December 1999 1 2 CERAMICS MONTHLY December 1999

Volume 47 Number 10

“Teapot #2,” 8 inches in height, wood-fired stoneware, by Steve Hansen, Berrien Springs, Michigan. FEATURES 51 32 Contemporary Ceramics at the Gardiner Museum Local collections contribute to exhibition in Toronto “Plate,” 21 inches in diameter, earthenware with 34 Pottery in Jamaica by Althea Meade Hajduk engobes, by David DonTigny, A cross-fertilization of cultures Reedsville, Pennsylvania.

38 Shared Visions by Alan Willoughby with Linda Shusterman 64 Working collaboratively and autonomously

44 Mitchell Messina by Shirley M. Dawson Abstract interpretations of common tools

47 As Always in Clayby Peggy Heer Experimentation and networking foster satisfying career

51 Wood-Fired Realism by Steve Hansen The convergence of industrial imagery and a Midwest heritage

55 Janis Mars Wunderlich by Anderson Turner Sculpture inspired by the challenges and joys of art and family

Wheel-thrown footed 58 Linda Haworth and the Hillsboro Station vessel by Jamaican potter A Community Project by Karl Samson Cecil Baugh. 62 Susan Karrasch by Mel Jacobson 34 Incising and calligraphy reflect abundance in nature

64 David DonTigny by Louana M. Lackey “SuperMud” pioneer enjoys working with redware

69 Customers How to Get Them and How to Keep Them by Constance Hallinan Lagan The cover: “Talking Teapots,” approximately 20 inches in Canadian potter Peggy Heer height, handbuilt stoneware with (circa 1980) prepares for a underglaze, slip and glaze, by glaze firing. Janis Mars Wunderlich, Upper Arlington, Ohio; see page 55. 47

December 1999 3 UP FRONT

10 Free Listing for Summer Workshops Deadline for April issue announced Editor Ruth C. Butler Associate EditorKim Nagorski 10 African-American Crafts Show Assistant EditorConnie Belcher Editorial AssistantRenee Fairchild Works by 25 artists at the Society for Contemporary Crafts in Pittsburgh Design Paula John Advertising ManagerSteve Hecker 10 Ho-Jeong Jeong Advertising AssistantDebbie Plummer Abstract sculpture at Indiana Wesleyan University in Marion Customer Service Mary R. Hopkins Circulation AdministratorMary £. May 12 Monumental Pots in the Netherlands PublisherMark Mecklenborg Pots by 30 artists at the Garden of Delight in Vlaardingen Editorial, Advertising and Circulation Offices 735 Ceramic Place 12 Sandra Luehrsen Post Office Box 6102 Sculptural vessels at Obsidian Gallery in Tucson, Arizona Westerville, Ohio 43086-6102 Telephone: (614) 523-1660 Fax: (614) 891-8960 14 Asian and American Connections/Reflections E-mail: [email protected] Works by 8 artists associated with Alfred University at Taipei Gallery in New York City [email protected] [email protected] [email protected] 14 Blaine Avery Website: www.ceramicsmonthly.org Turtle sculptures at Green Tara Gallery in Carrboro, North Carolina Ceramics Monthly (ISSN 0009-0328) is published monthly, except July and August, by The American Ceramic Society, 735 16 Fred Herbst Ceramic Place, Westerville, Ohio 43081. Periodicals postage Functional pottery at Corwin Fine Arts in Dallas paid at Westerville, Ohio, and additional mailing offices. Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The American 16 Jana Bednarkova Ceramic Society. Organic sculpture at the Clay Studio in Philadelphia Subscription Rates: One year $28, two years $53, three years $76. Add $ 15 per year for subscriptions outside North America. In Canada, add GST (registration number R123994618). 16 A Wall Sculpture for Oakland Township by Carolyn Dulin Change of Address: Please give us four weeks advance notice. Local artist installs relief sculpture at new township hall in Michigan Send the magazine address label as well as your new address to: Ceramics Monthly, Circulation Department, PO Box 6102, Westerville, OH 43086-6102. 20 Different Directions in Texas Contributors: Writing and photographic guidelines are avail­ Works by 6 ceramics artists at the San Angelo Museum of Fine Arts able on request. Send manuscripts and visual support (photo­ graphs, slides, transparencies, drawings, etc.) to Ceramics Monthly, 735 Ceramic PL, PO Box 6102, Westerville, OH 43086-6102. 20 Art from Japan’s Meiji Era We also accept unillustrated texts faxed to (614) 891-8960, or Khalili collection at the First USA Riverfront Arts Center in Wilmington, Delaware e-mailed to [email protected] Indexing: An index of each year’s feature articles appears in the December issue. Visit the Ceramics Monthly website at www.ceramicsmonthly.org to search an index of all feature articles since 1953. Feature articles are also indexed in the Art DEPARTMENTS Index and daai (design and applied arts index), available through public and university libraries. 6 Letters Copies: For a small fee, searchable databases and document 22 New Books delivery are available through The American Ceramic Society’s 74 Call For Entries Ceramic Information Center, PO Box 6136, Westerville, OH 74 International Exhibitions 43086; e-mail [email protected] or telephone (614) 794-5810. Also through Information Access Company, 362 Lakeside Dr., 74 United States Exhibitions Foster City, CA 94404; or University Microfilms, 300 N. Zeeb 80 Regional Exhibitions Rd., Ann Arbor, MI 48106. 80 Fairs, Festivals and Sales Authorization to photocopy items for internal or personal 82 Suggestions use, or the internal or personal use of specific clients, is granted 84 Calendar by The American Ceramic Society, provided the base fee of 84 Conferences $5.00 per copy, plus $0.50 per page, is paid directly to the Copyright Clearance Center, 222 Rosewood Dr., Danvers, MA 84 Solo Exhibitions 01923. Prior to copying items for classroom use, please contact 86 Group Ceramics Exhibitions the Copyright Clearance Center, 222 Rosewood Dr., Danvers, 87 Ceramics in Multimedia Exhibitions MA 01923; (978) 750-8400. The code for users of the Trans­ 89 Fairs, Festivals and Sales actional Reporting Service is 0009-0328/97 US$5.00 + $0.50. 89 Workshops Back Issues: When available, back issues are $6 each, plus $3 92 International Events shipping and handling for first issue and $ 1 each additional issue (for international orders, shipping/handling is $6 for first issue 96 Questions and $2 each additional issue). 100 Classified Advertising Postmaster: Send address changes to Ceramics Monthly, PO Box 102 Ceramics Monthly Annual Index 6102, Westerville, OH 43086-6102. Form 3579 requested. 104 Comment: Copyright © 1999 Our Quest for Affirmation by Brad Sondahl The American Ceramic Society 104 Index to Advertisers All rights reserved

CERAMICS MONTHLY December 1999 5 my suppliers, the Cone 10 stoneware (100 Letters pounds Christy Minerals Fireclay, 33 pounds Kentucky ball clay [OM 4] and ½ gallon G-200 feldspar) that my students and I are Salt and ITC Report mixing this semester is the best that we have Last December, CM ran a story I wrote experienced in my 15 years in the field. about a salt kiln using fiber, softbrick and My introductory throwing students can ITC ceramic coatings. What follows is a immediately center and pull a cylinder; my report on the condition of that kiln after a intermediate students went from throwing year of use: heavy, awkward work to really good vessels; The kiln has been fired about 25 times to and my advanced students are throwing Cone 11, and is still maintaining a four- to hundreds of pots, several in very difficult five-hour firing cycle after a brief warm-up. forms, including spheres. We are continuing to fire it hard, unloading I first noticed the improvement in my warm, and firing again—often, the next day. own studio. By my second batch of clay, I The resulting pots, in our opinion, are the was truly amazed. I was able to throw higher, way salt glaze should look. thinner, wider. The clay would bend to my As expected, we are getting some salt every whim, go effortlessly where I pushed it, erosion, especially in the flame way and collar easily, extend further with support. It around the burner ports. We are throwing truly would almost throw itself. the salt directly in the flame way, and are It was then that I began to recall how using a combination of rock and table salt. much better my students’ work seemed to be A piece of coated, 1-inch fiber on the in the first few weeks of the semester, and so I back wall has come loose and fallen into the began to question them about it. Several said kiln; it is about 9 inches square and ½ inch they had noticed a difference also. I then thick. Fourteen bricks have flaked off large talked to my supplier, Mid-South Ceramic bits of salt-ladened ITC, and ten or so othersSupply in Nashville, but no one there had have loose pieces that will have to come off. received any comments. Tammy, the girl I The modules that were supplied are in per­ always talk to on the phone, said she would fect condition. Feriz Delkic, owner of ITC, begin to call around. had indicated that he thought repairs would I also contacted the fireclay manufacturer; be needed after a year of firing. the staff there was equally interested in our Our plan is to wait until spring, clean the results and asked us to ship them a pound for kiln thoroughly, breaking away all loose testing. Richard Day, quality-control fore­ materials, then spray it again with several man, said that clay from three different piles coats of ITC 100. The flame ways will be on their lot had recently been combined, but veneered or laminated with packed 1-inch- each pile was supposed to be of the same thick fiber, soaked in ITC 100.1 am a bit material. Without further testing, that is the sorry that we did not do that when the kiln only difference that he could point to. was new, but we had to see what would Has anyone else been using this clay and happen to the coated softbrick. noticed a difference? Nils Lou, author of The Art of Firing, has Aaron Lee Benson, Jackson, Tenn. suggested that we now turn to a liquid injec­ tion of salt or soda, using a garden sprayer. Dorothy Byrne: In Remembrance We are sure that this will eliminate much of For over 50 years, Dorothy Byrne (1905— the salt destruction, but our intent was to see 1999), retired president and owner of Byrne just how much abuse this kiln would take forCeramic Supply Company in New Jersey, 25 firings. It has stood the test rather well. dedicated her life to ceramics. We are confident that it will take 50 more After World War II, Dorothy assisted the firings without major damage. wounded soldiers at various veterans hospi­ Mel Jacobson, Minnetonka, Minn. tals, where she initiated art classes in both oil painting and ceramic decoration. Her ceram­ Phenomenal Clay ics classes were popular and grew steadily. I want to report a clay phenomenon that When she asked her husband Jack, a time- is occurring in our shop. Even though my study engineer, to help her develop a better clay body recipe has not changed, nor have quality casting slip, they both worked with the clay and talc companies to produce clays In keeping with our commitment to provide strictly for a “hobby slip.” With hard work an open forum for the exchange of ideas and much testing, Byrne Earthenware Slip and opinions, the editors welcome letters was formulated and production started. from all readers. All letters must be signed, Later, they were asked to develop high-fire but names will be withheld on request. Mail stoneware slips, as well as a wide range of to Ceramics Monthly, PO Box 6102, colors for porcelain. From there, they ven­ Westerville, OH 43086-6102, e-mail to tured into modeling clays. [email protected] or fax to Just before her 80th birthday, Dorothy (614) 891-8960. was approached by the brick industry to

6 CERAMICS MONTHLY December 1999 7 Letters

develop and market an engobe to meet the demand for variously colored bricks. Thus was born Brikote, Inc. When you see colored brickwork at the mall or on fireplaces, you can almost be assured that Dorothy Byrne had a part in producing that “look.” She was most proud of a $40 million cathedral built in New York City, which used her colored brick on both the exterior and interior. Before her death at 94, Dorothy had talked about being a part of the new century. She had visions of new and exciting things happening in ceramics. Here’s hoping others will continue her quest. Paul Bahnatka, President Byrne Ceramic Supply Company Flanders, N.J.

Win/Win Having been a collector of Ceramics Monthly for over 30 years, I have a bit of a storage problem, and having just resubscribed for another 3 years, the outlook didn’t look too swift for accumulating more of these treasures. Never, by any stretch of the imagi­ nation, would I consider throwing any away. I remember my first encounter with CM—it was in a pottery class at a junior college. I was so impressed, I filled out the subscription card, and have been receiving (and looking forward to) every issue since the ’60s. Thanks for broadening my horizons on functional and nonfunctional pottery. Getting back to my storage problem: my grandchildren took some of my back issues to the pottery teacher at their high school. The teacher was delighted. It has been a win-win situation for us all. Just thought I’d pass this info on to other subscribers out there who have been hoarding their magazines—there is a use for them where they can really be appreciated and, who knows, maybe influence and inspire a budding potter. Violet Roth, Howell, Mich.

Member of the Family I live in a town where ceramics are valued by only a few. So when the magazine arrives, I start looking from the first page to the last, flipping through very fast in my hunger to see everything. Then, I slowly start reading. Thanks for helping so much—giving information, improving creativity, showing hard and beautiful work, and making me feel like a member of the family. Teresa Castilho, Porto, Portugal

Equal Representation Keep the fine art in. CM has always done a great job in representing the handbuilders and potters equally. Please keep it this way. Rachelle Rabiner, Tampa, Fla.

8 CERAMICS MONTHLY

Are there any, I mean an appreciable number of, African- Up Front American craftspeople?’ “The answer, of course, is yes. Not only artists who prefer and recreate past disciplines, but out-on-a-limb, butt-kicking, Free Listing for Summer Workshops innovative, head/hand/heart craftspeople.” This exhibition surveys the work of “25 hard-working, up- The “Summer Workshops” listing will appear in the April 2000 to-date and future-wise artists whose art you’ve seen, some never issue of Ceramics Monthly . Potters, craft schools, colleges/ universities or other art/craft institutions are invited to submit information about summer ceramics programs (regularly scheduled classes are excluded) by February 11. Simply provide the workshop name and/or a synopsis of what will be covered, location, opening and closing dates, level of instruction, instructors name, languages spoken, fee(s), contact address, plus a telephone number that potential participants may call for details. Captioned slides from last years workshops are welcome and will be considered for publication in this listing. Please mail information and slides to Summer Workshops, Ceramics Monthly, Post Office Box 6102, Westerville, Ohio 43086-6102. Announcements may also be e-mailed to [email protected] or faxed to (614) 891-8960. African-American Crafts Show “Stop Asking/We Exist: 25 African-American Craft Artists,” an exhibition of 75 works in clay, glass, metal, wood and fiber, was on view recently at the Society for Contemporary Crafts in

Yvonne Edwards-Tucker’s “And Still I Rise (For Maya),” 28 inches in height; at the Society for Contemporary Crafts, Pittsburgh, Pennsylvania.

ethnically identified,” Scott observes. “It gives intellectual pleasure and is cunning in its ability to sustain fascination. It bandies issues with aplomb without, in some cases, overt links James Tanner’s “Dreamer,” 22 1/2 inches in height, to Afro-centrism. stoneware with brushed and trailed slips and glazes. “African-American artists are not homogenous,” she con­ cludes. “Each surrenders to her/his muse hoping for ecstacy and Pittsburgh. Included were ceramic sculptures by Yvonne that corporeal punch....Exhibits like this, where the art stands Edwards-Tucker, Tallahassee, Florida; Martha Jadtson Jarvis, on its own two feet, merit kudos awarded because ‘it’s just that Washington, D.C.; Sana Musasama, St. Albans, New York; and good,’ and is curated because of its quality and stamina, just James Tanner, Janesville, Minnesota. may coax me to laugh when the question is asked again.” “I’m asked a funny (ha ha?) question a few times a year. Imbedded in this query is a big bag of ignorance and a tincture Ho-Jeong Jeong of sarcasm,” notes exhibition curator Joyce J. Scott in the Abstract sculpture by Rochester, New York, ceramics artist Ho- accompanying catalog. “I laugh less each time. The question: Jeong Jeong was exhibited recently at Indiana Wesleyan Univer-

10 CERAMICS MONTHLY December 1999 11 Up Front sity in Marion, Indiana. Her sculptures “employ water as the metaphor for specific human emotions. Given its fluid nature, water itself does not have its own particular form of existence,”

Ho-Jeong Jeong’s “Flowing-2,” 70 inches in length, handbuilt earthenware; at Indiana Wesleyan University, Marion, Indiana.

Jeong explained. “However, influenced by the external environ­ ment, water creates various forms that can suggest specific human emotions.” As “reflections on the nature of water,” her works are in­ tended to help “purify viewers’ minds.” Monumental Pots in the Netherlands Approximately 30 artists were invited to create monumental pots for a recent exhibition at the Garden of Delight in Vlaardingen, Netherlands. The show included worlds by artists

Helly Oestreicher’s “Gaten,” approximately 49 inches in height.

from the Netherlands, as well as Belgium, England, Greece, Italy, Japan, Norway, Spain and Turkey. Twelve are potters and accustomed to throwing large forms; others, for the most part, were not but were willing to take on a new task for the show. The Garden of Delight was established in 1995 by ceramics artist Vilma Henkelman as a summer exhibition site for monu­ mental ceramic art. Sandra Luehrsen Sculptural vessels by Tempe, Arizona, artist Sandra Luehrsen were exhibited recently at Obsidian Gallery in Tucson. Often based on symbolic heart shapes, these terra-cotta forms are surfaced with low-fire glazes, slips and lusters. Holding the “pin Kees Hoogendam lidded jar, approximately 16 inches in height; at the Garden of Delight, Vlaardingen, Netherlands, heads” or imaginary leaves in place are Nichrome “pins” that are

12 CERAMICS MONTHLY December 1999 13 Up Front innovative Chinese potter, each had (or has) a high degree of technical skill and an unquestionable aesthetic perception; they borrowed ideas for forms and glazes from foreign sources, but instead of strictly copying, they adapted the ideas and made them uniquely their own. They do not copy but rather have a

Val Cushing serving platter, 18 inches in diameter, glazed stoneware; at the Taipei Gallery, New York City, and the International Museum of Ceramic Art, Alfred University, Alfred, New York.

Yien-koo Wang King sushi plate, 16¾ inches in width, glazed stoneware.

spirit that reflects their own assimilation of history, their place in modern ceramics and their vision of the future of ceramics.” After closing at the Taipei Gallery, the exhibition traveled to the International Museum of Ceramic Art at Alfred University, Sandra Luehrsen’s “Flight to Venus,” 25 inches in height, where it will remain on view through December 16. terra cotta and metal; at Obsidian Gallery, Tucson, Arizona. Blaine Avery inserted when the pieces are leather hard. When dry, each piece A series of turtle sculptures by Creedmoor, North Carolina, is fired to Cone 06. The finished forms, she explains, are like ceramist Blaine Avery was exhibited recently at Green Tara trees or bushes with leaves sprouting in all sorts of shapes. Asian and American Connections/Reflections “The Alfred-Asia Connection—The Asia-Alfred Reflection,” an exhibition of ceramics by Charles Fergus Binns, Fong Chow, Val Cushing, Wayne Higby, Ka-Kwong Hui, Yien-koo Wang King, Mao-Chung Lee and Theodore Randall, was on view recently at the Taipei Gallery in New York City. All of the artists in the show “either emigrated from Asia and studied at Alfred, or are non-Asian and either received their ceramic art training or taught at Alfred,” explains Margaret Carney in the accompanying catalog. “The work of each of these successful individuals reflects direct or indirect Asian (specifically Chinese) connections. The selected artists have connections with Alfred that span nearly 100 years, from 1900 until the present. Blaine Avery turtle, approximately 5 inches in height, “There is something very ‘Chinese’ in the overall approach of handbuilt, salt glazed, wood fired; at Green Tara Gallery, these eight ceramics artists,” Carney continues later. “Like the Carrboro, North Carolina.

14 CERAMICS MONTHLY

Up Front Originally from the Czech Republic, Bednarkova earned an M.F.A. in ceramics in Prague in 1989; the next year, she immi­ grated to Paris to absorb Western culture and take classes at the Gallery in Carrboro, North Carolina. The handbuilt forms were University of Applied Arts. During two residences in Japan, the salt glazed and wood fired to Cone 9. Oriental aesthetic of harmony with nature complemented her The inspiration for Avery’s work comes from Southern folk pottery and his experience teaching children’s clay classes. “Children have such a free attitude toward art; they are not afraid to make mistakes,” he commented. “This is the attitude I strive toward in my work.” Fred Herbst “New Forms/Same Function,” an exhibition of functional pottery by Texas artist Fred Herbst, was on view recently at Corwin Fine Arts in Dallas. Thrown from stoneware, his work is fired in gas reduction, soda or wood kilns. “My recent work has emphasized form and structure, which echo the architecture of both the natural and the manmade,”

Jana Bednarkova’s “Life Tree,” approximately 39 inches in height; at the Clay Studio, Philadelphia.

way of working and led to further artistic growth (see the February 1998 CM). In January 1999, she was invited to create a new series of work as a guest artist at the Clay Studio. Fred Herbst’s “Bottle,” 9 inches in height, soda-fired stoneware, with flashing slip and Oribe glaze, $55; A Wall Sculpture for Oakland Township at Corwin Fine Arts, Dallas. by Carolyn Dulin Herbst observed. “Surfaces are accentuated by the effects of Like most metropolitan areas, Oakland Township, located north atmospheric firings on raw clay, flashing slips and glazes. of Detroit, has seen farmland gradually turn into housing “My ultimate goal,” he continued, “is to create pots that subdivisions. I’ve lived here for 38 years and remember when become a cherished part of daily life.” the township hall served as a social hall as well as for the trustees’ meetings. The hall had had additions in size and personnel, but Jana Bednarkova the time had come for a new building. Sculptures by Jana Bednarkova were among the works featured Located on a wooded hillside, the new township hall is a in the recent “Made in the Clay Studio” exhibition at the Clay contemporary building, designed by local architect Gerald Yurk. Studio in Philadelphia. The show highlighted works by artists Because I know the area so well and have been an active studio who worked at the studio as guest artists, resident artists, etc. artist for 26 years, Yurk asked me to propose ideas for a sculp-

16 CERAMICS MONTHLY December 1999 17 Up Front ture for a large (83x29-foot) wall that spans the building, bacldng up the large general office area. From sketches, we settled on an idea and made some addi­ tions, then I selected six slip colors, which became the basis for other colors throughout the building. Next, I made a three- dimensional model to help determine how big the piece should be. In August of last year, the township gave their ap­ proval, and I plunged in, as the building was nearing completion and the offices would be opened in October. The 291/2Xl3 1/2-foot porce­ lain sculpture was completed in Installed at the Oakland Township Hall in Michigan, Carolyn Dulin’s wall sculpture measures 3½ months. Its form suggests 291/2 feet in length, with thicknesses varying from 2 to 6 inches. the land history of this area with its gently rolling hills and swales created by retreating glaciers. The streams and lakes attracted extrusion of soft clay, which was curved and twisted to resemble the early settlers. Today, protection of its natural resources is a currents and eddies of streams, then brushed with colored slips. prime concern of Oakland Township. Various other images were cut from a stiff slab and attached to A template was drawn (allowing for 11% shrinkage) on eight the dried sections. large sheets, then divided into sections; tracings were then made For many years, I’ve high fired a body colored with stains for for each section to be built. It was important to determine wall pieces and figures (see the January 1992 issue of CM). This where to place cut lines so the pieces would fit in a 29-inch- time, I fired lower, to 2250°F, to avoid warping or sagging in the diameter kiln. parts that were closely fitted. The fired pieces were epoxied to Holes were cut in the base slab to reduce weight and aid in ¾-inch plywood cutouts. drying and firing. Sides were added to create thicknesses from 2 Installing heavy, fragile pieces as high as 27 feet above the to 6 inches. More holes were cut in the sides after the individual floor required the help of two assistants, scaffolding, and a parts were completed. telescoping electric lift with a boom equipped with a block Slabs for the top surfaces were combed, slipped and and tackle. It took four days to install, and included some “stretched” when the clay was soft, forming small tears and tense moments. textures, which held an iron/glaze mixture that was rubbed into Each piece was hung on the wall with meshing metal brack­ them before firing. The “water” was made of a U-shaped ets. (The architect had also backed the drywall surface with plywood to support the weight.) Placing the pieces and their brackets so sections would nest together properly was achieved in a series of steps. First, grids of stretched cords were made on the floor of the room as well as on the wall. The pieces were assembled on the floor grid, and grid marks were made on the sides of each. Paper patterns of the parts were made and the marks transferred to the patterns. The pieces were then inverted onto padding, and brackets were screwed to the backs and marked on the patterns. The patterns were matched to the lines on the wall grid, and screw holes were marked for the corresponding wall brackets. The four-day installation required the help of two assistants, scaffolding, and a telescoping Accuracy in mounting the brackets electric lift with a boom equipped with a block and tackle. was essential because of the weight

18 CERAMICS MONTHLY

Up Front display work in the exhibition “Different Directions: Coming Together in Clay.” On view recently at the San Angelo Museum of Fine Arts in San Angelo, Texas, the show highlighted the of the pieces. This system resulted in only one piece having to diversity of techniques each artist employs. be taken down for adjustments. The highest sections were lifted The exhibition was presented in conjunction with a “ceram­ with the block and taclde, with one assistant on the lift, and the ics week” in San Angelo. Events included the “14th Annual other on the floor controlling the rope. The piece on the boom Ceramics Symposium,” hosted by Angelo State University, was then swiveled to the wall above the mounted brackets, ceramics workshops and raku demonstrations. The six artists in pushed against the wall and gently lowered into place. A the show also visited various schools, where they taught ceram­ flashlight and small mirror were used to make sure the brackets ics classes. were engaged. This was the last show to be held in the museum’s current location. The new building, which was completed in Septem­ Different Directions in Texas ber, houses a ceramics studio and classroom facility that will be Six clay artists—Mark Epstein, Angela Gallia, Gary Huntoon, run by Angelo State University. Dallas; Rafael Molina-Rodriguez, Lancaster, Texas; Sarah Noebels, Paris, Arkansas; and Lisa Orr, Austin—were invited to Art from Japan’s Meiji Era “Splendors of Meiji: Treasures of Imperial Japan,” an exhibition of nearly 450 ceramic, metal, enamel and lacquer objects from the Khalili Collection, was on view through September 6 at the First USA Riverfront Arts Center in Wilmington, Delaware. Dr. Nasser D. Khalili has collected Japanese, Islamic, Indian, Swedish and Spanish art, as well as Near and Middle East antiquities, for the past 30 years for the Khalili Family Trust. “I have derived a great deal of pleasure in bringing the collection together over the past many years, and I am pleased to have this opportunity to bring some of its finest pieces to

Rafael Molina-Rodriguez’s “Torqued Lidded Jar,” 11 inches in height, porcelain with Shino glaze, wood fired, $150.

Porcelain vase, approximately 17 inches in height, created between 1900 and 1910, signed Makuzu Kozan; at the First USA Riverfront Arts Center, Wilmington, Delaware.

America,” Khalili stated. “I have come to learn that the loss of some of the traditional practices that gave rise to such exquisite work makes it doubtful that these objects can ever be repro­ duced. Through this exhibition, I am hopeful that audiences will come to learn more about the Meiji era of Japanese art Angela Gallia’s “The Blue Chair,” 14 inches in height, handbuilt earthenware with underglaze and glaze, $2500; history and to appreciate its level of artistic accomplishment and at the San Angelo (Texas) Museum of Fine Arts. technical mastery.”

