending of the “Marietta work on a national level, to compare and out there; I have seen it. Crafts National in 1982.” The Marietta contrast work being done in Chicago with The jurors were Paul Smith, director College exhibition was one looked for­ that done in Olympia, Washington. The of the American Craft Museum in New ward to by students and emerging artists case holds true for the desire to judge York; and Mary Jane Jacobs, chief cu­ as well as those somewhat more estab­ mixed media: jewelry with ceramics; rator of the Museum of Contemporary lished. It provided an opportunity for furniture with glass. It is only then that Art in Chicago. Both are internationally craftspeople to be seen with their peers the viewer can address the issues, ask known figures in the contemporary craft in a national show. questions and make judgments. movement. Regardless of how vigorous­

“Ceri-Cozziware,” thrown and altered, black-glazed porcelain place setting, by William Brouillard, Cleveland. 22 CERAMICS MONTHLY "Noble I” white stoneware,11 inches in height, thrown, ruckle glazed, by Shirley Keys, Potomac, Maryland. ly they struggle to present a well-round­ needs to be a major concern for all areas Who aesthetic. ed, mature exhibition, the presence of of the arts. The issue is not newness, but Syd Carpenter’s “Hallway Scene,” a personal preferences is always evident quality of the concept, the setting of a slab wall construction, bears the images (as is evident even in my review). In the precedent, of concrete ideas and thoughts. of two dogs passing through a hallway. introductory statement for the catalog, There is no doubt that ceramics has The expressionistic gesture of the torn both Smith and Jacobs comment on the moved into the mainstream of the art edges of the slab add little to the weak importance of craftsmanship. Keeping world. This is evident by ceramics ex­ composition. Carpenter lacks the skill of in mind this emphasis on technique/ hibitions at such museums as the Ev­ painterly glaze manipulation to suc­ craftsmanship, it is understandable that erson in Syracuse, New York, and the cessfully realize these images. many of the ceramic works exhibited a Boston Museum of Fine Arts; by the Andra Ellis, however, is represented lack of authentic idea. inclusion of ceramic art in the Whitney by a strong expressionistic statement. Her Knowing ceramics, the different schools biennial and major gallery shows (Leo slab wall form “Victim” portrays the of thought and the trends that exist, I Castelli, Charles Cowles, etc.). There emotion that is generated through her was surprised by the mediocre quality are viable works of ceramic art being control of the glaze as pigment. Ellis has of the selected works. created in an array of styles—figurative, used her skills as a means to an end, A case in point is Jeffrey Chapp’s low- neoconstructive, narrative and more— dealing with color, texture and compo­ fired “Jump Cup,” a second-rate re­ fitting firmly into the mainstream of sition in a vigorous manner, creating an stating of old ideas. He has taken a pseu­ contemporary art. authentic statement. do Ken Price approach to the cup. He Debra Parker has taken imagery from The majority of the ceramics objects has done nothing innovative with the idea the “Harry Who” Chicago school of presented were vessel forms. Though they of using a cup as a vehicle to explain thought and put it on slab platter forms do not all deal with function as a pri­ sculptural components and to recon­ for her “Boxer Man” and “Black Heart mary concern, William Brouillard’s struct form, nor has he even restated the Salute.” However, her marks, colors and “Ceri-Cozziware” does. In this black issue well. caricatures do not convey the power and porcelain place setting for four, Brouil- The struggling for quality of idea(s) sensibility needed to express the Harry lard mixes the craft of making with an March 1986 23 Top left “Boxer Man,” 17 inches in height, porcelain, by Debra Parker, Bloomington, Indiana. Top right “Zig Zag,” 48 inches in height, earthenware with colored slips, by Michael Bliven, Portland, Oregon.

Above left “Victim,” 6IV2 inches in height, low-fire clay, by Andra Ellis, New York. Above right “Dog Bowl,” 21 inches in length, handbuilt, raku fired, by Lucia Jahsmann, San Francisco.

24 CERAMICS MONTHLY excellent sense of design: form and func­ others in the exhibition, I question an image, to communicate a message, to tion; technical execution; quality of whether they are among the strongest bring forth one’s ideas visually, that make statement. It is the melding of technique vessel approaches being produced in ce­ art what it is. The ceramic works in the and aesthetic judgment that sets a few ramics today. Buffalo exhibition, for the most part, do works in this exhibition apart from the Alan Geiger’s work “Hudson Gloves not deliver. Many of the works lack the many. 1” (the video tape) and “Hudson Gloves conviction to go beyond the familiar, to Mary Roehm’s “Column Pots” reflect 2” (several terra-cotta slipped gloves on be innovative, to focus on content and the influence of architecture, though they the floor) obviously mimics the use of not purely on material and technique. are very much about the vessel. Sitting video in other areas of the arts. I cannot Overall, though, the Crafts: National elegantly on their columnar bases, the help thinking that these pieces were in­ was an impressive first-year exhibition. vessel forms open gracefully into space. cluded strictly for the fact that they em­ Clay was least original, least inventive The spirit of the wood fire is evident on ploy video as a medium. Presumably, the of the media represented in the show. the surface, the ash and flashing giving use of video gives a certain high art mys­ Jewelry, fiber and wood were 90% out­ the entire form an added vitality. tique to the work. The “Hudson Gloves” standing. The institution housing the There were also numerous inclusions pieces are no more ceramic art than they show deserves credit for bringing a crafts of mundane vessels, pots which lack a are any kind of quality art form. The competition to national attention. substantial quality of form or surface work lacks content and is mindless and Scheduled as a biennial event, the Crafts: treatment. Lucia Jahsmann’s handbuilt boringly repetitious. National at Buffalo State College is one raku “Dog Bowl” is nice, though not The pursuing of a relationship be­ that all concerned should look forward outstanding, innovative or challenging. tween idea/concept and process and the to. Nor is Jean Cohen’s “Arizona Sky­ striving toward that goal is the struggle scape,” a shallow porcelain bowl with of all artists. It is easy for those con­ The author Roberley Ann Bell, Buf­ geometric cuts in the rim, airbrushed to cerned to become trapped in the recy­ falo, New York, is a sculptor (M.F.A. reflect the Arizona sky (we assume). cling of history. But it is that struggle, Alfred University) and critic strongly Though both works are adequate, as are the act of struggling, the need to create interested in ceramics.

“Jump Cup ” 5½ inches in height, low-fire clay and glazes, with overglaze enamel', by Jeffrey Chapp, Lafayette, Indiana. March 1986 25 Photos: Tayo Gabler penciled underglazes,byMargaret patterned withairbrushed,brushedand 26 CERAMICS MONTHLY with faster move to wanted I idea. the n tm ht wud el ofdn in confident feel would I that item an execute to time long a took it sculptures using started I porcelain. and stoneware oo—te uk f y xeine being experience my of bulk color—“the marketing.” the with but colorants, commercial with enough she worked hadn’t sculpture, she realized low-fired handbuilt, produc­ While ing factors. several of result Chatelain, Margaret potter studio mont, ih ute lzs n wheel-thrown on glazes subtle with SLIP-CAST t h Vrot tt Cat etr (Frog Center Hollow). Craft State Vermont exhibition the dual at a in recently shown was Slip-cast whiteearthenwareplacesettings, Chatelain, Bristol,Vermont. with agrts hne o atn ws the was casting to change Margaret’s 10 -inch dinnerplates,variously inrae y rso, Ver­ Bristol, by dinnerware

Margaret Chatelain to a study of calligraphy “to become more become “to calligraphy of study a to aaee nlecs Ec dsg i pro­ is design Each influences. Japanese the low-fire colors of my sculptures, while sculptures, my of colors low-fire the with working continue to me allows ware comfortable withbrushwork. moved she elegance,” terns—geometric ls ihs al; hrfr eeyn is everyone an expert.” therefore daily; dishes dles han­ everyone about Just it. to everyone relate can pro­ discovered I’ve dinnerware that is to duction moving in benefit serv­ Larger i edition. limited a in duced pat­ textile by “Captured ceramics textiles. Japanese and study to opportunity rse udrlz pten reflecting air- patterns and underglaze handpainted brushed with decorated exploring anewsenseofdesign. cast This year. following the nerware lp atn, n satd aktn din­ marketing started and casting, slip yt, agrt ok datg o the of advantage took Margaret Kyoto, ng plates areoftenone-of-a-kind. ng plates Wa hs en n noal side enjoyable an been has “What with experimented I Vermont, in “Back Ec pee s ht earthenware, white is piece “Each iig h nx ya ad hl in half a and year next the Living Edges Part 2 “As one local collector says, they can wash the baby in it—meaning basic pots are nonthreatening and everyone can rationalize a purchase based on function ”

made now are away from the wheel, away you can use it or should look at it, whether This is the last in a two-part series offrom shiny glaze, because the form is its main intention is practical or spiri­ articles on “Edges” the fourth interna­becoming more complex and needs the tual, whether there are lots of or just tional symposium of the Institute for Ce­clearer definition of a matt surface. There one of it. ramic History, held at the Ontario In­ is also a strong tendency to flatten the “Largely thanks to the Crafts Coun­ stitute for Studies in Education last fallrounded form—in the early ’70s the oval cil, there is an established acceptance in Toronto. The following comments weresomehow seemed much more vital and now of ceramic objects that lean toward excerpted from the proceedings.—Ed. interesting than the circle. art, and there is a public for them. So “Now it is time—after this first dec­ another goal might be to have the free­ ade which was very much encouraged dom to work on different levels—one by the Crafts Council in London (and could make one-of-a-kind forms for a they are now under considerable attack certain market, but also be a designer. The Vessel’s Future for having created a bunch of elitist, use­ Certainly, in economic terms, it’s very with panelists Chris Tyler; Alison less nondescripts)—to become more nice to not only be making things that Britton, Akio Takamori, Susann clearly conscious of where we put our are very expensive.” Greenaway, Martin Smith and Garth work, what we intend by it and the con­ Akio Takamori:“I feel comfortable Clark text in which it is seen. Critical recep­ working with vessel-oriented forms. tion is the great problem. Fine art gal­ Sometimes they are made to be physi­ Chris Tyler:“Obviously everyone has a leries and critics very often don’t know cally functional, but most of the time problem with grasping the future. It is, how to look at this new kind of object, that is not such an important issue to however, easy to agree that many of the and often when they do condescend to me. I am mostly interested in the fact historical movements in clay began with come and see, they all plump for the that containers give us a strong notion socio-cultural goals. The 19th-century most traditional work because the rules of holding, hiding and protection. Each arts and crafts movement, the Bauhaus, are there for them to comment. person contains personality and feelings. Leach and post-World War II develop­ “Another goal is the differentiation Two or more people contain intimate ments in the U.S.A. all had in common between good and bad, which is much feelings and tensions, as in relationships. an interaction of formal, inner-directed more important than the debate about Groups of people contain complex re­ resolves with some sort of social and out­ art and craft. We’ve got to get much bet­ lationships within a society. Those are wardly directed belief. Many contem­ ter at saying why things are good and the typical factors I use to make figur­ porary ceramists, in choosing to move why they’re bad, rather than worrying ative vessels. away from traditional functional issues, about what category they belong to. We “The need of more surface to draw have defined their issues as being related are really hampered by our institutions and paint on led me to work with the to the medium, clay, and to formal con­ and tight categories. My exhaustion with two-sided structure; using container space vention, the vessel.” craft versus art debate led me to write between two drawings became an ad­ Alison Britton:“I feel a great reluc­ about a year ago that, perhaps, craft vantage of working with an illusion of tance to define the way things might look doesn’t really exist. It is arguable that dimensions, an atmosphere of images. in the future because part of the pleasure we would do better without the term. The physical structure of the vessel is a of being an artist and making things is Craft is a means to an end and is not self-contained form; it stands by itself to provide the unexpected. So I’m going really anything in itself. It consists in and is less influenced by its surround­ to describe and comment on the current doing something properly, and it is a ings. situation in England, and what seems basis of recognition of values and skills “Sometimes I start by thinking of the to be the leading edge of what’s being and methods and knowledge of mate­ function of certain vessels. For example, produced there. rials. It has no real substance or mean­ a teapot gives me words like pour out, “The past 10 to 15 years in Britain ing without one or another of these lean­ pour in, which in turn give me images have seen a so-called new movement in ings. The design world and the art world I see in figures. In this case the notion ceramics which deliberately has pulled have equal need of it. Craft is a sub­ of the function is more important than away from traditional, Orientalist studio stratum and not an entity. You could di­ the actual function—the teapot and the pottery. The tendencies of what is being vide anything you look at into whether figure sharing the image which comes March 1986 27 “Fine art galleries and critics very often don't know how to look at this new kind of object, and often when they do condescend to come and see, they all plump for the most traditional work...” from the word pouring. Also, the struc­ rative purposes, as well as the emotional space, of shape and form. As a subject, ture of the container is similar to hu­ and intellectual satisfaction coming from the vessel is capable of withstanding se­ mans and the cosmos. In the Jomon pe­ living with things they love. Recently, vere reduction processes that may re­ riod, which is the Japanese prehistorical corporations and galleries have started move all utilitarian function, yet leave it period, only infants were buried in ce­ to collect ceramics, and I think this will unimpaired as a potent image. ramic containers, which inside were have a big impact on the future of the “To pose a future stance for the vessel painted with red iron oxide. (They usu­ vessel. Pedestals in office towers and gal­ is to court disaster in the same way that ally buried the infant inside the house.) leries or spacious homes pose different the manifesto of Leach and his gener­ They say that woman invented the vessel problems than that of a kitchen cup­ ation has had a lasting and damaging and women are usually the vessel mak­ board. Context has influence on form effect on subsequent generations of pot­ ers in our history. Women created vessels and will contribute directly to the evo­ ters. They focused on one set of histor­ from the soil of the earth for their dead lution. Handmade pottery used on a dai­ ical references, one way of working, one infants, and the infant came from its ly basis will continue to be a rarity; in­ aesthetic isolated from the total wealth mother’s womb and went back in the dustry will cope with the utilitarian needs, of our tradition. This has been dam­ womblike vessel. I can see the expansion and the vessel as art will remain the aging in the way it has forced the kind of images from woman to body to vessel province of the gifted few.” of reactionary criticism happening in to world.” Martin Smith: “In England, respected England and in the way that much bad Susann Greenaway: “The international critics such as Peter Fuller and Chris­ work is being praised purely because it trends of the last 15 years have found a topher Reid review a lot of vessel work was made in accordance to that stand welcome home here in Canada. The in very reactionary and authoritarian es­ rather than to make a stand of its own. current vitality and viability of the vessel says. They usually return to the ethics “To propose any future development, relate directly to the eclectic makeup of and moral stamps of Bernard Leach and I would urge a much more open, less our country as well. Canada is made up William Morris. They quite happily ac­ dogmatic awareness of the totality of ce­ of a great variety of people and cultures cept the eclectic instincts of Michael ramic traditions and the acceptance of having many traditions. We are often Cardew and Leach, failing to recognize the idea that there is no correct way of referred to as a mosaic, not a melting that an inquiring mind with a love of working in clay. What is needed is a pot. The problems that accompany the ceramic tradition might be directed at cultural reevaluation of the potter and pleasures of being a potter in Canada anything other than English slipware a role explanation that allows the aes­ are huge. Most potters are dealing with and the Zen aesthetic. They fail to re­ thetic concerns that were once thought day-to-day issues, not formulating goals alize that sometimes full stops are reached; of as the process of the sculptor.” for the vessel. As Alison said, it’s easy perhaps Leach reached one in his own Garth Clark: “The issue is a matter of to spot trends, but no precise goal or work. They argue that the vessel has no literacy. The work should be considered direction for the idiom is present. right to be anything other than utilitar­ art, or be approached as art, and wheth­ “As a gallery owner, I see my role as ian. They tend to dismiss most of con­ er that art is decorative or applied is that of a provider, not a prophet or de­ temporary ceramic making as mere really not such an important issue. It is signer. I hope to develop a clientele and whimsy or doodles. What they choose far better to have a certain amount of commercial support system which will to ignore is that the world of the 1980s literacy, even if we enjoy that literacy allow the vessel makers to continue to is fundamentally different from the world out of a different area of the support develop their work, thereby keeping the of the late 19th and early 20th centuries, system, than to have the prestige of the vessel viable as an art form. that the potters they disparage have no fine arts. “The accessible nature of pottery and desire to retreat to rural arcadia, but “The prestige in the fine arts in New its clearly readable function have helped instead choose to live an urban existence York at the moment is something rather to support the development of the vessel and discover other precedents within the questionable. Fine artists there are as a means of expression for today. world of ceramic tradition. starting to look a little bit like court jest­ Luckily for vessel makers, almost every­ “The argument that the pot has every ers to a kind of massive culture industry. one can identify with pots. As one local right to be viewed as a sculpture, that They paint their pajamas and those pa­ collector says, they can wash the baby function is irrelevant, is equally point­ jamas are instantly displayed at the in it—meaning basic pots are nonthreat­ less. The vessel occupies a position unique Whitney, and we’re all supposed to get ening and everyone can rationalize a unto itself with its own tradition ex­ hysterically excited by the profound art­ purchase based on function. tending over the past 8000 years. The istry of action to function. Coming from “Ceramic collectors today seldom con­ vessel speaks a language on a universal the crafts field, where function is some­ sider function and really buy for deco­ basis. It is the language of contained thing real, to see the fuss that’s being 28 CERAMICS MONTHLY “Kamakura,” approximately 12 inches in height, terra cotta, by Georges Jeanclos, France, 1984. Works shown in this article were displayed at Toronto galleries and museums in conjunction with the “Edges” symposium. made in New York for phony, trendy us than the literacy, and my experience lovely lump of form with a great glaze function, has made me begin to reap­ in the past few years has been that there or a great surface, of something very di­ praise my views. is far greater literacy in the decorative rect, very primal. Today, so much of the “Examples of illiteracy abound. A arts. work involves drawing, and this picto- wonderful one involves a statement writ­ “Of course, literacy runs into many rialization of the vessel is developing into ten by the director of the Stedelijk Mu­ areas. I think ceramic art has never be­ many areas apart from simply putting seum in Amsterdam (in his own area an come more literate than in the way that images onto pots. Pots are turning into extraordinary scholar), where he said: it sees itself and in the way that it wittily images, and some pots are becoming ‘These things by Voulkos look like pots, and with depth begins to play on its own drawings of themselves. This is going to but you must not be confused. They really roots and its own sense of self. We ob­ place certain stress on the educational are not pots—they just have a superficial viously need to have people who can write side of things, because drawing is not resemblance—because they are actually and understand the complexity and the something which has been taught that about volume and plasticity.’ The as­ sophistication of the artists themselves much. Robert Hughes, writing in Time sumption is, therefore, that pots have who in the last decade or two have taken magazine, says isn’t it charming that we absolutely nothing to do with volume and tremendous strides in layering the vessel have a major return to the figurative being plasticity; and if they have those qual­ with all kinds of meaning, with all kinds led by the generation that was not taught ities, obviously the fact that they look of references to social use of pieces in to do figurative drawing. It’s called like pots is just coincidental. previous eras, with references to other primitivism; it’s called being primitive; “Another example comes from New kinds of works, to evolutions of form. It it’s called being spontaneous. My good­ York’s Museum of Modern Art, which is not sufficient just to come to these works ness, that has energy, they say. Very often is currently building up quite a strong with a background in painting and hope it has very little energy. Perhaps the collection of contemporary imitations of that you can mumble your way through greatest area to deal with in the future 16th-century rustic Japanese pottery in it. is the poverty of drawing skills that you the belief that this is part of the evolution “Also, there will probably have to be see now on figurative works. You know, of modern design in the 20th century. a new kind of literacy in terms of edu­ Churchill was once asked why, when he “So it seems to me that it matters less cation, because yntil quite recently we gave speeches in Parliament, he would the category of the people who support were really involved in the pure pot—a mispronounce words, because he didn’t March 1986 29 “The past 10 to 15 years in Britain have seen a so-called new movement in ceramics which deliberately has pulled away from traditional Orientalist studio pottery” 3

