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Ceramics Monthly (ISSN 0009-0328) is published monthly, except July and August, by The American Ceramic Society, 735 Ceramic PI., Suite 100, Westerville, Ohio 43081; www.ceramics.org. Periodicals postage 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 Ceramic Society. subscription rates: One year $32, two years $60, three years $86. Add $25 per year for subscriptions outside North America. In Canada, add 7% GST (registration number R123994618). back issues: When available, back issues are $6 each, plus $3 shipping/handling; $8 for expedited shipping (UPS 2-day air); and $6 for shipping outside North America. Allow 4-6 weeks for delivery. change of address: Please give us four weeks advance notice. Send the magazine address label as well as your new address to:Ceramics Monthly, Circulation Depart­ ment, 735 Ceramic PI., Suite 100, Westerville, Ohio 43081. contributors: Writing and photographic guidelines are available online atwww.ceramicsmonthly.org . indexing: An index of each year's feature articles appears in the December issue. You may also visit the Ceramics Monthly website at www.ceramicsmonthly.org to search an index of article titles and artists' names. Feature ar­ ticles are also indexed in theArt Index, daai (design and ap­ plied arts index). copies: Authorization to photocopy items for internal or personal use beyond the limits of Sections 107 or 108 of the U.S. Copyright Law is granted by The American Ceramic Soci­ ety, ISSN 0009-0328, provided that the appropriate fee is paid directly to Copyright Clearance Center, Inc., 222 Rosewood Dr., Danvers, MA 01923, USA; (978) 750-8400; www.copyright.com. Prior to photocopying items for class­ room use, please contact Copyright Clearance Center, Inc. This consent does not extend to copying items for general distribution, or for advertising or promotional purposes, or to republishing items in whole or in part in any work in any format. Please direct republication or special copying permission re­ quests to the Publisher, The American Ceramic Society, 735 Ceramic PI., Suite 100, Westerville, Ohio 43081, USA. postmaster: Please send address changesCeramics to Monthly, 735 Ceramic PI., Suite 100, Westerville, OH 43081. Form 3579 requested.

Copyright © 2005 The American Ceramic Society All rights reserved Ceramics Monthly December 2005 2 CeramicsMonthly December 2005 3

DECEMBER 2005 / Volume 53 Number 10

features

36 A Balanced Hand by Marlene Jack A Virginia potter traces her development from pots to figurative sculpture, and back again monthly methods A Builder of Pots

40 Gabriele Koch byTonyBirks Through meticulous working methods, a British artist creates refined, smoke-fired vessel forms monthly methods The Flexibility of Smoke Firing

44 Looking at Kesl and Tilton by Don pitcher with Collaborative Escape by Anne Tilton A painter and a potter set aside their usual studio pursuits in a serendipitous annual partnership monthly methods The Depth and Complexity of Underglazes 48 Wandering Between Reality and Eternity The Work of Shih Hsuan-yu by Chuang Hsiu-ling, translation by Andrew Wilson

50 Healthy Forest—Happy Potters by Tom wolf Potters team up with the U.S. Forest Service to help lessen the threat of catastrophic wildfires, while fueling their creativity monthly methods Big Brick Kiln Design

53 Frank Willett: Potter by James Marshall Pots with a quiet presence reflect the simple processes of their creation monthly methods Found Wooden Handles recipes Cone 10 Reduction Glazes 57 A Community Gathers to Remember a Friend by David Hooker Firing the late Billy Henson's groundhog kiln highlights the important role he played in his community

59 A Natural Fixationby Chris Nielsen A Washington potter seeks to emulate traditional Asian pottery using intuitive methods and native materials recipes Classic Cone 10 Glazes

cover: "Assorted Oil Pots," to 8½ inches (22 centimeters) in height, stoneware, soda fired to Cone 10, 2004; by Marlene Jack, Barhamsville, Virginia; See page 36.