20 CERAMICS MONTHLY Decem ber 1999 21 wares. If there has been any flaw with West­ New Books ern work along these lines, it has been in the tendency to copy the Far Eastern clays and glazes with only the purest Western raw materials. The result, in some cases, has been Chinese Glazes that only the technical virtues have survived, by Nigel Wood while the true characters of the original have By examining the ceramics of China been rationalized out of existence.” “through the natures of the clays and glazes The final chapter includes a few recipes used to make them,” the author of this guidethat “illustrate many practical points that intends “to go some way towards explaining arise when theory is turned into practice.” why Chinese ceramics look as they do, and 280 pages, including chronology and index. also towards demonstrating the essential prin­205 color and 79 black-and-white photo­ cipals that have helped graphs. $49.95. University of Pennsylvania to carry Chinese glazes Press Warehouse, Post Office Box4836Hamp­ forward, with such dis­ den Station, Baltimore, Maryland 21211; tinction, and with telephone (800) 445-9880; fax (410) 516- such boundless vari­ 6998. Distributed in Europe by Plymbridge ety, over a production Distributors, Estover Road, Plymouth PL67PZ history of more than Great Britain; telephone 1752 202301; fax three millennia.” 1752202331. Wood begins by describing the ceram­ A Meditation of Fire ics of the Neolithic and Bronze ages, south The Art of James C. Watkins China’s early lime glazes, and the porcelain by Kippra D. Hopper glazes of southern China. One of the earliest Documenting 20 years of daywork by sites for producing porcelain in southern Texas artist James C. Watkins, this well- China was Jingdezhen. illustrated biography looks closely at the “When the glaze and body compositions influence of place and experience. Known for of these pioneering Jingdezhen porcelains arehis double-walled vessels, Watkins first be­ studied in depth, two technical advances came “obsessed” with clay at a junior college stand out clearly,” Wood states. “The first is in Alabama, where he was studying drawing. that limestone rather than wood ash appears After just a year there, he received a scholar­ to have been their main glaze-flux. The sec­ ship to the Kansas City Art Institute, where ond is that the glazes on these 10th-century he learned from Ken Ferguson, Victor Babu, porcelains were not lime glazes...but were of Jacqueline Rice and the more advanced ‘lime-alkali’ type.” George Timock how In the following chapters, he focuses on “to make good, func­ Longquan, Guan and Ge wares; the porce­ tional pots.” lains and stonewares of northern China; and On the advice of China’s blackwares and brownwares. For Ken Ferguson, he Wood, the “high-fired blackwares and went on to Indiana brownwares are among the most fascinating. University to earn a Their iron-rich glazes seem to evoke the very master of fine arts de­ earths of China—and it is not surprising to gree; while in gradu­ find that the common clays, river-muds and ate school, he began to question everything silts of both north and south China were he previously had learned. “I felt that my often the main raw materials used to make work was only a visual regurgitation of prin­ them. They are essentially glazes of the Chi­ ciples borrowed from very influential in­ nese countryside and were applied typically structors,” Watkins explains. “So I started a to large storage jars, to wine bottles, vases andconscious program to unlearn all that I had rice bowls, and to everyday teabowls.” learned. I did everything I was told not to do. Next, he looks at the effects achieved withMy work became more transitory, more con­ copper in high-fire-reduction glazes; he also cerned with experiences.” discusses low-fire glazes, alkaline glazes, and Moving to west Texas soon after gradua­ overglaze enamels, as well as reconstruction tion resulted in the most profound change in of Chinese glazes based on chemical analyses:his work. “I began working immediately, but “The technical soundness that these analyses with great difficulty,” Watkins recalls. “The represent has long been appreciated by West­Southwest environment was so different. My ern potters, and in the 19th century, many previous forms and colors didn’t relate to European porcelain factories began to rede­ this. The work didn’t feel right. I stopped sign their glazes and bodies to bring them working and j ust started going out hiking and closer in composition to the best Far Easternlooking at the land and being quiet and

22 CERAMICS MONTHLY

New Books around you,” he says. “If you can see—not including chronology of works, selected exhi­ just identify objects, but really take the time bition history, selected bibliography and in­ to take a deep breath and look at something,dex. 143 color and 53 black-and-white listening. I wanted to absorb the beautiful look at all of the aspects and become an acutephotographs. $40. Texas Tech University Press, surroundings....I would dig up clays from observer—then you can begin to put some ofPost Office Box41037, Lubbock, Texas794l0; dried-up river beds and from the sides of that down on paper or with any material.” telephone (800) 832-4042. canyons and in caves. I enjoyed...finding out The final section is a tutorial, complete what they do.... It adds an element of surprise.with step-by-step photographs, covering con­Picasso There’s a ldnd of serendipity about it, discov­struction of a double-walled caldron, tape- Painter and Sculptor in Clay ering something new.” resist decoration, terra sigillata application edited by Marilyn McCully In the following sections, Watkins shares and buffing, and smoke firing. Published in conjunction with the exhibi­ his thoughts on inspiration and visualization: Watkins began teaching at Texas Tech tion of the same name, which opened at the “You can get ideas and inspiration from University in 1983; today, he is a full profes­ Royal Academy of Art in London then trav­ seeing shadows, reflections and forms all sor in the College of Architecture. 148 pages,eled to the Metropolitan Museum of Art in New York, this beautifully illustrated book/ catalog details Picasso’s work in clay—many of the pieces shown had not been exhibited previously. Three essays—by son Claude Picasso, grandson Bernard Ruiz-Picasso and editor Marilyn McCully—about Picasso’s ceramics precede the catalog of works (which is divided according to dates made). “I believe that no major 20th-century artist other than my father has shown such in-depth interest and dedication in this of­ ten neglected niche of art,” states Claude Picasso. His “involvement was so profound and personal—as well as being considered unfashionable at the time—that, until re­ cently, it went unrecognized as a significant part of his oeuvre. “I might add that my father never consid­ ered himself a potter, but approached the medium of clay as he would any other in order to find out what the materials and techniques of the potter’s studio could offer him and what he could discover by probing their inherent qualities or possibilities.” “The ideas that emanate from the artist’s imagination are realized in the medium at hand,” adds McCully in her essay, “and, while the content or narrative makes refer­ ence in part to particular circumstances, the works themselves are linked to what went before them and what followed as part of the same creative continuum. “The artist’s pottery, along with his paint­ ing, sculpture, printmaking and even poetry, must be regarded as part of that process. While Picasso had the ability to respect and to follow the traditions of ceramics from ancient times through to its present popular form, he was also able to reinvent the medium with enormous enthusiasm and originality by painting and sculpting in clay on his own terms.” 258 pages, including glossary of ma­ terials, techniques and shapes; exhibition list; select bibliography; and lenders to the exhibi-

24 CERAMICS MONTHLY

New Books the most notable artistic innovation to have era—produced earth­ come out of the potteries of Italy,” contends enware with narrative the author of this study of the Gentili/Barn­ scenes finely painted tion. 275 color and 28 black-and-white pho­abei archive. “Ceramists experimented with in a distinctive palette tographs; 31 sketches. $60/Can$85.^4£ra/m,and ultimately mastered this style of su­ of greens, blues, 100 Fifth Avenue, New York, New York 10011.premely pictorial decoration...in the first de­ browns, ocher, yellow cades of the 16th century, under the influenceand black on a creamy Maiolica in the Making of contemporary fresco and oil painting in white ground.” The Gentili/Barnabei Archive the humanist tradition. The majority of the by Catherine Hess “In the 17th and 18th centuries, at a timebook catalogs the “Colorful, spatially illusionistic and intel­ when porcelain was beginning to surpass documents in the Gentili/Barnabei archive— lectually intricate, istoriato (narrative) paint­ maiolica in popularity, potters from...the acquired by the Getty Research Institute in ing on the tin-glazed earthenware of the workshops of the Grue and the Gentili—the1988—including approximately 150 engrav­ Renaissance lmown as maiolica is arguably two dynasties of ceramists that dominate thisings, drawings and substitute cartoons (a sheet of paper with an image that was ob­ tained by pricking or stylus tracing). Each entry includes a physical description of the item and historical context. 196 pages, in­ cluding index. 21 color and 90 black-and- white photographs. $39.95, softcover. Getty Trust Publications, 1200 Getty Center Drive, Suite 500, Los Angeles, California 90049- 1682; telephone (800) 223-3431.

European Ceramics by Robin Hildyard “Almost all ceramics...lose all record of their origins the moment they leave the shop or place of manufacture; and, although ac­ quired for a particular purpose, they must adapt to changing fashions and needs or suffer oblivion,” notes the author of this history of European ceramics from the Mid­ dle Ages to the present. “When deprived of its original function, a pot’s future is indeed precarious: it may be used for some lesser purpose and ulti­ mately destroyed; it may be put away and forgotten; or it may be rediscovered and ac­ quire a new life as a prop in an artist’s stu­ dio, as a decorator’s piece where only its physical characteristics (color or pattern) are thought worthy of consideration, or as a tiny but treasured link in the chain of ceramic history constantly being compiled by museums and the vast army of collectors and connoisseurs. “This introduction to European ceram­ ics, based around the V&A [Victoria & Albert Museum] Collections with all their strengths and weaknesses, cannot be free of bias in its interpretation, but its intention is to make all areas of the subject equally accessible. All ceramics, as mirrors of their makers, their users and their age, have something to offer.” The first two chapters of the book provide a historical overview of pottery from earthen­ ware to stoneware, while the third chapter focuses on the invention of porcelain. In

26 CERAMICS MONTHLY

New Books and must be serviced. But it must be said that the uniformity is depressing, and the mug rack in the local supermarket a weekly re­ Europe, the secret to making porcelain was minder that things could be better.” discovered accidentally in 1708 by chemist The second section is basically a guide to Johann Friedrich Bottger. “The entire spread late-20th-century handmade tableware, nicely and artistic development of hard-paste por­ illustrated with examples of the various forms celain throughout Europe can be attributed created by studio potters (bowls, drinking to this discovery and to the house-style cre­ vessels, casseroles, jugs and pitchers, etc.), and ated under Bottger before his death in 1719.”how they can be made. Pottery’s 19th-century transition from The final section briefly describes com­ handcrafted to mass produced is discussed mon production (wheel-throwing, hand- next, followed by a brief look at 20th-centurybuilding and press-molding) and firing design influences and the “birth” of studio methods. 192 pages, including bibliography ceramics marked by the return of Bernard and index. 225 color and 29 black-and-white Leach from Japan in 1920.144 pages, includ­ photographs. $40. The Crowood Press, Ltd. ing selected further reading and index. 198 Distributed by Trafalgar Square Publishing, color photographs; 15 drawings. $39.95. Uni­Post Office Box 257\ Howe Hill Road, North versity of Pennsylvania Press Warehouse, Post Pomfret, Vermont 05053. Office Box 4836, Hampden Station, Balti­ more, Maryland21211; telephone (800) 445- Corn in Clay 9880; or fax (410) 516-6998. Distributed in Maize Paleoethnobotany Europe by Plymbridge Distributors, Estover in Pre-Columbian Art Road, Plymouth PL6 7PZ; telephone 1752 by Mary W. Eubanks 202301; or fax 1752 202331. Intended for archaeologists and botanists, but of interest to ceramists as well, this book Tableware in Clay “identifies corn or maize, Zea maysL., repre­ From Studio and Workshop sented in relief on pre-Columbian urns and by Karen Ann Wood effigy jars. These maize depictions are im­ “For a variety of reasons, ranging from thepressions from molds that were formed from artistic to the economic to the practical, actual ears of maize,” notes the author. “The potters who specialize in making pots for ceramic facsimiles duplicate the external mor­ kitchen or table tend to focus on only one phology of the botanical specimen in detail.” type of ware—at least at any one time. It mayThis method of depicting corn in clay oc­ be that a particular curred mainly in two pre-Columbian cul­ firing method appeals, tures: the Moche of the north coast of Peru, or that the maker loves and the Zapotec of the Valley of Oaxaca in the bright colors of tin southern Mexico. glaze, the orange-peel “These replicas of maize provide a unique texture of salt glaze or and valuable source of evidence for cultural the clean lines of contact between Mexico and South America. porcelain... .Whatever Because races of maize are distinct and tend to the method and how­ be local in distribution, they are potentially ever innovative the good indicators of trade and migration.” The potter, much of the process is rooted in the author begins by de­ past and intimately tied up with not just the scribing the various pots made by our forebears, but also with types of Moche effigy social and culinary developments that ren­ jars, then does the dered those pots either desirable or necessary same for Zapotec urns. or, at the best of times, both,” observes the Finally, the various author of this history of handmade tableware. races of maize on pre- The text is divided into three sections, Columbian pottery with the first covering the history of tableware are discussed, as are from the beginning of the Neolithic period to prehistoric races of the ceramics industry in the 19th and 20th maize and cultural dif­ centuries. “It is recognized that not all indus­fusion. 265 pages, including appendixes on trial wares are ‘thin, mean and hard’ as de­ fake Zapotec urns, races of maize from Latin scribed by Leach,” notes Wood. “There is a America and top five racial identifications for place for the machine-made and a place for ceramic maize models; bibliography; and the handmade. There have been in the past index. 130 black-and-white photographs; 6 and will always be fruitful comings together sketches. $49.95. University Press of Florida, of design and machine, which illustrate that 15 Northwest 15th Street, Gainesville, Florida all is not lost just because the market is huge32611-2079; telephone (800) 226-3822.

28 CERAMICS MONTHLY December 1999 29 30 CERAMICS MONTHLY December 1999 31 Contemporary Ceramics AT THE GARDINER MUSEUM

“Vases 16 and V2,” to 6½ inches in height, porcelain, 1986 and 1992, by Roseline Delisle, Santa Monica, California; Aaron Milrad Collection “Pieta,” 17½ inches in height, earthenware, 1995, “Armchair Garden #1,” 10 inches in height, earthenware, by Georges Jeanclos, France (1933-1997); 1984, by Victor Cicansky, Regina, Saskatchewan, Canada; Margaret and Gray Taylor Collection. Aaron Milrad Collection.

“Toronto Collects: Contemporary Ceramics,” an exhibition of approximately 60 works from local collections, was on view recently at the George R. Gardiner Museum of Ceramic Art in Toronto, Ontario, Canada. The show coincided with a recent decision by the museum to expand its scope to include contempo­ rary ceramics in its collections (see page 22 in the October 1999 CM). “The revision to the collecting mandate to include contemporary ceramics is the single most important policy decision the institution has made in recent years,” observed acting director-curator Sheila K. TabakofF. “It will help ensure a new and expanding audience for the ceramic arts, and clearly demonstrates a commitment to the ongoing ceramic traditions exemplified by the Gardiners historical collections. As a museum that collects collections, we are now also looking at those comprising the work of living artists.” ▲

December 1999 33

To maintain a level rim, Rhoden removes excess clay with her Signature decoration (the same as used by Rhoden’s mother) index finger after adding a coil to form the wall of the pot. on the finished pot is part of the tradition.

tat there’s a tradition of pottery Tmaking in Jamaica seems to be somewhat of a secret. Any reference to Jamaica, regardless of topic, routinely prompts comments about reggae and beaches, not to mention the “weed of wisdom.” Yet even among Jamaicans, when we discuss issues of heritage, rarely is pottery considered an aspect of our cultural inheritance. Pottery making in Jamaica predates Columbus’ arrival, having originated with the islands first inhabitants, the Arawaks, who were decimated by Span­ ish colonialism. Like many other New World societies, the Arawaks used local clay to make cooking vessels, decorative objects and religious images, samples of which can be seen in local museums in Jamaica and as far afield as the Victoria and Albert Museum in England. How­ ever, it was the influence of our West African ancestors, brought to Jamaica as slaves, that has had the most endur­ The bone-dry pots are fired with wood on the open ground ing impact on what is today defined as traditional Jamaican pottery. The West African techniques of starting the pot Traditional Jamaican pottery is fur­ kneaded and wedged on what potters in a keke (a concave saucer/base of a ther delineated into two schools—the call a wedging table.’ Traditional fe­ broken pot, similar to the American Kingston method and the Spanish Town male potters in Kingston wet the table, Indian puki), of slip application and method. Cecil Baugh, Jamaica’s master which allows the clay to move around burnishing, of walking backwards potter responsible for the revival of the freely; no keke, just water is used to around the pot to build the walls of traditional techniques, observes in his provide mobility. Pots of up to 15 to 16 larger pieces, and of open firings, con­ self-titled book coauthored with Laura inches in diameter are made on this tinue to be employed by a handful of Tanna: “In the case of traditional pot­ table by women potters. Larger pots are Jamaica’s potters. tery made in Kingston, the clay is first made by male potters, using the walk-

December 1999 35 asset, all contribute to what appears to be its imminent disappearance. But the pioneering work of Cecil Baugh has signaled the emergence of a new tradition, that of the studio potter. As the father of modern Jamaican pot­ tery (it can be said without reservation that Baugh is to Jamaica what Bernard Leach was to England), he has single- handedly not only revolutionized the practice of pottery in Jamaica, but also elevated the perception of pottery from “mere craft” to fine art. A folk art ap­ prenticeship grant awarded by the New Jersey State Council on the Arts afforded me the opportunity to work with Baugh between 1996 and 1997. The experi­ ence reinforced for me the need to pre­ serve and perpetuate tradition while being open to new ideas. Baugh began earning his livelihood as a “yabba man” in 1925 at the age of 17 as an assistant to two Kingston pot­ Three-footed cooking pot with lid. ters. By the age of 28, he had estab­ lished his own pottery in Montego Bay around technique. The difference be­ potters of Kingston, the country’s capi­ with partner Wilfred Lord, from whom tween the walk-around and the Kings­ tal following Britain’s conquest in 1655. he had learned the walk-around tech­ ton method of building pots on a wet Spanish Town was Jamaica’s capital city nique. In 1948, he received a British wedging table is that, in the walk- under Spanish rule. Council scholarship to England, where around, the potter moves and the pot is The traditional forms include the he studied with Bernard Leach. It was stationary, resting on a sand-covered bat yabba, a pot for cooking and baking; there that Baugh’s wheel-throwing ex­ on a barrel, while with the wet-table the monkey jar for storing and cooling perience began. It was there, too, that method, the potter is stationary and water; the water jar for water filtration; he was first exposed to the more techni­ moves the clay on the wet wedging table, and the coal pot, a stove used for cook­ cal dimensions of clays, glazes and kilns. the left hand pushing while the right ing and baking. Spanish Town folk pot­ Following his return to Jamaica, he hand pulls the clay into shape. In addi­ ter Merline Rhoden, in continuing to staged his first solo exhibition, which tion, pots made in Kingston are glazed make these types of pots in the way her made national news; the local paper with lead and fired in kilns. mother did, is preserving centuries of read: “Baugh has brought to his home­ “In contrast, traditional potters in Jamaica’s social history. She is the daugh­ land a new and delicate phase of art­ Spanish Town still make their pots in ter of Jamaica’s foremost traditional pot­ istry.” To fully appreciate the significance what I consider a more African manner. ter, the late Louisa Jones or “Ma Lou,” a of these events, one must keep in mind Clay is broken up and placed on a spot third-generation potter brought to na­ they occurred during the colonial pe­ of wet ground. Water is then sprinkled tional attention by Cecil Baugh [see the riod of Jamaica’s history. Almost a half on it and the clay is left to soak over­ April 1984 CM, page 63]. century ago, Cecil Baugh crossed the night, covered by a piece of damp bur­ Rhoden’s tools are the same as those seemingly insurmountable hurdle of lap. When taken up, the clay is prepared used by her great-great-grandmother; transitioning from yabba man to artist on the ground by kneading in 30-40% she mines and prepares her own clay potter, modernizing the art and over­ sifted sand. The clay is rather softer and fires her pots in the manner of her turning attitudes in the process. than what one throws on a wheel. After forebears. Unfortunately, there is no de­ Since then, he has patiently and pas­ preparation, a lump of clay is placed in mand for handmade pots utilizing cen- sionately honed his skills, developing a the keke, unless the pot is to be a small turies-old techniques. Not only does this Jamaican aesthetic in his art, easily ma­ one, in which case the potter may first affect quality and innovation, but the neuvering between the functional and form the base in the palm of the hand, very economic survival of traditional sculptural, incorporating designs twisting the clay round and round to pottery. The lack of government sup­ reflective of his environment as his pieces mold it.” port and funding, the social stigma of serve as a form of social and cultural That kilns and glazes are used is evi­ dirty work performed by a certain class, commentary. There is an unpretentious dence of the European influence on the and its peripheral position as a cultural wholesomeness in his work that flouts

36 CERAMICS MONTHLY Pouring slip over a leather-hard jar.

Cecil Baugh demonstrating his free-form technique. A selection of traditional ware.

mechanical precision, which for me is Baughs pioneering work set the stage stance, employs the walk-around tech­ reminiscent of the qualities of a moun­ for a new generation of Jamaican pot­ nique for some of his sculptures, while tain—majestic in their quiet strength ters, many of whom are his former stu­ Brown is equally fluent in the Spanish and splendid in their unforced beauty. dents: Orville Bailey, Angella Brown, Town technique for yabbas. Over the years, Baugh has received Jean Taylor Bushay, Walford Campbell, As communication becomes more numerous national awards and honors, David Dunn, Clonmell potters Belva global, the cross-fertilization of cultures but his crowning moment came in 1996 and Donald Johnson, Marjorie Keith, seems to ensure the future of studio when one of his pieces took its place Gene Pearson and Norma Rodney- pottery. But only tenacity and vision, if among those of the 20th-century leg­ Harrack. There is also a co-op operat­ only of a few, can guarantee the survival ends Bernard Leach and Shoji Hamada ing in Ocho Rios called Wassi Arts, and of a nations traditions. as part of the permanent collection at further west in Trelawny is David Pinto s the Tate Gallery St. Ives. On November Good Hope Pottery. What is most en­ The author Althea Meade Hajduk, 22, 1999, Cecil Baugh celebrated his couraging is that a number of these Garwood,' New Jersey, is a potter and a 91st birthday. It seems the key to lon­ potters combine traditional and con­ graduate student in museum studies at gevity is being a consummate potter. temporary methods. Pearson, for in­ Seton Hall University.

December 1999 37 Alan Willoughby and Linda Shusterman at work in their adjacent studios in Deptford, New Jersey,

SHARED VISIONS by Alan Willoughby with Linda Shusterman

espite the significant media greatest challenge we have faced is main­ to graduate school at Clemson Univer­ coverage on the millennium, taining the sense of excitement that origi­ sity in South Carolina. Several years as DI am sure that by the time our nally attracted us to daywork. The studio potters had brought us face to computers get past the Y2K problem, mystery of creation, the transformation face with the need for more time for and we’ve donated to the many worthy of chaos into form through one’s imagi­ experimentation. Additionally, we rec­ causes that are claiming 2000 as a piv­ nation and the strength of one’s hand ognized that to intensify the learning otal point in their organizational his­ are the romantic concepts to which we process, we needed to withdraw from tory, and we’ve had our fill of parties (as products of the 1960s) were drawn. the pressures of earning a living. Im­ and champagne, life will go on. Actu­ Over the years, the question we found mersion in art history, drawing, ample ally, making the transition from one ourselves frequently coming back to is: time to experiment with firing ranges, century to the next is a once-in-a-life- How can we maintain a relationship clays, forming methods, design issues, time opportunity to step away from our with an earlier time as we continue to and constant feedback and critiques normal routines, take a little time off, move forward? As time goes by, what from both faculty and peers accelerated and take stock of where we have been begins as new and original has a ten­ our growth as ceramics artists. and where we are going. dency to become repetitive and mo­ Completion of M.EA. degrees led us As we enter into the new millen­ notonous—especially when you add the to Frostburg University in western nium, Linda and I will have been mak­ reality of having to earn a livelihood. Maryland, where I taught and Linda ing pots for over 30 years. Probably the In the early 1980s, our path took us was an artist-in-residence. Along with

38 CERAMICS MONTHLY “Teapot with Caribe Pattern,” 11 inches in height, wheel-thrown porcelain with slips and incising, fired in a neutral atmosphere to Cone 10-11 in a gas kiln, by Linda Shusterman. gaining teaching experience, we also es­ ate, adapt and change. Additionally, the plus she added several retail shows and tablished Lindas wholesale business. It experience brought to the foreground increased her adjunct teaching in nearby proved to be a good time to enter whole­ such questions as: How far does one go colleges, and I became the director of sale shows—the Reagan spending spree with production? How does one deal Perkins Center for the Arts, a commu­ of the ’80s was in full swing. It was a with the inherent isolation of working nity arts center in Moorestown, New new experience and a welcome respite in a small studio? What is the role and Jersey. Fortunate at the onset to estab­ from our earlier years earning a living as importance of education, both profes­ lish a four-day work schedule at the artists. It seemed as though the pots sionally and in one’s life? center, I have been able to maintain my nearly flew out of the studio! In looking back, the answers seem involvement in Linda’s business and re­ The ’90s brought a crash back to clear and intentional, yet the reality of direct my ceramic work as its economic reality. My wholesale business dropped the time was much more about trial viability took a back seat. to near zero and Linda’s was significantly and error, trial and success. So, Linda What has evolved through these ca­ reduced. This was a good time to evalu­ continued with wholesale marketing, reer changes is a studio/working envi­

Teapot with cups, to 10 inches in height, wheel-thrown porcelain with washed, brushed and trailed slips, fired to Cone 11 in a wood/salt kiln, by Alan Willoughby.