pronounce them in that strange manner standards developed in other historical other, but to be able to evaluate the when he was talking to anyone else. He periods would be ineffective. Other stan­ breakthroughs. Why is it important to replied that it was just a technique. He dards of artistic value, other critical evaluate the breakthroughs? I’ll use an did that because he found that in Par­ methodologies, other aesthetic canons icon that everybody knows—the ‘Ur­ liament they tend to confuse bumbling must be developed in relation to all those inal’ of Marcel Duchamp. A urinal has for sincerity. I hope that we won’t make expressive phenomena, which like critics no meaning in itself and as ceramic the same error.” cannot be categorized as literature or art sculpture it has no meaning either, so it in the traditional sense nor simply lumped is the context which determines its va­ under the pejorative label of popular lidity as an art form or at least as a culture.’ statement. “This idea is an issue in the eighties “If I told you today that it snowed in Sculpture and the Figure because the medium does seem to be in Inuvik, that’s nothing there because with panelists Lome Falk, Leopold between. What does this mean in terms Inuvik is north and it probably snows Foulem, Georges Jeanclos, Susan of the work that artists are making to­ there every day. But, if I told you that Wechsler and Patterson Sims day? I again briefly quote from another it snowed in Palm Springs, then we should book: ‘The artist or writer is now in the worry about it. So it is important to dis­ Lorne Falk:“The sad condition of our position of a philosopher. The texts tinguish, to clarify the vocabulary.” world is now seen by many artists to be written, the works produced are not in Georges Jeanclos:“Sculpture and ce­ something we inherited from a social idea principle governed by preestablished rules ramic sculpture—for me that is not a called ‘the modern,’ which has its cul­ and they cannot be judged according to problem. There is only art. The ques­ tural counterpart in what we call mod­ a determining judgment by applying fa­ tion is with clay and only with clay, be­ ernism. And so there are many artists miliar categories to the text or to the cause I can’t express myself with an­ today who desire to locate meaning and work. Those rules and categories are what other material. It is a question of survival. aesthetics in what we could call human the work of art itself is looking for. The I’m too serious, but it’s a real question relations. That is not to say they want artist and the writer then are working because here, in France, in Japan, to have their work in a public place nec­ without rules, in order to formulate the everywhere there is the bomb upstairs. essarily, but within the work they are rules, and in this sense the work has the I want to utilize clay to speak about making to, in effect, relocate or socialize character of an event.’ something very dangerous. the meaning. “I think works of art provide a space “It is not a question of ceramic or “What I see taking place in the mar­ for interpretation and it becomes then vessel or pottery. I look at a Mimbres ketplace and many museums is in fact an issue of how we treat this space for pottery bowl and see a testimony for still within the modern, so there is an interpretation. If we’re too polite, we do people; it is a work of art. There is no enormous conflict between what artists the work of art no service. If we say, I problem. There is sculpture, painting, want to do and say with their work, and like that work, or it’s really important pottery—a testimony of art, a testimony how that work is being treated. Or you to know the difference between good and of life and the value of human relation­ could say that quoting people like Clem­ bad, that doesn’t say anything at all. Being ships. ent Greenburg or using expressions like too polite is a disservice to a work of art “My role is to extract a deep feeling, painterly are useful today perhaps only and I hope by expressing opinions and to speak with you, to show you some­ as another tool in the toolbox; they are being a little bit impolite we might in thing. It’s something very simple—love, no longer viable as a raison d’etre for fact make works of art more valid, we sadness, death—only this. It’s a discus­ art. might come to understand them in more sion between you and me to have a good “I want to read a remark that I found meaningful ways. relationship, to go against the power. I interesting in terms of what has hap­ “To begin discussion I would like the want to say to my government, I don’t pened to ceramics in the eighties: ‘The panel to address the relevancy of distin­ like this, I don’t want this. That is my assimilation of technology in art as so­ guishing between ceramic sculpture and wish.” cially useful forms of activity in ceramic sculpture.” Susan Wechsler: “Unlike other mate­ vision reflects and is reflected by social Leopold Foulem:“It is not relevant to rials, ceramics does have its own par­ practices like super homemade movies, distinguish between ceramic sculpture ticular characteristics, some of which are CB radios or community street festivals. and sculpture, because if we assume that very technical. We all know that they Just as it is useless to judge such events sculpture has a general meaning it is change from a mutable to an immutable by high art or museum standards, to judge important to make the distinction not to state. We know about clay’s plasticity; contemporary ceramics writing by the better one or to put one on top of the we know about its fragility, its respon­ 30 Ceramics Monthly Photo: courtesy of the George R. Gardiner Museum Ceramic Art

Seventeenth century Lambeth tin-glazed earthenware mug, with polychrome portrait of Charles II, approximately 3 inches in height. siveness. It’s a material-based medium Viola Frey, in particular, has incorpo­ important semantic distinction. I think and there are scientific as well as aes­ rated this notion into her use of figu­ all of us would say he is a ceramic sculp­ thetic languages to deal with it. rines. A lot of ceramic work also ques­ tor, but beyond that we would all say he “Today’s ceramists are very conscious tions the metaphorical nature of the is a sculptor. He has to be reckoned with of the material and its long history. Ce­ material. A 7-foot-high vessel form by in any consideration of contemporary ramics has a whole separate tradition Arnold Zimmerman questions ceramic American sculpture. That can’t be said that goes side by side with art history, notions, playing off myth—the body as of all people who work in clay. but it is most often not incorporated into vessel. It’s important to consider this work “His latest work is an indication that art history. Ceramic artists who are aware as sculpture, but it’s also important to the wit with which Arneson became so of historical traditions are very conscious consider it as ceramics and place it in well known, that sense of humor, that of incorporating those ideas into their that context for understanding. That’s quality which often times is used as a works. especially important for work that deals means of putting an artist down (we “There are also certain thematic ideas with the material or its tradition. Can should remember, of course, that com­ which are intrinsic to the notion of ce­ we say this is art about clay?” edies are very seldom accorded the same ramics—narration, the figurine, deco­ Patterson Sims:“I think there really is level of importance as tragedies in the ration (that being a particular ceramic an important distinction between ce­ history of literature), has been discard­ notion when you learn to make a pot ramic sculpture and sculpture, and Fm ed. It’s been discarded by him for several and must deal with both the surface and not really interested in ceramic sculp­ reasons; the primary one is a pure ex­ form). Such integration separates ce­ ture, except personally. Professionally, istential issue, such as Georges was so ramics from, if you want to say this, nor­ as a curator in a museum, I’m interested eloquently speaking of. Right now there mal sculpture as well. in sculpture. Making a separation be­ seems no alternative but to become as “Symbolically, ceramics comes with a tween the personal and the professional serious as possible in addressing the lot of baggage; it is after all connected is pretty important for me, and so I make world’s problems. to the earth. It is the oldest known art that distinction in a very strong way. “Arneson’s work is owned by the material and it crosses all cultures. Many “Robert Arneson is a sculptor whose Whitney Museum; however, when an artists are using its cross-cultural ref­ career, perhaps even more than Peter exhibition of his work (a large traveling erences to make statements in their work. Voulkos’s, has really been able to span exhibition organized by the Des Moines March 1986 31 Museum) was discussed, it was finally relations. Then I think, well what has cannot there be instinct coming from an rejected. I can’t say this without some ceramics been doing for thousands of intellectual position?” equivocation, but it seems to me it was years but functioning in a day-to-day way Sims: “I’m sure there could, but there rejected by my colleagues because they with people. The desire to move away, are two different mental attitudes which really still considered him a sculptor in­ in some respects, from that tradition is we have categorized as instinct and in­ volved with issues that were too tied up maybe ironic and a little sad insofar as telligence, and I think it is probably use­ to clay. And one of the arguments ac­ it seems that there is now an expressed ful to use those two words. I use them tually used by the curator of ‘Six Ce­ desire on the part of people in other me­ to explain what would otherwise be in­ ramic Sculptors’ (the show the museum dia to move closer.” explicable actions. It’s the action that did which attracted a certain amount of Foulem:“I have a question for Patter­ when you go into a room either with attention) was that all the good artisans son in regard to your colleagues not tak­ people or with works of art—and works were in that show already. So much for ing Robert Arneson’s work seriously: Do of art are heightened embodiments of durable passions. you think that it is because of the humor, people—there are certain things you like “I have a question for Georges: Do and do you think that if Arneson’s work and certain things you don’t like. I have you think anyone will change their po­ were cast in bronze (I know he is casting a fair amount of information. I’ve been litical ideas having looked at your work? some heads), he would be taken more working in this area for a fairly long Do you think that if Presidents Reagan seriously?” time so I do have some experience in or Mitterrand or others saw your work, Sims: “No. I think it’s the content of the looking at objects. Certain things engage it would change their ideas? Can art work which perhaps scared them off. I me more than other things do if the work change people’s minds?” think we also have a real problem in commands a higher level of issue for me, Jeanclos: “Certainly not. Because they New York of having our own kind of and those issues could be very formal; don’t want to understand. But I think reverse regionalism, our own reverse for example, no clear humanistic con­ in 100 years or more, when people find provincialism. So we have great diffi­ tent, or they could have a strong hu­ my sculpture unbroken (I hope so), they culty with work that comes from outside manistic content. The vessel forms that could have the same kind of dialogue as New York, and it has to prove itself even I like the best are those which have the when I discovered Goya and Picasso more intensely. I think this is the prob­ highest level of symbolic content.” (‘Guernica’). It was very important for lem that it suffers, beyond the material Searle: “Could you have good powerful me because they were talking about war. it is made of. It’s from California and a work, like Rudy Autio’s, which is still Goya was painting his opposition to Na­ lot of New York people have trouble with vessel related?” poleon and war. I don’t like war, and California art. Very happily the Arne- Sims: “It’s not work that interests me. I believe it is important for an artist to do son exhibition will get to New York. It don’t mean to be rude, because all art something, to give testimony. But there will be in a new museum, the Broida interests me and all the work of artists is money; there is the market.” Museum, opening in Soho, and .that is, interests me, but I’d say Autio’s isn’t work Foulem: “Lorne, you said modernism of course, a cause of some celebration.” that interests me a whole lot.” was a mess in your opening statement. Diane Searle: “Could you make clearer Searle: “Because it is not dealing strong­ Would you put that into a ceramics con­ for us how you distinguish between ce­ ly with universal issues?” text and explain where modernism is ramic sculpture and sculpture? Is it be­ Sims: “It isn’t work that interests me. failing clay?” cause it would relate to the vessel or the It’s that simple.” Falk: “What I find curious is that the nature of the material?” Anita Aarons:“I would just like to make development of the ceramic medium in Sims: “I was afraid you’d ask me that two points. First, art never did change the last 20 years has seen the expression question. I think it has to do more with politics; politics changes art, and art re­ of the desire to be viable within the art instinct than intelligence. It has to do flects our changing attitudes toward pol­ world. All the things that distinguish be­ with certain attitudes and vibrations one itics. That’s the best we artists can do. tween the ceramic tradition and the art gets from works of art. The vessel form Second, I admire Patterson’s honesty, tradition have broken down. Much ce­ interests me a lot personally, but profes­ but deplore your limitations in such a ramic work wants to be painterly, wants sionally it doesn’t. So, often times, if works position of power. On the other hand, I to be modern. But there is a lot of work are couched in the vessel format, they’re congratulate anybody who has a temer­ that is obviously not that way, and that less interesting to me in a context of pre­ ity with power—to sit up on a platform reflects the concerns that move away from senting them for acquisition or for ex­ and say I’m using it in somewhat a way the aspects of modernism. There’s the hibition at the Whitney Museum.” that I don’t understand and I’m ready desire, expressed by some artists, to lo­ Falk: “Why is there a distinction be­ to learn. Thank you for being young and cate meaning in aesthetics and human tween instinct and intelligence? Why silly. That way you’ll get old and wise.”