Ceramics Monthly December 2005 5 departments

1 0 letters from readers

14 upfront reviews, news and exhibitions

26 answers from the CM technical staff

30 suggestions from readers 32 Tip of the Month: Easy Hydrometer 64 call for entries 64 International Exhibitions 64 United States Exhibitions 68 Regional Exhibitions 68 Fairs and Festivals 72 new books 78 calendar 78 Conferences 78 Solo Exhibitions 80 Group Ceramics Exhibitions 84 Ceramics in Multimedia Exhibitions 88 Fairs, Festivals and Sales 88 Workshops 94 International Events 100 annual index 102 classifieds 103 index to advertisers 104 comment The Soul of a Young Potter by Val Cushing, Jeff Shapiro and Linda Sikora

onlinewww.ceramicsmonthly.org current features, expanded features, archive articles, calendar, call for entries and classifieds expanded features A Balanced Hand by Marlene Jack Expanded article with more images of Jack's work A Community Gathers to Remember a Friend by David Hooker Images of the works from this commemorative firing new online exclusive features A Ceramic Recharge in Finland by Chris Garcia Exploring a new culture invigorates Ohio artist special listings Gallery Guide Where to see ceramics in the U.S. and abroad Residencies and Fellowships Full listing of professional-development opportunities

Ceramics Monthly December 2005 6 CeramicsMonthly December 2005 7

assume it has been explained well, the had our disagreements over certain things, letters viewer may then fully understand that the but always try to not let fancy words cover piece really isn’t successful and moves on. for faults in the work. Success and Communication But who would give up a second opportu­ Now, about what I see as a cheap shot In response to “The Not-So-Still Life” nity to communicate our personal thoughts, regarding his being an “academic”: I have [November Letters]: I don’t believe that ideas and art? Communication is success— visited Juniata College several times over verbal discussion is supplanting successful isn’t it? the years, and Jack is running a good visual expression. Rather, I think the addi­ Tony Reynolds, Prescott, AZ shop—good atmosphere, good students, tional discussion is a natural response to the and to those who focus on it, good pots. overwhelming number of data competing In Defense of Troy Then there is his mentorship of emerging for our daily attention and demands on I would like to respond to the letter “The potters who assist him. primacy in our lives. If the visual language Not-So-Still Life” [November Letters], As to his not being a “working potter”: the artist uses is foreign, new or different to although I realize Jack Troy certainly can While I am sure Juniata sends him a regular the viewer, the message isn’t going to get defend himself. check, I have several of his pots in my home through. The viewer moves on to the next I do agree that there are instances where where they serve their function just fine— image; end of discussion (expression), with bad pots are given a good verbal shining to and better than most. no success. hide their faults, and I have seen masters Differences of opinion are one thing, In the past, the art world could put out a degrees conferred for fiberglass tubs of but cheap shots are ignorance. concept and if you didn’t get it; too bad, honey, so there should be a sort of clear- Patrick Houston, Cosby, TN rube, you obviously don’t have the ability to minded, rational approach to evaluating appreciate it. Today, that approach is fast pottery where the work holds its own with­ In the Company of Potters going the way of the dinosaur as consumers out a lot of talk. I was recently in the company of a number avail themselves of resources to expand their That being said, in the fifteen years that of potters, and I asked if any of them re­ knowledge and appreciation. Artists who I have known Jack, some of the best discus­ membered Jack Troy’s Comment in the aren’t out there as a resource are at a disad­ sions and critiques of this very subject I September issue. “Yes” was the immediate vantage, and the allotted fifteen minutes of have had the good fortune to be part of reply, with a few chuckles that suggested it fame has been cut to fifteen seconds. have been with him. His comments on my had sparked some discussion before I had Of course, there’s a rub: Once the artist work have been clear, well constructed and arrived. It doesn’t really matter whether or has verbally explained the work, and let’s not always what I wanted to hear. We have not I agree with Jack’s concept of “still life”