40 CERAMICS MONTHLY Ewer, 10 inches in height, wheel-thrown porcelain Covered Jar, 12 inches in height, wheel-thrown porcelain with slips and glaze, fired to Cone 11 in a wood/salt kiln, with washed, painted and trailed slips and glaze, fired to by Alan Willoughby. Cone 11 in a wood/salt kiln, by Alan Willoughby.

ronment in which we each maintain loading and firing kilns, and attending and travels in Mexico and the Carib­ autonomy as artists, while collaborating wholesale and retail shows. bean. The seascapes and lush vegetation on work in Lindas wholesale and retail Lindas work is made primarily on of the Caribbean in the Yucatan and show repertoire. Overall, the strength the potters wheel. She produces curva­ Jamaica are seen in the “Caribe” series, of this arrangement is in the diversity ceous teapots, tall vases and vessel forms, which uses bold leaf patterns floating in and continual evolution of work facili­ sugar and creamer sets, pitchers, mugs, a rich bermuda green and lavender. Rep­ tated through an understanding of our bowls and platters. Polychrome slips are etition of spiral shapes, which are sym­ priorities as artists. brushed on the leather-hard forms. Af­ bolic of constant change and evolution Separate yet connected studio spaces ter the bisque firing, clear glaze is ap­ in life, was inspired by the carving seen have played an important role in main­ plied, and the pots are loaded into a in the art and architecture of the Mayan taining our individual identities in clay. 65-cubic-foot gas kiln to be fired to ruins in Yucatan and Oaxaca, Mexico. At times, use of porcelain (Linda) and Cone 11 in oxidation. Since becoming director of Perkins red earthenware (Alan) necessitated this The wheel-thrown porcelain forms Center for the Arts, I have returned to separation, but it has always been a key­ are approached as three-dimensional sur­ my roots. Function, an affinity for the stone of our studio careers. For many faces for the study and use of color, potters wheel and the mark of the fire, years, I have assisted Linda by mixing pattern and composition. Her influences were ideas I had to put on a back burner clay, throwing large platters and bowls, include contemporary pattern painting, during the time I was wholesaling my

December 1999 41 “Tea Set with Jazz Pattern,” 12 inches in height, wheel-thrown porcelain with brushed and trailed polychrome slips, and incising, fired in a neutral atmosphere to Cone 10 in a gas kiln, by Linda Shusterman.

work. This was necessary for a variety of My new body of work focuses on a Approaching the potters wheel as a reasons, not the least of which was that series of porcelain vessels thrown on the tool rather than an end in itself has wholesaling requires a fairly reliable and potters wheel, and altered after the clay given new life to my forms and opened consistent product. has stiffened for several hours. Surface a broad terrain for exploration. The la­ I am drawn to clay because of its treatment includes firing in a wood and bor and mental intensity of wood firings tactile and physical properties. It is a salt kiln, where the wood ash and so­ have reconnected me to the “trial by welcome respite from our 20th-century dium interact with the clay, slip, glazes fire” of my pots. world of mechanization and super- and soluble salts. Firing with wood is a In looking toward the future, we are technologies. When I work with clay, purifying ritual. It is the “trial by fire” of not so concerned with specifics as we there is a connection to something ancient myths, a process engaging full are with our attitude and approach to deeper and stronger, more primal. On thought and sense, a collaborative ef­ doing things. In this perspective, I am days when I enter my studio, I leave fort between man and fire. The flame confident that both Linda and I will behind the violence, the pollution, the licks patterns across brushed slip deco­ continue working collaboratively. Over global warming and the consumption ration and ash falls upon the shoulders the years, a relational process has evolved propagated by our modern-day icons, of pots. To open the kiln door several that seeks to challenge and be chal­ and begin a quest to understand the days after the pots have cooled and we lenged, while maintaining a balance be­ deeper meanings in life, the connec­ have rested is a moment filled with in­ tween inward and outward, a balance tions to all things. tense anticipation and excitement. between individual and community. ▲

42 CERAMICS MONTHLY Recipes

Willoughby/Shusterman Porcelain Shusterman Clear Glaze Transparent 1-2-3-4 Glaze (Cone 10-11) (Cone 10-11) (Cone 9-10) NC 4 Feldspar ...... 45 lb Whiting...... 20% Whiting...... 20% 6 Tile Clay...... 25 Custer Feldspar...... 38 NC 4 Feldspar ...... 40 Edgar Plastic Kaolin...... 25 Edgar Plastic Kaolin...... 10 Tennessee Ball Clay (10)...... 10 Plastic Vitrox Clay...... 4 Flint (325 mesh)...... 32 Flint (325 mesh) ...... 30 Tennessee Ball Clay (10)...... 50 100% 100% Flint (200 mesh)...... 40 Pyrophyllite...... 4 Apply thinly. Shusterman fires in a pro­ Bens Blue Glaze Molochite (200 mesh)...... 4 pane kiln to Cone 11. (Cone 9-10) Gerstley Borate...... 3.23 1971b Willoughby uses the following reci­ pes on work to be wood/salt fired: Whiting...... 26.88 The following slips are applied to Custer Feldspar...... 32.26 leather-hard ware. Adding 0.25% Cal- Wood/Salt Flashing Wash Kentucky Ball Clay (OM4).. 10.75 gon as a deflocculant permits the use of (Cone 9-12) Flint (325 mesh)...... 26.88 Nepheline Syenite...... 20.0% less water for working consistency. 100.00% 6 Tile Clay...... 80.0 Shusterman White Slip Add: Cobalt Carbonate ...... 0.54% (Cone 10-11) 100.0% Manganese Carbonate... 3.26% Soda Ash...... 4.85% Add: Bentonite...... 2.5% Red Iron Oxide...... 1.08 % Custer Feldspar...... 19.42 Frit 3195 (Ferro)...... 7.77 Willoughby White Slip Rob s Green Glaze 6 Tile Clay...... 14.56 (Cone 9-11) (Cone 9-11) Edgar Plastic Kaolin...... 14.56 SodaAsh...... 5.56% Whiting...... 19.12% Tennessee Ball Clay (10)...... 19.42 Whiting...... 16.67 Nepheline Syenite...... 39.64 Flint (325 mesh) ...... 19.42 Nepheline Syenite...... 22.22 Edgar Plastic Kaolin...... 11.11 100.00% Calcined Kaolin...... 16.67 Flint (325 mesh) ...... 30.13 Edgar Plastic Kaolin...... 5.56 100.00% Add: Zircopax...... 9.71% Tennessee Ball Clay (10)...... 11.10 Add: Black Copper Oxide.... 3.95 % Flint (325 mesh) ...... 22.22 Shusterman Base Slip Copper Carbonate...... 0.75% (Cone 10-11) 100.00% Bentonite...... 2.14% SodaAsh...... 5.13% Add: Zircopax...... 11.10% Custer Feldspar...... 20.51 For color variations, add 5-25% Ma­ 6 Tile Clay...... 12.82 son stains. Edgar Plastic Kaolin...... 12.82 Tennessee Ball Clay (10)...... 25.65 Vinny s Green Glaze Flint (325 mesh) ...... 20.51 (Cone 9-11) Pyrophyllite...... 2.56 Whiting...... 21.39% 100.00% G-200 Feldspar...... 41.18 Edgar Plastic Kaolin...... 21.39 For color variations, add 10-20% high- Flint (325 mesh) ...... 16.04 temperature Mason stains; make pastel versions with the addition of Mason 100.00% White Extender. Add: Copper Carbonate...... 1.60% Rutile (light)...... 3.21 %

“Platter with Tropical Pattern,” wheel-thrown porcelain with polychrome slips and incising, fired in a neutral atmosphere to Cone 10-11 in a gas kiln, by Linda Shusterman. Mitchell Messina by Shirley M. Dawson

Mitchell Messina building a sculpture section in his studio at Nazareth College in Rochester, New York.

ceramics artist going to college on A a football scholarship? Mitchell Messina doesn’t think that combina­ tion is particularly unusual. “Art and sports require discipline, passion and persistence, and both are physically de­ manding,” he says. Physically demanding? Art? Back, wrist and respiratory ailments among artists have long been known to exceed those in most other professions. One look at Messina’s sculpture con­ jures up images of the artist wrestling, pounding and pushing the heavy wet clay—physical exertion that matches Messina’s athletic prowess. The finished pieces often stand as tall as the 6-foot artist, heavy ceramic machine parts rest­ ing on clay tables and saw horses or hanging on the wall, poised to do dirty, sweaty work. “I always loved clay, and started as a potter. It seemed like magic, watching a pot pop up off the wheel. But once the technical skills were ingrained, I had to ask ‘What next?5 Working on a wheel just didn’t fit my personality.” What came next for Messina was an undergraduate degree earned at Port­ land State University in Oregon. “Andrea Joseph was my ceramics pro­ “Plow,” 47 inches in height, stoneware, handbuilt in sections, fessor at Portland; she changed my life,” once fired to Cone 6, painted with acrylics. says Messina. “My understanding of ce-

44 CERAMICS MONTHLY ramies was pretty narrow until then. I had an excellent high-school-art teacher, but my focus was confined pretty much to developing physical skills. “While I was at Portland State, West Coast artists like Paul Soldner and Stephen DeStaebler came to conduct workshops. I was astounded! They talked about ideas. Until then, it had not oc­ curred to me that ceramics—that art— was about a lot more than technical skills. That’s when I became really hooked on education. It was the turn­ ing point for me.” After earning a bachelor’s degree from Portland State, Messina continued his formal education at Tyler School of Art, Temple University, in Philadel­ phia. He received a master’s degree in fine arts in 1986. In 1990, he accepted a position as head of sculpture and ce­ ramics at Nazareth College in Roches­ ter, New York. For the past dozen years, Messina has concentrated on handbuilt sculp­ ture. “There are no tricks to my con­ struction methods. I use basic techniques taught in every beginning ceramics class: pinching, coiling and slab building. “Each sculpture is built in sections, with a series of collars or sleeves made from tubes of clay. These collars have corresponding holes on the surface of the adjoining sections. Once they are fired, this system allows a metal rod to be inserted into each sleeve for support­ ing the next stacked section. At times, the rods are glued directly into the sleeves; other times, a threaded rod and nut are used. “Fragmenting the sculptures into units allows for greater scale, tension and balance, as well as a method of assembling and dismantling for ship­ ping and storage purposes. “The stoneware clay body I use is heavily grogged (up to 20%), and is once fired to Cone 6 in a gas kiln. At this time, the sections are ready to be assembled.” Real metal and wood parts are fre­ quently intermixed with the clay com- “Plane,” 51 inches in height, handbuilt stoneware with acrylics, ponents, but Messina also uses clay to assembled over metal rods.

December 1999 45 “Sickle,” 44 inches in height, stoneware and steel, with acrylics, by Mitchell Messina, Rochester, New York.

“fool the eye.” In his most recent group says Messina. “My imagery, based on often romanticized era of the handmade of sculptures, clay “fabric” appears in tools, is intended to look back from the and sheer inventiveness of tool makers nearly every piece, pennants of satin- present to the past—archaeology turned everywhere, are a few of the subtexts looldng snips caught on the edges. upside down.” running throughout his work. Surfaces are frequently rough, splin­ His sculptures nearly always have no- Currently, his “ideas are leaning to tery. Shapes are slightly irregular, never nonsense names like “Plane,” “Plow,” the more austere. I keep wanting to quite spherical or plumb, an off-hand- “Wrench.” Usually, they have lots of strip down the pieces to the most el­ edness that suggests intentional distor­ component parts that are precariously emental forms. I cant seem to get there tions. Instead of carefully formulated balanced, stacked and bolted together. yet but I keep working toward a more and fired glazes, acrylic paints straight Individual components are painted dif­ reductive iconography. from their cans are slathered on and ferent colors in what seems no particu­ “Maybe because of the scale of my partly wiped away for aged effects. lar regard for composition or tonal work, I am often asked if I’ll leave clay Colors are achieved with “extensive balance but merely to differentiate one entirely. My answer is ‘No! Never!’ I layering of acrylic paint, then wiped part from another. These colors seem to love the material. It’s so direct, so im­ with a black stain to highlight the tex­ originate from cartoons or movies, mediate. Believe it or not, I still love the tures, ” Messina explains. “To protect slightly too rich or too thin. pure physicality of it. and enhance the painted pieces, a clear It is the odd use of color and the “Most importantly, I want to keep polyurethane spray is applied.” precarious, gravity-defying balance of teaching. I was a high-school jock. That The hide-and-seek game of mimicry these ensembles that ultimately lead the could have been the definition of my is one of the two bedrock themes of viewer to suspect that these tools are life. Clay opened the door for me to a Messina’s art. He also repeatedly and not merely an artists functional fanta­ wider, richer world. Imagine holding persistently interprets the shapes of tools. sia. Messina talks about his love affair the key to do that for other kids!” It is the topic that seems to capture his with the arts and crafts movement, and romantic notions of craftsmanship. his romance with tool building, but the The author Previously a gallery owner! “I collect preindustrial tools whose messages these sculptures convey are far director, Shirley Dawson now contributes specialized functions and forms preserve more ambiguous. The foolhardiness of articles to art and craft magazines, and a history of our country from the point nostalgia, the sometimes ominous— writes art criticism for the Gannett Roch­ of view of the work of human hands,” even sinister—underbelly of an all-too- ester Newspaper.

46 CERAMICS MONTHLY As Always in Clay by Peggy Heer

or 30 years, I have thrived on the Thereafter, into the wee hours of the As Heer Pottery flourished, I decided world of clay art. Through clay, I night, family abed, I would sit at my to establish and manage a weekend arts Fhave expressed my ability to create custom-made wheel (cost: $169) and prac­and crafts market. I took my wheel to the art, striving to make each pot one that tice throwing a commercial stoneware. site and demonstrated throwing to all appealed to all of my senses. Every com­ And when I had completed enough ware, comers, especially those who sought to pleted piece, whether high-fired stone­ I would load a 7!/^-cubic-foot electric kilngive birth to their own ideas. One of ware or porcelain, or primitive-fired clay, and fire to Cone 8.1 had found my heaven those onlookers was Greg Payee, a Cana­ has been a step toward my next experi­ on earth. I was able to earn a little in­ dian clay artist who now heads the ce­ ment. My guideposts have always been come, stay home, and balance my re­ ramics department at the Alberta College form, surface texture and the potential of sponsibilities as a wife and mother. of Art and Design in Calgary. And early containment and volume. I also went My commitment to clay increased dra­ in my career, the Alberta Potters’ Associa­ slowly from concept to finished piece, matically as I attended every workshop/ tion called on me to be the first regional taking all the time I needed to develop seminar presented in the province, joined representative, organize workshops, teach, my work, without any concern for sales. pottery groups, sat on executive boards, do resource work and make contact with The market could wait until I was pleased and eagerly read ceramics publications. I many world-famous artists, some now with the results. believe such activities are vital to the health good friends. I also opened a gallery in When I was 10 years old, I had an of the potting community, and therefore Edmonton with Sandra Olsen and a sepa­ opportunity to climb a mountain. Al­ they deserve the support of all clay artists. rate gallery in Jasper Park though 150 children started the climb, Without this communal environ­ Lodge, located in the moun­ only 5 of us reached the top. I felt at the ment, I could not have devel­ tains west of Edmonton. time, and as the years went by, that this oped as an artist. Three years A major event, lighting my feat alone would determine what I could into my new quest, I was a new gas-fired Idln, occurred in accomplish in my life. The last quarter founding member and the 1975, soon after we moved mile to the peak was shale, and every step elected vice president of the from an apartment to a forward seemed to result in two sliding Arts and Crafts Soci­ house (single-family steps backward. My life in clay has been ety of Alberta. dwelling on a like that, but for the most part, I still reached my goal. As a child, I would dig in the mud, make whole “cities” in the sand. That urge to play persisted even as I cared for my younger siblings and managed a household after the death of my mother when I was 16 years old. But it wasn’t until the summer of 1967 that I began to pursue clay in earnest. I was sitting at the kitchen window of my apartment when I spied the beautiful bottles my neighbor was carrying. My curiosity aroused, I asked where she had purchased them, only to discover she was the maker. A spark ignited in me at that moment, and I have never looked back. Within weelcs, thanta to the Edmon­ ton Potter’s Guild, I began “playing” with clay during a weekly course and studio session. After seven years of four-hour classes, I was ready for more, so I bor­ rowed some money and launched my 'Settled Images,” own basement studio. That $500 bank 11 inches in loan was the only debt that Heer Pottery height, pit-fired ever had. porcelain, 1996.

December 1999 47 grand—not one crack, slump, object. All are wheel thrown from a white- warp or drip on my beauties. But alas! I burning body (stoneware or porcelain) then discovered that my pots were designed for Cone 10. For lids and bases, “glued” to the shelving; I had forgot­ when needed, I use a well-grogged raku ten to put alumina hydrate on the clay. After trimming and during the dry­ newly cleaned shelves. The bottoms ing period, the surfaces are burnished from could be ground and sanded, but I two to six times. On some leather-hard had established a firm policy never to pieces, I apply terra sigillata with a brush. offer seconds for sale, so I chose to Bisquing at Cone 07 gives the work give them away to family and friends. enough strength for shipping and han­ Whenever I see those first porcelain dling, but does not dull the high burnish. teapots, they remind me of that ma­ The look (surface patterning) of each jor lapse in attention to detail. piece is achieved by firing either in an All my porcelain forms have clean open bonfire, using wood, dung, bark, lines and soft curves, the objective being leaves, sawdust, grasses mixed with vari­ to give each a sense of serenity and quiet ous chemicals for color, or in a makeshift elegance. I bisqued to Cone 07, sieved kiln of cement blocks or firebrick, using (200 mesh) all glazes twice for airbrushing, whatever materials (wood, dung, etc.) are and fired slowly to Cone 10-11 (taking available. All firings take place outdoors “Copper Shield,” 9¾ inches high, about 12 hours to heat up, 12 hours to in suitable weather. burnished porcelain, pit fired, 1991. reach maturity and 36 hours to cool). Early on, as I struggled to refine my Working with translucent porcelain led efforts, losses were high (40—70%), but city lot with a garage in the back). I estab­ me to some important conclusions: 1) now, after ten years of practice, I seldom lished a studio in the wooden garage and nothing can be rushed; each procedure lose a piece through cracking. I found built a 30-cubic-foot kiln. My studio be­ has its “time”; 2) the work has to be that very thin and even-walled work leads came the heart and soul of my being. handled mindfully through all stages; 3) to good results. Another important as­ Shortly after the birth of my third faulty pieces have to be destroyed upon pect is the way I make my terra sigillata. child in 1979,1 was diagnosed with breast discovery or after the final firing; and 4) At first, I followed Richard Hirsch’s cancer. A mastectomy and the daily in­ porcelain never lies. method: 200 grams clay (any); 10 grams sults of chemo- and radiation therapy did As my efforts in porcelain expanded, sodium phosphate glass (Calgon); 800 not slow me down, though, for on the so did the number of galleries who sold milliliters water (27 fluid ounces). I stirred day of surgery, I had signed a contract my work. I spent the extra income to this mix thoroughly, let it settle, then (with Lorraine Oberg as partner) to coor­ advance my knowledge, studying de­ dinate the “Alberta Ceramic Showcase sign for two years at the University 80.” Also, during this period, my hus­ of Alberta. The program built on band and I hosted Tatsuzo Shimaoka of my earlier studies at Banff School of Fine Mashiko, Japan; Mary Lewis Garcia of Art under the tutelage of F. Carlton Ball. Sky City, New Mexico; and Thancoupie After completing the design studies, (Gloria Fletcher), the first female aborigi­ I concluded that I should start down nal potter of Australia. I was able to assist a new experimental path. In 1990, I Thancoupie in her production of a his­ began focusing attention on expand­ torical mural, which is mounted at the ing my understanding of pit/smoke- Edmonton Convention Centre. fired pottery. This change of Amid all this activity, I decided that I direction was inspired by an experi­ wanted to work with porcelain. This move ment at Banff (1975), and seeing to a new clay medium had to do with the reports about the work of three pot­ ever-changing creative spirit within me. ters: Pierre Bayle of France; and My body had changed; perhaps the way I Magdalene Odundo and the late perceived my pots changed, as well. Form­ Siddig El’Nigoumi, both of Britain. ing porcelain requires hours of patience; My first attempts were a disaster; fail­ it demands a respect for its intricacies, a ures outnumbered successes, but I en­ watchful eye and a steady hand. joyed the chase as I learned the process. My first project in porcelain was to The challenge of probing something new make 45 airbrushed, translucent teapots has always excited me, and when I took a in all shapes and sizes. This forced me to big risk with my pots I always hoped for a learn how to work with its forming and pleasant surprise. Eventually, the pit-firing drying properties, and to work with new successes surpassed the failures. “Time Exposure,” 12 inches high, glazes and airbrushing techniques. The I often start with the idea of making a porcelain with orange terra sigillata, first porcelain firing went absolutely classically balanced vessel, a containing burnished, pit fired, 1997.

48 CERAMICS MONTHLY used the middle layer, sometimes color­ produce the cracking and peeling effect next morning the pots are removed from ing it with additions of iron oxide, rutile by plastering (gobbing) thick slip on the pit, washed and placed in my kitchen and other oxides. bisqued ware, using recipes found in booksoven to evaporate all moisture. The fol­ I tested well over 150 clays before I and ones from other potters, but I have lowing day, when they are thoroughly chose those that yielded the results I never achieved a better slip than the slurry dry, I wax the surfaces with Mothers Cali­ wanted. One mix I especially like is: 16 from my pail alongside my wheel. Also, I fornia Gold Pure Carnauba Paste Wax, cups ball clay; 5 cups red iron oxide; 48 do not put a glaze on top of the slip applying at least three coats, and polish­ grams household lye (sodium hydroxide). coating(s) when I pit fire, as is the custom ing between each coat. Lids and bases are This mixture gave a terra sigillata with a of some potters. then fitted to each pot, which takes sev- deep red color that came through on the fired pots; however, because lye is so caus­ tic (harsh on hands), I soon switched to a different deflocculant. Nowadays, in preparing my terra sigillata, I use a defloc­ culant solution of sodium silicate (water glass) and sodium carbonate (soda ash), instead of sodium hydroxide or sodium phosphate glass. Also, I no longer measure the amounts of the two chemicals that I add to the water I mix with the clay; however, I probably use 0.3-0.5% (by weight) of each (3-5 grams each of water glass and soda ash per kilogram of dry clay). After the well-stirred clay/water mix­ ture stands overnight, I can detect three layers, albeit with uncertain boundaries: the top layer is virtually free of clay par­ ticles; the middle layer would scatter a “Scribblings of Nature,” 8 inches in height, wheel-thrown beam of light and is the terra sigillata that stoneware, burnished and pit fired, 1992. I use; and the bottom layer is a “sludge” of large particles that is later discarded. While I do remove the top layer, I do not I like the contrast of the smooth bur­ eral days of trial and error; finally, each decant the middle layer (as is the cus­ nished pot and the rough-textured lids piece is titled, numbered and priced. tom), but use it as is, being careful not to and bases. For me, the lid and base act If firing in a kiln, I use closed, heavy- stir up the coarse bits at the bottom. This like a frame or the capital letter and the duty foil “saggars.” Each pot is wrapped “lazy” method has worked well for me. period used in sentence structure. Maybe in the foil, which also holds lots of differ­ If it is needed, I add water to the terra it is a throwback to my “city-building ent Idnds of combustibles in place. The sigillata layer to obtain a consistency of days” in the sand. foil-covered pots are stacked one on top skim milk (or thinner). I apply it with a The wheel-thrown lids and bases are of the other without shelving; the ldln brush to a completely burnished leather- altered in two ways: by attaching extruded loolcs like it is holding pods from outer hard pot, then simply buff the terra coils, and by scoring the surface with a space. I fire carefully until I see smoke sigillata with a soft cloth. A word of cau­ comb. To achieve a particular design, I coming out of the chimney, then the ldln tion: be careful when handling a pot on attach extruded, textured coils to the lid, is turned off but the damper left open which the terra sigillata is damp, as using a special slip called “spooze” (equal about an inch to pull off the smoke. The fingerprints will be left, but then some­ parts clay, vinegar, corn syrup and a drop next day, the kiln is unloaded and the times they may enhance the surface. or two of peroxide to stop fermentation). pots polished. When fired this way, the The “marble” or “crackle” surfaces on The lids and bases are also bisqued pots display a softer and more subtle color. much of my primitive-fired work arose then fired in the pit. I don’t worry about In 1997, we moved to our retirement from an experiment that I conducted in the temperature; I just watch for the pots home, and my studio went from 700 1989. I wanted a cracked, dry-riverbed to become red hot, and keep the fire square feet to 1000 square feet, all at­ look on the surface, with black carbon burning for an hour or two longer. I then tached to our home nestled in 3½ acres lines or black areas contrasting the color cover the whole load with sawdust, leaves, of wooded glade. I began to do produc­ of the pot or the terra sigillata. I tried to dirt or metal tubs, and let it smolder. The tion work, finding it stimulating rather

December 1999 49 Covered baking dish, 12½ inches in diameter, wheel-thrown Baking dish, 121/2 inches in diameter, white porcelain with blue slip, chatter carved, clear glazed, fired stoneware with blue slip, 1985, by Peggy to Cone 10, 1985. Heer, Sherwood Park, Alberta, Canada.

than boring. While throwing repetitive Favorite Glazes forms, I was able to take some courses, read books (through books on tape) and enjoy my surroundings. The glazes I use can be fired in oxida­ Jess’ Rutile Glaze My 30 years in clay have supported tion or reduction. Naturally, some glazes (Cone 10, oxidation or reduction) my studies, paid my overhead, bought will work differently on porcelain than Dolomite...... 18 % new equipment, paid an accountant, and on stoneware, and I tend to keep these Gerstley Borate...... 4 allowed for family extracurricular ex­ separate. I have found the following Whiting...... 4 penses. I even sustained a savings account, three recipes best suited to my work. Calcined Kaolin...... 22 Feldspar (any)...... 36 which ultimately sent my three children Clear Base Glaze Flint...... 16 to a university. I approached only two (Cone 10, oxidation or reduction) galleries in all this time; the rest ap­ Whiting...... 20.88% 100% proached me, and a handshake was our Potash Feldspar...... 26.94 Add: Rutile...... 5 % only contract. I have done wholesale Kaolin...... 19.86 On an iron-red body, fired in reduc­ shows, retail shows, consignment shows, Flint...... 32.32 tion, this glaze will be black, with breaks one-woman shows, group shows, juried 100.00% to gold and rust specks (stars) on rims shows, but most satisfying of all were the Add: Bentonite...... 1.10% and on texture. On a grogged body it is spectacular. When used on porcelain, sales from my studio. From Alfred University via Keith either in oxidation or reduction, it will In January 1998, I was told I had a Campbell of Ontario, Canada. For a run, showing a beautiful metallic gray rare form of cancer, radiation-induced sar­ light celadon green in oxidation only, with black streaks. In oxidation on buff coma. Although my prognosis is quite add 0.25% copper carbonate. For very stoneware, it will be an olive green with poor, my studio continues to beckon; per­ light blues and greens, add cobalt or black streaks. haps I’ll be able to do some sculpting. I chrome watercolor straight from the am as eager to begin anew as the day I watercolor tubes; especially nice on por­ J.H. Temmoku Glaze started. I have loved my life playing in the celain. I have used one-fourth of a small (Cone 10, oxidation or reduction) mud. With every piece of pottery I have tube for a 5000-gram pail of glaze. Whiting...... 18.09% made (or will make), I add this state­ This base glaze stays where you put it Feldspar (any) ...... 43.41 and has never crazed on any body I ment: “If you enjoy one piece of Heer Calcined Kaolin...... 10.33 have used. A hard, durable, utility glaze, Pottery, we have somehow become part­ Flint...... 28.17 it works very well with colored slips . % ners in the reason for its creation.” under it, and also when mixed with 100 00 Add: Black Iron Oxide...... 6.46 % I have been so lucky to have received oxides and/or stains to form a colored Red Iron Oxide...... 6.46 % the gifts of being a student and teacher of glaze for brushwork. When I include a clay, and throughout my journey, I have toxic oxide in the base clear glaze, I am From F. Carlton Ball. Works well in always remembered: “Respect this living careful to apply it only on the outside both atmospheres on stoneware and clay you claim and reshape, for one day it of the work (beyond possible contact porcelain. May be runny if a reducing will claim and reshape you.” with food). atmosphere is present for a long period. I feel I will remain in good shape. A

50 CERAMICS MONTHLY

he work I enjoy looking at tends to T be wood fired, loose, crusty, and seems to have followed a tradition of Japanese Zen philosophy. My work is tight, assembled from thrown and ex­ truded parts, and seems to follow a tra­ dition of American industry filtered through Walt Disney and Dr. Seuss. I use a small anagama kiln to fire these vessels in an attempt to achieve a realis­ tic patina of age, corrosion and rust. The effects that I am seeking from wood firing vary considerably from the norm. In fact, I frequently question my own motivation for placing these care­ ful constructions in front of a river of ash-carrying flame for 20 hours. In regard to pots created for the tea ceremony, there is an understanding that the scars on the pots and the marks of the flame are metaphors for the beauty of life. While I possess a small intellec­ tual knowledge of Zen, there is nothing in my background to allow me to inter­ nalize the perception of my life being “one meditation.” Instead of reveling in “Tea Pot #6,” 5 inches in height, stoneware, the metaphor of a life made beautiful wood fired to Cone 10 in an anagama, $225. by its scars, my genetic makeup and religious upbringing have given me a kind of guilty diligence that pushes me to both reject flaws and to take the most labor-intensive approach possible in my work. Wood firing for the purpose of achieving realism carries with it a large percentage of aesthetic rejection. I fear that there is some part of me that actu­ ally enjoys acting as the punitive god that rejects a piece because of its one fatal defect. I think of the imagery in my work as being found objects from memory, filtered through my artistic experience. I come by my love for assemblage natu­ rally. When I was six, my father made me a toy dump truck. He bent and riveted the tin for the box and cab, used the hydraulic off a wrecked convertible for the dump mechanism, included a spigot handle for the wheel on the func­ tional steering system, and rigged a bat­ tery-powered motor for both forward and reverse. This amazing feat of inge­ nuity carried with it no surprise for me. I learned early on that making what “Seat Belts Fastened?” 9¾ inches in height, you wanted from what you could find wood-fired stoneware, $300. was the norm.