“To pose a future stance for the vessel is to court disaster in the same way that the manifesto of Leach and his generation have had a lasting and damaging effect on subsequent generations of potters ”

32 CERAMICS MONTHLY

Photos: courtesy of Kodansha, Ltd., Mushanokoji Foundation and Toyozo Arakawa Ceramics Museum

Red Shino dish, approximately 12 inches wide, decorated with plovers flying over the surf, 1953.

Pottery necessary for a tea ceremony An iron slip, under varying firing con­ This article is the result of one of themight include a flower vase, water jars, ditions, gives the glaze a range of red or last interviews granted by Toyozo Ar- a tea canister, a small stand to hold the gray/blue color. When decoration is akawa before his recent death. For fur­ heating kettle lid and the bamboo dip­ present, it is brushed on in an unaf­ ther information, see “Toyozo Arakawa: per, and of course a selection of teabowls fected, asymmetrical and informal man­ Living Treasure of Japan” in the Sum­ provided by the host. The potters of the ner. The thickly applied glaze tends to mer 1981 issue and “Toyozo Arakawa, Mino area (now Gifu Prefecture, some crawl and pinhole in ways that delighted 1894-1985” on3 page 55 of the January the appreciative patrons of that time, as 1986 issue.—Ed. well as connoisseurs today. Also available to tea masters were the During Japan’s Momoyama period highly prized Oribe pots with their ran­ (1573-1614), the influence of Chinese dom decoration and swath of glossy green and Korean art lessened, and the dec­ glaze, and the austere black and yellow orative arts flourished. Luxurious tex­ Seto wares. Though very different vi­ tiles, lacquerware, metal wares, and sually, all express a quality of sponta­ painted screens became important to pa­ neous naturalness, creating a mood which trons who used art to enhance their sta­ is said to transcend material conscious­ tus. Palaces and castles became treasure ness. The centuries-old kilns of Mino houses of magnificent works. were patronized for this esoteric quality, One of the most prestigious and rap­ Toyozo Arakawa removing a black Seto and the art of the potter thrived. Some idly evolving art forms of the time was teabowl from the hot kiln. teabowl collectors of the time considered the pottery associated with the tea cer­ an extraordinary bowl to be equivalent emony. This Buddhist ritual, originally 200 miles west of Tokyo) were to become in value to a country estate. simple and restrained, had become an very successful in providing these ne­ As the 17th century progressed, the elegant ceremony in which the utensils cessities. demand for tea wares declined in the for the making and drinking of tea were Among the varieties of ware the tea Mino area, although the production of to go beyond the expression of Zen val­ masters sought to acquire was a type ordinary eating utensils continued well ues and express as well the cultivated now known as Shino, a buff stoneware into the 18th century. Eventually, the taste of the tea masters. with a creamy white translucent glaze. potters moved elsewhere or found other 34 CERAMICS MONTHLY Gray Shino teabowl decorated with cranes, approximately 4 inches in diameter; 1971.

trades, and the kilns were abandoned. interest in the sources of Japanese ce­ held in Osaka. Thereafter, he was to While walking in the thickly wooded ramic traditions. Years earlier, they had exhibit regularly, but was not repre­ and rolling hills of Gifu Prefecture in traveled together to South Korea to ex­ sented in exhibitions outside Japan until the spring of 1930, Toyozo Arakawa, a cavate and study an old kiln. Later, Ar­ after World War II. During the war years, 36-year-old established potter with an akawa was to research alone the Kyoto he had difficulty with the strict prohi­ archaeological interest in the ancient kilns kiln site of Kenzan, an important potter bition against firing, but felt compelled of the area, found two shards that he of the Edo period. to continue working anyway. Thus he immediately recognized as fragments of But his own art remained the central fired ware secretly by screening off his Momoyama period red Shino ware. Soon interest and gradually Arakawa’s work kiln so that the light of the fire could he located the remains of an early kiln began to embody the character of Mo­ not be seen. in the forest debris at Mutabora, and moyama tea wares. Eventually he In 1955, the Japanese Ministry of fantasized about rebuilding the kiln to achieved full realization of the visual and Education, acting under the newly cre­ produce ware in the spirit of the Mo­ technical qualities of the varieties of his­ ated Important Cultural Properties law, moyama period. Two years later he left torical ceramics associated with the Mino awarded Toyozo Arakawa the title of his position at the Kamakura studio of area, but without replicating Momo­ “Living National Treasure.” He was the eminent potter Rosanjin, and with yama precedents. Each Arakawa pot is recognized for having kept alive one of borrowed money began the construction a regeneration of the Momoyama aes­ the great ceramic traditions of Japan, of a kiln over the find at Mutabora. thetic, the tradition preserved and re­ and specifically for his achievements with That kiln was to prove a failure, but stated by his hands.* Shino and black Seto wares. by 1934, Arakawa was producing util­ By 1940, Toyozo Arakawa had be­ Being identified as a Living National itarian stoneware with an improved kiln come closely identified with the revival Treasure is the kind of reward any artist built near the first. For this persistent of this much admired historical ware, in the world might envy. In Japan, it and intense artist these were years of and the first exhibition of his work was establishes the artist as a national ce­ hard work and poverty, but also a time lebrity (with special material benefits) *The idea of standing on the shoulders of a tradition is of excitement and experimentation. a difficult one to fully understand from the standpoint and of confers a status one can only de­ He continued his association with Western art which typically demands complete novelty, scribe as a hero of art. Arakawa’s se­ and reaction to/denial of tradition. Suffice it to say thatrialized autobiography was published in Rosanjin and returned to the Kamakura this cultural difference must be understood before tra­ studio for a year to assist him. Among ditional Japanese tea ceramics can be fully appreciated a major newspaper and became so pop­ their shared concerns was a scholarly or comprehended. ular that it was republished as a book. March 1986 35 White Shino teabowl, approximately 5 inches in height, 1961.

He was commissioned to produce 2000 struction around his house and museum. flying geese and passages of calligraphy. Shino tiles for the imperial residence, He found deep satisfaction in making It has since been determined that scroll and was asked to select seven boulders pictures of those foods he enjoyed before was created by two prominent artists of for placement in the imperial garden. they became his supper. He amassed piles the early 17th century. The scroll is now He authored and coauthored several of watercolors of fresh fish, crabs, veg­ considered to be one of the most impor­ books concerning the historical ceramics etables and fruits—of which he was as tant works of Japanese art discovered in of Mino. In 1976, he was the subject of recent years, and it has been classified a nationally broadcast television series. as an Important Cultural Object. Con­ Today, Arakawa teabowls are priced from cerning his buying of the scroll, Arak­ $25,000 up, depending upon the awa said, “The geese came flying to me.” uniqueness of the piece. Toyozo Arakawa was a remarkable He saw some small irony in this, for human being. Potter, painter, archae­ as a young man his ambition was to be ologist, scholar and the preserver of a a painter. Believing himself not good special tradition in the visual arts. Yet, enough, he turned to clay. Born into a traditions cannot remain static; they are household of potters, Arakawa was first given life only as functioning concepts employed (at age 11) by a pottery trad­ within a culture. The culture of Japan ing firm. At 17, he married Shizu, whose has been undergoing such rapid and family business was ceramics. By 1922, profound change that one wonders how he was foreman of a ceramics factory, Toyozo Arakawa decorating teabowls with traditions can be kept alive and func­ and becoming interested in the history birds and plum blossoms. tional. The recognition of Toyozo Ar­ and traditions of his craft. akawa as a Living National Treasure of Though he had worked in clay for proud as the ceramics that earned him Japan was one bridge by which a grand most of his long life, he never stopped fame. At 91 years of age, his eyes had tradition was carried from the past into painting. He saw everything in his en­ not lost the sensitivity, nor his hand the the future. vironment as a subject for painting, in­ discipline of an active, thoughtful paint­ cluding the surrounding landscape in er. The author Joseph Pugliese is a fac­ various seasons, potters working for him, In 1960, this artist’s sensitivity led him ulty artist at California State University, carpenters and masons engaged in con­ to purchase an old scroll painted with Hayward. 36 CERAMICS MONTHLY Designer Craftsmen Fairs

Top left "Shield of Enchantment " Top right Wheel-thrown stoneware bowl 30 inches in diameter, raku, by with brushed and trailed decoration, Martin Marcus, Milwaukee. 15 inches in diameter, by Eve Fleck, Yellow Springs, Ohio. Above left “Fluted Teapot,” white stoneware, with sprayed oxide and ash Above right Porcelain cup and saucer, glaze, Cone 9 reduction fired, 9 inches in with underglazes brushed on top of raw height, by Thomas Clarkson, glaze, fired to Cone 9, by Bebin Cypher, Charlottesville, Virginia. Wimberley, Texas. March 1986 37 Spending per paid admission was up this pressive 20%, while attendance in­ itors, the highest reported sales total was year at the annual pre-Christmas Ohio creased just 12%. Accordingly, patrons $4000. Designer Craftsmen fairs. Even though at both juried fairs spent more per capita At the older (ninth annual) and larger attendance dropped back to the 1983 level than in previous years. (337 booths) Winterfair in Columbus, at the Columbus “Winterfair,” total sales Held on Thanksgiving weekend, the the individual sales average was $3120. were up slightly to $1,051,440. And at seventh annual Cincinnati show fea­ As in previous years, a local ceramist the Cincinnati “Crafts Affair,” the in­ tured 167 artists, who averaged $1908 reported the top receipts showwide— dividual sales average increased an im­ in sales. Among the 34 ceramics exhib­ $13,400 during the four-day event.

Breakdown by William Hunt

hopes have been consistently denied than stands become packing containers, parts The blue haze of auto exhaust filled the confirmed. fold up, knock down, fit precisely into great hall of the Multipurpose Building The craftsperson’s moment of truth, the van, the truck, the car. There is pride on the Ohio State Fairgrounds. Cold night a final jury of reflection on public ac­ in the efficiency of this operation, re­ air began to infiltrate, too, as hundreds ceptance, is ahead—the drive home. For warded by shorter lines of trucks and of craftspeople began the 6 P.M. task of now, it’s methodical, silent labor that vans getting on the road sooner. breaking down their booths and getting really started early in the day thinking I can’t help thinking about a recent out—of the fairgrounds, of town, what­ about details: Is the gas tank full? Is article, bemoaning the high price of con­ ever. Customers rarely see this second there still some rope? Are there enough temporary crafts; but no one’s getting act of the perpetual retail fair drama. shims? Did I get air in that tire? For rich in this or any other fair. While some Perhaps they should: It’s more reveal­ one spent participant, the most impor­ earn a decent living, there’s a lot of just ing, more realistic than the best-foot- tant issue is to locate the dumpster. “Why plain poverty here that shows in all the forwardism seen noon to 10 P.M. A kind do you want it?” asks the show’s organ­ usual ways poverty shows. There are only of organized chaos mixed sometimes with izer. “To throw out my booth” is the pockets of adequate compensation. There a low-level panic cuts the icy boredom response with grim resolve. “It just wasn’t is real irony that a hall full of the riches at the end of four days of sitting, stand­ up to the others, made the work look of such immense talent and creativity ing, waiting for someone to notice, buy, bad and, let’s face it, it just didn’t sell,” should be so economically impoverished pay, be gone; next face please. Perhaps the artist continues. “I’m going home to in return. There’s only one new vehicle there’s a lingering last customer at a booth start over. Maybe with a new booth, in the hall that I notice; maybe there are here and there. “Gotta keep them there maybe new work, too....” more, but mostly they’re the same as last until the sale is consummated,” says one With a kind of compassion born of year, the year before that, the year be­ artist. But now it is all done and the years of seeing such reactions, the or­ fore.... How long can that keep on? Is results are telling. For some there’s a ganizer suggests the artist think it over an artistic business really in business if real sense of accomplishment and honest a bit. “Sleep on it,” he says. But it’s too it can’t replace its capital assets? joy that sales finally caught up to ex­ late. The artist needs this expression of A stubble-faced bum enters the hall pectations. For others there’s a shortness renewal like a potlatch. It’s an act of almost unnoticed; there’s so much hu­ of temper edged by unexpectedly poor purification, even if it is wasteful and man activity, and he moves so slowly in sales—a disbelief that “that commercial expensive. The booth is carried cere­ contrast. Going from trash can to trash crap sold” while their personal revela­ moniously outside and trashed with some can, he rummages in each. I think may­ tions of human vision just sat there, un­ of the first real pleasure since this four- be he’s looking for the remains of one wanted. The unthinking remarks of some day endurance contest between artist and of the 350 Spam sandwiches served customers, speaking as if the artist had customer began. courtesy of the organizers. Instead, I no hearing or real feelings, also have Back in the great hall, the running watch as he slowly brushes garbage from taken their toll—particularly on the vehicles have snarled hopelessly in an a porcelain vase casually dumped for newcomers. The old-timers are immune everyone-for-themselves squandering of whatever its flaw. He looks genuinely to “My kids could do stuff like this.” For narrow traffic lanes. Frustration builds astounded at such a find, and his eyes so many customers there is no aesthetic as some just leave their vehicles wher­ ask no-one-in-particular the question, debate at all. Art is skill. Period. ever they end up. “What’s the use?” says “How could anyone throw away some­ Breakdown time has a harshness about one bone-tired craftsperson, heading off thing like this?” The answer a mystery, it. All the idealism that fostered hopes on foot to truck his goods whatever dis­ the pot is slipped quickly under his of big sales is either confirmed or denied. tance is required. trenchcoat. Peering over his shoulder with Judging from the condition of the snak­ Even now there is craft operating the nonchalance of many a trash can ing train of rusted vans and untuned throughout the hall as nomadlike, in­ heist, he quickly strides out into the crisp pickups gasping for a leaded breath, more genious backdrops unbolt, sculpture night. 38 CERAMICS MONTHLY Storage jar, 12 inches “Egg Bowls,”5 V2 inches square, slip-cast “Horses Tray ” 13 inches in length, high, by Tom Phinney, earthenware, under glaze painted, by Barbara slab-built porcelain, with airbrushed under­ Oberlin, Ohio. Miner, Columbus. glazes, by Linda Birnbaum, Saint Paul. Photos: courtesy of the artists and Ohio Designer Craftsmen

“Softworld,” handbuilt porcelain wall plate, 18 inches in diameter, by Sharon Hubbard, Ann Arbor, Michigan. Left “Three Light Lily” lamp, 36 inches in height, thrown-and-altered stoneware base with translucent porcelain globes, by Doug Blum, Falls Village, Connecticut. Right Stoneware vase, 18 inches in height, with underglaze colors in wax, brushed and splashed over glaze, fired to Cone 9, by Paco Sutera, Wimberley, Texas. Works shown in this article are reproduced from the artists3 slides used for jurying, and reflect the current high level of presentation needed for most professional fairs3 selection.

Wheel-thrown stoneware teapot, mug and Stoneware jar, 18 inches in height, by Handbuilt 10-inch-high bowl goblet by Susan Abramovitz, Shade, Ohio. Mark Chamberlain, Clear Lake, Iowa. by Tom Benesh, Iowa City. 40 CERAMICS MONTHLY Porcelain goblets, 8 inches in Covered jar, 6 inches in height, Cone Handbuilt porcelain tray, height, with glaze and 9 porcelain, oxidation fired, with reed 11 inches in length, by underglaze, by Paco Sutera. addition, by Pam Korte, Cincinnati. Burneta Clayton, Nashville. Above *Grid Patterned Platter” 18 inches in diameter, stoneware with rasped rim, trailed slip and ash glaze, by Thomas Clarkson. Far left Raku vase, 18 inches in height, with copper matt surface, by Ed Risak, Marquette, Michigan. Left *Diamond Wall Relief” 23 inches in width, porcelain with airbrushed stains and acrylics, by Rosalyn Tyge, Traverse City, Michigan.

42 CERAMICS MONTHLY Right “Rhino Chalice,* thrown and handbuilt porcelain, 11 inches in height, with copper glaze, raku fired, by Annette McCormick, Lucas, Ohio. Far right Covered jar; 3 inches in height, wheel thrown, with burnished terra sigillata, raku fired, grape vine addition, by Nell Devitt, Bloomfield, Indiana. Below Porcelain teapot, thrown and altered, approximately 8 inches in height, with slip decoration, by Jim Kemp, Greenwood, Indiana.