52 CERAMICS MONTHLY Other important memories from my childhood are visits to my grandfather s farm in Grand Marais, Minnesota. These memories are ripe with the in­ toxicating earthy smell of the root cellar and moldering hay in the barn. Aging license plates covering holes in the walls served as theatrical backdrop for oil cans, harnesses, milk cans, watering cans and tractor parts. Behind the barn, the hulks of cars were slowly consumed by rust and vines, their seats sprouting springs and occasionally yielding up a Mercury dime or a buffalo nickel. The stove and the house were heated with wood. My grandfather, one hand lost to a logging saw, would lead the sapling grandkids to the woodpile, and with one giant arm and a hook, outsplit us two to one. The sweet smell of burn­ ing pine pitch was the constant back­ ground perfume of the place. I was the kind of child who, excited by the dis­ covery of bleached cow bones, would spend hours arranging them in intricate designs. There was always treasure to be found in the ruins. As an artist, I have learned that I make my best work when I am honest with myself. It is my intent to use the limitations of my birthright and the constrictions of working with vessels as the launch point for work that could not be made without those margins. I brush a variety of slips and oxide washes onto the pots while they are bone dry in order to mimic the aged and rusted objects I might have found in my grandfathers barn or tool shed. The marks of the flame and the accu­ mulation of ash highlight the connec­ tion points within the constructions. The intent is to create forms that fit so comfortably within their wood-fired skin that the flash and ash seem to dis­ appear into a kind of dirty realism. I suppose it is odd that, having been raised on Christian guilt, I do not feel any sense of transgression for creating semifunctional vessels. I am comfort­ able with the idea that the teapot can be “Michigan ’25 Tea,” 7½ inches in height, adapted as a sculptural form. If the in­ wood-fired stoneware, $300. tent was to create functional ware, then obviously I would need to work within that tradition, but my intent is to sound a chord of memory, tuned to the pitch of my experience.

December 1999 53 “Creamer,” 5 inches in height, stoneware, wood fired to Cone 10 in an anagama, $150, by Steve Hansen, Berrien Springs, Michigan.

The prehistoric bison in the cave at slabs with 6 Tile or Foundry Hill Cream tively frequent firing schedule allows Altimira are all the proof I need that clay as a mold release when making more feedback on clay bodies, slips and clay has been used as a sculptural mate­ impressions of found objects. the effects of different woods in a rela­ rial for every bit as long as it has been The work is fired in a 12-foot-long tively short amount of time. used as a functional material. I see no “minigama.” For fuel, I have a great I am the son of a carpenter. I know hierarchy in functional versus sculptural variety of hardwoods to choose from. how to build things. I am acquainted ceramics. The use of recognizable ob­ Although I usually fire with black lo­ with tools, pipes, mechanical parts and jects (bottle, teapot, bowl) is a simple cust and wild cherry, I will from time to tin. I have a four-year-old daughter who visual device that offers viewers a way to time buy a cord of apple wood from an has reminded me of my childhood love begin looking at my work. I trust them orchard that has been razed. It takes for Dr. Seuss. While I love pots that to move quickly from the initial recog­ between 18 and 24 hours for the kiln to display the “squidginess” of wet clay, nition of an object type, to seeing form, reach Cone 11 or 12 in front and Cone the work of my hands reveals my inter­ texture, color and gesture. I could have 10 in the back. nal bias for mind over body. My tradi­ used another construct, such as a horse, This kiln was built as practice for a tion, by genetic predisposition and by and avoided the idea of function alto­ large anagama, but I have been so the fickle fate of geography, is to con­ gether, but I did not have horses while I satisfied with the smaller version that struct pots that are about my American was growing up. I had oil cans, wrenches, plans for a larger one are on indefinite Midwestern experience. gears and old license plates. hold. It is located at Andrews Univer­ I work with two commercial stone­ sity, and I have found its small size ideal The author Steve Hansen is an associate ware bodies, and my slips are made for a teaching situation. We fire it every professor and chair of the Department of from stains mixed with a commercial four to six weeks, using about a cord Arty Art History and Design, at Andrews porcelain. I will often coat leather-hard and a half of wood per firing. This rela­ University in Berrien Springs, Michigan.

54 CERAMICS MONTHLY Janis Mars Wunderlich by Anderson Turner

he entrance to the home and studio ably, few pieces are broken—a fact that “I also believe in craftsmanship. It T of Ohio artist Janis Mars Wun­ is even more impressive when one has has been sort of a defense mechanism derlich contains many hints about its the opportunity to pick up one of the for me. People can dislike my sculp­ occupants. Childrens toys and sculp­ pieces and discover how light it is. “I tures, but they can like how well they ture greet the visitor on the front porch. used to slip cast everything,” Janis says. are made.” It is soon obvious that Janis carves out “If you look at the work I did in college, Janis grew up the second of ten chil­ time to work on her ceramic sculpture the walls were incredibly thin because I dren in a tiny town just outside of Ak­ while caring for her three ac­ ron, Ohio, so it is not surpris­ tive children. ing that she knows how to Rather than a detraction balance an active home life. from her work, the children “The joy far outweighs any of are an inspiration, and keep the stresses that I face,” she Janis “from trying to rush explains, while holding her in­ too fast to build up a figure. fant son Izak on her lap. Certainly, a major theme in “I find that keeping a my art is the challenge of sketchbook is a very impor­ balancing children and fam­ tant part of art making for ily and art making...even in me. With children, I am con­ the making process I need stantly coming and going. to find the balance. I use an With a little sketchbook X-acto knife, a dry point packed away in the diaper needle with a carbide tip (a bag (which goes wherever we printmaking tool) and a go), I am able to jot down cheap kitchen paring knife ideas and images as they oc­ to make my figures. I also cur. I don’t need to worry have several press molds of about losing that ‘inspiration buttons, fabric trim, etc., when I need to take care of which I use to make details. my children. I can simply re­ “After I finish building fer to my sketchbook after re­ and adding texture, I add the turning to the studio.” first layer of color, using slips A graduate of Brigham and underglazes. At this Young University, then Ohio point, the piece is usually State University, Janis credits leather hard. I optimally like her introduction to color to to get the first layer of color Aurore Chabot, head of the on and get it into the kiln ceramics department at the while it is leather hard and University of Arizona. “Aurore strong. (It is not a good mix “Balancing Her Children,” 21 inches in height, handbuilt, came to my school [Brigham to have fragile, bone-dry brushed with underglazes, slips and glaze, multifired. Young] fairly early on in my ware in my house with three time there, and did a work­ bouncy children nearby!) Also, until re­ could control the clay and I had the shop where she used all sorts of brightly cently I had to carry my sculptures out­ facilities to make molds, etc. After com­ colored underglazes. Before that, I side to the garage to be fired, and if they pleting my M.F.A. at Ohio State Uni­ thought daywork had to be all brown.” were bone dry, they tended to crack; I versity, I moved to a small house and Her current work is certainly not all would frequently have arms and legs had to go back to handbuilding. One of brown. “The first layer of colors is the breaking off. If I carry the sculpture to the reasons I originally made my sculp­ pinks, light yellows, lighter blues and the kiln while it is leather hard, I virtu­ tures with such thin walls was because I greens. I add darker colors with each ally avoid any breakage.” didn’t have the money to buy a lot of firing. I also reduce the temperature Sculptures line the walls of every clay, and each bag I bought had to be with each firing. The bisque will be at room in Wunderlich’s house. Remark­ stretched as far as I could make it go. Cone 3, then I’ll do firings at Cone 01,

December 1999 55 “Teething,” 17½ inches in height, handbuilt stoneware, with layered underglazes, slips, Gerstley borate wash, oxides and clear overglaze, multifired.

56 CERAMICS MONTHLY 02 and 04. For brighter colors, I will use commercial underglazes. For other, more mottled colors, I use a simple slip: Simple Slip Base Feldspar...... 20% Ball Clay...... 10 Kaolin...... 40 Flint...... 30 100% “This is generally made with assorted Mason stains and oxides mixed in,” Wunderlich explains. “I am generous when I add stains (20-30% at least) to the slip mixture because I am a sucker for saturated color. “I enjoy simple glazes. I don’t have the time or the facilities to get compli­ cated with my glazes. For example, I use a Gerstley borate wash that works great. Often, I use an oxide wash on top of that. I will apply the Gerstley wash in dots or lines over the first fired-on layer of underglaze. It provides a bit of shine/ resist after it is fired, so that when I apply the darker colors and oxides, the areas where I have applied Gerstley bo­ rate remain light and pastel, while the other parts of the clay soak up the ox­ ides and become dark and mottled. I can also use a watered-down clear over­ glaze for similar effects. “The last few firings are for the darker colors (dark stains and iron oxides); the final firings include a layer of thin clear overglaze and some Cone 04 commer­ cial shiny red glaze details. On average, I fire each figure about five times until the surface is nicely layered.” This process of firing each piece many times helps to give an edge to her work. “Family in Every Pocket,” 19½ inches in height, handbuilt stoneware, with underglazes, slips, oxides, Gerstley borate wash and clear glaze, “Everything in my life is totally on edge. by Janis Mars Wunderlich, Upper Arlington, Ohio. I’m expressing that and I’m also ex­ pressing the duality of being a mother and artist, as well as a wife and an artist. am working in my studio and not being The concise method in which Janis That is why I use two heads on a lot of with my children. Mars Wunderlich relates her emotions my work. I like the two heads and the “Conversely, there are times when about her life is carried over to her sculp­ idea of two beings in one body, and the my studio is an escape from the rigors ture. In a day and age where so many tensions between them. It’s sort of like of being a parent. Many nights, after voices are asking to be heard all at once, the color pink versus black or being the kids have gone to sleep, I make clarity, not volume, may be pointing clean versus dirty, which are also ele­ patterns in the clothing of one of my the way. ments I work with. pieces. I especially enjoy the little dots. “My sculpture is deeply personal. I’ll sit and make dots for two hours and The author Formerly an assistant editor Often, I’m relating my joy about being the tensions that the day has brought for Ceramics Monthly, Anderson Turner a mother and how it bothers me when I will all fade away.” currently maintains a studio in Kent> Ohio.

December 1999 Linda Haworth and the Hillsboro Station A Community Project by Karl Samson

eople gather on the platform al­ most daily, wandering beside the plight-rail tracks, gazing at the long blue wall and matching bench. Moth­ ers are dragged along the station plat­ form by excited children who touch every interesting tile within reach. Teen­ age boys point proudly to tiles they recognize as their own or perhaps a friends. Grandparents pose for photos beside grandchildren. No one seems to even care that the train isn’t expected for at least three months. Long before the trains began run­ ning, this light-rail station had become a point of pride for the residents of a primarily Hispanic neighborhood in the Portland satellite community of Hills­ boro, Oregon. Located only 12 blocks from downtown Hillsboro, the station is almost at the western end of the Port­ land metropolitan area’s Westside MAX line, an 18-mile stretch that took more than 7 years to construct. It has been the largest public works project in Oregon’s history; nearly $ 1 billion was spent on this massive public transporta­ tion project, and of that money $2 mil­ lion went to public art. More than 20 artists contributed to the design of the Westside MAX line’s many stations. The largest art installation was at Hillsboro, where a 140-foot-long tile wall and adjacent 24-foot-long bench were created with help from the com­ munity. While ceramics artist Linda Haworth created roughly 40% of the project’s tiles herself, the rest were made by over 650 Hillsboro residents. Through public appearances, often Mosaic and tile bench at the Hillsboro MAX station. at area schools, Haworth put the word out that her studio was open to the public and that everyone was welcome to participate in the project. She pro­ vided a blank clay slab along with a bit of basic instruction, but after that the participants were on their own and could

CERAMICS MONTHLY Having learned about the transfor­ mation of Tucson’s riverside from In­ dian village to picnic grounds to dump site, Haworth grew fascinated with the idea of traces left behind. A theme con­ juring up aspects of urban archaeology began to develop in her art, as in the series “Fossils & Shards.” These slab- built wall murals and vases incorpo­ rated haunting images of tools, bones and human faces, which together con­ jured up the many layers of history that can exist on a single site. Haworth notes that what is left be­ hind to be found by archaeologists is often simply everyday items and that, in the future, archaeologists will be un­ covering some pretty silly stuff from our dump sites. However, such objects often have the power to trigger memo­ ries way beyond the mere image they present. One man told her about how “an image of an old-style Coke bottle Detail of tilework installed on the wall opposite the bench. brought back to him the smells of the neighborhood grocery store he used to go to as a kid.” In the Hillsboro light-rail station express their creativity in any way they As a matrix in which to set the project, Haworth incorporated images wished. In the end, the community community’s tiles, Haworth produced of everything from muffin tins to paint produced a surprisingly wide range of tiles of her own. These included solid brushes. A local barber, who had long tiles. “There’s some really silly stuff and tiles to space out the community tiles, been a Hillsboro institution, loaned her some very serious memorials to people,” border tiles, and dozens of tiles made his first set of tools to cast. Another says Haworth. from plaster molds of common house­ local woman brought in her baby’s Although roughly 80% of the tiles hold tools and utensils. While these tiles bottle, and a boy who had made a tile made by members of the community of familiar objects might seem to be just for the wall asked Haworth to make an were incorporated into the wall or bench humorous additions to the community impression of his favorite hammer. These at the site, there were the inevitable tile wall, they actually refer to her earli­ tiles of everyday objects fleshed out the warped or cracked tiles that didn’t make est public art installation. community-made tiles and gave the en­ it into the final composition. While ce­ Haworth took on her first public art tire project a cohesive theme: “Sweet ramics artists learn to live with the in­ commission when she was living and Home and the Garden of Life.” evitability of unusable pieces, Haworth working in downtown Tucson, Arizona. Haworth’s biggest concern in design­ found it a bit difficult to explain such a As she watched freeways bulldozing ing the installation was that the tiles concept to a little girl who couldn’t find through the historic Hispanic neigh­ would be able to withstand the ele­ her tile, even though those of her par­ borhoods of downtown Tucson, she be­ ments. “With theTri-Met project, tech­ ents and brother were on the wall. came attuned to both the area’s history nical details were really important. The Sometimes, however, people were and to the demands of modern trans­ piece has to withstand time, weather unable to find the tile they had made portation. Prior to the arrival of Span­ and public use, so it has to meet some for the project simply because they could ish settlers, there had been a Hohokam standards as far as this environment and no longer identify their own work. Indian village along the river, and in the the rain. I had to have a surface that “Some people didn’t recognize their tiles 19th century, the riverfront had been would not absorb a lot of moisture that because of the time lag,” explains where members of the community had could freeze suddenly on a cold night Haworth. “They had last seen their tile gathered on Sunday afternoons for pic­ and shatter the whole clay structure.” for an hour or so, two years before.” In nics under the trees. However, by the To this end, she tested various clay these instances, she had to lead people late 20th century, much of the riverfront bodies by taking dry, glazed tiles and to their tiles to prove to them that their had been paved over and turned into a soaking them in water for 24 hours. work really had made it up on the wall. dump site. Before and after the immersion in wa­

December 1999 59 ter, she weighed the tile, then de­ he used Haworth’s bench for a termined how much water the launching platform. For the test, tile had absorbed. Porous clays Haworth had to send a mock-up that absorb a lot of water are only of the mosaic to a lab to have its appropriate for use indoors or in coefficient of friction determined. warm climates where there is no Though artists like to think danger of frost. For the Pacific that people will appreciate and Northwest, where winters are cold respect their art, in this age of and rainy, a high-fired stoneware graffiti tagging, it was also neces­ is most appropriate. Haworth sary to plan for the inevitable. “I eventually settled on a white Cone found that there’s a whole indus­ 10 stoneware body that was de­ try of anti-graffiti products,” says veloped by a local potter and is Haworth. Unfortunately, many of commercially available through a them don’t live up to claims made local ceramics supplier. by sales representatives, while oth­ The Northwests weather also ers yellow or turn to white pow­ played a part in Haworths choice der within a few years. She tested of glaze for the tiles. “I used a various products by coating gloss glaze to bounce sunlight, be­ sample tiles, spraying them with cause people celebrate the sun a variety of the worst, cheapest here. I also wanted the colors of and most common spray paints, the glaze to be vibrant.” then letting the tiles sit for a year. The most time-consuming Cutting ¾-inch mosaic tiles. Maintenance costs were an­ part of the project was the top of other important factor in deter­ the bench that stretches along the mining which sealant to use. “I platform across the tracks from feel as an artist that I have to do the tile wall. While the sides of the 24- manageability on site when the bench my best to make sure that it’s going to foot-long bench utilize both commu- top was ready to be laid. have the lowest maintenance costs to nity-made tiles and those made by When the mosaic image was finally the community taxpayers, because they Haworth, the upper surface is composed laid in place, section by section, each end up paying the maintenance. One of a mosaic of bald eagles in flight. The edge had to be manipulated to fit the bus station spent $10,000 a year for a mosaic was made from a Cone 5 col­ jagged edge of the next section. Al­ crew to paint over graffiti.” ored porcelain, which, because it is vit­ though far easier than trying to lay the With tile and a good protective seal­ reous at Cone 5, passed her absorption tiny mosaic pieces on site, this tech­ ant, such costs can be reduced consider­ test. To get the various shades of blue nique was still time-consuming. ably. “What you put on top of your job she wanted, she added commercial stains Public art projects bring with them a after you finish it is a really important to dry porcelain, which she mixed us­ host of complications that aren’t likely factor,” says Haworth; she eventually ing a mortar mixer attachment on an to be familiar to artists working in the settled on Permasill, which was not only electric drill. When the clay was the realm of decorative art or functional durable but had the added ecologically right consistency for use, she rolled out household items. For Haworth’s first sound bonus of being easily cleaned ¾-inch-thick slabs, cut the slabs into public art project, her proposal “had to with nothing more than pressurized ¾-inch-wide strips, then cut the strips be reviewed by a risk manager, who water and baking soda. into ¾-inch cubes. took one look at the corners of the wall Haworth has also found that simple Haworth had hired a graphic artist I had designed and said, ‘Lawsuit, law­ lemon juice is a safe and environmen­ to create the eagle image for the top of suit.’ Public design is always for worst- tally friendly cleaner for her tile installa­ the bench, and once all the mosaic pieces case scenarios.” tions. She notes that more and more had been fired, she and several volun­ For the MAX station, she had “to citrus-based cleaning products are show­ teers began the daunting task of laying have the bench top professionally tested ing up on the market. 24 feet of ¾-inch tiles over top of the for its coefficient of friction. It had to Learning how to deal with contrac­ image, which had been drawn on pa­ have a coefficient of friction that met tors is another aspect of public art de­ per. When the mosaic pieces were in public standards.” This was so that, say, sign that isn’t likely to be familiar to place, clear Contact paper was pressed a drunken reveler on the way home most ceramics artists. Haworth learned down onto the top of the mosaic; as from a Portland Trail Blazers basketball the hard way that when working with a each section was completed, it was cut game on a rainy night wouldn’t slip and contractor, it is extremely important away from the paper with the eagle im­ fall on his head while demonstrating to what you put in your bid specifications. age on it. This sectioning was done for friends how high he could jump when “I didn’t put in my specifications that

60 CERAMICS MONTHLY when you cut a tile, you have to have a design. While Haworth has been fairly signing for public spaces, Haworth sees clean edge,” she recalls. Consequently, good at estimating her costs, unexpected a bright future for ceramics artists in workers initially were not grinding down changes always seem to crop up. “Some­ the realm of public art. Because tile the edges of tiles they had cut. As an times, people want to throw in a lot of holds its color better than paint, it is artist, Haworth had assumed that any­ extras, and things change during the well suited to public art works, a benefit one would understand that cut tiles had year. Things come up that weren’t that has not gone unnoticed by plan­ to have clean, finished edges. However, planned and suddenly you’re redesign­ ners across the country. Moreover, “they contractors don’t necessarily see things ing for a whole new situation. [public-works administrators] are start­ the way an artist does. “An engineer told me that it’s like a ing to look more at tile installations Working with the contractor on a triangle. There’s scope, budget and time. because they’re easier to keep clean and public art installation can sometimes be If any one of those things changes, then vandal-proof.” the most frustrating part of the project. all the others have to change. You can’t While this isn’t exactly the sort of “When you’re doing public art,” ex­ drag a project out for a year and not reasoning artists would like to hear for plains Haworth, “it goes out to public have everything else change equally.” why their art is in demand, it at least bid. You may get a contractor who is Because of the nature of art, it’s easy means that new avenues are opening up excited about the project, or you might to forget that making a major change— for ceramics artists. For Haworth, the get one who just wants to get in and get no matter how much it might improve benefits far outweigh the difficulties of out as fast and as cheap as possible.” the end result—will take time, and cost dealing with the public-works bureau­ Just as the contracting goes out to the artist money. “You get so involved cracy. “The reason I got into public art public bid, so too does the artwork it­ in it emotionally when you really love was because it creates community, and self, and an artist needs to have a very the work that you forget that the hours because you’re creating a space that clear picture of the time and out-of- add up,” says Haworth. people will value in their daily lives for pocket expenses required to produce a Despite the unusual demands of de­ 50 to 100 years.” ▲

Assembling mosaic tiles prior to transfer to the installation site.

December 1999 61 Susan Karrasch by Mel Jacobson

bjects combining perfection and joy is an appropriate de­ O scription of the porcelain work of Minnesota ceramist Susan Karrasch. Attention to detail in the throwing and hand construction of her plates, boxes with tight-fitting lids, and butterfly sculptures is evident. A Minneapolis-born artist who moved to Los Angeles in the turbulent sixties, Karrasch attended Chouinard Art Institute (now California Institute of the Arts), graduating in 1966. She stud­ ied advertising design, but settled into a ceramics major with Ralph Bacerra. A move to Reno, Nevada, in 1968, marriage, a family and finally an asso­ ciation with the distinguished calligra­ pher and book artist Carol Palleson Hicks influenced her current ceramic work. Always the consummate crafts- person, Karrasch fulfills her need for careful detail in the multiple combina­ Plate, 10 inches in diameter, wheel-thrown porcelain with Cone 10 glaze tions of well-designed construction, cal­ overall and calligraphy in Cone 018 overglaze enamels. ligraphy and glaze.

Plate, 10 inches in diameter, Group of boxes, to 7 inches in height, porcelain with overglaze enamels. slab-built and carved porcelain.

62 CERAMICS MONTHLY Recipes

Porcelain Body (Cone 10-11) Kona F-4 Feldspar ...... 25 % Edgar Plastic Kaolin...... 25 Kentucky Ball Clay...... 25 Flint...... 25 100% This standard porcelain body is plas­ tic when wet, fires white (translucent where thin), resonates at Cone 10-11.

3ID Transmutation Glaze (Cone 10-11) Talc...... 3.42% Whiting...... 12.82 Zinc Oxide...... 4.27 Kona F-4 Feldspar ...... 45.30 Edgar Plastic Kaolin...... 5.13 Flint...... 29.06 Porcelain butterfly, 3 inches in height, wheel thrown and carved, with sterling silver 100.00% legs and antennae, by Susan Karrasch, Minnetrista, Minnesota. Fully transparent with a wet look; does not craze on the preceding por­ celain body. “My work needs to reflect the in­ glaze enamels to Cone 018. The legs volvement I had making the pieces. They and antennae are sterling silver—taking Kurt Wilds Clear are about the abundance and revival several classes in silversmithing allowed (Cone 10-11) found in nature,” Karrasch explains, and Karrasch to work out a method of at­ Dolomite...... 2.44 are “produced with the highest stan­ taching silver to porcelain. Whiting...... 15.85 dard of craftsmanship and technology Being a self-starter and a quiet, yet Kona F-4 Feldspar ...... 37.80 that I can attain.” curious learner, Susan Karrasch exem­ Edgar Plastic Kaolin...... 7.32 The incised images are accomplished plifies the effort of highly skilled arti­ Grolleg Kaolin...... 6.10 with a tiny, but very sharp, metal loop sans that have influenced us throughout Flint...... 30.49 tool and a calligrapher s stone burnisher. our ceramics history. 100.00% Oxides in combination with clear glazes provide subtle color enhancement. The author Potter!educator Mel Jacobson Fully transparent; does not craze. Karrasch uses both glazes, as each All her work is fired to Cone 10 in a resides in Minnetonka, Minnesota; his auto­ gives a slightly different reaction to large electric kiln. Some pieces, such as biography (

December 1999 63 David DonTigny by Louana M. Lackey

David DonTigny with two large slip-decorated earthenware plates.

I avid DonTigny has spent his life He wanted this new studio to “have all the things you had at the university D___surrounded by clay and clay three basic things—an electric kiln for when you were teaching there, where people, but these days, instead of driv­ low-fire redware; raku-firing capability; everything was at your fingertips. You ing to the ceramics department at Penn and a salt kiln built from softbrick so have to start redefining what it is you State University, he usually walks just a that it will fire a little faster, and be less want to do in the space, in the time you few yards uphill to work alone in his expensive than a hardbrick kiln. Those have left in your life. To set up a studio studio. Two years before he retired from are the three things I’d like to get in­ where you can do everything is almost teaching, the DonTignys bought a house volved in.” impossible. You have to decide what in the woods on the side of a mountain. DonTigny found the opportunity things interest you now. Although the house needed a lot of very exciting to move out to the coun­ “At one time, I was very excited by work, it had a 1600-square-foot, four- try and set up his own studio, but very large-scale pieces. I’m still excited about car garage suitable for studio space. energy draining, “because you think of them, but its not realistic for me to do

64 CERAMICS MONTHLY large-scale pieces. I’m not as strong as I work. I like the idea of trying to put tween the clay and the canvas while used to be. The facility would have to these two things together somehow— rolling out the clay. The velour “hugs take on a different configuration, and the strength and the sensitivity. Whether the clay and keeps it from slipping; it I’m not willing to do that.” I can do it or not I don’t know, but I also gives it a soft surface without the He has a slab roller and a large elec­ think the journey would be exciting, texture of the canvas.” tric kiln in the main room of the studio. and I think that’s probably my major The clay is passed under the roller A smaller room at the back is used as a focus right now.” several times until it is about ¾ inch glaze preparation area, and a naturally With only the electric kiln installed thick. Once it has set up a bit, he cuts a damp area in the basement is an excel­ as yet, DonTigny has been working on circle with a needle tool and a potter’s lent place to store work in progress. a series of large, redware plates deco­ compass. DonTigny first saw this inter­ There is also a wood stove for heat in rated with free-flowing slip lines, very esting tool at the Mercer Museum in the winter. similar in style to those made by the Doylestown, Pennsylvania, and made His wheel and handbuilding areas Pennsylvania Dutch. His plates, how­ his own from thin plywood—a simple are next to the front windows, both for ever, are much larger—20 to 25 inches, disk with an arm attached. There are better work light and for the changing rather than the 7 to 9 inches—and are tiny holes at 1-inch intervals on the arm view. He can see across the valley in the decorated with a slip colored with a for a needle tool. winter; in the summer he is surrounded titanium yellow stain (6% Mason Color DonTigny cuts two circles: the first by forest. Titanium Yellow Stain No. 6485) un­ is the diameter of the plate he is mak­ Two sharply contrasting ceramic tra­ der a Gerstley borate clear glaze, rather ing; the second is a half inch or an inch ditions have strongly influenced Don­ than white slip under lead glaze. beyond the first. This extra clay is left in Tigny s work. “Over the years, I’ve gotten His tools and techniques are differ­ place while the plate is firming up to very interested in traditional ceramics. I ent as well. Instead of a rolling pin from keep the rim from becoming too dry. like the strength of Early American ware the kitchen, he uses a slab roller to flat­ He then uses a ceramic slip trailer and I like the sensitivity of Oriental ten the clay. He also uses velour be­ (copied from a historical model shown

DonTigny's new studio in the woods: the wheel and handbuilding areas are near the windows for better work light and the changing view.