March 1986 43 Raku sculpture, 26 inches in height, fired to Cone 06, then reduced in sawdust, by Mary Gates Dewey, Athens, Ohio. 44 CERAMICS MONTHLY Three days into firing, flames pour from the anagama at Peters Valley, Layton, New Jersey, as the morning crew begins stoking.

“anagama” from my vocabulary, using The aesthetics of decoration required Flames subsided at the flue, then the instead the general term “wood kiln” so no group resolution, unlike attitudes to­ damper, then the top peephole. We stoked that students would see a more general ward firing. The length of the firing af­ small wood, a handful. Opened the stoke potential. Still, one student of European fects ash buildup, and quick cooling can holes halfway and slid wood in. Smoke, descent lobbied for a Buddhist lighting affect glaze surface. But intertwined with but not too much. A single stimulus; a ceremony. I asked him if he said a Lu­ the issue of ash buildup is the problem single response. Flames receded and we theran prayer whenever he lit a salt kiln, of wood consumption and stoking labor. stoked. A heavy clay hole cover fell off, because that tradition began in Ger­ Cut and split firewood is one of the most and I felt its weight on the steel bar many. expensive fuels available to potters to­ while replacing it. I felt heat on my face, When John Chalke arrived, we dis­ day; wood from inexpensive sources in­ felt sweat drip, heard bark sizzle, smelled cussed an Americanization of the wood variably means intense hauling and pro­ oak burning. Our world was our phys­ kiln. John, an advocate of a western ap­ cessing. I’ve been told $100 a month hires ical senses, and firing the kiln. proach to anagama firing, suggested we a full-time wood cutter in Korea. The Begun three weeks earlier, the wood- name the kiln Emily and refer to our American solution too often has been to firing workshop was led by John Chalke, workshop as the “Americanization of use students as cheap labor. with Jack Troy as guest artist. We were Emily.” Later, in deference to John’s At Peters Valley, I wanted to be able the first westerners to be in charge of being British Canadian, it became the to wood fire outside the workshop sea­ firing this kiln. As the new ceramics res­ “Internationalization of Emily.” son, when the making and loading of ident at Peters Valley, I had become con­ A few days into the workshop, phi­ pots could be slower, quieter, removed cerned with the state of contemporary losophies lightly clashed. Four of us from workshop responsibilities and anagama firing, which has such a highly (John, Bob Scherzer, Laura Burch and deadlines. This would require a prac­ specific and overwhelmingly seductive I) painted ware with colored slips as we tical schedule for a short, fuel-efficient reference that the almost universal ten­ do in much of our work, while Karen firing, rather than the two-week firings dency has been to produce work in keep­ Copensky carved fish and birds on her typical of this kiln in the past. So at the ing with Japanese tradition. Rarely has pots. Jack Troy, who lets the fire dec­ first workshop meeting, I suggested a anything boldly of our time been pro­ orate the form, finally said, “Everette, I four-day firing. But Jack said that any­ duced in an anagama kiln. sure hope you leave one of your platters one unprepared to fire for at least a week Upon arriving at Peters Valley two plain so I can lean it against one of my or anyone interested in efficiency ought months before the workshop, I deleted jars and just let the fire work on it.” not fire an anagama, because a long, in- March 1986 45 Greenware by Bob Scherzer, Wichita (left and center), and by John Chalke, Calgary ; Alberta (right), awaits loading in the anagama. Many of the group opted for a more westernized approach in preparing pots for the kiln, carrying on in the vein they had been working in their own studios, though with deference to surface possibilities available in the anagama.

The Peters Valley anagama is 56 feet long from fire mouth to flue After preheating with propane for 12 hours overnight, light end, and has 250 cubic feet of packing space. stoking was begun at the kiln's fire mouth.

Fifteen cords of oak had been cut and stacked in preparation for the firing; approximately ten were consumed. Photos: Bobby Hanson, Charles Luce, Bob Scherzer, Barbara Tipton

An old electric kiln lid covered the fire mouth between stokings; ports below the fire mouth allowed in secondary air through the ashpit. Partially visible in the background (left photo) is the plate steel damper and mortared brick damper slot.

When pots in front reached temperature the fire mouth was bricked, mortared with clay and stoking begun at the side ports.

March 1986 47 Beginning at the openings closest to the The front of the kiln received the heaviest Shelves were used for the lower third of the front of the kiln, ports on either side were ash buildup. Oak releases its heat slowly, ware chamber; unloading revealed a variety stoked with finely split oak until the pit creating a massive bed of coals in the of effects. Ash can be thick and drippy or below each stoke hole was filled. When firebox. Raking the coals periodically thick and crusty, with several surfaces in flames died down at the chimney, stoking releases some ash to the turbulence; still, between; much of the response depends on began again. much of the coals remain to turn to ash. the clay body itself

The area where the kiln narrows into the chimney is a site of strong atmospheric turbulence. efficient firing gave the only worthwhile are such massively unproductive periods assistant Bill Forst, but unloading con­ results. John chose the compromise length in a workshop. So at the meeting on tinued. of five or six days. cooling, I was again the radical and Jack John Chalke’s plates had been thrown We ended up stoking slightly over four the conservative, while John mediated. on a slowly turning wheel. Reminiscent days, with an overnight propane can­ As it turned out, we had drawn a lot of of English redware basins with sharply dling of 12 hours. A rapid temperature air through the door during side stoking, angled, straight sides, they relied on increase the second day caused us to spend and with the damper up and the flue flashing rather than heavy ash buildup. most of the third day merely soaking. At partially covered during cooling, the kiln They were fired with clay stencils over Jack’s suggestion, we began vigorously lost its color within 18 hours. similarly shaped slip silhouettes, a tech­ shaking the bed of coals every half hour Meanwhile, John, Bob, Laura and I nique that directly controls the fire’s to increase ash deposition. Seeing ash went to New York City. At the Metro­ “shadow,” normally seen only when pots running down pots, we finished firing politan Museum of Art, we stood (per­ are placed in front of others or when on the fourth day. haps still smelling of smoke) in front of wadding is used. After tossing in the last logs and mud- four medieval Japanese wood-fired jars. Jack Troy’s teabowls, bottles and ding up the door, we sat silently in front Back home, John and Bob presented storage jars exhibited a more traditional of the kiln. Matt Povse opened a bottle Laura and me with anagama T-shirts. anagama-fired look. They were smooth of wine and passed it around. Matt, who The word anagama began to creep back surfaced, with dark browns and reds had pots in the kiln and took several into my vocabulary. I was glad I had left broken by lighter colored ash deposits. shifts firing, was our one thin link with some of my pots undecorated. Jack knows what he wants and has suc­ the past. As director of Peters Valley, he The kiln door came down on the third cess in getting it. had seen the kiln fired once before. day. We unloaded amidst the snapping I am less sure of what I want from The firing had been short, and I and crashing of trees in the forest as an anagama firing. I clearly know I want thought a quick cooling would be ideal, hurricane Gloria hit. Power lines fell dissonance, which in my brightly col­ rather than the week-long coolings that and a limb hit a truck belonging to class ored, heavily decorated earthenware is

Stoking at the side ports widely varies ash deposits and atmosphere; thus anagama pots reveal a wide range of effects.

March 1986 49 Handled bowl, 20 inches in diameter, thrown stoneware with Thrown bowl, 16 inches in diameter, high-iron stoneware nepheline syenite chunks, stenciled slip decoration, by John with feldspar chips, white slip-coated interior, by Everette Chalke. A clay cutout masked the stenciled area during firing. Busbee, Layton, New Jersey. derived not only from its crudeness, but Fuel on the Hill like anagamas in rural Japan. There are also from the sheer magnitude of deco­ 250 cubic feet of packing space, five times ration. This approach is antithetical to by John Chalke that of my regular kiln. The kiln floor traditional anagama firing, with simple consists of five steps. A typical step is forms becoming canvases for the fire. To stand back from one of these kilns about 2 feet deep by 5½ feet wide, with That uncertainty about desired re­ and take from it the human mind and 3½ feet to the top of the arch. We used sults does not extend to desired ap­ scale is to see it abstractedly and anew. shelves during this firing for the lower proach. I want the anagama firing to be It’s just a long tube of brick running up third of the pack. By looking at the pre­ innovative, to deal with artistic concerns the side of a hill. You light a brisk wood vious flame paths on the walls, it was of contemporary America. I want to see fire down at one end, let the flames pass apparent that the fire would quickly rise work that excites, delves into the un­ through whatever is in the tube and find to the top of the roof arch, so there seemed known and fits squarely into the late their way out the other. Because the whole little point in packing densely at the base 20th century. thing acts as a chimney, there can be a and losing the benefit of the fire mark. The goal for the next firing is a day lot of atmospheric pull. If the air intake Some pots were packed upright and act­ on propane, three days of stoking (which and fuel are controlled well, intense sheets ed as deflectors to those behind them. should provide a moderate ash buildup of flame can be made to whip through Other pots were laid on their sides on with a moderate amount of wood) and at will. So now it changes to a tube of wadding, or upside down. Pots also were three days of cooling. Ideally, for a month­ brick encasing a dense, red-hot core of nestled inside others. long workshop, wood handling should gases. Often it looks just like something So, people like to ask how many pots be no longer than three or four days, young being fed. Put fuel in one end and we got in. The question is merely aca­ primarily during loading and propane it soon comes out the other. demic. If each pot took up a cubic foot, candling. This will allow more time to Ever since I first saw John RolofFs why, that’s 250 pots right there. be spent in the most important area— kiln structures, I’ve thought differently Although more and more potters ex­ making things in clay. at times about what kilns are. Some­ perience wood-burning kilns each year, This firing was good. There had been times they are important only in the tra­ a large majority have still never been no lighting ceremony to appease the wind. ditional sense, as heat machines or melt- near one. So for most of us, it’s hearsay We are modern western potters, who buy ers. Other times they start off that way how long clays should be fired. Some our clay in bags, and fire our kilns aware but change into flame mass, thought of wood firers are adamant about specific of the physics of quartz inversion and more as an abstract concept, as geo­ lengths of time, taken from foreign ex­ the chemistry of oxidation and reduc­ metrically shaped containers of fire which periences in central France or the Ori­ tion. Yet the firing was filled with a spir­ have a specific, complex life and death; ent. It doesn’t make much sense to stick it. It came from potters working togeth­ or as metaphors for unique camaraderie, to the same scheduling if the clays back er, eating together, firing together, extra glimpses of life. But whatever they home are different. Fine-particled bod­ laughing together. We depended on oth­ do, whatever they are, they always re­ ies, such as those made from a high per­ ers to control the firing as we ate and main magical boxes that isolate flame— centage of fireclays like Lincoln or Jor­ slept, and they in turn depended on us. clay skin barriers holding in heat from dan will mark and flash beautifully and Today we rarely experience such pro­ the outside. easily within a four-day period. They longed intensity in the struggle toward The Peters Valley kiln is 56 feet long will respond readily to even a minor ash a common goal. This firing will be with from fire mouth to flue end. From the deposit. Coarser clays, still porous or not me for a long time. path through the woods it looks much yielding a sufficient siliceous surface, will 50 CERAMICS MONTHLY Covered jar; 11 inches in height, white “Bird Circle * wheel-thrown white stoneware stoneware with colored slips, fry Laura bowl, 10 inches in diameter; with handbuilt Burch, Cortland, }6r£. additions, by Laura Burch. only scorch or blacken in a firing twice ware mass where the wood can fall to there was a slight trembling that grew that long. It will take these clay surfaces burn. Quite like water, the flames here into a deep rumbling. And then the much longer to saturate with ash and eddy and pause, and will give, on the ground shook. One of us, somehow less then reject surplus fluxes. That’s one right clays, a swirl pattern, an orange tired than the others, sprinted up the variable. Another is fuel. Being from the cloud, a tan. Out in the mainstream they hillside and kicked away the brick bar­ West, I’d previously only fired with soft­ hurtle on again and have to be buffered rier from the flue mouth. It seemed just wood—pine and spruce, some cedar. At back, dammed, to give up their radiance in time. A huge, suddenly released col­ Peters Valley, we fired with oak (be­ and their ash. umn of gas and flame shot out of the tween 9 and 11 cords), which released The ash can be thick and drippy or end. We had, in fact, almost made our­ its heat more slowly but built up an in­ thick and crusty. To a kiln connoisseur selves a rather large bomb. All night long tense, massive bed of coals in the firebox. there are several distinct surfaces in be­ and well into the next day, there was a This was great for preheating air to the tween. Jack Troy pointed out a re­ loud rushing noise from the exit as the fuel and took less supervision, but it markable broken, floating crystal pat­ hot air sought escape. needed raking and stirring up fairly tern to me that seemed to occur in an Three days later we were surprised constantly. Pine burns more quickly, and intermediate zone, between heavy and that somehow the pots and the kiln had normally would not have made such light deposits. At first it seemed it might been undisturbed by the vibration. The charcoal. (Cedar also burns well but be an unusual phenomenon only, so quiet ones low in the front were heavy with hardly leaves any ash at all.) The firing was it, but during the unpacking I saw carbon deposits, patches of blue and black, cycle seemed somewhat different with that it had occurred several times. Per­ with no orange oxidation flashing. This hardwood in that less frequent stoking haps I was merely unobservant before, was a somber zone. Predictably, up higher was required and a new understanding but I don’t remember it with pine. and where there were gaps in stacking, of how oak burned became important. I know of a true story that happened the flames had moved the fastest, and Another variable, unless we are a tra­ out in the western mountains three years deposits of ash were heavy on lips and ditional community, is that we all use ago. At the very end of the firing, the shoulders. Unpacking around the inside different clays, and have different needs kiln foundation exploded from not being of the stoke holes was nearly always re­ from the flame. So it’s a juggle, and not properly cured; the kiln lifted, and then warding. Here there was a whole range always a successful one, to pack pots the caved in. I’ve also read about an early of effects: gray/black carbon patching at way everybody wants them and in those American potter who died in a “kiln ac­ the bottom; thick, localized melts of ash spaces that are preferable over others. cident.” Strangely, it’s getting easier to where sticks had landed repeatedly; a To wit, the area just past the fire mouth, see how these things can happen. When dry, melon skin “netting” where an ash verging on the edge of the base fire itself, a firing of this kind is finished and the surface had ruckled instead of more is a hard and harsh one. Things can melt last logs have been stuffed in, gases are closely bonding with the clay; the orange there and should be rugged in both clay still being formed after the flames have vapor flashing of soda. and structure. died down. If one blocks the exit of these A long, open tube is not a fuel-effi- The tube has three extra stoke holes gases effectively enough there will be an cient method of firing pottery. It’s a re­ per side so that thinner wood may be atmospheric expansion inside the kiln. turn to a past and to a previous aesthetic, added later in the firing to give addi­ To prevent the kiln cooling too fast at when fuel and lives were cheaper. But tional bursts of heat as the flame travels Peters Valley, the end was bricked up the kinds of pots that come out of these up the hill. Below these stoke ports in­ and we innocently did just that. kilns just cannot be obtained in any oth­ side the kiln there are gaps built into the A short while after closing up the kiln, er way. March 1986 51 52 CERAMICS MONTHLY Letters show an infinitesimally small quantity of such Continued from Page 7 disasters but rather a larger number, for that makes five now, to my knowledge. flint. It also says, “Follow OSHA safety and If I ever have it to do again, I will get health standards for Crystalline Silica witnesses to the condition of the firing, the (Quartz).” It does not mention flint. cause of the trouble, and hire a very good I suggest CM look through other bags of lawyer. Remember that damaged equipment ceramic products for silica hazard warnings. sent to a company and out of your hands is I doubt if the word flint will be mentioned. no longer evidence for you. Douglas Grimm Larry Jelf Missoula, Mont. Ingram, Tex. Ceramics Monthly uses the term flint to Kiln sitter devices and limit timers are not describe the mineral used by potters which substitutes for vigilance. To set a shutoff de­ is principally silica. We do this out of a long vice and leave for a weekend is to court dis­ tradition and respect for the potter's vocab­ aster. All manufacturers clearly warn that a ulary. And there are important distinctions kiln should not be left unattended, especially to be made by this use of the word flint instead at the time of firing off. of using the term silica. While chemists might That Mary Nicholson is not able to shoul­ use pure silica, ceramists do not; rather, we der the responsibility of attending her kilns make glazes and clay bodies employing a is an indication of her lack of understanding mineral which contains, among other ele­ of shutoff devices. When in good working ments, the element silica. Both the terms sil­ order, checked for proper adjustment before ica and flint have been used in industry, how­ every firing and attended during every firing, ever, to describe flint. A recent percent analysis these devices are nearly fail-safe, but nearly of three different samples of flint/silica from is the key word. two mines, Ottowa (Illinois) Silica and Cen­ Lubov Armstrong-Mazur tral Silica (Millwood, Ohio), showed the fol­ Albany, Calif. lowing range of ingredients in the mineral We were glad to see Mary Nicholson’s which they call ground silica: Si02 letter because we feel there is an important 99.81-99.28%, Fe203 0.015-0.095%, Al 203 point to be addressed here. That point is 0.047-0.27%, i0 T2 0.013-.028%, CaO and simple and Mary made it herself—it is the MgO greater than 0.01%, L.O.I. 0.09-0.10%. importance of education. Mary said she wants While the differences between various flint to make potters and teachers aware of what compositions might be small, “impurities* problems may occur. I would like to empha­ contained in flint in addition to its silica (Si02) size some of these. As she explained in her content can have a significant effect on some letter to us: the kiln “continued to fire with glazes and colorants which are sensitive to the Dawson Kiln-Sitter never shutting the them. power off, so I had to manually turn the kiln The hazards of (pick one) silica/flint/ off. After...cool[ing] enough to open...I found quartz are well documented and we wish to no apparent sign of the Orton Jr. Cone in emphasize them where appropriate. We hope the trigger (it had just melted away).” our use of specific, accepted and traditional What this told us was, first of all, that the terminology serves to help avoid confusion, cone had done its job. It had melted and not to cover up a hazard. By the way, the eventually dropped to the kiln floor as heat silica in flint, stoneware clays, etc., which in the kiln continued to increase. The fact concerns everyone is free silica, not all silica. that the cone “melted away” also confirmed Combined silica (in kaolins, for example) is that the kiln had indeed overfired. not a silicosis hazard.—Ed. Why then didn’t the kiln shut off? With­ out detailed information from a thorough ex­ Kiln Shutoff Failure amination, an exact cause may never be I was surprised and delighted to see that learned. But it can be concluded that for some CM printed the letter from Mary Nicholson, reason the switching action which interrupts describing her difficulty with the maker of a the power to the elements did not occur until kiln shutoff device. I had the very same in­ the kiln was manually shut off. This switch­ cident. I bought a new kiln in October 1984, ing action in the Kiln-Sitter is normally ac­ test fired it, and on the next firing it failed. tuated by the falling of the weight on the I even know exactly what caused the situa­ outside of the shutoff device. Failure in this tion, and place the blame entirely on the switching action to occur as expected can re­ manufacturer. It took seven months to even sult when: get a response, which of course was a denial 1. The switch contacts weld closed, which of any responsibility at all. I did get a new could be caused by corrosion of the contacts kiln eventually, and new shelves and posts, or overloading of the switch. but my pieces being fired in the kiln were 2. The weight fails to fall because the kiln totally lost, and I was denied the use of the is not level; the trigger or release claw are kiln for the next 7 months. I figured that the improperly positioned; or the weight is held episode cost me between $15,000 and $20,000. in place by grease, dirt, corrosion or an object I would like to hear from Mary Nicholson outside the kiln. or any other person having a similar disaster. 3. The sensing rod does not move upward I had been informed when I took my kiln on the outside, permitting the claw to release back to the dealer that this had occurred on the trigger and the weight to fall. This can at least three other occasions. This does not Continued March 1986 53 54 Ceramics Monthly Letters The proper care, maintenance and use of sured nothing will leach out? I have my cus­ firing equipment are essential for successful tomers and my health to consider. happen if there is an improperly adjusted results. And, knowing what problems may Barbara Owen trigger, claw or guide plate; a bent sensing occur if we neglect this responsibility, is pret­ Ellensburg, Wash. rod, or if there is foreign material in the ty powerful motivation. That is why it is so refractory tube. As the sensing rod is heated important to become knowledgeable about Benzie Letter and cooled, the metal oxidizes and little pieces not only the creative aspects of ceramics, but I’m only a self-taught “kitchen potter”— flake off on the hot end, making that end the technical aspects also. can someone tell me what the hell Curtis lighter in weight. Corrosion or binding of the For free copies of Orton literature about Benzie (January Letters) is talking about? pivot also prevents the teeter-totter action. the Kiln-Sitter, witness cones, the properties Why did CM devote a third of a page to his 4. The sensing rod is interfered with by and uses of cones and more, see your local pseudointellectual claptrap? another object in the kiln. Ware or kiln shelves dealer or contact: The Orton Foundation, Box It seems to me, that today it’s not how you can shift during firing or when the kiln lid 460, Westerville, Ohio 43081. pot but how many words you can use to say is closed, and hold the sensing rod in place For copies of the Dawson Kiln-Sitter man­ diddly squat. Can we please get back to pot­ until the ware melts or shrinks sufficiently ual, send a check or money order for $1.50, tery? And bravo, Peter Sasgen! to permit the rod to move and activate shut- along with the model number of your Kiln- Elaine Burger off. Sitter to: W.P. Dawson Mfg., 399 Thor Place, Waretown, N.J. The normal action of repeated firing can Brea, California 92621. loosen adjusting screws and produce the cor­ Mike Vukovich Single Firing rosion mentioned above. The firing of sulfur- General Manager Having long wanted to learn more about containing clays and firing to high temper­ The Edward Orton Jr. Ceramic Foundation single firing, I appreciate the article (and pots) atures increase the oxidation or corrosion of Westerville, Ohio by Steven Hill in the January 1986 issue. metal parts, around as well as within the I have been a “garage potter” for five years kiln. and sometimes have trouble bringing a pot In the Kiln-Sitter manual, Dawson rec­ January Portfolio back to life after the bisque fire. I find myself ommends using the test gauge they provide CM wasted all those beautiful color pages delaying glazing, accumulating bisqueware to carefully check all adjustments of the Kiln- on Jane Gustin’s scribbles, swirls, drips, blobs, in favor of throwing. I can envision myself Sitter every 20 firings. They also mention to runs, scratches and god-awful colors! as an old lady with hands unable to wedge check the sensing rod for free and centered I see neither aesthetic appeal nor technical or throw but fortunately having accumulated travel before each and every firing. The man­ skill. What am I missing? hundreds of bisqued pots—stretching out their ual also explains the service that their units Tom O'Connor glazing by more painterly, painstaking meth­ require, and stresses the importance of using Gig Harbor, Wash. ods instead of a quick dip and brush and witness cones. In our own literature we stress finger marks as I mostly do now. the importance of the three cone system as I enjoyed Jane Gustin’s article on low- For now I plan to try bone-dry glazing. I visual backup for any control device and to fired glaze but wonder if her platters are safe have already done some dipping of the odd, check the performance of these devices. to eat on. How low can we fire and be as­ Continued

March 1986 55 56 Ceramics Monthly terra cotta is dense enough to withstand Letters freezing, as opposed to cast or “machine- leather-hard pot that was around just before worked” clay, which is characterized as too a firing, usually with success. absorbent to resist freezing. On another subject—amen to the last par­ Any word from the experts on this? All agraph of Peter Sasgen’s letter (January). my “hand-worked” terra cotta freezes. On still another—I enjoyed Jane Gustin’s Jody Clowes article and ideas a lot, but my ideas about Kingston, R.I. the workings of nature must be different from hers. I won’t say anything about her colors Damn the art establishment, but we gotta and brushwork because I can’t say anything deal with it. CM should take a headlong leap nice. Obviously, I am just not seeing what at anything in the art world/whole world she sees. that makes us all do it better. Ann Brink John W Doyle Lampa, Calif. Ansted, W. Va.

Ross Murphy Articles CM is doing the ceramic arts field a great The controversy spurred by Ross Murphy service with the continued attention to cur­ in the Letters column is fun and interesting, rent trends and especially issues voiced in and it causes us isolated potters to sit up and the Comments and Letters features. It is really look forward to the next issue. important and valuable to have a publication Rhonda Weaver so responsive to its readers. Topsham, Me. Linda Mosley Florissant, Mo. I loved the Ross Murphy story “Remem­ bering the Glory Days” in the December 1985 Let’s have less emphasis on aesthetics and Letters column. Finally the mystery is solved. pottery from above, less looking down on the That article he wrote about secrets to selling mud people as craftspeople. pots (“How to Sell Your Pots Profitably,” A.B. Clark June/July/August 1984) was also a joke, Cohoes, N.Y. and we all went for it hook, line and cutting wire. Just as many potters take chances today Thanks, Ross, for a good sense of humor pushing toward that cutting edge, it would and for bringing all of those opinions out of be interesting to see CM take more chances. the closet. You’re a good teacher. Tricky, but Push to cover those chancy spectrums of the good. art. Also, I really enjoyed John Chalke’s “Sur­ Leslyn Kirkpatrick faces” (see “12th Functional Ceramics Ex­ Dallas hibition” in the January issue) essay: great insight, great communicating, great timing I would appreciate seeing a few articles and great caring from what I feel sure is a on ceramic pot decoration, such as how cer­ great person. Please write more, John. tain effects are accomplished. Many articles Rick Berman seem to assume the reader already knows the Atlanta, Ga. processes involved. N.R. Hacken Subscribers’ Comments Sacramento, Calif. Enclosed is a photograph of a clay “pot” made by an insect. It is sitting on a black At the present time, I am in the design plastic, 35mm film container. It was attached stage of a mobile pottery studio. I am looking for light-weight equipment that is easy to maintain, portable gas or electric kilns (pref­ erably 110 volt) and large enough to handle my work. I plan to build a studio trailer (about as large as a small pickup or mini van), which will be towed behind a motor home. When my wife retires, we plan to be­ come full-time trailerites and work the art and craft shows. Charles R. Sims Tampa After 16 years in the mental health profes­ sion, I have found pottery to be a very im­ portant vehicle for patients, especially alco­ to my window screen by its bottom. I would holics. be interested to know what insect made it. J.N. Miller Steven Suessman Camillus, N.Y. Emporia, Va. Share your thoughts with other readers. All letters must be signed, but names will be I found a clipping from Smith & Haw- withheld on request. Address: The Editor, ken’s gardening catalog (Mill Valley, Cali­ Ceramics Monthly, Box 12448, Columbus, fornia) which suggests that “hand-worked” Ohio 43212. March 1986 57 58 Ceramics Monthly News & Retrospect Nino Caruso cording to a model involving invention and “Homage to the Etruscans,” an exhibition experimental control, not just a ‘cultured’ re- of ceramic sculpture by Nino Caruso (see visitation,” observed Vittorio Fagone, presi­ “Nino Caruso, Modular Ceramics” in the dent of the culture and environmental center June 1975 CM) was presented simultane­ of Lombardia. “He doesn’t look; he exam­ ously at the Palazzo Massari, the Palazzo ines. He accents the experimental intention dei Diamanti, the Lapidarium and the Bagni of ceramics, makes the representative links Ducali in Ferrara, Italy. Produced over the more cohesive and direct, in a way that the past two years, the forms were made “with new work relates to a technical universe, and Etruscan decorative techniques (colored slips images without a lapse in attention and with­ fired in reduction), Roman processes (dec­ out loss of tension. Many times ceramics con­ oration with terra sigillata and with oxides cerns the past, other worlds and cultures, on white glaze), multiple firings for metallic without accomplishing adaptive operations; Fluted and carved wheel-thrown porcelain bowls lusters, plus salt and raku firings,” Nino ex­ rather, it should deepen the artistic process When shaping was completed, the result plained. “Every work was first executed in with new meaning. The ‘discipline’ of ob­ was a deep bowl with a heavy base, which expanded polystyrene (forming a shell), which servation for the ceramist is a measure of makes the form stable enough to be lifted off liberty. If the ceramist knows how to hide the wheel without the use of a bat. The pot the secret of invention in the depths where was cut off the wheel head with a very thin the creative gesture asks for support, reason wire. He then used the wire to pull water and definitive particular evidence are and will underneath the pot to separate it from the become part of the material of ceramics. In clay remaining on the wheel head. this sense, to look toward the Etruscans sig­ The base of each bowl was trimmed to a nifies not only a look to the past, but to know very narrow foot using a small loop tool. how to pose questions and interpret their Peter tests readiness of the clay for trimming development.” by pressing his fingernail into it. When fin­ ished throwing and trimming, he wedges to­ Peter Lane gether the slip and scraps from the splash An exhibition of porcelain by British pot- pan of the wheel. “The Rose Vase of Traxonda,” 14 inches high ter/author/teacher Peter Larte at Idaho’s For bowls with excised patterns, the draw­ permitted hand-pressed reproductions of ev­ Boise State University preceded his six-week ings were done directly on the clay with carv­ eryday objects, sculpture and architectural workshop tour across the United States. ing tools. Initial piercing was with a potter’s elements. Firing was in wood, coal and gas Among the forms on view were an 18-inch tool used to make holes for teapot strainers. kilns at low and high temperatures. spiral fluted bowl, shown above (left), and a Further carving was done with a “not too “The exhibit was meant to be a homage 15-inch carved bowl, “Two Copses and Hills.” sharp” surgeon’s scalpel and tools made of to those artists and artisans who for gener­ Frequently, Lane’s vessels feature excised strapping steel. ations have handed down the results of re­ tree forms flowing into horizon lines and wa­ The initial carving is done from the inside, search and experimentation, the fruit of their terfalls cut out of the rim. These carved land­ with the outside of the bowl supported with scape suggestions are muted and allusive, more one hand. “A beautiful clean line results if remembered than abstracted. “I was brought carving is done at the proper time,” Peter up among chalk downs, great humps with noted. “Clay will burr if it is too wet and beech at the tops,” he recalled, p’d pass them chip if it is too dry.” every day. Peter gives a great deal of attention to the “I like harmony, symmetry, and I’m a per­ edges of excised areas. No 90° angles are fectionist,” he observed. “I admire people who left, and all edges are beveled, with the flow can let it all hang out, but find it hard to of glaze during firing kept in mind. When come to terms with bravura in my own work. the carving is completed, a final smoothing “A lot of people try hard to be different. is done with steel wool and a nylon scrubber. For me, change should simply happen. If I Most of Peter’s work is fired to Cone 8 in try deliberately to change, the work is self- an electric kiln. A recent series of bowls in­ conscious. I look back at old slides and see corporates cubist influences in the air- that change has occurred, in the foot for in­ stance. I like to see the bowl grow out of the foot, to be offered up.” During a workshop at thf^ Community Center in Sunnyvale, California, Peter made several 12-inch-diameter porcelain bowls, 14-inch, terra-cotta vase with slips using “a lot of water.” After throwing an intelligence and cultural sensitivity, and with almost straight-sided cylinder, he flared the that the fatigue, the hope and the joy of those form with a flexible rib. who operated in the silence of their work­ shops,” Nino continued. “The works in the You are invited to send news and photo­ exhibition are the result of this cultural back­ graphs about people, places or events of Peter Lane at his Norwich, England, studio ground. Some refer to various periods of my interest. We will be pleased to consider brushed glaze patterns. More typical, how­ career and were included in the show because them for publication in this column. Mail ever, are crackle-glazed, rim-carved bowls. they represent a rich ‘memory’ and thus ad­ submissions to: News and Retrospect, “I didn’t want anything to cut across, inter­ herence to the theme.” Ceramics Monthly, P.O. Box 12448, fere with the form,” Peter explained. “I’ve “Caruso has his own way of dealing with Columbus, Ohio 43212. used a dry white glaze, but the solution was diverse technical aspects that he explores ac­ Continued March 1986 59 60 Ceramics Monthly News & Retrospect houettes in an exercise to help artists become more observant of form. The idea for the a crackle glaze; if it is applied thinly, the exercise arose when he was asked to prepare lines are close together.” docents to speak to museum visitors at a Hans Coper exhibition. Peter realized that Hans Lane’s Crackle Glaze combined a small group of simple forms in (Cone 7-9) subtle ways. He showed this to the docents Whiting ...... 15% by cutting these forms out of black construc­ Cornwall Stone...... 85 tion paper, and assembling them into shapes similar to Hans’s work. Since then he has 100% had students cut construction paper silhou­ Wider spaced crackle lines are achieved with ettes so that their ideas could be easily vis­ a thick application. The pattern can be em­ ualized and discussed. phasized by rubbing the surface with iron Peter sees the more adventurous work oxide or cobalt. Refiring the pot will yield a coming out of colleges and universities as a new crackle pattern over the accented one. stage in the evolution of a typical craftsper- Peter has also developed a crystalline glaze son’s work. “Unless you are training people which is fired in 7 hours, without soaking or for something vocational, you are encour­ firing down: aging them to explore ideas, to take process Crystalline Glaze to the limits. College is a rarefied atmo­ (Cone 8) sphere. They come down to ground when they go out and produce to sell.” Barium Carbonate...... 15% Yet, he recognizes the dangers in an at­ Zinc Oxide...... 20 mosphere conducive to excess: “What wor­ Nepheline Syenite...... 50 ries me is not the inclusion of experimental Flint...... 15 ceramics as gallery art, but that much of what 100% is shown is ephemeral. Add: Copper Carbonate...... 2% “The best of craft is fine art already. Light Rutile ...... 4% Whatever the object is it should stand by Control of the thickness of this glaze is es­ itself. The best always does. I’ve seen Egyp­ pecially important. If it is too thin, no crys­ tian bowls, recovered from tombs, that could tals will develop; if it is too thick, the glaze stand in any show today.” Text: Jeannette will run. Placing a piece of softbrick under Ross and Sandra Johnstone; photos: John crystalline-glazed pots during firing will pro­ Takehara. tect the shelves. Another favorite glaze is a variation of a Denver Art of Crafts Annual Daniel Rhodes white matt: At the second annual Denver Art Mu­ seum “Art of Crafts Festival,” first prize was Rhodes Variation White Glaze awarded to Colorado ceramist R. Douglas (Cone 7-10) Fey, while Mayer Shacter , Oakland, Cali­ Dolomite ...... 22.5% fornia, was cited for honorable mention, and Whiting...... 3.5 Steven Schrepferman, Elizabeth, Colorado, Potash Feldspar ...... 49.0 Kaolin ...... 25.0 100.0% The following glaze is often mixed with an addition of 2% copper carbonate:

Smooth Satin Matt Glaze (Cone 8-10) Dolomite ...... 20% Cornwall Stone ...... 60 Kaolin...... 20 100% The following barium recipe can be fired either in oxidation or reduction:

Barium Glaze (Cone 8-10, oxidation or reduction)

Barium Carbonate...... 20% Dolomite ...... 10 Potash Feldspar...... 65 Kaolin...... 5 $425 “Knot Urn” by Steven Schrepferman received a purchase award for this thrown- 100% and-altered earthenware jar, 9 inches in At his lectures, Peter also showed slides of height, with raffia and reed. work by other potters. He asked the audience The three-day event featured 82 crafts­ to be especially aware of the silhouette of people’s works (29 in clay) selected by as- each pot shown, explaining that he uses sil­ Continued March 1986 61 Film & Video

The Great Duck Ceramic School Produced, directed and made by ceramic sculptor Doug Baldwin, this cartoonlike, an­ imated feature presents a cast of red-capped anthropomorphic ducks, the protagonist of which is a Plasticine freshman named Ral- phie. His primary setting is an earthenware school where the “rooty-toot-toot kids of the institute” introduce Ralphie to all the fun things he can look forward to as a ceramics student—sleeping through a lecture on throwing, collapsing kilns, rubdowns, invad­ ing blue-shelled crabs: just the typical events of any college or university day. Says Baldwin, “I’ve been making ceramic ducks since 1971. The idea for making an animated film seemed logical because many of my earlier pieces were done sequential­ ly—like a comic strip.” Instead of developing sets for the story, Baldwin has drafted a story to connect the sets. The result is a bit strained; some punch lines don’t even elicit a groan. 14 minutes. Available as 16mm film ($150), ¾-inch video ($100) and Beta or VHS videocassette ($65). Douglas Baldwin, 1758 Park Avenue, Bal­ timore, Maryland 21217. A Workshop with William Hunt Filmed at Laney College in Oakland, Cal­ ifornia, last fall, this video documents a stu­ dio session with potter and CM editor Wil­ liam Hunt. Throwing at the wheel, Hunt talks about a range of subjects (many aimed at career ceramists) from the importance of a style, to how he divides his time. He de­ scribes himself as a wet thrower, preferring “to think of revolving clay as a liquid rather than a solid. The closer I can get it to that state, the better.” After employing the cir­ cular velocity of the wheel to make three ba­ sic vessel shapes, he uses the linear velocity of small, fast-pitched wads of clay to alter the wheel-produced symmetry in asymmet­ rical ways. To discuss issues of chemistry, creativity and aesthetics in surfacing ce­ ramics, he mixes a “dirt” glaze (blending a bucket of unscreened earth with assorted household products ranging from Pepto-Bis- mol to Bon Ami), then decorates the still- wet forms. With its one-camera, one-angle view, the video is an adequate record of the day’s pro­ ceedings. But rarely does the videographer take full advantage of the camera’s potential for movement or focusing interest. The sound, too, could be better: Hunt is suitably miked, but questions and comments from the au­ dience are for the most part inaudible. Besides the filming drawbacks, an intro­ duction and/or some narration would go a long way toward improving comprehension and continuity. 57 minutes. Available as VHS videocassette. $35, plus $2.50 shipping. Also available in ¾-inch U-format. $50, plus $4 shipping. LCA Video, Box 5994, Concord, California 94520. 62 CERAMICS MONTHLY News & Retrospect touch with the reality of your intent, to make good pottery,” observes studio potter Steven sistant curator of contemporary art Deborah Branfman , Newton, Massachusetts. A solo Jordy; fiber artist Ed Ross bach and Paul exhibition of his latest work was presented Smith, director of the American Craft Mu­ recently at Signature in Boston. Photo: Rob­ seum in New York. ert Arruda. Paul Mathieu Florida Invitational “The Care for Oneself’ is the title of a Reflecting the current interest in surface recent exhibition of 28 ceramic sculptures by pattern and color, “Clay: Ulterior Motifs” Montreal artist Paul Mathieu at the Walter was presented at the Florida Gulf Coast Art Phillips Gallery in Banff, Alberta, as well Center in Belleair recently. Among the works as the title of one of the works in the show and a chapter heading in Histoire de la Sex- ualite 3 by the French author Michel Fou­ cault. This obvious demonstration of layering is an immediate, useful reference to the na­ ture of Paul’s art, which is also stratified formally and conceptually in an undisguised, declarative manner. This strategy of strati­ fication is what makes his work so ambig-

Slip-decorated whiteware by Shiiko Alexander featured in this statewide invitational was a coil-built whiteware vase, 14 inches in height, with stenciled and airbrushed slips, multi­ fired to Cone 2, by Shiiko Alexander, Day­ tona Beach. “Angelique Arnauld,” porcelain, 77 inches high Also exhibited were sculpture and deco­ uous in meaning. It results in the same kind rative vessels byJames Cook, Patrick Dragon of provocation and curiosity that we associate and Ralph Rankin, Orlando; Elmer Craig with puzzles or mazes: one knows without and Peter Kuentzel, Miami; Les Crook, doubt that there is a maze to be solved, but Clearwater; Steven Howell, DeLand; Tim the pleasure and appreciation of the maze Ludwig, Daytona Beach; Joe Molinaro, Fort are more in the experience of it than in its Lauderdale; and Ed Ross, Tampa. construction or solution. Take for example the sculpture “Le Souci Steven Branfman de Soi,” porcelain, 1984. This work consists “My concern is to make good pots, pots of functional elements of a dinner setting that that hold up aesthetically to thousands of years have been stacked to effect a sculptured form of ceramic history. The art of pottery has its (which also renders the dinnerware useless). origins in functional ware, containers. My The novelty of this balancing act would be basic drive is to maintain and strengthen the short-lived were it not for the replication of pottery form, not to transform and abandon imagery that is dependent on this apparently it. There are many potters who feel that in order to make a statement they have to stretch the form out of recognition. You then lose 21-inch-diameter raku platter

ttLe Souci de Soi,” 15 inches in height random arrangement. A hand, a naked torso and a face are formed and contained within Continued March 1986 63 New Books

The Gas Kiln Book by Chris Cockell Based on the transcript from a New Zealand Society of Potters’ seminar, this handbook primarily discusses building a fuel-efficient kiln insulated with ceramic fiber. Included are plans for a 27-cubic-foot, LPG or natural gas design. “It would be more economical for many smaller production potters to fire this kiln only half full, than to fire a smaller ca­ pacity, conventionally constructed kiln fully loaded with the same quantity of ware.” Careful consideration is given to using the correct type and to proper installation of ce­ ramic fiber. Because fiber continues to shrink each time it is fired, layered construction is recommended. Also included are plans for a raku kiln insulated with refractory fiber and fired with LPG. 90 pages. 40 line drawings; 2 charts. $8.50 (includes postage and han­ dling). Chris Cockell, 6 Roroa Tr., Oratia, Auckland 8, New Zealand. Ceramic Theory and Cultural Process by Dean E. Arnold Written by an anthropologist, this text dis­ cusses “the cultural and ecological processes which favored or limited pottery’s appear­ ance and subsequent development into a full­ time craft,” and suggests these processes “can provide a solid empirical (as opposed to spec­ ulative) base for interpreting ancient ce­ ramics.” The author notes that “at best, ar­ chaeologists recognize the occurrence of clay deposits as an environmental requisite, but beyond this factor, there are few statements which shed light on the relationship of ce­ ramics to the environment.” Using data from his fieldwork in Peru, Guatemala and Mex­ ico, he describes “feedback relationships” in potting societies. Pottery making is recog­ nized as a low-status occupation for males and they “do not utilize any capital they ac­ crue to intensify their craft, but rather use it to increase their status.” Innovation is seen as “geared more to demand than to artistic urge.” However, the technical innovations that led to greater efficiency “were probably in­ troduced and accepted first by the low-status potters who were under economic pressure. They had little to lose and could succeed in producing more pottery for their effort. On the other hand, innovations such as new uses for pots and new designs came from higher- status potters. They could afford to experi­ ment with innovations in shape, design and use, and they could gain prestige by pro­ ducing such an item.” 268 pages including bibliography and index. 20 black-and-white photographs; 9 graphs; 40 tables; and 14 maps. $37.50. Cambridge University Press, 32 East 57 Street, New York City 10022. 64CERAMICS MONTHLY News & Retrospect the dishes because of the precision of their stacking. What is not obvious within these strata of images and forms is a specific state­ ment, unless it is that there are no specific statements when we are thinking about mat­ ters like sexuality, faith or the validity of the traditions of sculpture and ceramics. Like so much of Paul’s work, “Le Souci de Soi” is a provocative juxtaposition of gen­ res—a juxtaposition in which neither the genre of ceramics nor the genres of painting and sculpture are permitted to function. The space provided for our interpretation is located be­ tween these three genres, where the motifs and motivations of each are evident only as one of the subjects of the work. The strati­ fication, that is the primary device in pro­ voking this ambiguity of genre, also liberates the content of the work. The social and re­ ligious icons, images and ideas in the work are freed from genre specificity and allowed to function differently, perhaps in the context of human relations. This is possibly what Foucault was getting at when he wrote that the communication with oneself is not an ex­ ercise in solitude but a true social practice. Text: Lome Falk; photos: R. Max Tremblay. 14th Manises Competition On display at the “14th Ceramics Nation­ al” in Manises, Spain, were 80 works by 57 artists. The jurors for the competition were ceramists Arcadio Blasco and Fina Llacer , art critic Manuel Garcia , industrial ceramist Miguel Hernandez , and Trinitat Sanchez Pacheco, director of the Barcelona Ceramics