December 1999 65 in a Philadelphia Museum of Art publi­ cation) to apply free-form lines across the surface. He has made several of these trailers—with one, two or three spouts of varying sizes. Once the slip has dried somewhat, the decorated slab circle is inverted onto a shallow hump mold. When firm, it is inverted again into a ceramic retention ring. Then, the plates are fired, still in their rings, to Cone 04. Finally, they are glazed on the decorated side and fired again, still in their rings. Working alone in the quiet of his own studio is a new experience for DonTigny He and Jim Stephenson, his fellow faculty member and classmate in graduate school, did all their work at school. “It just seemed the natural thing to do.” It seemed natural because Rudy Using the potter’s compass. Ceramic slip trailers.

Using a three-spouted ceramic slip trailer; note extra ring of clay around rim to retard drying

66 CERAMICS MONTHLY Installation of earthenware plates, to 21 inches in diameter, decorated with trailed slips, clear glazed, low fired.

Autio, their teacher, had done his own DonTigny especially wanted the stu­ conferences were held. Everyone had work at school as well. dents to be aware of developments on the opportunity to meet other artists DonTigny had studied with Autio, the West Coast. “Alfred was the greatest with similar interests, see their work, Henry Takemoto and Jim Leedy at the influence in the East and there wasn’t a and exchange ideas. Students could see University of Montana, then went to lot of West Coast influence here.” He the work of students from other schools. Penn State in the fall of 1964, straight gave a great deal of thought to the mat­ It is impossible to calculate how many from graduate school. He remembers ter, and finally decided on organizing a of these students later became teachers, graduate school as a fun, exciting pe­ small conference with two artists from more impossible to measure the influ­ riod. “It was a small school, but it was the West (Rudy Autio and Peter ence of “SuperMud.” Each year, more active, and the energy level was just Voulkos) and two from the East (Don people attended the event, and more wonderful. Rudy was working on a large Reitz and Robert Turner). Later known preparation was needed. Ron Gallas had piece for a church, and to see him put as ’’SuperMud,” the conference was held joined the ceramics faculty in 1974 and things together, it was like there was no a dozen times between 1967 and 1979.provided much needed and appreciated other way. Rudy was such a great teacher. The list of ceramics artists who appeared help and input; the students helped; Peter Voulkos would come and demon­ at “SuperMuds” now reads like a Who's and townspeople threw open their strate, or we would all go down to Hel­ Who of clay, but many of these artists homes to visiting students. The confer­ ena to see him demonstrate at St. were far less well known when they ence was a victim of its own success. By Helens, or to the Archie Bray to pick appeared as guests on SuperMud’s stage. 1979, the year of the last “SuperMud,” up materials, or to watch Ken Ferguson.” In addition to ceramics artists, pres­ the 2120 registrants had put such a When DonTigny went to Penn State tigious guests from related fields were strain on the ceramics department and to start a ceramics department, he mod­ also invited to participate, such as other campus facilities, not to mention eled his teaching style after his own Frederick R. Matson, an archaeological the conference sponsors, that the popu­ experience. He wanted to expose his ceramics specialist; Joan Mondale, a pot­ lar event was never repeated. students to other ideas and ways of work­ ter and wife of the then U.S. Vice Presi­ Only the stories are repeated. Cur­ ing, just as he had been. He thought it dent; Susan Peterson, author of rent professors, who were once among “terribly important” for them to see biographies on both Shoji Hamada and the students who had attended, tell their other people working and other people’s Maria Martinez; and Rose Slivka, then students about the now legendary work—people using a variety of mate­ editor of Craft Horizons magazine. “SuperMud.” They tell how they stayed rials and approaches to make a variety Between 8000 and 9000 people came up all night to watch their first wood of objects. to the campus over the 12 years that the firing, how they gazed wide-eyed at Jun

December 1999 67 Kaneko covering a bicycle with clay, teachers have nothing but good to say how they listened to Ken Ferguson start about him. Jim Leedy once observed Recipes a demonstration by asking: “So you want that DonTigny’s “earthy approach to to be a potter? Live out in the woods?” life, art and teaching is a cover-up for a DonTigny Low-Fire Redware Body DonTigny, himself, told his later stu­ deeply sincere, honest and giving per­ (Cone 04) son, whose intelligence has influenced dents what they had missed. He has Cedar Heights Redart...... 72.73% always liked a good story and can tell people near and far.” Fireclay...... 18.18 them with the best. He may not, how­ Rudy Autio, in his presentation of Ball Clay...... 9.09 ever, realize that there are almost as many an honorary membership to DonTigny 100.00% stories told about him as there are about at the NCECA [National Council on “SuperMud.” For example, DonTigny Education for the Ceramic Arts] con­ Add 0.5% to 1% barium carbonate to and Stephenson were eating with three ference in Minneapolis four years ago, avoid scumming; start with the lesser amount. of their students and a visiting artist, cited his efforts to help students “un­ when the owner came over to tell derstand that ceramic art embraces many Raku Body DonTigny how wonderful it was to see sides, not only the recognition of a sound Ball Clay...... 1 part a father out with his five grown sons. aesthetic based on education in the fine Fireclay...... 1 Sand...... 1 The “son” who told this story says he is arts, but the practical side as well.” It still waiting for his trust fund. was Autio’s belief “that ‘SuperMud’ in 3 parts If they tell stories about him, Don­ its time was the most social and dis­ Clear Glaze Tigny tells stories about his students, seminating event in the history of the (Cone 04) about what they did in class, what they modern clay movement.” Gerstley Borate...... 55% did outside of class, and where they are Edgar Plastic Kaolin...... 30 now. DonTigny misses his students; he The author A frequent contributor to Flint...... 15 “never had one he didn’t like.” CM, Louana M. Lackey is a research 100% Just as DonTigny has nothing but scholar in ceramics at the Maryland Insti­ Apply thinly. good to say about his students, his own tute, College of Art, in Baltimore.

Installation of plates, to 21 inches in diameter, earthenware with brushed or trailed slip by David DonTigny, Reedsville, Pennsylvania.

68 CERAMICS MONTHLY “What’s the most cru­ to the community. Pa­ cial element in running CUSTOMERS tronize it.’” a business?” Professor Publicity can take Sam asks a group of five many forms, including ceramics students. How to Get Them and calendar listings, press Four eager hands releases, media kits, me­ shoot into the air. dia interviews (print, Capitalization... Loca­ How to Keep Them television, radio, cable), tion.. .Equipment. . .Re­ nonprofit sponsorship ferrals... by Constance Hallinan Lagan (youth sports team, golf “My dear students, tournament, dinner- let’s get basic. Think a dance), trade show ex­ little harder,” presses Professor Sam. • It enables you to ride the coattails hibitions, and much more. The list is The fifth hand tentatively rises. of those who have gone before you, limited only by your imagination. “There’s nothing more basic than cus­ who have established themselves in a To compile a media contact list, pe­ tomers.” positive light in their own circles of ruse one or more of the following peri­ “Absolutely. Positively. No doubt influence (when someone whose opin­ odical directories that can be found in about it,” thunders Professor Sam. “Now ion you value tells you to try a product, the reference section of your local li­ we’re on the fast track!” you do it, just because that person rec­ brary and on the Internet: Gales Direc­ The essential ingredient to running ommended it). tory; Ulrich's International Periodical a prosperous business is attracting cus­ • It allows you to accomplish more Directory; The Standard Periodical Di­ tomers. It requires networking, publi­ in less time (your message reaches more rectory; U.S. Publicity Directory; Stan­ cizing, advertising, promotional writing individuals, your promotional materi­ dard Rates & Data Service; Bacons and public speaking. als travel farther, more people frequent Media Directory; Working Press of the your studio, visit your website and or­ Nation; Editor & Publisher Interna­ Networking der your catalog). tional Yearbook. “So, Professor Sam, tell me. Just what • It empowers you to enjoy the in­ When attempting to attract media is networking?” trinsic reward of knowing you have attention, always abide by the Three P’s “It’s introducing yourself to others helped others (the first step in effective of Publicity: in a way that indicates you are willing networking is to reach out and assist 1. Be polite (publicity is given to and anxious to help them reach their others with full confidence that “what you free of charge; demonstrate your goals and that you hope they are like­ goes around, comes around”). gratitude with graciousness). wise interested in assisting you to reach Be sure to apply the “3 Feet Rule” 2. Be patient (again, publicity is not your goals.” every time you are in public: Anyone something for which you pay; there­ When you create an environment in within 3 feet of you is a potential candi­ fore, there is never a guarantee as to if or which others know you are interested date for conversation and networking. when you will be publicized). in helping them, others want to help If you ever doubt the effectiveness of 3. Be persistent (politely and pa­ you. Networking is the best way to ac­ networking, consider this old proverb: tiently continue to knock on the media’s cumulate referrals. When you approach If you want to be prosperous for a year, door; the only difference between a a potential client by saying, “Your friend, grow grain. If you want to be prosper­ publicity-rich and publicity-poor busi­ Mary Ames, told me to call,” doors ous for ten years, grow trees. If you ness owner is that the former never open, literally. want to be prosperous for a lifetime, stopped knocking). “Networking can never fail. It’s so grow people. What makes doing publicity so ex­ powerful because you just keep creating citing is that you never know what to more power sources,” advises Wayne Publicizing expect. You may send hundreds of show Dyer, author of Staying on the Path. “Tell me, Prof, isn’t publicity just a announcements and dozens of press re­ There are many benefits to incorpo­ lot of fluff and hot air, little more than leases, but have no takers. Then a simple rating networking into your marketing tooting your own horn?” calendar listing results in a talk show plan, including: “Oh, my foolish friend. No, no, no! appearance. You will maintain your san­ • It provides you with the ability to Publicity puts someone else’s stamp of ity if you realize that it is unlikely any reach more potential clients, through approval’ on your business. By printing one publicity effort will reap big re­ an ever-expanding number of network your press release, airing an interview wards. Typically, it is the cumulative contacts than you ever could on your with you or writing an endorsement for effect that brings the media to you. own (others will tell their relatives, you, the media or corporate sponsors When they see materials from the same friends, co-workers, associates about you announce to the world, ‘This business person over and over, that person be­ and your business). offers a valuable product and/or service comes “important.”

December 1999 69 If you doubt the need to make pub­ Writing my getting up in front of a group and licity part of your marketing campaign, “Why should I be hitting a keyboard yapping possibly help my business?” reflect first on this comment by show­ when what I really want to do is throw “The tongue is just as mighty as the man P. T. Barnum: “Without publicity, a pot? Can you answer me that, Prof?” pen. What the written word does, the a terrible thing happens: Nothing.” “The pen is indeed mighty, espe­ spoken word does also, only faster!” cially when it comes to impressing the Speaking, like writing, adds credibil­ Advertising wholesale trade.” ity and recognition to a businesspersons “Get real, Prof. No one believes ads! Promotional writing adds credibility tool chest. Just as nails and bolts secure Why should I spend good money on to one’s business. Articles and columns a building’s framework, credibility and stuff nobody looks at anyway?” that carry your byline and bio blurb at recognition help secure your position in “Tell me, wise student, how did you the end of the piece help build your the marketplace. find your off-campus apartment?” reputation and foster word-of-mouth As a ceramist, you possess knowl­ “In the ‘Rooms to Rent’ column in publicity. Readers become curious about edge and skills that are second-nature the student newspaper. Oh, I get it.” this ceramist whose name seems to be to you. However, to others, they are When the advertisement hits the tar­ popping up everywhere. quite unique. Whether you address the get, that is, when you position your And that is just the beginning. Once general public or specific-interest focus message in front of those most likely to your article or column appears, mail groups, you have much to offer and to buy your product, advertising is a very clippings to radio and television pro­ share, much that stamps you as an ex­ effective way to produce sales. Unfortu­ grams (network and cable), offering to pert in your field. nately, too many ceramists do not know appear as a guest. Through television “The result of your presentations will who their market is and, therefore, waste appearances, your face, in addition to be inbound requests for additional in­ many dollars trying to influence the your name, becomes well recognized, formation. If you reflect on how hard it “wrong” people. all the while building your reputation is to get an appointment with a pros­ To advertise your work effectively, as a skilled craftsperson and adroit pect, a healthy supplement of inbound you must choose those media vehicles businessperson. requests can be very refreshing,” says that are read by your potential cus­ Also send clips, along with your cata­ Paul Goldner, author of Red-Hot Cold tomers. There are hundreds, even log and order form, to past customers, Call Selling: Prospecting Techniques That thousands, of publications from reminding them you are still in busi­ Pay Off which to choose. To narrow down the ness. Be sure to send clips to potential Meeting planners and program co­ field requires research. Start with your customers, too, telling them when they ordinators are constantly searching for library’s magazine/newspaper collec­ can visit your studio or how to log on to knowledgeable people to address their tion and reference directories. Your your website. groups. These groups include corpora­ research goal is to obtain a clear un­ Use your creative abilities to market tions, nonprofit organizations, libraries, derstanding of who reads which pub­ your work, and ideas for promotional colleges, professional and trade associa­ lications and whether those readers writing possibilities will flow. Just keep tions, parents’ groups, hobby groups, are likely to buy your product. in mind the “Four Basic Rules of Good adult education groups, and so on. Some clues that indicate a particular Promotional Writing”: To gain some public-speaking expe­ publication is right include: • Write the way you speak. rience in a supportive environment be­ • Your competition advertises in it. • Get to the point. fore booking your first engagement, • The same companies consistently • Be clear and concise. contact Toastmasters International advertise in each issue. • Be positive. (2200 North Grand Avenue, Box • Many companies have been adver­ To find potential outlets for your 10400, Santa Ana, California 92711) tising in it for a year or longer. writing, browse through Writers Mar­ for information on the chapter in your When writing your advertising copy, ket, which is published and updated community. This group offers a train­ be sure to follow the “AIDA Principle.” annually by Writers Digest Books. It in­ ing ground for individuals who want to Your advertisement must get the reader’s cludes information on thousands of learn how to speak publicly in order to Attention, spark Interest, create De­ magazines, newspapers and publishers. springboard themselves professionally. mand, and spur Action. You can also contact the Interna­ Advertising consultant Fred E. Hahn tional Association of Business Commu­ Keeping Customers projects that advertising is “10% inspi­ nicators (1 Hallidie Plaza, Suite 600, The key element in business growth ration, 90% preparation.” Do your San Francisco, California 94102) for is keeping customers. Repeat sales are homework, and you will reap the re­ information on promotional writing. less costly to generate than initial sales, ward of a job well done. Take shortcuts and every small-business owner is de­ and rely on guesswork to make your Speaking pendent upon customers returning over advertising decisions, and you will har­ “Writing is bad enough. Now you and over again. Simply stated, repeat vest havoc and financial failure. want me to speak in public? How can customers cost less.

70 CERAMICS MONTHLY “Getting a new customer can cost forming them that gift certificates are Graduation Day up to eight times as much as selling to available in any amount desired. Also Today is graduation day. Professor an existing one,” advises Terri Lonier, post a big sign in your studio announc­ Sam returns from a fishing trip to at­ author of Working Solo: The Real Guide ing “Gift Certificates Have Arrived! Give tend the auspicious ceremony. Each of to Freedom & Financial Success with Your the gift of heart and hand!” his students graduates with honors. Own Business. People consult with experts for many “Catch anything, Prof?” To encourage customers to come reasons, but the underlying motivation “You bet I did! I got everything I set back, it is imperative to offer internal is education. People want to know what out to get. How ’bout you?” promotions, such as business anniver­ you know. Knowledge is power. Some “Ditto for me. The line is forming sary gifts, gift certificates, consultations areas that may prove profitable for you, outside my studio as we speak. I got the and newsletters. both in terms of dollars generated by customers reeled in and I know what Every anniversary is an opportunity consultations and increased credibility bait to use to keep them. Thanks, Prof!” to toot your own horn. You will, of and recognition, include: course, send press releases to announce • Business knowledge (How did you The author Constance Hallinan Lagan the milestone. You may even decide to get started in business? How do you is a free-lance writer and speaker on advertise the occasion. But the most run your business today? How much stress management, entrepreneurship, effective anniversary promotion involves money did it take for you to get set up networking and publicity for corpora­ contacting past customers and provid­ initially?) tions and associations involved in the ing them with an inducement, in the • Professional knowledge (What trade creative industries. form of a gift, to “come back for more.” associations do you belong to? What There are thousands of companies of­ trade publications do you read? Where From the fering billions of products, which cost do you go for your information?) only a few cents, from pens and pencils • Skill knowledge (How did you get Prof s Book Shelf to candies and cookies, all of which are the glaze to look like that? How did you Fine Art Publicity: The Complete Guide for imprinted with the business name, logo, create that texture? How did you mas­ Galleries and Artists by Susan Abbott street and e-mail addresses, website, fax ter that technique?) and phone numbers. Send a copy of From the sample questions above, it Handmade for Profit: Hundreds of Secrets your press release, along with a com­ is obvious that consulting means shar­ to Success in Selling Arts & Crafts puter-generated invitation, to past cli­ ing. Some ceramists may not want to by Barbara Brabec ents, requesting they come by to pick share information about their signature The Basic Guide to Selling Arts & Crafts up a free anniversary gift. Request they techniques or glazes. If you are one of by James Dillehay extend the invitation to their friends. these, do not consult. You have the right As your business expands and your to keep this information proprietary. The Art Business Encyclopedia bottom line swells, consider inviting past However, if you enjoy the intrinsic re­ by Leonard D. Duboff clients to a Client Appreciation Night. wards possible only through sharing, How to Sell What You Make: The Business The gift is dinner, followed by a show­ consider marketing your consulting ser­ of Marketing Crafts by Paul Gerhards ing of your newest items, complete with vice. Consulting establishes you as an a discount on all items ordered during expert, provides income and increases The Business of Being an Artist the evening. your customer base. Contact the Ameri­ by Daniel Grant From A to Z, every type of company can Association of Professional Con­ Start and Run a Profitable Craft Business th imaginable offers gift certificates. So sultants (12300 107 Terrace, Overland by William G. Hynes should you. These can be profession­ Park, Kansas 66210) for additional in­ ally designed and printed, or you can formation on consulting. Marketing Your Crafts create your own designs using a simple There is no better way to stay in by Constance Hallinan Lagan graphics software program. But hav­ touch with past customers and to im­ Craft Marketplace: Where and How to Sell ing a stack of gift certificates in the press new ones than through a news­ Your Crafts by Angie Manolis drawer of your office desk or in the letter. You can include product updates, cash register at your showroom will information on classes, studio location The Crafts Business Encyclopedia: not produce income. Customers must and hours, upcoming events, and much Marketing, Management and Money be aware they exist. more. A newsletter is one more vehicle by Michael Scott and Leonard Duboff As commonplace as gift certificates to promote your anniversary gift pro­ Selling What You Make: Profit from Your are in the retail realm, many customers gram, offer gift certificates and intro­ Handicrafts by James E. Seitz would not think to ask a potter if they duce your consultation service. You can are available. So just before the spring even use your newsletter to generate Marketing Your Arts and Crafts: Creative and winter holiday seasons, be sure to revenue by soliciting advertisements Ways to Profit from Your Work send a mailing to past customers in­ from other craftspeople. by Janice West

December 1999 71

December 31 entry deadline January 8, 2000, entry deadline Call for Entries Montemor-o-Novo, Portugal*Dwelling,” third Omaha, Nebraska “All Media II 2000” (Febru­ earthen sculpture symposium (August 2001), open ary 7-28, 2000). Juried from slides. Entry fee: $30 Application Deadlines for Exhibitions, to ceramics sculptors from around the world. for up to 3 slides; $5 for each additional slide. Cash Fairs, Festivals and Sales Juried from a sketch mentioning the final size of awards. For prospectus, send SASE to Period Gallery, the work, the clay (terra cotta or raw clay), quality 5174 Leavenworth, Omaha 68106; e-mail and quantity of materials, number of assistants [email protected]; telephone (402) 556-3218. needed, description of the work following the January 12, 2000, entry deadline International Exhibitions symposium’s theme and forming techniques. Ap­ Dallas, Texas “Irish Festival Juried Art Exhibi­ December 17 entry deadline plicants selected from this first phase must present tion” (February 25-March 19, 2000), open to Rochester, New York “Porcelain 2000” (March a three-dimensional model by the end of Septem­ artwork reflecting the culture of the Celtic na­ 3-April 1, 2000), open to functional porcelain ber 2000. The final selection will consist of 7 tions. Juried from slides. Entry fee: $25 for up to forms by artists residing in Canada, Mexico and artists who will work on their proposals during 3 slides; $5 for each additional slide. Cash awards. the United States. Juried from slides. Juror: Val August of 2001 in Montemor-o-Novo. Contact For prospectus, send SASE to North Texas Irish Cushing. Fee: $20 for up to 5 entries. Awards: Oficinas do Convento, Convento de S. Francisco, Festival, c/o Gallery O, 817 Exposition Ave., $2000. For prospectus, send SASE to Porcelain CarreiradeS. Francisco, 7050 Montemor-o-Novo; Dallas 75226; or telephone (214) 841-4579. 2000, Esmay Fine Art, 1855 Monroe Ave., Roch­ e-mail [email protected]; telephone/fax February 5, 2000, entry deadline ester 14618. (351) 66 891 222. Sacramento, California “Women Consuming, Women Consumed” (April 5-29, 2000), open to works in all media except video, installation or performance art. Juried from up to 5 slides. Fee: $10 per entry; up to 5 entries. Awards: over $1500. For prospectus, send SASE to MatrixArts, 1518 Del Paso Blvd., Sacramento 95815; for further information, see website at www.matrixarts.org or telephone (916) 923-9118. February 8, 2000, entry deadline Omaha, Nebraska “Contemporary II 2000” (March 6-27, 2000). Juried from slides. Entry fee: $30 for up to 3 slides; $5 for each additional slide. For prospectus, send SASE to Period Gallery, 5174 Leavenworth, Omaha 68106; telephone (402) 556- 3218; or e-mail [email protected]. February 14, 2000, entry deadline Baldwin City, Kansas “The 2000 International Cone Box Show” (Spring 2000), open to works that fit into a large Orton cone box (3x3x6 inches). Juried from actual works. Jurors: Nina Hole, Denmark; Richard Notkin, Montana; Jeff Oestreich, Minnesota. For prospectus, send SASE to Cone Box Show, Inge G. Balch, Baker Univer­ sity, Art Dept., PO Box 65, Baldwin City 66006. April 20, 2000, entry deadline Taipei, Taiwan “The Sixth Taiwan Golden Ceramics Awards” (October 28, 2000-January 28, 2001). Juried from up to 3 slides of different views per entry; up to 2 entries. Awards: Golden Ceramics Grand Purchase Award, NT$600,000 (approximately US$19,000) plus travel grant of NT$ 100,000 (approximately US$3000); Museum Gold Purchase Award, NT$350,000 (approxi­ mately US$11,000); 2 silver purchase awards, NT$250,000 (approximately US$7800) each; 3 bronze purchase awards, NT$ 150,000 (approxi­ mately US$4700) each; and 5 merit purchase awards, NT$ 100,000 each. For brochure/further information, contact the Sixth Taiwan Golden Ceramics Awards Committee, 10 FI., 26 Nanking East Rd., Section 3, Taipei 104; e-mail [email protected]; see website at www.hcgtp.com.tw; telephone (886-2) 2506- 8101, ext. 297; or fax (886-2) 2504-2208. United States Exhibitions December 4 entry deadline Thibodaux, Louisiana “Utilitarian Ceramic National” (opens February 28,2000). Juried from 3 slides. Juror: Bill Griffith, assistant director, Arrowmont School of Arts and Crafts, Tennessee. For entry form, contact Dennis Sipiorski, Nicholls State University, Dept, of Art, PO Box 2025, Thibodaux 70310; e-mail [email protected]; telephone (504) 448-4597; fax (504) 448-4596. December 15 entry deadline New York, New York “Artists on Their Own” (February 24-March 25, 2000), open to artists creating ceramic and ceramic/mixed-media works, who are presently without exclusive gallery

74 CERAMICS MONTHLY December 1999 75 Call for Entries

affiliation and not selected for last year’s exhibi­ tion. Juried from slides. Juror: Betty Woodman. Entry fee: $20. For prospectus, send #10 SASE to Jane Hartsook Gallery, Greenwich House Pot­ tery, 16 Jones St., New York 10014. December 17 entry deadline Washington, D. C. “Small Scale Religious Sculp­ ture 2000” (April 3-29,2000). Juried from slides. Juror: Valerie Fletcher, Hirshhorn Museum. Awards: $8000 cash. For prospectus, contact John Figura, Dept, of Art, The Catholic University of America, Washington, D.C. 20064, Attn: Small Scale Religious Sculpture. December 31 entry deadline St. Cloud, Minnesota “What Is Art?” (March 4-31, 2000), open to all 2- and 3-dimensional work (no larger than 24x24x60 inches). Juried from slides (with #10 SASE). Entry fee: $25 for up to 3 slides. 30% commission. Contact St. Cloud Community Arts Council, Attn: What Is Art?, PO Box 323, St. Cloud 56302-0323; telephone (320) 257-3108; e-mail [email protected]; or see website at www.cloudnet.com/-arts. January 5, 2000, entry deadline Tampa, Florida “ 11 th Annual Black &C White, Shades of Gray Exhibition” (February 4-March 30, 2000), open to 2- and 3-dimensional work in black, white and/or gray. Juried from slides (with #10 SASE). Fee: $25; members, $18. Awards: $1000 best of show, plus purchase awards. Con­ tact Artists Unlimited, 223 N. 12th St., Tampa 33602; telephone (813) 229-5958. January 14, 2000, entry deadline Rancho Palos Verdes, California “Big Sculp­ ture” (March 10-September 10, 2000). Juried from slides. Jurors: Scott Canty, curator, City of Los Angeles; Jacqueline Marks, sculptor/presi- dent of the Palos Verdes Art Center; Peter Phinney, architect; and Scott Ward, Art Center executive director. Fee: $10 per entry; no limit on entries. For prospectus and entry form, send SASE to the Palos Verdes Art Center, 5504 W. CrestridgeRd., Rancho Palos Verdes 90275; or telephone (310) 541-2479. Wichita, Kansas “Art Show at the Dog Show” (March 1-April 5, 2000, and April 7-9, 2000), open to works that include a dog as the subject matter. Juried from slides; up to 3 entries. Nearly $10,000 in cash awards. For entry form, contact Mrs. Pat Deshler, 4300 N. Edgemoor, Wichita 67220; e-mail [email protected] ; telephone (316) 744-0057; or fax (316) 744-0293. January 15, 2000, entry deadline Lancaster, Pennsylvania “8th Annual Strictly Functional Pottery National” (April 14-June 11, 2000). Juried from slides. Juror: Ken Ferguson. For prospectus, contact Caroline Henderson, Di­ rector SFPN, Market House Craft Center, PO Box 204, East Petersburg, PA 17520. January 21, 2000, entry deadline Cambridge, Massachusetts “Cambridge Art As­ sociation National Prize Show” (May 3-30,2000), open to all media except installation and video. Juried from slides. Juror: Carl Belz, director emeri­ tus, Rose Art Museum, Brandeis University. Awards: best of show, $2000; plus 10 other awards. For prospectus, send SASE to Cambridge Art Asso­ ciation, National Prize Show, 25 Lowell St., Cam­ bridge 02138. January 28, 2000, entry deadline Lincoln, California “Feats of Clay XIII” (May 6-28, 2000). Juried from slides. Fee: $15/1 entry; $25/2; $30/3. Late entry deadline: February 28, 2000; add $5 onto entry fee. Juror: Catharine Hiersoux. Awards: approximately $9000 in place, purchase and merit awards. For prospectus, send

76 CERAMICS MONTHLY

Call for Entries

legal-size SASE to Lincoln Arts, PO Box 1166, Lincoln 95648. February 1, 2000, entry deadline Denver, Colorado “Clay Show” (March 17- April 9, 2000). Juried from slides. Jurors: Brigitte Schluger, Maynard Tischler and Simon Zalkind. Fee: $20 for up to 3 slides. For prospectus, send SASE to CORE: New Art Space Gallery, 2045 Larimer St., Denver 80205; see website at www.corenewartspace.com; or telephone (303) 297-8428. Palmer Lake, Colorado “Richards Feast” (March 15-April 15, 2000), open to ceramic tableware designed to serve a particular type of food. Juried from 3 slides (sketches encouraged). Jurors: Rich­ ard Pankratz, owner, Pankratz Pottery, and Dick Luster, head of art department at University of Northern Colorado. Entry fee. Cash awards. For details, send SASE to Tri-Lakes Center for the Arts, Richards Feast, PO Box 1154, Palmer Lake 80133; e-mail [email protected]; see website at www.trilakesarts.com; telephone (719) 481 -0475; or fax (719) 481-5850. Galesburg, Illinois “GALEX 34” (March 11- April 8, 2000), open to works in all media. Juried from 4 slides. Entry fee: $20. Awards: $2000. For prospectus, contact Galesburg Civic Art Center, 114 E. Main St., Galesburg 61401; or telephone (309) 342-7415. Duxbury, Massachusetts “The Yixing Effect” (May 13-September 16, 2001), open to artists whose work is inspired by the Yixing pottery tradition. Juried from 6 slides, resume and brief artist’s statement. Contact Catherine Mayes, Con­ temporary Curator, The Art Complex Museum, PO Box 2814, Duxbury 02331. February 15, 2000, entry deadline Boulder, Colorado “Celestial Seasonings: A Loose Interpretation V” (June 22-September 9, 2000), open to teacups inspired by the spirit of Celestial Seasonings company, which can include references to philosophy, imagery, products, pack­ aging or history. Juried from written or drawn proposals, plus slides of current work, from artists over age 18. Awards: $10,000 in purchase awards. For prospectus, send SASE to Leslie Ferrin, 163 Teatown Rd., Croton on Hudson, NY 10520. February 18, 2000, entry deadline Chicago, Illinois “Teapots for the 21st Cen­ tury” (April 2-May 15, 2000), open to func­ tional, fun and funky teapots in all dimensions and media for the 21st century. Juried from slides; up to 2 entries. For prospectus, contact A. Houberbocken, Inc., PO Box 196, Cudahy, WI 53110; telephone/fax (414) 481-4000. March 24, 2000, entry deadline Greensburg and Youngwood, Pennsylvania “Westmoreland Art Nationals-26th” (June 3-18, 2000, and July 1-4, 2000), open to works in all media. Juried from slides. Send legal-size SASE to Westmoreland Art Nationals-26th, RD 2 Box 355 A, Latrobe, PA 15650; e-mail [email protected] ; or telephone (724) 834-7474. April 7, 2000, entry deadline Southport, North Carolina “National Juried Show” (June 19-July 29,2000), open to 2- and 3- dimensional works. Juried from slides. For pro­ spectus, send SASE to Associated Artists of Southport, PO Box 10035, Southport 28461.