Diputacion de Valencia award winner “Txipiron” Museum. Among the prizewinners they se­ lected was “Txipiron,” approximately 24 inches in height, by the Bilbao group FFIJ. Wisconsin Invitational The “16th Annual Ceramics Invitation” at the University of Wisconsin-Whitewater featured vessels and sculpture by seven grad- Continued March 1986 65 Where to Show May 14 entry deadline Continued from Page 9 Greensburg, Pennsylvania “Westmoreland Arts and Heritage Festival Juried Arts/Crafts” (July April 5 entry deadline 3-6) is juried from slides. Awards. Send self-ad­ Denver, Colorado The third annual “Art of dressed, stamped envelope to: Olga Gera, Arts Crafts Festival” of the Denver Art Museum (Sep­ Competitions, Box 21C, RD 8, Greensburg 15601. tember 25-28) is juried from 5 slides. Jurors: Dale May 15 entry deadline Chihuly, Imelda DeGraw and Lloyd Herman. West Lafayette, Indiana “Lafayesta 1986” Entry fee: $10; booth fee: $275. Contact: The Art (August 30-31) is juried from 4 slides. $5000 in of Crafts, Denver Art Museum, 100 W. 14 Ave. awards. Fee: $35 for a 12x12-foot space. Contact: Pkwy., Denver 80204; or call: (303) 575-3073. Sue Paschke, Greater Lafayette Museum of Art, April 10 entry deadline 101 S. Ninth St., Lafayette 47901. Biloxi, Mississippi The “3rd Annual Inter­ Williamsburg, Virginia “An Occasion for the national Crafts Festival” (May 30-June 1) is ju­ Arts” (October 5) is juried from 3 slides. Fee: $25. ried from 5 slides. Fee: $125. Contact: Eileen Za, Contact: Bly Bogley Straube, 6 Valentine Ct., 1000 Washington Ave., Ocean Springs, Mississip­ Newport News, Virginia 23606; or call: (805) 595- pi 39564; or call: (601) 875-3900. 1610. Garrison, New York The “17th Annual Arts May 20 entry deadline & Crafts Fair” (August 16-17) is juried from 4 West Orange, New Jersey “June Days Folk slides. Entry fee: $5; booth fee: $125. No com­ Festival” (June 21-22) is juried from 5 slides. Fee: mission. Contact: Garrison Art Center, Box 4, $95 for a 7x12-foot space. Send self-addressed, Garrison 10524; or call: (914) 424-3960. stamped envelope to: Rose Squared Productions, April 11 entry deadline 12 Galaxy Ct., Belle Mead, New Jersey 08502; Evanston, Illinois The seventh annual “Foun­ or call: (201) 874-5247. tain Square Arts Festival” (June 28-29) is juried June 1 entry deadline from slides. $300 in awards. Contact: Evanston East Rutherford, New Jersey “Super Crafts Chamber of Commerce, 807 Davis St., Evanston Star Show” (December 5-6) is juried from 5 slides. 60201; or call: (312) 328-1500. Fees: $300-$465. Send 39^ in stamps to: Creative April 15 entry deadline Faires, Box 1688, Westhampton Beach, New York Great Neck, New York Eighth annual “Great 11978; or call: (516) 325-1331. Neck Celebrates Crafts” (May 18) is juried from Long Island, New York “Twelfth annual 5 slides. Fees: $75-$80. Send 39^ in stamps to: Harvest Crafts Festival” (November 21-23) is ju­ Creative Faires, Box 1688, Westhampton Beach, ried from 5 slides. Fees: $345-$365. Send 39^ in New York 11978; or call: (516) 325-1331. stamps to: Creative Faires, Box 1688, Westhamp­ Long Island, New York The “2nd Annual ton Beach, New York 11978; or call: (516) 325- Spring Fling Crafts Festival” (May 2-4) is juried 1331. from 5 slides. Fees: $310-$330. Send 39^ in stamps Asheville, North Carolina “Highland Heri­ to: Creative Faires, Box 1688, Westhampton Beach, tage Art & Craft Show”(June 12-14) is juried New York 11978; or call: (516) 325-1331. from slides or photos. Fee: $100. Send self-ad- Ossining, New York The “6th Annual Ossin­ dressed, stamped, business envelope to: Betty Kdan, ing Village Fair and Juried Art Exhibition” (June 40 Hyannis Dr., Asheville 28804; or call: (704) 14) is juried from up to 5 slides. Juror: Joanne 253-6893. Raab. Fee: $25. Contact: Pat Morgan, Greater June 14 entry deadline Ossining Chamber of Commerce, 73 Croton Ave., Dillon, Colorado “10th Annual Craft Fair” Ossining 10562; or call: (914) 941-0009. (July 19-20) is juried from 3 slides or photo­ April 20 entry deadline graphs. Fee: $40. Contact: Lake Dillon Arts Guild, Fort Wayne, Indiana “Three Rivers Festival Box 1047, Dillon 80435. Arts and Crafts Show” (July 12-13) is juried from June 23 entry deadline 5 slides or photos. Fee: $40. Send a self-addressed, Pittsburgh, Pennsylvania “A Fair in the Park” stamped envelope to: Three Rivers Festival, 2301 (September 12-14) is juried from 5 slides. Entry Fairfield Ave., Suite 107, Fort Wayne 46807. fee: $75; booth fee: $75. Contact: A Fair in the April 30 entry deadline Park, Craftsmen’s Guild of Pittsburgh, Box 10128, Portsmouth, Virginia The “16th Annual Ports­ Pittsburgh 15232. mouth Seawall Art Show” (June 6-8) is juried June 25 entry deadline from slides. $8000 in awards. Contact: Seawall Art Scaly Mountain, North Carolina “A High Show, Box 820, Portsmouth 23705; or call: (804) Country Art & Craft Show” (July 4-6) is juried 393-8481. from slides or photos. Fee: $90. Send self-ad- May 1 entry deadline dressed, stamped business envelope to: Dana Kropf, Dubuque, Iowa “DubuqueFest” (May 15-18) High Country Crafters, 29 Haywood St., Ashe­ is juried from 3 slides or photos. Fee: $50 for a ville 28801; or call: (704) 254-0072. 10x10-foot space. Send self-addressed, stamped June 30 entry deadline envelope to: 422 Loras Blvd., Dubuque 52001. Parker, Arizona “Third Annual Southwest Lexington, Kentucky “Smoky Mountain Rendezvous” (November 1-2) indoor exhibition of Springfest Art & Craft Show” (May 9-11) is ju­ Southwest interpretations is juried from 5 slides. ried from slides or photos. Fee: $125. Send self- Fee: $15 plus 20% commission on sales. An outside addressed, stamped business envelope to: Dana exhibition is juried from photos, any theme. Fee: Kropf, High Country Crafters, 29 Haywood St., $50 for a lOxlO-foot space; no commission. Awards. Asheville 28801; or call: (704) 254-0072. Send a self-addressed, stamped envelope to: Saint Joseph, Michigan “St. Joseph’s 25th S.W.A.A., Box 5334, Parker 85344. Annual Outdoor Art Fair” (July 12—13) is juried July 1 entry deadline from slides. Fee: $65. Contact: KRASL Art Cen­ Milwaukee, Wisconsin “Craft Fair USA” (July ter, 707 Lake Blvd., Saint Joseph 49085; or call: 19-20) is juried from 5 slides or photos. Fee: $75 (616) 983-0271. for a 10x10-foot space. Send self-addressed, stamped Chautauqua, New York “Chautauqua Crafts envelope to: Dennis R. Hill, 3233 S. Villa Circle, Festival ’86” (July 4-6 and August 8-10) is juried West Allis, Wisconsin 53227; or call: (414) 321 - from 4 slides. Entry fee: $5. Booth fee: $85 per 4566. show. Send self-addressed, stamped envelope to: July 5 entry deadline Gale Svenson, Chautauqua Crafts Festivals, ’86, Lexington, Kentucky “Smoky Mountain Box 89, Mayville, New York 14757. Christmas in July Art & Craft Show” (July 18-20) Marietta, Ohio “Indian Summer Festival” is juried from slides or photos. Fee: $125. Send (September 12-14) is juried from 5 slides. Fee: self-addressed, stamped business envelope to: Dana $60 for a 10x10-foot space. Contact: Indian Sum­ Kropf, High Country Crafters, 29 Haywood St., mer Festival, Box 266, Marietta 45750; or call: Asheville 28801; or call: (704) 254-0072. (614) 373-8027. July 20 entry deadline Milwaukee, Wisconsin “Craft Fair USA” (May Scaly Mountain, North Carolina “A High 10-11) is juried from 5 slides or photos. Fee: $75 Country Art & Craft Show” (August 1-3) is juried for a 10x10-foot space. Send self-addressed, stamped from slides or photos. Fee: $90. Send self-ad- envelope to: Dennis R. Hill, 3233 S. Villa Circle, dressed, stamped business envelope to: Dana Kropf, West Allis, Wisconsin 53227; or call: (414) 321 - High Country Crafters, 29 Haywood St., Ashe­ 4566. ville 28801; or call: (704) 254-0072. 66 CERAMICS MONTHLY News & Retrospect

“Big Jim” by John Palmer uate students working toward M.F.A. de­ grees in ceramics. Shown from the exhibi­ tion are a figure, 40 inches in height, by John Palmer, University of Wisconsin-Madison; and a brush-decorated platter, 25 inches

David Alban s decorated platter in diameter, by David Alban, Cranbrook Academy of Art, Bloomfield Hills, Michi­ gan. Also represented in the invitational were Deborah Banghart , University of Wisconsin- Milwaukee; Rafael A. Duran , University of Michigan-Ann Arbor; John Pohlman, Southern Illinois University-Edwardsville; Katherine Schulte, University of Iowa-Iowa City; and Laura Stool, School of the Art In­ stitute of Chicago. Robert Harrison “My current work takes two directions: extruded earthenware sculpture with a terra sigillata surface; and large-scale, site-specific sculpture,” observed Robert Harrison, who recently joined the faculty at the Banff Centre School of Fine Arts in Alberta. Though his early ceramics training em­ phasized “form, function and an Oriental philosophical view,” he had been investigat­ ing primitive firing techniques when a grant from the Canada Council made it possible for him to travel through Central and South America to gain first-hand information on Continued March 1986 67 Recognition of Excellence,” works by 72 grant fel­ two-person exhibition with Sally Bowen Prange, Itinerary lows of the New Jersey State Council on the Arts; porcelain vessels; at Contemporary Crafts, 3934 Continued from Page 13 at the Montclair Art Museum, S. Mountain and S.W. Corbett Ave. Bloomfield Aves. Tennessee, Gatlinburg March 2-April 2 “Artforms ’86” biennial exhibition; at the Greater New Jersey, Tenaflythrough March 15 “Deco “Spring Faculty and Staff Exhibition,” includes Lafayette Museum of Art, 101 S. Ninth St. Echoes,” includes contemporary pottery inspired works by Richard Aerni, Sandra Blain, Michael Iowa, Ames March 1-April 21 “Newcomb by art deco style; at America House, 24 Wash­ Frasca, Donald Frith, Ron Meyers and Sandy Si­ Pottery: An Enterprise for Southern Women, ington Ave. mon; at the Arrowmont School of Arts and Crafts. 1895-1940”; at Brunnier Gallery, University of New York, Brooklynthrough April 14 “From Tennessee, Murfreesboro March 3-28 Iowa, Scheman Continuing Education Bldg. Indian Earth, 4000 Years of Terra-cotta Art”; at “Currents 86,” ninth biennial craft competition ex­ Maine, Portland March 6-Apnl 6 “Decorative the Brooklyn Museum, 200 Eastern Pkwy. hibition; at the Middle Tennessee State University. Arts,” includes Susan Ferago, pitchers, platters and New York, HuntingtonMarch 2-23 “Taking Texas, Fort Worththrough April 27 “Italian tables; and Jamie Davis, vases and covered jars; Shape,” second of a two-part clay exhibition; at Renaissance Sculpture in the Time of Donatello,” at Maple Hill Gallery, 367 Fore St. the Huntington Township Art League, Little Plains includes terra-cotta works; at the Kimbell Art Mu­ Maryland, Towsonthrough March 10 “Clay School, 25 Little Plains Rd. seum, 3333 Camp Bowie Blvd. in the East III,” student and faculty works from New York, Rochester March 17-April 6 Vermont, Middleburythrough April 5 “Potters Alfred University, Corcoran University, Kutztown International ceramic and glass exhibition in con­ and Friends” features work by Stanley Andersen, University, Nova Scotia College of Art and De­ junction with the symposium “Architecture of the Chris Gustin, Catharine Hiersoux, Warren sign, Pratt Institute, Rhode Island School of De­ Vessel” (April 2); at the Bevier Gallery, Rochester MacKenzie and Kris Nelson, and their selected sign and Towson State University; at the Fine Arts Institute of Technology, 1 Lomb Memorial Dr. friends Larry Bush, Coille Hooven, Randy John­ Bldg., Holtzman Gallery and the University Union New York, Scarsdale March 15-April 19 ston, Ken Sedberry and Bruce Winn; at the Ver­ Gallery, Towson State University. “Invitational 1986,” includes works by Paul Dre- mont State Craft Center at Frog Hollow. Massachusetts, Newton Centre through March sang, Jamie Fine, Rick Foris, Yosuke Haruta, Virginia, NorfolkMarch 3-April 11 “Painted 15 “A Tea Party,” functional and conceptual work; Nancy Valk and John Volpacchio; at the Crafts­ Volumes: Ceramics by Twelve Contemporary Art­ at Jubilation, 91 Union St. man’s Gallery, 16 Chase Rd. ists”; at the Seaboard Center Gallery, the Chrysler through March 9 Daisy Brand, wall sculpture; North Carolina, Chapel Hillthrough March Museum, Olney Rd. and Mowbray Arch. and Steven Branfman, raku work; at Starr Gallery, 23 “Five North Carolina Folk Artists,” includes Virginia, Radfordthrough March 16 “Clay, Leventhal-Sidman Jewish Community Center, 333 19th-century “bird-fish” pottery attributed to Ed­ U.S.A. 1986,” national competition; at the Rad­ Nahanton St. ward and Chester Webster; at the Ackland Art ford University Art Gallery. Michigan, Detroitthrough March 8 “Glick Museum, University of North Carolina. Washington, Bellevuethrough March 9 A two- Teapot and Pitcher Collection and Invitational”; Ohio, DaytonMarch 3-31 Cyndie Baker, Lu­ person exhibition with Ann Gardner, clay and glass at Pewabic Pottery, 10125 Jefferson Ave. cinda Butler-Jones, Nancy Gardener and Paula figures; at the Bellevue Art Museum, 301 Bellevue through March 14 “Michigan Ceramics ’86”; at Wolmack; at Shillito-Rikes Art Gallery, 107 N. Square. the Detroit Artists Market, 1452 Randolph. Main. Missouri, Saint LouisMarch 2-April 12 A Ohio, Parma March 3-21 “Personal Images,” two-person show with Linda Mosley, collage- includes works by Annette McCormick; at Gallery Fairs, Festivals and Sales wrapped porcelain; at St. Louis Contemporary West, Cuyahoga Community College, 11000 Massachusetts, Boston March 22-25 “The Crafts Gallery, 55 Maryland Plaza. Pleasant Valley Rd. New England Crafts Exhibition” and “The Boston March 2-April 26 “Tabletop/86”; at Pro Art, Ohio, WoosterMarch 30-May 4 “Functional Gift Show”; at the World Trade Center and the 5595 Pershing. Ceramics 1986: A Survey of North Carolina Pot­ Bayside Exposition Center. New Hampshire, Concordthrough March 21 ters,” traditional folk pottery; at the College of Ohio, ClevelandMarch 20-23 “Materiali­ “Pacesetters: 86,” a two-person exhibition with Don Wooster campus. zations II: Works in Clay, Fiber, Glass, Metal, Williams, sculptural planters and pitchers; at the Oregon, Portlandthrough March 15 Roberta Wood”; at Beachwood Place, 26300 Cedar Rd. League of N.H. Craftsmen, 205 N. Main St. Kaserman, porcelain/mixed-media vessels; and Jeri Pennsylvania, HarrisburgMarch 28-30 The New Jersey, Montclairthrough March 27“In Au, porcelain spheres. March 20-April 12 A Continued

68 CERAMICS MONTHLY News & Retrospect pre-Columbian ceramics. “Overwhelmed by the pre-Columbian experience,” he found “the new information worked its way onto my pots.” It was during a 1982 summer residency at the Archie Bray Foundation in Helena,

Cone 7 salt-glazed earthenware “Long House” Montana, that he began exploring the sur­ face effects achieved with terra sigillata on earthenware salt glazed at Cone 1. “Long House,” 24 inches in length, constructed from extruded earthenware, brushed with colored terra sigillata and salt fired to Cone 1, is characteristic of Harrison’s work shown in the “Northern Rockies Exhibition” at Yel­ lowstone Art Center in Billings, Montana. Rowland/Zametkin Show New work by Astoria, Oregon, potters Richard Rowland and Michael Zametkin was shown recently at the Northwest Craft Cen­ ter and Gallery in Seattle. “Over the past 15 years I have been in­ volved primarily with pottery,” Michael Za­ metkin commented, “attempting to merge a deep appreciation for my specific locale with a useful object. Two years ago my work changed dramatically. I was experimenting “The Wink," 20 inches high, porcelain with slip