Regional Exhibitions January 15, 2000, entry deadline Littleton, Colorado “Rocky Mountain Region Cooperative Members’ Exhibition” (March 17-

78 CERAMICS MONTHLY December 1999 79 Indianapolis 46220; e-mail [email protected] ; March 17, 2000, entry deadline Call for Entries see website at www.indplsartcenter.org ; or tele­ New Brunswick, New Jersey“26th Annual New phone Julia Moore (317) 255-2464, ext. 233. Jersey Folk Festival” (April 29,2000). Juried from January 10, 2000, entry deadline slides. Entry fee: $5. Booth fee: $100. For appli­ Worcester, Massachusetts “30th Annual Juried cation, contact Helen Grynberg (732) 932-9174; 31, 2000), open to members of working clay Craft Fair” (May 19-21,2000). Juried from slides. e-mail [email protected] ; or download from cooperative studios in the provinces and states of For application, contact Worcester Center for website http://njfolkfest.rutgers.edu . the Rocky Mountain region. Juried from slides. Crafts, 25 Sagamore Rd., Worcester 01605; or March 31, 2000, entry deadline Juror: Pete Pinnell, assistant professor of art, Uni­ e-mail [email protected] . Clinton, Iowa “Art in the Park” (June 17, versity of Nebraska, Lincoln. For further infor­ January 31, 2000, entry deadline 2000). Juried from 4 slides of work plus 1 of mation, contact RMR Co-op Exhibit, c/o Tim Frederick, Maryland “Frederick Festival of display. Entry fee: $5. Booth fee: $65 fora 12x12- Young, 1808 Old Squaw Pass Rd., Evergreen, CO the Arts” (June 3-4, 2000). Juried from slides. foot space. No commission. Cash awards. For 80439; telephone (303) 674-4040; e-mail Cash awards. For application/further informa­ prospectus, send SASE to Art in the Park, PO Box [email protected]. tion, send SASE to FFOTA, PO Box 3080, 2164, Clinton 52733; or telephone Carol Glahn February 1, 2000, entry deadline Frederick 21705; e-mail [email protected] ; or tele­ (319) 259-8308. Las Cruces, New Mexico “From the Ground phone (301) 694-9632. April 5, 2000, entry deadline Up Exhibition XIX” (April 7-May 7,2000), open March 1, 2000, entry deadline Chautauqua, New York “Crafts Festivals 2000” to clay artists residing in Arizona, New Mexico, Salina, Kansas “Smoky Hill River Festival— (July 7-9, 2000, or August 11-13, 2000). Juried Texas and northern Mexico. Juried from slides. Fine Art/Fine Craft Show” (June 10-11, 2000). from 3 slides of work plus 1 of booth display. Juror: Vincent Burke. For entry form, send SASE Juried from 6 slides. Entry fee: $15. Booth fee: Entry fee: $15 per show. Booth fee: $200 per to Kathy Story, 9880 Sallee Rd., Las Cruces $200 for a 10x10-foot space. No commission. show. For prospectus, send business-size SASE to 88011; or telephone (505) 382-7617. Awards: $5800 in merit and purchase awards. For Devon Taylor, Festivals Director, Chautauqua further information, contact Karla Prickett, Festi­ Crafts Alliance, PO Box 89, Mayville, New York Fairs, Festivals and Sales val Coordinator/Visual Arts, POBox2181, Salina 14757-0089. 67402-2181; e-mail [email protected]; see website December 3 entry deadline at www.midusa.net/smokyhillriverfestival; tele­ For a free listing, please submit informa­ Gainesville, Florida “ 14th Annual Hoggetowne phone (785) 826-7410; or fax (785) 826-7444. tion on juried exhibitions, fairs, festivals Medieval Faire” (February 11-13, 2000). Juried Salina, Kansas “Smoky Hill River Festival— and sales at least four months before the from slides. Booth fee: $115- For further informa­ Four Rivers Craft Market” (June 9-11, 2000). event’s entry deadline (add one month for tion, contact Linda Piper, (352) 334-5064. Juried from 6 slides. Entry fee: $15. Booth fee: listings in July and two months for those in December 27 entry deadline $ 100 for a 1 Ox 10-foot space or 10%, whichever is August). Regional exhibitions must be Indianapolis, Indiana “30th Annual Broad greater. Awards: $1300 in merit awards. For fur­ open to more than one state. Mail to Call Ripple Art Fair” (May 13-14, 2000). Juried from ther information, contact Karla Prickett, Festival for Entries, Ceramics Monthly, PO Box 3 slides of work, plus 1 of display. Entry fee: $20. Coordinator/Visual Arts, PO Box 2181, Salina 6102, Westerville, OH 43086-6102, e-mail Booth fee: $175 for a 12x12-foot space; $140 for 67402-2181; e-mail [email protected]; see website to [email protected] or fax to artist-members. For further information, contact at www.midusa.net/smokyhillriverfestival; tele­ (614)891-8960. the Indianapolis Art Center, 820 E. 67th St., phone (785) 826-7410; or fax (785) 826-7444.

80 CERAMICS MONTHLY December 1999 81 Suggestions From Readers

Save the Chamois To prevent the loss of your chamois in the water bucket, attach a fishing bobber to a corner.—Keofar Kesomsook, Bangkok, Thailand

Scraping by with a Credit Card Drill a hole in the corner of a “dead” credit card, attach it to the handle of a glaze or slip bucket with a string, and use it to scrape down the sides. Scraping down the glaze/slip while it is still wet prevents nasty crumbs and reduces the need to sieve.—Lili Krakowski, Constableville, N. Y

No More Lost Tools Tired of looking for your chamois, ribs or sponge at the bottom of the water bucket? I solved this problem by purchasing a suction cup drainer and two stainless-steel ½-inch bolts and wing nuts. I cut off the suction cups, aligned the drainer with the top of the bucket and drilled two ½-inch holes in the bucket in line with the squares already in the drainer, then pushed the bolts through to the outside and added the wing nuts. Now I can find my tools easily and my sponge never gets lost in the bottom of the bucket.—-JanaM. Stankus, Mercer, Pa.

Layering Slip When applying layers of slip, spray a coat of acrylic sealer between the layers. The sealer allows for the previous slip to remain undis­ turbed and the next layer to flow on smoothly.—Mike Knox, Lacrosse, Wis.

Stress Relief Some clay bodies are prone to developing stress cracks where two edges meet to create an angle in cutout designs. A star is a typical example, with the potential for cracks to form at the points. You can prevent the cracks from forming by using a hole punch where angles occur in your design. For the star, you would punch a hole at each of the points, then cut out the design as usual. Slightly rounding the angles reduces the stress and subsequent crack­ ing.— Van Moore, Shepherdstown, W. Va.

Share your ideas with others. Ceramics Monthly will pay $10 for each one published. Suggestions are welcome individually or in quantity. Include a drawing or photograph to illustrate your idea and we will add $10 to the payment. Mail to Ceramics Monthly, PO Box 6102, Westerville, Ohio 43086-6102, e-mail to [email protected] or fax to (614) 891-8960.

82 CERAMICS MONTHLY December 1999 83 Calendar China, Jingdezhen, Jiangxi Provence May 27— 29, 2000, plus travel through June 18, 2000 “The Events to Attend—Conferences, Spirit of Porcelain, from Song Dynasty to Today” Exhibitions, Workshops, Fairs will include lectures, workshops; plus tours of the Song kiln sites, kaolin and China stone mines, and studios. Post-symposium travel will include Wuhan, Xian, Chenlu, Handan and Beijing. Fee: Conferences US$4300, includes conference fee, materials, round-trip airfare, in-country travel, meals and Arizona, Yuma February 24-26, 2000 “Yuma lodging. Contact China Ceramic Cultural Ex­ Symposium 2000” will include slide presenta­ change International Office, Jackson Lee, 14 tions, lectures and demonstrations by various art­ Courtwright Rd., Etobicoke, Toronto, Ontario ists. Ceramics events will include slide lecture and M9C 4B4, Canada; telephone (416) 695-3607; demonstration on wood-fired ceramics by Chuck e-mail [email protected]. Hindes, and a lecture on “Raku Vessels: A Com­ China, Shiwan, Guangdong Province May 20— mitment to Nature/Technology” by George 25, 2000 “First Fushan International Ceramics Timock. For brochure, contact Neely Tomkins, Wood-firing Conference” will include workshops, 90 W. Second St., Yuma 85364; or telephone lectures, exhibitions, tours of pottery studios and (520) 782-1934. a food festival. Participants will help fire an an­ California, Los Angeles March 31-April 4, 2000 cient dragon kiln. Post-symposium travel will National Art Education Association (NAEA) Con­ include Jingdezhen, Wuhan, Xian, Chenlu, vention. For further information, contact the Handan and Beijing. For further information, National Art Education Association, 1916 Asso­ contact China Ceramic Cultural Exchange Inter­ ciation Dr., Reston, VA 20191-1590. national Office, Jackson Lee, 14 Courtwright Rd., Colorado, Denver March 22-25, 2000 “Higher Etobicoke, Toronto, Ontario M9C 4B4, Canada; Ground,” 34th National Council on Education e-mail [email protected]; or telephone for the Ceramic Arts (NCECA) conference. Con­ (416) 695-3607. tact Regina Brown, Executive Secretary, NCECA, PO Box 1677, Bandon, OR 97411; telephone Solo Exhibitions (800) 99-NCECA. Florida, Clearwater Beach February 3-4, 2000 Arizona, Scottsdale December 2-31 Chris Gustin, “CerMATECH Workshop 2000” will include sculpture. January 6-31, 2000 Tetsuya Yamada, structured but informal exchanges on produc­ ceramic columns; at gallerymateria, 4222 N. Mar­ tion-related topics for production potters and shall Way. pottery manufacturers. Contact CERMA, PO California, Sacramento through December 8 Box 3388, Zanesville, OH 43702-3388; e-mail Miriam Morris; at Excentrique, 1409 R St. [email protected]; see website at California, Santa Monica through December 30 www.offinger.com/cermatech; telephone (740) Peter Voulkos; at Frank Lloyd Gallery, 2525 452-4541; or fax (740) 452-2552. Michigan Ave., B5b. Maryland, Baltimore May 19-21, 2000 “Craft Colorado, Denver through March 26, 2000Charles Business Institute” will include sessions on mar­ Simonds. through October 1, 2000 Takashi keting-oriented topics for artists with Wendy Nakazato, “Contemporary Pottery from an An­ Rosen, Bruce Baker, Curtis Benzie, Tom cient Japanese Tradition”; at the Denver Art Markusen, Courtney Peterson, and gallery own­ Museum, 100 W. 14th Ave. Pkwy. ers Donna Milstein and Steve Swan. Contact the Michigan, Detroit through January 2, 2000 “T Rosen Group: e-mail [email protected]; see made this jar...’ The Life and Works of the En­ website at www.americancraft.com; telephone slaved African-American Potter, Dave”; at the (410) 889-2933; or fax (410) 889-1320. Charles H. Wright Museum of African-American New York, Alfred July 9—12,2000“Fractography History, 315 E. Warren Ave. of Glasses and Ceramics IV.” For further informa­ Michigan, East Lansing December 5—January 18, tion, contact Dr. James Varner, Alfred University: 2000 Harold Hart, “Tiles and Bowls”; at Mack­ telephone (607) 871-2414; fax (607) 871-2354; erel Sky Gallery of Contemporary Craft, Ann or e-mail [email protected]. Street Plaza, 217 Ann St. Virginia, Blacksburg May 19—21, 2000 “First Missouri, St. Louis through January 4,2000Charity Annual New River Ceramics Symposium” will Davis-Woodard, wood/soda-fired pottery; at John include discussions and demonstrations with Nick Burroughs School, 755 S. Price Rd. Joerling and Ellen Shankin. For further informa­ Montana, Helena January 12-February 27, 2000 tion, contact David Crane: e-mail [email protected] ; Richard Notkin, “Passages”; at the Holter Museum or telephone (540) 231-5547. of Art, 12 E. Lawrence St. Canada, British Columbia, Vancouver March New Mexico, Albuquerque through December 31 25, 2000 “Canadian Clay Symposium” will in­ Mia Blocker, handbuilt stoneware vessels; at clude lectures and demonstrations with 12 ceram­ Framing Concepts Gallery, 5809-B Juan Tabo ists, plus films and exhibitions. Fee (before Febru­ Blvd., NE. ary 15, 2000): Can$64.20, includes tax; after New York, Alfred January 13—March 30, 2000 February 15, Can$74.90. Contact the Shadbolt James Earl; at the International Museum of Ceramic Centre for the Arts, (604) 291-6864. Art, New York State College of Ceramics at Alfred University. For a free listing, submit announcements of New York, New York through December 4 Arthur conferences, exhibitions, workshops and ju­ Gonzalez, “The Cadence ofStupidity.” Chris Gustin, ried fairs at least two months before the vessels; at John Elder Gallery, 529 W. 20th St. month of opening. Add one month for list­ through December 4 Lucio Fontana; at Garth Clark ings in July; two months for those in August. Gallery, 24 W. 57th St., #305. Mail to Calendar, Ceramics Monthly, PO Box through December 11 Stacy Cushman; at Greenwich 6102, Westerville, OH 43086-6102, e-mail to House Pottery, 16 Jones St. [email protected] or fax to North Carolina, Charlotte January 18—February (614) 891-8960. 18, 2000 “Clyde Gobble: North Carolina Master

84 CERAMICS MONTHLY December 1999 85 Calendar Iowa, Sioux City December 4—January 30, 2000 “Suited to a Tea,” works by 25 ceramists; at the Sioux City Art Center, 225 Nebraska St. Maryland, Baltimore through December 24 Potter”; at gallery W.D.O., Ste. 610 at Atherton “Winterfest ’99”; at Baltimore Clayworks, 5706 Mill, 2000 South Blvd. Smith Ave. North Carolina, Raleigh December 4-31 Chris Massachusetts, Ipswich through December 31 Campbell; at Collective Arts Gallery, 8801 “Holiday Traditions,” exhibition of functional Leadmine Rd., Ste. 103. pottery; at Ocmulgee Pottery and Gallery, 317 Pennsylvania, Philadelphia through December 18 High St. Paula Winokur; at Helen Drutt: Philadelphia, Massachusetts, Northampton through December 1721 Walnut St. 31 “Holiday Show”; at Ferrin Gallery, 179 Main. January 7-30, 2000 Eva Kwong. Terry Gess; at Michigan, Detroit through December 31 “Earthy the Clay Studio, 139 N. Second St. Treasures Holiday Invitational. "January 14—Feb­ Pennsylvania, Pittsburgh through December 8 ruary 26, 2000 “Yixing 2K.” “American Teapot Carol Brody, “Mostly Porcelain.” December 10- Artists Inspired by Yixing”; at Pewabic Pottery, February2,2000Anna Calluori Holcombe, “The 10125 E. Jefferson at Cadillac. Still Life Transfigured. "January 7—March 1,2000 Minnesota, Minneapolis through December 30 Megan Sweeney, sculpture; at the Clay Place “ 1999 Holiday Exhibition and Sale”; at the North­ Gallery, Mineo Bldg., 5416 Walnut St. ern Clay Center, 2424 Franklin Ave., E. South Carolina, Charleston January 11-March New Jersey, Clinton through January 9, 2000 11, 2000 “Picasso Ceramics”; at Gibbes Museum “Mud Like a Blessing: Elemental Clay Sculp­ of Art, 135 Meeting St. ture,” with works by Peter Callas, Sara Texas, Dallas through December 18 Fred Herbst, D’Allesandro, Shellie Jacobson, Jim Jansma and “The Intimate Table”; at Corwin Fine Arts, 6337 Lauren Silver; at Hunterdon Museum of Art, 7 Anita St. Lower Center St. Texas, Houston December 4—January 8, 2000 New Mexico, Santa Fe through December 7“In- Robert Weimerskirch sculpture; at Goldesberry House Warehouse Show.” December 15—January Gallery, 2625 Colquitt. 22, 2000 “American Masters,” work by artists Texas, Lubbock through November2000]&mts C. from Santa Fe Clay’s workshop programs, 1994- Watkins retrospective; at Texas Tech University 1999; at Santa Fe Clay, 1615 Paseo de Peralta. Museum, Fourth St. and Indianola Ave. New York, Albany through September 13, 2000 Virginia, Fredericksburg/anuary 13—February 13, “From the Collections: The Weitsman Stoneware 2000 Lorene Nickel, sculptural vessels; at duPont Collection”; at the New York State Museum, Gallery, Mary Washington College. Empire State Plaza. Wisconsin, Madison through December 2 David New York, Alfred through December 16 “The Milne, “Talking Tablets”; at Higher Fire Clay Alfred Asia Connection: The Asia Alfred Reflec­ Studio, 2132 Regent St. tion”; at the International Museum of Ceramic Art at Alfred, Ceramic Corridor Innovation Cen­ Group Ceramics Exhibitions ter, Rte. 244. New York, Long Island through December 5^^- California, Claremont January 22-March5,2000 bition of works by 16 past, present and future “Ceramic Annual 2000: 56th Ceramic Annual”; workshop presenters; at the Islip Art Museum, at Ruth Chandler Williamson Gallery, Scripps Dowling College. College, 11th and Columbia sts. New York, New York December 9-February 5, California, El Cajon January 24—February 16,2000 2000 “Functional Ceramics Invitational—The “Viewpoint: Ceramics 2000”; at Grossmont Col­ Decorated Pot”; at John Elder Gallery, 529 W. lege Hyde Gallery, 8800 Grossmont College Dr. 20th St. California, San Diego January 16-October 31, January 6—February 5, 2000 “Black and White,” 2000 “The Magic of Mata Ortiz,” with pottery with works by Margaret Bohls, Ruth Borgenicht, from the Juan Quezada collection; at the San Diego Erik Bright, MarekCecula, Barbara Diduk, Kathey Museum of Man, 1350 El Prado, Balboa Park. Erteman, Jeffrey Mongrain, John Albert Murphy, California, San Francisco December 1-January Melissa Stern, Prue Venables and Alicia Warner; 29, 2000 Functional ceramics by Teresa Chang, at Jane Hartsook Gallery, Greenwich House Pot­ Mary Law, Hsin-chun Lin and Jan Schachter; at tery, 16 Jones St. Evolving Space, 536 Pacific Ave. New York, Port Chester January 1-30, 2000 Colorado, Denver through August27, 2000 “The “Clay Art Center Then and Now—Ceramic Clay Vessel: Modern Ceramics from the Norwest Glories,” retrospective of work by founding Collection, 1890-1940”; at the Denver Art Mu­ members Katherine Choy and Henry Okamoto; seum, 100 W. 14th Ave. Pkwy. at the Clay Art Center, 40 Beech St. Connecticut, Brookfield January 23-March 26, New York, White Plains through December 17 2000 “Neriage, Nerikome and Beyond: Color in “Three Visions in Clay,” works by Woody Clay,” with works by 13 artists; at Brookfield Hughes, Alleghany Meadows and Todd Wahl- Craft Center, 286 Whisconier Rd. strom; at the Westchester Art Workshop, West­ Georgia, Athens through December 5 “Earth, Fire chester County Center. and Spirit: African Pottery and Sculpture”; at North Carolina, Asheville through December 11 the Martha and Eugene Odum Gallery of Decora­ “Ritual at the Table: Contemporary Ceramic Din- tive Arts, Georgia Museum of Art, the University nerware”; at Odyssey Gallery, 242 Clingman Ave. of Georgia. North Carolina, Charlotte December 1—January Illinois, Chicago through December 31 Works by 15,2000“A Wood-fired Invitational,” with works Mary Barringer, Nicholas Joerling, MatthewMetz by Dan Anderson, Rob Barnard, Hiroshi Ogawa, and Linda Sikora. “24th Annual Holiday Show”; Jeff Shapiro, Toshiko Takaezu and Byron Temple; at Gallery 1021, Lill Street, 1021 W. Lill. at gallery W.D.O., Ste. 610 at Atherton Mill, Iowa, Iowa City through December 15 International 2000 South Blvd. invitational ofwood-fired works; at the University of North Carolina, Durham through December 7 Iowa Museum of Art, 150 N. Riverside Dr. “Contemporary Ceramics 1999: The Work of

86 CERAMICS MONTHLY African American Ceramic Artists”; at the North Carolina Central University Art Museum. North Carolina, Winston-Salem through March 26, 2000 “Presidential China Exhibit”; at the Gallery at Old Salem, Frank L. Horton Museum Center, 924 S. Main St. Pennsylvania, Erie through March 5, 2000 “Po­ ems in Clay: Arthur Osborne’s ‘Plastic Sketches’ for the Low Art Tile Works,” low-relief, sculp­ tural clay images produced in the 1880s; at the Erie Art Museum, 411 State St. Pennsylvania, Philadelphia December3-24“Holi­ day Exhibition”; at the Clay Studio, 139 N. Second St. Pennsylvania, Pittsburgh December 3—February 11, 2000“Ceramics for the New Millennium”; at the Associated Artists of Pittsburgh Gallery, 937 Liberty Ave. Virginia, Alexandria through January 3, 2000 “Into the Millennium,” works by Kiln Club of Washington members; at Scope Gallery, Torpedo Factory, Studio 19, 105 N. Union St. Wisconsin, Rhinelander December 1-January 13, 2000 “Creative Images on Clay,” works by Russ Block, George Pobuda and Sheri Sherr; at the Nicolet College Gallery.

Ceramics in Multimedia Exhibitions Alabama, Mobile January 31-April5,2000“Sto\) Asking/We Exist: 25 African-American Craft Art­ ists”; at the Mobile Museum of Art, 4850 Mu­ seum Dr. Arizona, Mesa January 11-February 19, 2000 “22nd Annual Vahki”; at Galeria Mesa, Mesa Arts Center, 155 N. Center St. Arizona, Tucson through January 1, 2000 “An­ nual Holiday Exhibition,” including ceramics by B. Jackson Medford; at Obsidian Gallery, St. Philips Plaza, Ste. 90, 4340 N. Campbell Ave. California, Davis through January 4, 2000 “A Cornucopia of Handcrafted Gifts”; at the Artery, 207 G St. California, La Jolla through January 2, 2000 “Holi­ day 1999”; at Gallery Alexander, 7850 Girard Ave. California, Mill Valley through December28“Clay and Glass in the Garden,” selected works by members of the Association of Clay and Glass Artists of California; at Mill Valley Sculpture Gardens, 219 Shoreline Hwy. California, Pomona January 6-February 4, 2000 “Ink and Clay”; at W. Keith and Janet Kellogg University Art Gallery of California State Polytech­ nic University, 3801 W. Temple Ave. California, Sacramento through January 2, 2000 “Material Witness: Masters from California Crafts,” including ceramics by Ralph Bacerra, Christina Bertoni, Armin Muller, Richard Notkin, Ruth Rippon and Peter Voulkos; at the Crocker Art Museum, 216 O St. California, San Diego through January 30, 2000 “Arrows of the Spirit—North American Indian Adornment from Prehistory to the Present.” through 2001 “Folk Art of Mexico”; at the Mingei Interna­ tional Museum, Balboa Park, 1439 El Prado. California, San Francisco through December 31 “Contemporary Crafts” curated by Virginia Breier; at 1 Bush St., lobby. through January 23, 2000 “Making Change: 100 Artists Interpret the Tzedakah Box,” including ceramics by Bennett Bean, Robert Lipnick, Michael Lucero, Nancy Selvin, Richard Shaw and Peter Shire; at the Jewish Museum San Francisco, 166 Geary St., Ste. 1500. January 8-March 26, 2000 “Reliquaries for

December 1999 87 Discoveries from the People’s Republic of China”; of Iowa”; at Sioux City Art Center, 225 Nebraska St. Calendar at the National Gallery of Art, East Bldg. Kentucky, Louisville January 30—February 16, through January 17,2000“Treasures from the Royal 2000 “Dinnerworks ’00,” exhibition of dinner- Tombs of Ur”; at the Arthur M. Sackler Gallery, ware and table designs; at the Water Tower, 3005 America”; at the San Francisco Craft and Folk Art Smithsonian Institution. Upper River Rd. Museum, Bldg. A, Ft. Mason. Florida, DeLand through January 2, 2000 “Head, Massachusetts, Boston through December 31 California, Santa Ana through January 28, 2000 Heart and Hands: Native American Craft Tradi­ “Memories ’99,” Christmas ornaments and Hanuk- “Shamans, Gods and Mythic Beasts”; at the Bow­ tions in a Contemporary World”; at the DeLand kah menorahs; at Signature, Dock Sq., 24 North St. ers Museum of Cultural Art, 2002 N. Main St. Museum of Art, 600 N. Woodland Blvd. Massachusetts, Chestnut Hill through December31 Connecticut, New Haven through December 24 Hawaii, Honolulu through January 16, 200(9 “Hawai’i “Memories ’99,” Christmas ornaments and Hanukkah “The 31 st Annual Celebration of American Crafts”; and Its People”; at Honolulu Academy of Arts. menorahs; at the Mall at Chestnut Hill. at the Creative Arts Workshop, 80 Audubon St. Illinois, Chicago through January 2, 2000 “Arthur Massachusetts, Mashpee through December 31 Connecticut, Westport through December 31 Wesley Dow and American Arts and Crafts”; at Terra “Memories ’99,” Christmas ornaments and Hanukkah “Memories ’99,” Christmas ornaments and Ha- Museum of American An, 666 N. Michigan Ave. menorahs; at Signature, Mashpee Commons. nukkah menorahs; at Signature, 48 Post Rd., E, at Indiana, Indianapolis December3—January2, 2000 Massachusetts, New Bedford through January 9, Main St. “Regional ’99: A Craft Competition”; at the India­ 2000“Stop Asking/We Exist: 25 African-Ameri­ D.C., Washington through January 2, 2000 “The napolis Art Center, 820 E. 67th St. can Craft Artists”; at the New Bedford Art Mu­ Golden Age of Chinese Archaeology: Celebrated Iowa, Sioux Citythrough January 16,2000“Images seum, 608 Pleasant St. Minnesota, Bloomington January 3—February 19, 2000 “Texture, Tone and Brilliance,” 4-person exhibition including ceramics by Sarah Heimann; at Bloomington Art Center, 10206 Penn Ave., S. Mississippi, Biloxi through December31 “Seventh Annual Ohr Juried Exhibit”; at the Ohr Museum, 136 G. E. Ohr St. Missouri, Joplin through December 19 “National Contemporary Craft Competitive”; at Spiva Cen­ ter for the Arts, 222 W. Third St. Missouri, St. Louis through December30“¥ourth Annual Menorah Invitational.” “35th Annual Holiday Exhibition”; at Craft Alliance, 6640 Delmar Blvd. January 15-May 1, 2000 “The Really Big Shoe Show”; at City Museum, N. 15th St. Missouri, Springfield through December 4“h\x.ei- natives in Metals and Clay,” with ceramics by Inge Balch, Richard Bivins, Cameron Crawford, Lisa Lockman, Albert Pfarr and Greig Thompson; at the Art and Design Gallery, Southwest Missouri State University. through August 2006>“Outdoor 1, Sculpture Com­ petition”; at the Open Air Sculpture Gallery, Federal Historic District. Missouri, Warrensburg January 24-February 25, 2000“Greater Midwest International XV”; at Cen­ tral Missouri State University Art Center Gallery. Nebraska, Omaha December 4-26 “Spiritual II ’99”; at Period Gallery, 5174 Leavenworth. New Mexico, Santa Fe through April 21, 2000 “New Mexico 2000,” including stoneware by Katheleen Nez; at the Museum of Fine Arts, 107 W. Palace Ave. New York, Albany through September 13, 2000 “From the Collections: Treasures from the Wunsch Americana Foundation”; at the New York State Museum, Empire State Plaza. North Carolina, Asheville through January 9, 2000 “New Members of the Southern Highland Craft Guild”; at the Folk Art Center, Milepost 382, Blue Ridge Pkwy. North Carolina, Carrboro through December 4 “Black &C White &: Color,” dual exhibition with ceramics by Roni Petterson. January 11-March 31, 2000 “Y 2000 Design and Spirit”; at Green Tara Gallery, 118 E. Main St. Ohio, Columbus through December3“NewWorks: Department of Art Faculty Exhibition,” includ­ ing ceramics by Mary Jo Bole, Rebecca Harvey and Steve Thurston; at Hopkins Hall Gallery and Corridor, the Ohio State University. through January 8, 2000 “Transcending Tradi­ tions: Ohio Artists in Clay and Fiber,” with ce­ ramics by George Bowes, Kristen Cliffel, Rebecca Harvey, Eva Kwong, Kirk Mangus and Kelly Palmer; at the Riffe Gallery, Vern Riffe Center for Government and the Arts, State and High sts.

88 CERAMICS MONTHLY Oregon, Eugene through January 29, 2000 “La “Perkins Pottery Show and Sale”; at Perkins Cen­ North Carolina, Marion December 4 “Appala­ Petite VII, Small Format Competition”; at Alder ter for the Arts, 395 Kings Hwy. chian Potters Market”; at McDowell High School. Gallery, 2399 Hwy. 99 N. New Mexico, Santa Fe December 10 “Santa Fe Ohio, Columbus December 2—5 “Winterfair”; at Pennsylvania, Clarion December 1-31 “Coffee Clay Holiday Sale and Open House”; at Santa the Multi-Purpose Building, the Ohio State Fair­ Mug Exhibition”; at Mitchelle’s Coffee Cafe, Fe Clay Warehouse Exhibition Space, 1615 grounds. Coffee House and Gallery, Main St. Paseo de Peralta. Oregon, Salem through December 30 “Holiday Pennsylvania, Philadelphia through January 2, New York, New York December 2-3 “Craft Stu­ Showcase”; at the Bush Barn Art Center, 600 2000“Worldly Goods: The Arts of Early Pennsyl­ dents League Holiday Sale”; at Craft Students mission St., SE. vania, 1680-1758”; at the Philadelphia Museum League/YWCA/NYC, 610 Lexington Ave. Washington, Vashon Island December 4-5 and of Art, Benjamin Franklin Pkwy. December 2—5 “Made in Clay,” benefit exhibition 11-12 “Vashon Island Holiday Art Tour,” over Pennsylvania, Pittsburgh through January5,2000 and sale of work by invited alumni and current 20 artists’ studios. For brochure, see website at “Straddling Two Millenniums,” the Pittsburgh members; at Greenwich House Pottery, 16 Jones St. www.vashonisland.com/holidayarttour; or tele­ Craftsmen’s Guild exhibition; at the Clay Place, New York, Syracuse December 3—5 “Holiday ’99 phone Marianne Seifert at (206) 463-1231. 5416 Walnut St. Art and Craft Spectacular”; at the New York State Pennsylvania, Wayne December 3-January 22, Fairgrounds. Workshops 2000“Craft Forms ’99”; at the Wayne Art Center, North Carolina, Charlotte December 10-12“ACC 413 Maplewood Ave. Craft Show Charlotte”; at the Charlotte Conven­ California, San Diego area January3-7, 2000“ A Virginia, Alexandria through January 2, 2000 tion Center. Week with Paul Soldner,” will include slide pre- “Time Will Tell”; at the Target Gallery, Torpedo Factory Art Center, 105 N. Union St. Wyoming, Buffalo through December 31 Dual show including ceramics by Margo Brown; at Margo’s Pottery and Fine Crafts, 26 N. Main.

Fairs, Festivals and Sales California, Berkeley December 4-5, 11-12 and 18-19 “Berkeley Artisans Holiday Open Stu­ dios,” self-guided tour of over 100 artists’ studios. For map, send SASE to Artisans Map, 1250 Addison St., #214, Berkeley 94702; or pick up map at same address. For other map-distribution points, tele­ phone (510) 845-2612. Connecticut, Brookfield through December 31 “Holiday Craft Exhibition and Sale”; at Brookfield Craft Center, 286 Whisconier Rd. Connecticut, East Hartford December 4-5 and 11-12“24th Annual Open Studio”; at Greenleaf Pottery, 686 Tolland St. Connecticut, Guilford through December 23“Art­ istry—A Holiday Festival of Craft”; at the Guilford Handcraft Center, 411 Church St. Connecticut, Middletown through December 11 “Wesleyan Potters 44th Annual Exhibit and Sale”; at Wesleyan Potters, 350 S. Main St. (Rte. 17). Florida, Sarasota December 3-5“ A.CC Craft Show Sarasota”; at Robarts Arena. Georgia, Adanta through December 23 “Annual Holiday Artist Market”; at the Spruill Center Gal­ lery, 4681 Ashford Dunwoody Rd. Iowa, Sioux Center December 4“Centre Mall Arts Festival”; at the Centre Mall, center court. Maine, Portland December 11-12 “Ninth An­ nual Holiday Show and Sale”; at Portland Pottery, 118 Washington Ave. Massachusetts, Boston December 1—5 “Crafts at the Castle”; at the Park Plaza Castle, 99 Chauncy St. Minnesota, Minneapolis through December 30 “ 1999 Holiday Exhibition and Sale”; at the North­ ern Clay Center, 2424 Franklin Ave., E. Montana, Billings December3—4“Holiday Show and Sale” of works by Archie Bray artists-in-resi- dence; at McIntosh Art Co., 2507 Montana Ave. Montana, Bozeman December 10-11 “Holiday Show and Sale” of pottery and sculpture by Archie Bray artists-in-residence; at the Emerson Cultural Center, 111 S. Grand. Montana, Helena through December 23 “Holiday Show and Sale,” functional pottery and sculpture by artists-in-residence; at the Archie Bray Gallery, 2915 Country Club Ave. New Jersey, Demarest December 3—5 “25th An­ nual Invitational Pottery Show and Sale” curated by Karen Karnes; at Old Church Cultural Center, 561 Piermont Rd. New Jersey, Moorestown December 10-12

December 1999 89 Calendar rative Handbuilding” with Wesley Anderegg./anu- ary 22-26, 2000 A session with Malcolm Davis and Susan Filley. March 4—5, 2000 Demonstra­ tion with Sylvia Granatelli and Michael Simon. sentation, demonstrations, plus several “low-fire- Contact Baltimore Clayworks: see website salt” firings. Participants should bring bisqueware, www.baltimoreclayworks.org; or telephone (410) tools, etc. All skill levels. Fee: $500, includes 578-1919. materials, continental breakfasts. Slide presenta­ Maryland, Frederick December 2—5 or January 6— tion on January 4 is free. For further information, 9, 2000 “Masters Throwing Workshop” with contact Jean Lehman, Registrations, Nottingham Joyce Michaud. Fee: $195. February 18—20,2000 Center for the Arts, PO Box 460, San Marcos, CA “From Shino to Shinola,” demonstration/discus- 92079; e-mail [email protected]; see sion with Malcolm Davis. Fee: $ 130; or combined website atwww.nottinghamarts.org ; or telephone with next workshop, $230. February25-27,2000 (760) 752-1020. “Shino Firing Workshop” with Malcolm Davis. California, Walnut Creek February 12, 2000 Fee: $130; combined with previous workshop, Demonstration and slide presentation with Don $230. Contact Hood College Ceramics Program, Reitz. Fee: $50. For further information, contact 401 Rosemont Ave., Frederick 21701; tele­ Walnut Creek Civic Arts Education, PO Box phone Joyce Michaud (301) 696-3456; or fax 8039, Walnut Creek 94596; or telephone (925) (301) 846-0035. 943-5846. Massachusetts, Somerville December 12 “A Day Colorado, Denver March 19-21, 2000 “Shino, to Play with Clay” with Jennifer Thayer. Fee: $25. Surface Design and Single-fire Workshop” with Contact Mudflat, 149 Broadway, Somerville Malcolm Davis, Lynn Smiser Bowers and Steven 02145; see website www.mudflat.org; telephone Hill. Fee: $125 for 3 days; $55 for 1 day. Limited (617) 628-0589; or fax (617) 628-2082. space. Contact Laguna Clay Company, (800) Michigan, Adrian January 28, 2000 A session 452-4862, ext. 200. with Jennifer Lapham. February 25, 2000 A ses­ Connecticut, Brookfield January 22,2000“Work- sion with Matthew Towers. March 24, 2000 A ing with Slabs” with Elizabeth MacDonald. Janu­ session with Todd Wahlstrom. Fee: $40 each or ary 29-30, 2000 “Production Issues” with John $95 for all three workshops. For further informa­ Jessiman. February 6, 2000 “Defects in Clays and tion, contact Paul McMullan, Ceramics Dept., Glazes” with Jeff Zamek. February 11-12, 2000 Siena Heights University, Adrian 48104; or tele­ “Salt Firing” with Doug Signorovitch. March 11, phone (517) 264-7848. 2000 “Majolica” with Mary Lou Alberetti. Con­ Michigan, Detroit February 6, 2000 “Yixing tact the Brookfield Craft Center, PO Box 122, Workshop.” For further information, telephone Rte. 25, Brookfield 06804; or telephone (203) Pewabic Pottery (313) 822-0954. 775-4526. Missouri, Kansas City January 29—30, 2000 A Florida, Sarasota February 29-March 1, April 4— session with Sylvie Granatelli. Fee: $90. For fur­ 6 or May 9—11, 2000 “Tile Making Workshops ther information, contact Steven Hill, Red Star for the Experienced Clay Worker” with Frank Studios, 821 W. 17th St., Kansas City 64108; Colson, relief carving, striking molds and various e-mail [email protected]; or telephone (816) glazing techniques. Contact the Tile Heritage 474-7316. Foundation, PO Box 1850, Healdsburg, CA New Mexico, Santa Fe December 5-9 Workshop 95448; e-mail [email protected] ; or fax on glazing, raku kilnbuilding and firing. For further (707) 431-8455. information, contact Mario Quilles, A.I.R. Florida, Sopchoppy January 9-15, 2000 Creat­ Studioworks, (505) 438-7224. ing functional stoneware, single-fire oxidation, North Carolina, Durham January 8-9, 2000 fast-fire wood, individualized stoneware and busi­ Slide presentation and demonstration on throw­ ness as an art form, with George Griffin. Fee: ing and altering functional pottery with Linda $400, includes lodging. For further information, Christianson. Fee: $110. Location: Duke University contact George Griffin Pottery/School, 1 Suncat’s sculpture studio, 406 Oregon St. For further infor­ Ridge, Sopchoppy 32358; or telephone (850) mation, telephone Pam Wardell (919) 471-4300. 962-9311. Oregon, Portland March 4-5, 2000 “Problem Florida, West Palm Beach January 15-16, 2000 Solving in Building Large-scale Figurative Sculp­ “Handbuilt Terra-Cotta Pottery” with Gail ture” with Adrian Arleo. Telephone the Oregon Kendall. January 24-28, 2000 “Flash Firing • College of Art and Craft, (503) 297-5544; or see American Raku” with Harvey Sadow; or “Think­ website at www.ocac.edu. ing Big—Figurative Sculpture in Full Scale” with Texas, Ft. Worth February 18—20, 2000 Slide Stephen Perkins. February 19-20, 2000 “Stone­ presentation and workshop with Lana Wilson. ware and Porcelain” with Tom Coleman. Febru­ Fee: $100; members, $30. Slide presentation is ary 21-25 “Developing an Attitude—Expressive free. For further information, e-mail Portraiture in Clay” with Eugene Daub. March 6- [email protected] or telephone Kim Norris 11 “Shades of Shino” with Malcolm Davis. Con­ (817) 431-1326; leave name, address, telephone tact the Robert and Mary Montgomery Armory number and e-mail address. Art Center, 1703 S. Lake Ave., West Palm Beach Texas, Houston January 11-14, 2000 Hands-on 33401; e-mail [email protected]; see website workshop on throwing and single firing with atwww.armoryart.org; telephone (888) 276-6791 Steven Hill. Fee: $300, includes materials and or (561) 832-1776. firing. For further information, contact Roy Idaho, Sun Valley December 28-29 “Y 2 Clay: Hanscom, Art Dept., North Harris College, 2700 The Search for New Directions” with Jim Rom­ W. W. Thorne Dr., Houston 77073; telephone berg. All skill levels. January 14-16, 2000 “The (281) 618-5609. Expressive Pot” with Josh DeWeese. Fee/session: Texas, Ingram January 5, 12, 19 and26, 2000 $150, includes materials. For further informa­ “Techniques in Clay” with Janice Joplin. Fee: tion, contact Boulder Mountain Pottery, PO Box $175, includes materials and lab fee. Registra­ 3725, Ketchum, ID 83340; telephone (208) 726- tion deadline: December 5, 1999.February 1, 4484; fax (208) 726-7183. 8, 15 and22, 2000 “Wheel Throwing” with Joe Maryland, Baltimore January 15-16,2000“Nar­ Frank McKee. Fee: $146, includes materials

90 CERAMICS MONTHLY December 1999 91 Calendar

and lab fee. Registration deadline: December 30, 1999. Late registration accepted if space allows. For further information, contact Hill Country Arts Foundation, PO Box 1169, Ingram 78028; telephone (800) 459-HCAF or (830) 367-5120.

International Events Austria, Vienna through December 23 “Without Corset—Ceramics of the Wiener Werkstatte 1917-1932”; at the Galerie bei der Albertina, Lobkowitzplatz 1. Canada, Alberta, Calgary January 13-February 26y 2000 Retrospective exhibition of ceramics by Leopold Foulem; at the Illingworth Kerr Gallery, Alberta College of Art and Design. Canada, Ontario, Toronto through January 2, 2000 “Maya Universe,” over 150 ceramic, carved stone and shell artworks; at the George R. Gardiner Museum of Ceramic Art, 111 Queens Park. England, Chichester December 10-12 “Master Potter Series No. 7” with Antonia Salmon, a new approach to exploring forms for burnished and smoke-fired ceramics. January 16-21, 2000 Handbuilding and throwing workshop with Alison Sandeman. February 11-13, 2000 Introduction to mosaics with Emma Biggs. February 18-20, 2000 Throwing and turning workshop with Alison Sandeman. March 12-17, 2000 Ceramic sculpture (animal and bird forms) workshop with Tessa Fuchs. March 17-19, 2000 Surface decoration for func­ tional pots with Alison Sandeman. March 19-24, 2000Sculptural ceramics and vessels decorated with colored vitreous slips with Carolyn Genders. March 26-31,2000Sculptural pots for plants with Gordon Cooke. March 31-April 2, 2000 Decoration using majolica painting and slip with John Hinchcliffe. Contact West Dean College, West Dean, Chichester, West Sussex PO18 0QZ; e-mail [email protected] ; see website at www.westdean.org.uk ; telephone (243) 811 301; fax (243) 811 343. England, London through December 10 “Vision of the East,” exhibition of decorative arts; at Par­ tridge, 144-146 New Bond St. through December 30 Exhibition of ceramics by Robert Cooper; at the Garden Flat, 28 St. Lawrence Terrace. Open Wed. and Thurs., 11 A.M.-6 P.M., or by appt. until Dec. 30. Telephone Anatol Orient, (208) 968 7084. through January 21,2000“Commemorative Mugs for the Millennium”; at Galerie Besson, 15 Royal Arcade, 28 Old Bond St. through January 2000 “A Grand Design: The Art of the Victoria and Albert Museum.” through April23, 2000“Mao: From Icon to Irony”; at the Victoria and Albert Museum, South Kensington. through February 20, 2000 “Gilded Dragons: Buried Treasures from China’s Golden Ages”; at the British Museum. England, Oxford through December 30 “The Sculptural Heritage of Tibet,” Buddhist art from the Nyingjei Lam Collection; at the Ashmolean Museum. through January 5, 2000 “Wrapping Up the Year,” three-person exhibition induding stoneware vessels by Sutton Taylor; at Oxford Gallery, 23 High St. France, Paris December 9-31 Exhibition of sculp­ ture by Jana Bednarkova; at la Galerie, 78 av. Ledru Rollin. France, Saint Quentin la Poterie through January 9, 2000 “10 Ans de Ceramique-Passion,” works

92 CERAMICS MONTHLY December 1999 93 Calendar

by 38 ceramists; at Terra Viva Galerie, Rue de la Fontaine. Greece, Island of Evia Winter Workshops with Alan Bain, handbuilding, throwing, glazing, terra sigillata, kiln design, raku/pit/blacklsaggar firings, reduction stoneware, etc. Instruction in English, a little French and Greek. All skill levels. Fee/week: £275 (approxi­ mately US$435); includes materials, firing, trips on island, lodging, meals. Contact Alan Bain, Kalamondi Pottery, 340 05 near Limni, Evia. Italy, Faenza through January 2, 2000 “Interna­ tional Exhibition of Ceramics 1999.” “Artisti dal Mondo”; at the International Museum of Ceramics. Jamaica April21—29,2000“Ceramics in Jamaica: Interpreting Forms from Nature.” Fee: $1450- $1850, includes materials, firing, lodging and meals. Contact the Registrar, Anderson Ranch Arts Center, PO Box 5598, Snowmass Village, CO 81615; e-mail [email protected]; see website at www.andersonranch.org; telephone (970) 923-3181; or fax (970) 923-3871. Mexico, Oaxaca February 7-12, 2000 “Pre- Columbian Wood-Firing Workshop,” exploring tumblestack surface firing, sunken chamber re­ duction firing, stone kiln firing with tannin stain­ ing. Fee: US$595, includes materials, lodging, most meals, local transportation and museum entry fees. For further information, contact Eric Mindling/Rachel Werling, Manos de Oaxaca, AP 1452, Oaxaca, Oax., CP 68000, Mexico; e-mail [email protected]; see website at www.foothill.net/-mindling ; fax (52) 95 21 41 86. Mexico, San Marcos December 6—11 or January 24-29, 2000 A workshop with Zapotec master potters, mining and processing clay, handbuild­ ing, decorating with slip, burnishing, quick firing. Fee: US$595, includes materials, lodg­ ing, most meals, local transportation, museum entry fees. For further information, contact Eric Mindling/Rachel Werling, Manos de Oaxaca, AP 1452, Oaxaca, Oax., CP 68000, Mexico; e-mail [email protected]; see website at www.foothill.net/-mindling ; fax (52) 95 21 41 86. Mexico, Tonaltepec February 28-March 4, 2000 “Tonaltepec Workshop,” digging clay, forming vessels, firing the ancient Tonaltepec kilns, post firing hot staining. Fee: $540, includes materials, lodging, most meals, local transport, museum entry fees. Contact Eric Mindling/Rachel Werling, Manos de Oaxaca, AP 1452, Oaxaca, Oax., CP 68000, Mexico; e-mail [email protected]; see website at www.foothill.net/-mindling ; or fax (52) 95 21 41 86. Netherlands, Delft through January 8,2000Exhi­ bition of candleholders, clocks and plates by Ross Emerson. December 14—31 “Dark Days of Delft,” exhibition of light-holding objects; at Gallery Terra Keramiek, Nieuwstraat 7. Netherlands, Deventer through December 4 Pot­ tery by Ben Arnup, Wayne Fischer and Svein Hjorth Jensen. December 12-January 15, 2000 “The Millennium Jug,” works by 33 potters; at Loes and Reinier, Korte Assenstraat 15. Scotland, Edinburgh through January 8, 2000 “Ceramic Contemporaries 3,” works by emerging ceramists; at the City Art Centre. Scotland, Glasgow through December 23 “The Plate Show”; at Collins Gallery, University of Strathclyde, 22 Richmond St. Spain, Manises through January 31, 2000 “4th Biennal Europea de Ceramica”; at the Museu de Ceramica de Manises.