Continued March 1986 69 Arts, Kings Hwy. and Camden Ave., Moorestown pottery. March 24-28 Sandy Simon, porce­ Itinerary 08057; or call: (609) 235-6488. lain. Contact: Arrowmont School of Arts and Crafts, “4th Annual Pennsylvania National Arts & Crafts New York, New YorkMarch 9 “A Personal Box 567, Gatlinburg 37738; or call: (615) 436- Show”; at the Pennsylvania State Farm Show Dialogue with Clay” with Susan Eisen. Fee: 5860. Complex, Cameron St. and MacLay. $40. April 11 or 13 “Aesthetic and Functional Texas, San AntonioMarch 15-16 Throwing Wisconsin, Milwaukee March 8-9 “Craft Fair Concerns in a Production Studio” with Malcolm and handbuilding demonstration with John Glick. USA”; at the Wisconsin State Fair Park. Wright. Fee: $40. Contact: Janet Bryant, Art Cen­ Fee: $90. Contact: Southwest Craft Center, 300 ter, 92nd Street Y, 1395 Lexington Ave., New York Augusta St., San Antonio 78205. 10128; or call: (212) 427-6000, ext. 172. West Virginia, RipleyMarch 7-9 Sixth an­ Workshops March 22 William Daley lecture and workshop nual “Potters Gathering,” with Kirk Mangus and California, Napa March 8-9 “Clay & Wine on architectonic vessels. April 11 Kathleen Eva Kwong, will include demonstrations, slide lec­ 1986” with Tony Hepburn and Jun Kaneko; at Gupta lecture. April 12 Mary Frank work­ tures and discussions on handbuilding and throw­ Robert Mondavi Winery and Napa Valley Col­ shop on architectural ceramics. Fees: $25 per ses­ ing. Fee: $55. Contact: Cedar Lakes Crafts Center, lege. Contact: Carolyn Broadwell, Napa Valley sion. Contact: Greenwich House Pottery, 16 Jones Ripley 25271; or call: (304) 372-6263. College, 2277 Napa-Vallejo Hwy., Napa 94558; St., New York 10014; or call: (212) 242-4106. or call: (707) 253-3205. New York, White Plains March 21 “Slab Hawaii, HonoluluMarch 27-29 “Aha Hana Building” with John Volpacchio. Fee: $20. April International Events Lima (Gathering of Crafts) ’86” will include a 7 “Baubles, Buttons and Beads” with Connie Canada, Ontario, BrockvilleMarch 1-31 session with Catharine Hiersoux, porcelain Sherman. Fee: $10. April 77 “Coil Building” “Black & White & Technicolor”; at Heritage Crafts, throwing and glazing. Contact: Bob McWilliams, with John Volpacchio. Fee: $20. April 18 “The Sheridan Mews, King St., W. 899 Waimanu St., Honolulu 96813; or call: (808) Business of Being an Artist,” with George Peter. Canada, Ontario, Hamiltonthrough March 8 538-7881. Fee: $20. Contact: Westchester Art Workshop, “Clay Expressions,” biennial juried exhibition by Illinois, Palos HillsApril 19 Katherine Ross, County Center Bldg., White Plains 10607. the Potters’ Guild of Hamilton and Region; at demonstrations and slide lecture on handbuilding, Ohio, BereaApril 5 A slide lecture and demon­ Petteplace Gallery, 27 King William St. extruding and casting. Fee: $17. Contact: Alice B. stration with British potter Colin Pearson at Bald­ Canada, Ontario, Peterboroughthrough March Ihrig, Moraine Valley Community College, Palos win-Wallace College Art and Drama Center. Fee: 15 A two-person exhibition with Jeanne McRight, Hills 60465; or call: (312) 371-3800. $10; nonmembers $20. Preregistration required. large-scale installations; at Artspace, Market Hall, Massachusetts, Worcester April 5 “Airbrush- Contact: Ohio Designer Craftsmen, 2164 River­ 360 George, N. ing on Clay” with Jill Solomon. Contact: Ann Ro- side Dr., Columbus, Ohio 43221; or call: (614) 486- Canada, Quebec, Montreal March 7-8 gol, Worcester Craft Center, 25 Sagamore Rd., 7119. “Ceramics and the Environment,” a workshop with Worcester 01605; or call: (617) 753-8183. Ohio, WoosterApril 10-12 “Functional Ce­ Jean Cartier. Contact: Centre des Arts Visuels, Michigan, DetroitMarch 14-15 Val Cush­ ramics,” demonstrations, slide lectures and dis­ 350 avenue Victoria, Montreal, Quebec H3Z 2N4; ing, “Glazing Workshop,” will cover techniques cussions with Vernon Owens, folk potter; Stanley or call: (514) 488-9559. and aesthetic considerations. Fee: $50. Contact: Mace Andersen and Cynthia Bringle, studio pot­ England, Londonthrough March 29 Ewen Pewabic Pottery, 10125 E. Jefferson Ave., Detroit ters. Contact: Phyllis Blair Clark, College of Henderson, ceramic exhibition; at the British Crafts 48214; or call: (313) 822-0954. Wooster, Wooster 44691; or call: (216) 263-2388. Centre, 43 Earlham St., Covent Garden. New Hampshire, Hanover March 15 Slide Pennsylvania, Philadelphia March 16 Rudy through May 4 Keiko Hasegawa, raku and lecture and demonstration with British clay artist Staffel lecture. April 13 Liz Stewart lecture. stoneware exhibition; at the Oriental Gallery, British Colin Pearson; at Dartmouth College Hopkins Fees: $3 each; students $1. Contact: The Clay Stu­ Museum, Great Russell St. Center. Fee: $40. Registration is required. Con­ dio, 49 N. Second St., Philadelphia 19106; or call: France, Paris through April 21 “Les Fran^ais tact: A1 Jaeger, 12 Perry Rd., Deerfield, New (215) 925-3453. ^ et la Table”; at the Musee National des Arts et Hampshire 03037; or call: (603) 463-7758. Tennessee, Gatlinburg March 3-7 Donald Traditions Populaires, 6 avenue du M. Gandhi. New Jersey, MoorestownApril 26 “Workshop Frith, moldmaking. March 10-14 Michael Germany, Aschaffenburg March 7-April 27 for Serious Potters” with Byron Temple. Fee: $15, Frasca and Richard Aerni, ceramic produc­ Gerd Knapper, retrospective pottery exhibition; at includes lunch. Contact: Perkins Center for the tion. March 17-21 Ron Meyers, functional the Schlossmuseum.

70 CERAMICS MONTHLY News & Retrospect with slabs, intending to make free-standing forms which continue my decorative con­ cerns. A series of ‘accidents’ changed my di­ rection. I became fascinated by the movement of light, shadow and darkness—the mystery of perception.” Together with his classically shaped thrown vases, Richard Rowland exhibited a series of salt-glazed earthenware “Wild Dog” ves-

32-inch “Wild Dog Offeringsalt-glazed earthenware sels, parts of which were slip cast. A full­ time potter for nine years, Richard observed that his goal is “to make pots that will some­ how contain my presence and be able to hold that energy after I’m dead. It is important for me to realize that this energy starts in the earth, and comes up through me and into the work.” Photos: Andrew E. Cier. June Raby Reliefs and constructions, based on an ex­ ploration of time-related ideas, by London ceramist June Raby were presented in a solo exhibition at the Minories in Colchester, England, recently. “My work is largely concerned with un­ derstanding my life, environment and there­ fore the external forces which influence well being and happiness,” June commented. In “Tension,” approximately 32 inches in height, Porcelain and stoneware “Tension

Continued March 1986 71 72 CERAMICS MONTHLY News & Retrospect porcelain and T material, fired to Cone 9 in an electric kiln, assembled with wood and wire, “the boxes hold puppets which are an­ drogynous; the doors of the boxes are con­ trolled by the hand or are controlling.” Photo: Graham Bush. Clay/Photo Installation Featured recently at Muhlenberg College in Allentown, Pennsylvania, was a mixed- media installation of an “excavation” by pho­ tographer Ken Bloomyalley Cottage, New York, and ceramist Tomas Wolff, Mertztown, Pennsylvania. “Homomutonous Mnemonic cus,” defined as “a human cast by crisis be­ tween life and unlife, always caught in the memory of a dream,” is an extension of their previous collaboration on “Pennsylvania Man” [see “Conceptual Archaeology” on page 57 in the January 1985 CM). The central figure is a man rising from a prone position, “dreaming of the desires and goals of his life which he could not fulfill.” Other fragmented clay figures and “artifacts” were arranged on levels of dirt simulating an archaeological dig. Behind the three-di- mensional elements were three photo murals suggesting a “history” of events preceding and following the central figure’s sudden death. “In principle what ties the ceramic and the photographic elements is the directness of the image making,” Ken explains. “Both are plastic media, which transform and be­ come permanent when acted upon by heat and light energy. In this sense the negative/ positive process of casting in plaster and ‘printing’ by impressing the clay into a neg­ ative mold matches the more conventionally understood negative/positive process of

Press-molded figure fragments in raku kiln photography in which the negative film casts a positive image on paper. The raku figures in the installation are in this sense three- dimensional fragmented photographs. With the inclusion of the actual photographs, a tension is established between the real/un­ real, and between what may appear to be Tomas Wolff removing a torso for sawdust reduction

Continued March 1986 73 74Ceramics Monthly News & Retrospect two dimensional in surface yet be present in space. “The ceramic figure/fragments were mul­ tifired to give a sense of surface depth. For example, glaze was allowed to become glossy in the first firing and then to fire only to some stage of mattness in successive firings. This exaggerated the sense of surface depth which brought the photographic and the ceramic together. The fragments were then assem­ bled on wrought-iron frames to emphasize their interactive motion. By placing the two fragmented ceramic figures directly below the photo in which two life-size figures ‘dance,’ another relationship between the real/unreal and between time and place was set up.” Photos: Ken Bloom. Dalita Navarro Caracas, Venezuela, ceramist Dalita Na­ Handbuilt earthenware “Potbelly ” 9 inches high varro recently presented a solo exhibition of “Potbelly” was handbuilt from terra cotta, stoneware sculpture at the Museum of Mod­ and decorated with terra sigillata and glaze. ern Art of Latin America in Washington, Photo: John Carlano. Colorado Clay Twenty-eight Colorado potters, selected by a committee of their peers, presented their newest works in an invitational exhibition at the Foothills Art Center in Golden. Among

7-inch-high stoneware sculpture D. C. Among the works shown were several forms where “shapes of nature assume an­ thropomorphic qualities: fruits develop lips and eyelids,” observed Roberto Guevara, di­ rector of museums for the National Council of Culture of Venezuela. “Voluptuously

Raku vase by Bob Smith the approximately 200 functional and sculp­ tural objects shown in “Colorado Clay” was this wheel-thrown vase, 30 inches in height, raku fired, by Bob Smith, Idledale. Photo: Lee Milne.

Anthropomorphic sculpture by Dalita Navarro Christine Pendergrass Wheel-thrown clay took a turn away from swelling forms suggest flesh and the temp­ the vessel in many of the ceramic objects by tations to which it gives rise—strange hy­ Klamath Falls, Oregon, artist Christine Pen­ brids endowed with a human presence.” dergrass, as featured in a recent one-person show at the Portland Building’s Visual Arts Elyse Saperstein Gallery. Often stoneware straps were sliced “Herd,” an exhibition of sculptural work from thrown cylinders, then incorporated (still by resident artist Elyse Saperstein, was on bearing throwing ridges) into works ranging view recently at the Clay Studio in Phila­ from wall-mounted fans to mixed-media delphia. Characteristic of the forms shown, Continued March 1986 75 76 Ceramics Monthly News & Retrospect formed from textured slabs draped over plas­ ter molds, the amphoras were wheel thrown.

10V2-inch-long stoneware/aluminum/leather “Book” sculpture. For “Book,” Christine constructed a “cover” employing wheel-thrown stone­ Raku “Amphora,” 12 inches in height ware segments to suggest the texture of a In both cases, Keith strove for a balance be­ landscape, glazed in rust and cream tones, tween the spontaneous nature of clay taking fired to Cone 6 in oxidation, then mounted its own form (“These shapes literally spin with silicone on a leather-sheathed alumi­ off the wheel head.”) and acting upon it. “I num support. Rawhide “pages” were added work toward making the pieces share a sense to complete the image of an open volume, of the clay’s own spontaneity with that of a laid pages down. more planned manufacture.” The use of raku further illustrates the principle, with its ele­ Robert Chance ment of chance balanced by a measure of “My work is about my feelings for smooth, control in the glazing. Text: Harold Sloane; profiled forms integrated with an active sur­ photo: William Lies. face treatment,” commented Robert Chance, a ceramics instructor at the Fine Arts Center Site-Specific Sculpture at ABF in Greenville, South Carolina. “The vessel Since acquiring the 26 acres of land, sev­ format gives me a canvas on which to use a eral kilns, assorted warehouses and literally field full of color interspersed with images tons of brick and tile that once belonged to and marks, patterns and symbols. They are an adjacent brickyard [see “Evolution at the meant to be fanciful and have an underlying Bray” on page 87 of the 1985 June/July/ strength.” August CM], the Archie Bray Foundation Characteristic of Robert’s work exhibited (ABF) in Helena, Montana, has embarked at the Greenville County Museum of Art on a new project. through January 12, “Blue Eagle Basket” Recently placed on the National Register was thrown and altered, patterned with of Historical Places, the brickyard was moth­ balled for the past 25 years, and for those years the lack of access to its wealth of ma­ terials was a source of constant frustration to Archie Bray Foundation residents, The purchase has made available sufficient land and materials for constructing eight new summer studios and large-scale, site-specific sculpture. In last summer’s session, resident artists Robert Harrison, Banff, Alberta; Kathryn 25-foot-long “Brickwalk” by Kathryn Holt

“Blue Eagle Basket,” 17 inches in height masked images and brushed with metallic lusters. The forms are altered through the addition of large pulled handles, piercing the lip or cutting the foot to invigorate and lift. Raw clay lines, bold use of space and sil­ houette, and a very active surface underscore the relative simplicity of the forms. Text: Jim Campbell; photo: Blake Pray tor. Keith Tartler Amphoras, plates and platters by Califor­ nia potter Keith Tartler were exhibited re­ cently at the Nathan Hart Gallery in San Francisco. While the plates and platters were Continued March 1986 77 78CERAMICS MONTHLY News & Retrospect unglazed terra-cotta sculpture by Frank Irby , faculty artist at Pacific Northwest College of Holt, Littleton, Colorado; and David Ver- Art; abstract earthenware sculpture by Jac- tacmk, Lawrence, Kansas, took advantage of quie Rice, Rhode Island School of Design this new resource, making site-specific sculp­ faculty; colorfully glazed terra-cotta vessels ture from materials left over from the pro­ by John Rohljing, instructor at Hartford Art duction days of the brickyard. School in Connecticut; painterly tableware Kathryn received a fellowship from the assembled from cast whiteware slabs by Ju­ Colorado Foundation of the Arts to work on dith Salomon, Cleveland Institute of Art fac­ her large earth-hugging forms made from the ulty; and soda-fired porcelain vessels by Chris

Kathryn Holt with broken brick “Kananaskas 1 brick rubble and tile found in abundance on Staley, Rhode Island School of Design in­ the site. “Kananaskas” is a 24-foot circle structor. Photo: Andrew Dean Powell. composed of broken bricks set on edge to create a rugged, multicolored landscape sim­ On View in Santa Monica ilar to that in the provincial park of the same Decorative vessels and wall forms by Mi­ name in Alberta. Text: Robert Harrison; chael Gustavson, Ben Lomond, California, photos: Kathryn Holt, Robert Harrison. Doug Irish-Hosier, North East, Pennsylva- Philadelphia Invitational An exhibition focusing on contemporary attitudes in clay was presented at the Works Gallery in Philadelphia earlier last year. Featured were reduction-fired stoneware by Chris Gustin, Swain School of Design Pro­ gram in Artisanry instructor; handbuilt,

Raku wall form by Patrick Minervini nia, and Patrick Minervini, Warwick, New York, were exhibited at A Singular Place in Santa Monica, California, recently. Patrick Minervini’s work “is based around both vessel and wall forms with altered sur­ faces, rims and edges. Color is achieved through a combination of several resist tech­ niques with the application of poured, brushed and sprayed matt glazes. The final decorative process is the raku postfiring reduction in /5-inch-high thrown teapot by Chris Gustin Continued March 1986 79 News & Retrospect Angeles. Shown from “3 Ceramists” is Mar­ garet’s life-size “Camera with Tripod,” un­ sawdust, leaves, newspapers, etc.” Shown from glazed Cone 5 stoneware. the exhibition is “Plex-Encased Wall Unit,” 32 inches in height, mounted raku-fired slabs; Aminah Brenda Lynn Robinson “the background graphics,” Patrick ex­ Clay and mixed-media sculpture by Ami- plained, “are a continuation of glazed and nah Brenda Lynn Robinson, Columbus, was smoked clay surfaces rendered in pencil and presented in “Afro-American Images” at Es­ watercolor.” ther Saks Gallery in Chicago through Feb­ ruary 11. Shown from the exhibition is side Allen/Plummer / Wamsley two of “My Grandmother, Juanita Zimmer- Ceramic still lifes by Margaret Allen , fig­ urative sculpture by Anne Scott Plummer and raku vessels by Elizabeth Wamsley were on view recently at the Design Center of Los

Unfired clay sculpture, with paints and mixed media man, Beautician, Benton Beauty Shop at Long and Monroe Streets, Columbus, Ohio, 1900-1964,” unfired clay mixed with glue and straw, 24 inches in height. Born in 1940, Aminah grew up in Poin­ dexter Village (Columbus), one of the first public housing projects in the United States. After studying art at the Columbus College of Art and Design, Ohio State University and the University of Puerto Rico, she toured Nigeria, Senegal, Kenya, Ethiopia and Egypt under the auspices of the American Forum for International Study. That journey was influential in the evolution of subsequent work based on her Afro-American heritage and 4-foot-high “Camera with Tripod” by Margaret Allen childhood memories.

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