94 CERAMICS MONTHLY December 1999 95 of our water, but the town has been adding extra difference will sometimes show up when you Questions stuff, as the water is changing, due to the drought. have just started to use a new bag. Gerstley Answered by the CM Technical Staff Can you help?—M.K. borate is one of those materials, as well as many There can be a number of reasons for yourkinds of Cornwall Stone (Cornish Stone). There QI have an interestingproblem with a green glaze problem and sometimes it can be a combina­are ways of reformulating glazes so that the that I have been using for several years. I am in tion of factors. variable materials are minimized. For instance, Maine, and we have had a drought. The color in Yes, water can affect some glazes, typicallyI do not recommend having any more than the glaze is changing, and the water seems to be the those that are sensitive to small changes. There10% Gerstley borate in a glaze. I would refor­ only variable making the green darker. One of my is a way to test for this. Mix up a batch of yourmulate to get the needed boron from a frit. decorators uses town water, so she took some of our glaze using distilled water, then compare this The third variation can be application. It well water home and made a new batch of glaze new mix with what you have. This will give youmay be possible that there is something in your (the glaze was getting progressively darkerfrom the some idea of what your water might be doing.water, or glaze materials, that is changing the same batch). I just took the test pieces out of the kiln Certain materials also vary a lot over time rheology of your glaze. For instance, if your and they are darker also. I do not have an analysis and, if you have any of these in your glazes, theglaze is flocculated (needs more water to pour properly), you will get a thinner coat on your pots. I am wondering if this is why your glaze looks darker. A simple test on a tile with a single coat, double coat and triple coat would help determine whether that is the problem. Ron Roy Ceramics Consultant Scarborough, Ontario, Canada

Q I am looking for a recipe for a Cone 04 underglaze, white in color, nonsticking to shelves or other pieces. I buy a commercial underglaze, but it is costly, and the company may go out of business. Tm trying to find a way to make it myself, and save on my overhead. Any suggestions?—B. T. Underglazes and slips are basically the same combinations of materials (clays, fluxes, fillers and opacifiers). They are designed to adhere to the surface of the ware, yet not become glassy. They can be made for different stages of appli­ cation (wet, leather hard or bisque) and at different maturing temperatures. The commercial underglazes have suspend­ ers, binders and other additives that make for easy application. They also are usually ball milled to achieve uniform consistency and par­ ticle distribution in the solution. In general, one manufacturer’s colors can be used as a substi­ tute for another’s, especially white underglazes. A recipe for a Cone 04 white slip to be used on wet ware is: Kaplan’s White Slip (Cone 04) Borax...... 5% Frit 3195 (Ferro)...... 25 Any Ball Clay...... 36 Any Plastic Kaolin ...... 24 Pyrophyllite...... 5 Zircopax...... 5 100% You can also formulate your own under­ glaze or slip. The easiest way, if you work with a white body, is to dry some out, mix it with water to a smooth slurry, and pass the mixture through a 100-mesh screen. I would add a small percentage of CMC solution and Veegum Cer to promote surface hardening and ease of appli­ cation. Further whitening can be achieved by

96 CERAMICS MONTHLY Questions include inducing vomiting. Finally, nickel saltsevaluate toxicity, other than to say they pose a are suspected carcinogens. significant risk. I highly recommend you care­ I hope that I have convinced you that thesefully evaluate the benefits of the visual results adding tin oxide or Zircopax. For applicationsalts are among the most dangerous chemicalsversus the health risks. on bisqueware, substitute nonplastic kaolins you will use in your studio and must be handled Most of these materials volatize at about and calcined kaolins for the plastic kaolins, addwith great care. The MSDS indicated that 1000°F. As they migrate in your saggar, some of 15—20% flint, a small percentage of talc, andNeoprene or natural rubber gloves and apronsthe metallic compounds are deposited on the increase the opacifier. should be used when handling these chemicals.surface of the ware as metals and metallic ox­ Colors can be added to either formulation,Eye protection is recommended, as well as a ides. If the saggar is tight, a good deal of the either as commercial stains or raw oxides. Test­NIOSH/MSHA approved respirator. chemistry will remain in the contained space. ing is encouraged to produce optimum results. Reactions to these chemicals will vary fromAs it cools, it could remain an oxide, a pure Jonathan Kaplan individual to individual, depending on the metal, or revert to the salt or another form of the Ceramic Design Group amount of exposure and the general health ofsalt. The reactions will be incomplete and you Steamboat Springs, Colorado the person exposed. It is therefore impossibleshould to assume that any residue is toxic. The

QI have recently tried saggar firing with metallic salts—iron sulfate, iron chloride, copper sulfate, cobalt sulfate, potassium bichromate, nickel sul­ fate, silver nitrate—-fired in an outdoor gas kiln to 1050 P-1250 D F. Could you assign a level of tox­ icity to these chemicals? What types of mask and gloves are sufficient for the salts in dry (dust), liquid and vapor form? After the pots are fired, is the salt residue in the saggar still toxic? Are the pots toxic after being washed? (I “seal” them with beeswax). Are the colors permanent? What are the health risks from short- and long-time exposure? Are there any other safety precautions you would suggest?—D. V We should all be aware of the safety hazards in the visual arts. Ceramics is possibly one of the more dangerous pursuits in the arts. Most of the materials we deal with carry some degree of health risk. A clear understanding of the health hazards associated with the materials we use and good studio hygiene practices are essential to our safety. I highly recommend that you acquire Mate­ rial Safety Data Sheets (MSDS) from your chemical supplier on all new purchases of ma­ terials and chemicals for your studio. They are available upon request and will provide you with a lot of specific information on different kinds of health risks and a rating for each. You can also get sheets on specific chemicals you are already using, through the chemical supply room of any college or university. I went to the chemical supply room here at the University of Alabama to get the following information. All of the chemicals you listed represent a significant health hazard for skin contact, inges­ tion, inhalation and eye contact. Due to the fact that these materials are soluble in water, the immediate first aid for contact is washing the affected area with copious amounts of water. Contact with the skin can cause chemical burns. Eye contact can cause severe eye injury and blindness. Breathing these chemicals can cause a variety of respiratory problems. In some cases, the administration of oxygen by a professional was recommended. First-aid recommendations for ingestion of these salts, particularly the potassium dichromate and cobalt sulfate, might

December 1999 97 Questions because they have a lot of silica added to them. 4. Choose clays with a higher percentage of grog. I have formulated several raku bodies over escaping sulfides, chlorides and nitrates will the last 30 years, and the best have 20-30 % most likely associate themselves with water grog in them. It is not necessary to have that vapor and form acids. These acids can then much, but at least 10% grog would be a great react with available chemicals to reform salts.help. You might consider buying a bag of grog Washing the pots will remove a great deal ofand wedging it into some of your clay to see if the residual salts, but you should note that it that will work. would be almost impossible to remove all of the The other aspect of this is the kind of glazes salts from the porous clay body. Sealing the potyou are using. It could be that your glaze has a with beeswax will certainly lower the chemicallower expansion/contraction rate than the clay, exposure of anyone handling the pot. It will alsoalthough I doubt this is the problem, as your seal the surface and the chemicals deposited onvases and bottles are not subject to cracking. the surface from oxygen, slowing any change in Ron Roy the color of the surface due to oxidation. Acids Ceramics Consultant and salts left in the cross section of the ware Scarborough, Ontario, Canada might have some long-term effect on the color. I would highly recommend that you clearlyQ I am using a raku technique I call “Naked inform your customers of the chemicals and Slip. ” It produces a gray and white crackle design processes you are using. I would also let themon an unglazed clay body in the reduction step of know that putting water in these pieces in­ the raku process. I dip my bisquepieces (madefrom creases the possibility of leaching of small a Cone 10 commercial mix with 25% fine grog) amounts of acids and salts. These items shouldinto thick slip (same clay body, with no grog). If be sold as purely decorative nonfunctional ware.I dip the pieces a second time, after thefirst layer W. Lowell Baker has dried\ I have a problem with it falling off The University of Alabama the pot. After the firing, assuming that large Tuscaloosa, Alabama pieces of slip have not come off during thefiring, I reduce the pieces in sawdust and/or newspaper, to Q I have been teaching raku for the past several get a really good black body reduction. What slip years. During that time, we have lost virtually all formula will: a) stick to the pot; b) stay on during platters and bowls due to cracking in the reducing the firing; c) create a beautiful crackle design; d) chambers. We have tried various mixes and com­ come off easily after thefiring?—-J. R. mercial clays with no success. We have no trouble Using the “Naked Clay” raku process does with vases and jars. Do you know of a raku body involve applying a thick slip over a bisqued recipe or a source for commercial raku clay that surface. This can be drawn through to produce will work?-—M. C. shadow drawings in the reduction. While the At the heart of your problem is the free right thickness of this slip layer can be a matter quartz (silica) in the clay you are using. Quartzof trial and error, the step you might be missing goes through an inversion at 573°C (1063°F), is to cover that slip with a thin layer of glaze that with a reduction of 1-2% in volume. If the will fuse to the slip. The glaze used need only outside of a plate or bowl goes through this flux enough to bind the slip surface during the inversion before the inside, it cannot get smallerreduction. Apply a thin layer of glaze by spray­ and has to crack. This is called bisque dunting.ing it over the slip. Fire to a low raku tempera­ It can happen during bisque cooling as well. ture Cone 012-08. If applying over a burnished So, why don’t the vases crack? Because thesurface, this temperature is very important, as walls cool more evenly and go through quartzyou can lose the burnished surface by overfiring. inversion together, as it were, because of the After coolingthe piece, chip away the slip from shape. There are four aspects to controlling thisthe surface. There will be dark lines wherever problem: there were cracks in the slip. For a more detailed 1. Slow the cooling during the crucial tem­look at this process, check out the February’92 perature range of 650°C [1202°F] to 500°C issue of CM. [932°F]—not an appropriate solution during Marcia Selsor the raku process. Montana State University 2. Higher firing of the bisque to make the Billings, Montana ware stronger and melt a bit more of the silica. Have a problem? Subscribers’ questions Melted silica does not go through the inversion.are welcome, and those of interest to the I suggest bisquing to Cone 04, with a soak at theceramics community in general will be an­ end lasting at least 15 minutes. swered in this column. Due to volume, 3. Choose a clay or clays that have as little letters may not be answered personally. Mail to Ceramics Monthly, PO Box 6102, free silica added to them as possible. Your clayWesterville, Ohio 43086-6102, e-mail to supplier should be able to give you a list of [email protected] or fax to Porcelains are definitely not the right choice (614) 891-8960.______

98 CERAMICS MONTHLY December 1999 99 100 CERAMICS MONTHLY December 1999 101 Ceramics Monthly Annual Index January-December 1999

Business Embracing an Odd Paradox, Lehman, Apr., Intimate Interactions: The Vessels of Julia Combining Dreams: A Pottery in the Sun, p 116 Galloway,Bonansinga, Oct., p 32 Robinson, Oct., p 40 English Urban, American Rural, Wilcox, June/ Kennedy-Douglass Annual, Nov., p 69 Cultivating a Taste for Clay, Chinnery, Nov., July/Aug., p 60 Limitless Low Fire, June/July/Aug., p 47 P 73 Just Do It, Wild, Feb., p 110 Looking in the Mirror: Aspects of Figurative Customers: How to Get Them and How to Keeping the Fire Under Control, Long, Oct., Ceramics, June/July/Aug., p 50 Keep Them, Lagan, Dec., p 69 p 108 Madhvi Subrahmanian, Sept., p 49 Is It Covered?, Battersby, Mar., p 47 Leach’s Circular Logic, Britt, May, p 108 More Than Clay: The Toki Collection, Dauer, Legitimately Lower Taxes, Battersby, Jan., p 43 Limp Ice-Cream Box, A, Stiff Paper, a Couple Feb., p 39 Limp Ice-Cream Box, A, Stiff Paper, a Couple Pieces of Magic Tape and a Sticky Seal to Morgen Hall, Apr., p 56 Pieces of Magic Tape and a Sticky Seal to Close the Lid, Lehman, June/July/Aug., Ohio’s Jack Earl, Gallia, Mar., p 49 Close the Lid, Lehman, June/July/Aug., p 108 Picasso’s Ceramics: A Lifelong Interest, Kangas, p 108 Lower-case art, Teacups and Jackson Pollock, Feb., p 58 Unusual Pottery Markets, Sondahl, June/July/ Robinson, June/July/Aug., p 118 Ralph Bacerra, Sept., p 56 Aug., p 105 Mud, Sweat and Tears, Glover, Sept., p 108 Side by Side: Couples in Clay, Nov., p 50 Writing an Artist’s Statement, Goodwin, May, Our Quest for Affirmation, Sondahl, Dec., Stan Welsh, Keller, Jan., p 45 p 39 p 104 Ten Tilemakers, Apr., p 72 Same Kind of Thing?, The, Berkowitz, Nov., V. Chin, Sept., p 75 Clay and Glazes p 110 Westerwald Prize, The, Oct., p 50 As Always in Clay,Heer, Dec., p 47 Two Wheels of Japan, Hatori, Mar., p 110 Brian VanNostrand, Clark, Apr., p 59 Wood-Fire Apologia, Herold, Feb., p 54 History Charting New Paths with Soda, Nichols, Nov., Yixing Effect, The, Sweet, Jan., p 66 19th-Century Texas Vernacular Ceramics, p 44 Komodore, May, p 41 Conversation with Elmer Taylor, A, Molina- Decoration Australian Aboriginal Ceramics, Pascoe, May, p 35 Rodriguez, Sept., p 40 Brian VanNostrand, Clark, Apr., p 59 Australian Ceramics, 1800-1960: Toward a David DonTigny,Lackey, Dec., p 64 Building with Color, Welch, Mar., p 56 National Style, Pascoe, Apr., p 49 Ecokarma, Vogler, Jan., p 101 Dialogue with Anasazi Potters, A: Making Ban Kapaow: Visiting Potters in a Laos Village, Flash Reduction, Young, June/July/Aug., p 107 Black-on-White Ware with Clint Swink, Shippen, Feb., p 31 Formulating Glazes, Eppler, June/July/Aug., Lawrence, Apr., p 40 Dialogue with Anasazi Potters, A: Making p 39 High-Temperature Iridescence, Holt, Jan., p 103 Black-on-White Ware with Clint Swink, Gary Erickson,Myklebust, Sept., p 65 So, It Was Boys?,Daly, Feb., p 47 Lawrence, Apr., p 40 Glaze Crawling: Causes and Corrections, Zamek, Spirit to Learn, the Spirit to Teach, The, Turek, Pottery in Jamaica, Hajduk, Dec., p 34 Sept., p 73 Nov., p 59 Yixing Effect, The, Sweet, Jan., p 66 High-Temperature Iridescence, Holt, Jan., p 103 Janis Mars Wunderlich, Turner, Dec., p 55 Departments Miscellaneous Material Substitutions for Clay Bodies, Zamek, The following departmentalfeatures appear Cultivating a Taste for Clay, Chinnery, Nov., Feb., p 35 monthly except as noted: P 73 More Electric Kiln Copper Reds, Pearson and Calendar How to Succeed at NCECA Without Really Pearson, May, p 70 Call for Entries Trying, Mar., p 115 New Beginnings, Stichter, May, p 48 Classified Advertising International Potters Festival, Robison, Oct., p 35 Odyssey in the Ozarks,Waters, Nov., p 52 Gallery Guide, Oct., p 54 Linda Haworth and the Hillsboro Station: A Porcelain Containers for Ikebana Flower Letters Community Project, Samson, Dec., p 58 Arranging, Fina, May, p 45 New Books Slab Paintings of Linhong Li, The, Chen, Jan., Red Clays for Mid-Range Oxidation, Wright, Questions: Answered by the CM Technical p 70 Mar., p 70 Staff Soulful Sound, A, Rezner, May, p 64 Ruthanne Tudball, Birks, Feb., p 63 Suggestions from Readers Visiting Banff Centre for the Arts, Malinowski, Shared Visions, Willoughby with Shusterman, Summer Workshops, Apr., p 35 May, p 61 Dec., p 38 Up Front Video: Jan., p 36; Apr., p 32; Nov., p 78 Potters and Pottery Simply Red, Hendley, Oct., p 66 19th-Century Texas Vernacular Ceramics, Smoked and Pit-Fired Porcelain, Jan., Urlacher, Exhibitions Komodore, May, p 41 p 49 Allan Rosenbaum, Apr., p 74 As Always in Clay,Heer, Dec., p 47 Spirit to Learn, the Spirit to Teach, The, Turek, Barbara Diduk and Prue Venables, Sept., p 50 Australian Aboriginal Ceramics, Pascoe, May, p 35 Nov., p 59 Bobby Silverman, June/July/Aug., p 48 Australian Ceramics, 1800-1960: Toward a Susan Karrasch, Dec., p 62 Jacobson, Ceramics Monthly International Competition, National Style, Pascoe, Apr., p 49 Suze Lindsay, Jan., p 58 McCall, Mar., p 63 Ban Kapaow: Visiting Potters in a Laos Village, Taking a Closer Look, Frank, May, p 31 Christine Fabre, Feb., p 56 Shippen, Feb., p 31 Urban Wood Kiln, An, Clarkson, Mar., p 35 Clay Cup VII,Nelson, Oct., p 39 Barbara Diduk and Prue Venables, Sept., p 50 Collecting Contemporary Ceramics at the Gardiner Bobby Silverman, June/July/Aug., p 48 Ceramics Monthly Collection Grows, Sept., Museum, Dec., p 32 Brian VanNostrand, Clark, Apr., p 59 Castles in Spain, June/July/Aug., p 68 p 76 Contemporary Norwegian Ceramics, Nov., p 54 Melville, More Than Clay: Toki Collection, The, Dauer, Contemporary Puerto Rican Ceramics, Rice, Charting New Paths with Soda, Nichols, Nov., Feb., p 39 Jan., p 52 p 44 What Do You Do with 314 Pots?, Lincoln, Apr., Dorothy Bearnson: University of Utah Ceramics Clay Cup VII,Nelson, Oct., p 39 p 68 Pioneer, Cox, Sept., p 60 Cliff Lee: New Directions, Dauer, June/July/ English Urban, American Rural, Wilcox, June/ Aug., p 52 Commentary July/Aug., p 60 Combining Dreams: A Pottery in the Sun, Artist’s Statement/Viewers’ Comments, Ozereko, International Competition in South Africa, Feb., Robinson, Oct., p 40 Jan., p 75 p 42 Conversation with Elmer Taylor, A, Molina- Discovering Clay Therapy,Ihde, Jan., p 118 Interpretative Teapots, Feb., p 52 Rodriguez, Sept., p 40

102 CERAMICS MONTHLY Crossing Categories, Andrews, Oct., p 44 Contemporary Ceramics at the Gardiner David DonTigny,Lackey, Dec., p 64 Museum, Dec., p 32 Dialogue with Anasazi Potters, A: Making Contemporary Norwegian Ceramics, Nov., p 54 Black-on-White Ware with Clint Swink, Contemporary Puerto Rican Ceramics, Rice, Lawrence, Apr., p 40 Jan., p 52 Dorothy Bearnson: University of Utah Ceramics Crossing Categories, Andrews, Oct., p 44 Pioneer, Cox, Sept., p 60 Curtis Hoard, Shepard-Hoard, Mar., p 59 English Urban, American Rural, Wilcox, June/ Different for Me, Vavrek, June/July/Aug., p 57 July/Aug., p 60 Dorothy Bearnson: University of Utah From Silt to Ceramics, Block, Mar., p 39 Ceramics Pioneer, Cox, Sept., p 60 High-Temperature Iridescence, Holt, Jan., p 103 Ecokarma, Vogler, Jan., p 101 International Competition in South Africa, Feb., Female Form, A: Sculpture Techniques of p 42 Margaret Keelan, The, Shaboy, Sept., 46 International Potters Festival, Robison, Oct., p 35 From Intuition to Form: A Conversation with Interpretative Teapots, Feb., p 52 Jacques Kaufmann, Guiral, Feb., p 67 Intimate Interactions: The Vessels of Julia Gary Erickson,Myklebust, Sept., p 65 Galloway,Bonansinga, Oct., p 32 Immaculate Artifacts: Vessels of Lara Scobie, Jill Fanshawe Kato, Wilson, May, p 66 The, Brown, Nov., p 36 Kelly and Gerald Hong, Thompson, Nov., p 40 International Competition in South Africa, Feb., Kennedy-Douglass Annual, Nov., p 69 p 42 Limitless Low Fire, June/July/Aug., p 47 Irene Wheeler: Shaping a Life, Wilkinson, Apr., p 45 Madhvi Subrahmanian, Sept., p 49 Janis Mars Wunderlich, Turner, Dec., p 55 Making of an Artist, The, Betancourt, May, p 58 Katy McFadden, Behrs, Jan., p 72 More Than Clay: The Toki Collection, Dauer, Kennedy-Douglass Annual, Nov., p 69 Feb., p 39 Limitless Low Fire, June/July/Aug., p 47 Morgen Hall, Apr., p 56 Looking in the Mirror: Aspects of Figurative Nanban, Mizoguchi, Oct., p 70 Ceramics, June/July/Aug., p 50 Odyssey in the Ozarks,Waters, Nov., p 52 Maribel Portela: Mexican Sculpture at the Porcelain Containers for Ikebana Flower Intersection of Folk Art and the Avant- Arranging, Fina, May, p 45 Garde, Bonansinga, May, p 28 Pottery from the Opal Mines, Anderson, Sept., Mexico’s Josefina Aguilar, Jonnum, Sept., p 58 p 69 Mitchell Messina, Dawson, Dec., p 44 Pottery in Jamaica, Hajduk, Dec., p 34 More Than Clay: The Toki Collection, Dauer, Ralph Bacerra, Sept., p 56 Feb., p 39 Red Clays for Mid-Range Oxidation, Wright, New Beginnings, Stichter, May, p 48 Mar., p 70 Not for Any of the Tea in China: Art of Leopold Robert J. Washington, Mar., p 42 Foulem, The, Lackey, Oct., p 61 Ruthanne Tudball, Birks, Feb., p 63 Ohio’s Jack Earl, Gallia, Mar., p 49 Shared Visions, Willoughby with Shusterman, Picasso’s Ceramics: A Lifelong Interest, Kamas, Dec., p 38 Feb., p 58 Side by Side: Couples in Clay, Nov., p 50 Saggar-Fired Sculptures, Nam, Feb., p 45 Simply Red, Hendley, Oct., p 66 Stan Welsh, Keller, Jan., p 45 Smoked and Pit-Fired Porcelain, Urlacher, Jan., Studio Ceramists in Finland, Levin, May, p 54 p 49 Susan Karrasch, Jacobson, Dec., p 62 So, It Was Boys?,Daly, Feb., p 47 Tim Proud, Brown, Mar., p 66 Sojourn in Japan, A, Huffman, Jan., p 39 Tom Laudenslager, Steinhagen, Oct., p 48 Spirit to Learn, the Spirit to Teach, The, Turek, Toward the Inner: Sculpture by Peter Masters, Nov., p 59 Campbell, Mar., p 50 Studio Ceramists in Finland, Levin, May, p 54 Transformations: Testing the Limits of Thick- Susan Karrasch, Jacobson, Dec., p 62 Walled Forms, Suh, Nov., p 67 Suze Lindsay,McCall, Jan., p 58 Visiting Banff Centre for the Arts, Malinowski, V. Chin, Sept., p 75 May, p 61 Visiting Ryoji Koie, Bradford, June/July/Aug., Westerwald Prize, The, Oct., p 50 P 35 Yuxian Zhang, Chen, Nov., p 75 Westerwald Prize, The, Oct., p 50 Wood-Fire Apologia, Herold, Feb., p 54 Studio, Tools and Equipment Wood-Fired Realism, Hansen, Dec., p 51 Billy Ray Mangham,Hatcher, June/July/Aug., Wood-Firing Raku Kiln, A, During, June/July/ p 43 Aug., p 65 Brian VanNostrand, Clark, Apr., p 59 Yixing Effect, The, Sweet, Jan., p 66 Calyx Dome, The, Spencer, Sept., p 52 Charting New Paths with Soda, Nichols, Nov., Sculptors and Sculpture p 44 Allan Rosenbaum, Apr., p 74 Dialogue with Anasazi Potters, A: Making Artist’s Statement/Viewers’ Comments, Ozereko, Black-on-White Ware with Clint Swink, Jan., p 75 Lawrence, Apr., p 40 Australian Aboriginal Ceramics, Pascoe, May, p 35 Female Form, A: Sculpture Techniques of Australian Ceramics, 1800-1960: Toward a Margaret Keelan, The, Shaboy, Sept., 46 National Style, Pascoe, Apr., p 49 Nanban, Mizoguchi, Oct., p 70 Barbara Diduk and Prue Venables, Sept., p 50 Ruthanne Tudball, Birks, Feb., p 63 Billy Ray Mangham,Hatcher, June/July/Aug., Spirit to Learn, the Spirit to Teach, The, Turek, p 43 Nov., p 59 Building with Color, Welch, Mar., p 56 Tim Proud, Brown, Mar., p 66 Calyx Dome, The, Spencer, Sept., p 52 Urban Wood Kiln, An, Clarkson, Mar., p 35 Castles in Spain, Melville, June/July/Aug., p 68 Visiting Ryoji Koie, Bradford, June/July/Aug., Christine Fabre, Feb., p 56 p35 . Cliff Lee: New Directions, Dauer, June/July/ Wood-Firing Raku Kiln, A, During, June/July/ Aug., p 52 Aug., p 65

December 1999 103 Comment even strangers gave me affirmation, par­ It seems as though we always long for ticularly in the form of money. the kind of affirmation we do not have. For someone who had succumbed to At first, we long to hear, “I love your Our Quest for Affirmation being an art major, this financial aspect beautiful work.” After 25 years and thou­ by Brad Sondahl was stunning. “You mean people will pay sands of sales, such praise flows off me me to do what I want? I don’t even have (and probably many of you) like water to cut off my ear?” off a duck’s back. But, like you, I still When I began making pottery, I felt a The monetary phase of affirmation need affirmation to keep me going. little thrill with every pot. I see it now, meant that I could claim pottery as a Our search for affirmation is limitless. whether with five- or fifty-year-olds, as career. This hoop is the hardest one to But clay remains a really humbling me­ they make their first volcanoes on the jump through in the quest for affirmation. dium. We can’t do a thing with it with­ wheel. It is that which makes us speak of Although its easy to make some money out getting our hands dirty (not to clay as an addiction. Something inside with clay, hardly anyone ever feels they’ve mention our clothes). It will play tricks clamors, “This is right!” made enough money (in any profession), on us, rendering cracks or blisters in our I now show my twisted and lumpy and if that’s how we want to feel vali­ most painstaking efforts. From dust it first pot to encourage beginners whose dated in our lives, it’s a fairly tough road comes, and dust it remains, which ap­ efforts go astray. I’ve always liked that to travel. plies to human aspiration as well. pot, but like any addiction, this feeling If we step around the money pothole, I hope we as potters can find valida­ was not enough—I wanted more. I liked there are other bridges to cross on this tion from better things, like meaningful what I made, but I wanted others to like journey. It may be possible to make a human relationships. And then maybe it too. I needed that affirmation. living solely by making mugs that say, “I we can just be satisfied with the feeling This is a major hurdle, which I was *9 (your favorite city, state or pet breed),” we get inside when making something helped over by my nonjudgmental par­ but doing so would not be good for your beautiful from clay, which is the same ents. They accepted my pots with en­ psyche, nor for your reputation among feeling we had when we made that first couragement, in spite of teapots whose your peers. We crave respect from other pot anyway. spouts stuck straight out halfway up the clay artists and, achieving that, also desire side, rendering the upper half of the pot public recognition—fame. Fame comes The author A frequent contributor to Ce­ useless; or wildly inventive and ugly sculp­ with a price, so we may begin to crave ramics Monthly, Brad Sondahl produces tural efforts. As my attempts continued, I positive reviews from critics as well, to functional stoneware pottery at his studios started selling at small craft fairs, where make our position secure. in Nezperce and Spirit Lake, Ldaho.

Index to Advertisers

A.R.T. Studio...... 17 Creative Industries...... 97 Lark Books...... 78 Pure & Simple ...... 94 Aftosa...... 13 Cress...... 9 Lead Industries Assoc ...... 83 Ram Products ...... 103 Amaco ...... 79 Leslie Ceramic Supply...... 91 Davens ...... 8 Sapir Studio ...... 81 American Ceramic Society...... 77, 91 Lockerbie ...... 99 Del Val ...... 101 Scott Creek Pottery...... 82 Amherst ...... 94 Dolan Tools...... 78 Martin Street ...... 98 Seattle Pottery Supply...... 99 Anderson Ranch...... 93 Duralite...... 82 Master Kiln Builders...... 92 Sheffield Pottery...... 87 Annie’s Mud Pie Shop ...... 78 Euclid’s...... 28 Max Wheel ...... 78 Sierra Nevada College ...... 92 Armory Art Center...... 99 MBF Productions...... 76 Skutt Ceramic Products...... Cover 4 Axner Pottery...... 19 Falcon...... 98 Miami Clay...... 93 Geil Kilns...... 25 Smoky Mountain Pottery...... 101 Mile Hi Ceramics...... 103 Bailey Pottery...... 1, 11, 27, 72, 73 Georgies...... 92 Southern Pottery...... 94 Minnesota Clay...... 29 Bennett’s Pottery...... 5 Giffin Tec...... 78 Spectrum Glazes...... 24 Modern Postcard...... 99 Bluebird...... 93 Gordon Ward...... 101 Standard Ceramic Supply...... 81 Moravian Pottery & Tile Works .... 94 Brickyard...... 90 Great Lakes Clay...... 95 Studio Potter...... 84 Brown Tool Co...... 76 MudWorks...... 82 Guild.com...... 85 Tara Productions...... 75 Ceraco ...... 76 Hammill & Gillespie ...... 76, 82 NCECA...... 7 Thomas-Stuart...... 83 Ceramic Services ...... 92 Hampshire Woodworking ...... 85 New Mexico Clay...... 101 Three Squawking Geese ...... 101 Ceramics Monthly...... 23, 85, 95 Handmade Lampshades ...... 92 Nidec-Shimpo...... Cover 2 Trinity Ceramics Supply...... 87 CerMA...... 76, 92 HBD...... 76 92nd St. Y...... 83 Tucker’s Pottery...... 89 Clark An Glass &C Refractories...... 82 Highwater Clay...... 96 North Star Equipment...... 15 U. S. Pigment ...... 91 Classified...... 100 Hones, Charles A...... 82 Olsen Kilns...... 95 Venco...... 21 Clay Art Center...... 84 How-2-Tek...... 92 Olympic Kilns...... 6 Vent-A-Kiln ...... 78 Clay Factory...... 82 ITC...... 8 Clay Times...... 26 Paragon Industries...... 98 Ward Burner ...... 22 Jepson Pottery...... 30, 31 Clayworks Supplies ...... 94 Pebble Press ...... 76, 78 West Coast Kilns ...... 94 Contemporary Kiln...... 101 Kickwheel Pottery...... 2 Peter Pugger ...... 98 Westerwald Pottery...... 90 Continental Clay...... 88 Krueger Pottery...... 103 Pine Ridge Pottery...... 103 Wise Screenprint ...... 94 Corey Ceramic Supply...... 86 L&L ...... Cover3 Potters Shop...... 86 Wolfe, Jack D...... 98 Cornell Studio...... 103 Laguna Clay...... 74 Pottery Making Illustrated...... 80 Worcester Center ...... 81

104 CERAMICS MONTHLY