CeramicsMonthly December 2005 10

letters I don’t know Jack Troy, but have met been in a “very prestigious show,” and him. He comes off as a low-key, humble doesn’t sell as well as they feel they should potter and teacher, with a subtle streak of have. So they load up the big guns, look pots. I just think it is great that he can mischievousness. Keep it up, Jack. Keep us around for the largest target (universities), instigate conversation on such a subject. all thinking and discussing. and fire. Then, as Mr. Turner has, they hide So is it pretentious for a potter to sell an Susan Roden, Oakland, OR behind smoke and mirrors. Mr. Turner’s assemblage of pots, not meant for common letter is insulting and inaccurate. Let me use, but to admire as decoration? Will Time for Good Sense and Clarity clear the smoke and redirect the mirrors: potters across the country be displaying From time to time, over the last thirty-plus Faculty determine course content, not their own “still life” arrangements? Is Jack years I’ve spent in higher education, I read the university; It’s called academic freedom. propagating a trend? Or is this all a sham to letters similar to Tom Turner’s [“Time for a Are there some programs teaching ceramics see if anyone will pick up on this great Change,” November Letters]. Most of the that promote a departmental definition of marketing concept? time they are written after the author has clay? There always have been and will be. So we should pull pottery out of the univer­ sity because they don’t understand us? Over my dead body. It’s my understanding that Mr. Turner left the system years ago. Art-education studies have proven that the buying public has, for some time in America, made decisions based on color; nothing new there. Linking the statement “Potters are about material and process” to the Bauhaus is interesting, since I believe the Bauhaus was about the machine; form follows function; Miesian [Mies van der Rohe] simplicity; and moving away from adornment. Mr. Turner states that, “society doesn’t need our physical product,” then turns around and tells us how Bernard Leach promoted the handmade object. It is my opinion that, with the continued and in­ creased use in our lives of computers, ipods, etc., society needs more than ever to use something made by human hands; to use pottery imbedded with the “soul of the maker,” as Bernard Leach told me. Of course Mr. Turner has every right to his opinion, but I am going out on a limb to say that most potters want their pottery used and enjoyed with all the senses. There are many art centers and universi­ ties teaching functional and sculptural ceramics. I hope that both venues continue to produce some of the finest young artist si craftspeople we have ever seen. I want them to continue to expand our horizons and the arenas in which we play. Elmer Taylor, Denton, TX

Credit The teapot pictured on the cover of the “Ceramic Arts Publications” catalog, which was mailed with the September issue of CM, was made by Charles Tefft of Atlanta, Georgia; photography by James Hamilton.

Read more Letters online at www.ceramicsmonthly.org/letters Submit letters by e-mailing [email protected] In­ clude your full name and address. Editing for clarity or brevity may take place. Letters can also be mailed to Ceramics Monthly, 735 Ceramic PI., Suite 100, Westerville, OH 43081.

CeramicsMonthly December 2005 12 upfront

14 Beyond Clouds of Memory: Akio Takamori, A Mid-Career Survey by D Wood Arizona State University Art Museum Tempe, Arizona

16 Friendship: Clay and Metal Zazen Gallery, Paoli, Wisconsin

16 A Blueplate Special Chester Springs Studio, Chester Springs, Pennsylvania

18 Perchance to Dream Ohio Craft Museum, Columbus, Ohio

18 Kate Hyde Honored for Achievement

18 Andy Nassisse Sherrie Gallerie, Columbus, Ohio

20 Rain Harris NexuslFoundation for Today's Art, Philadelphia, Pennsylvania

20 Les Blakebrough Object Gallery, Sydney, New South Wales, Australia

22 Michael Geertsen and Signe Schjoth Puls Contemporary Ceramics, Brussels, Belgium

24 Helen Wright Craft Centre & Design Gallery, Leeds, England

Top left: “Spring,” 24 inches (61 centimeters) in height, handbuilt porcelain, salt fired, 1988. Top right: “Couple,” 191/2 inches (50 centimeters) in width, handbuilt stoneware, salt fired, 1980. Middle left: “Greeters,” to 34½ inches (88 centimeters) in height, handbuilt stoneware, 1998. Middle right: “Karako,” 33 inches (87 centimeters) in height, handbuilt stoneware, 2005. Bottom left: “Tree,” to 211/2 inches (55 centimeters) in height, handbuilt porcelain, salt fired, 1991. Bottom right: “Sphinx,” (self portrait), 30 inches (76 centimeters) in height, wheel-thrown and altered porcelain (head), handbuilt stoneware (base), 2003.

Ceramics Monthly December 2005 14 Akio Takamori’s “Sleeping Woman and Child,” 27 inches (68 centimeters) in length, handbuilt stoneware, 2003; at Arizona State University Art Museum, Tempe, Arizona. review: Beyond Clouds of Memory: AkioTakamori, A Mid-Career Survey by D Wood

A retrospective serves several purposes. It is a survey of the past; a typology. Seen in the catalog, Couple appears flat and two dimen­ record of what an artist has accomplished in the course of his or sional, but in the round it has volume and the embrace becomes her career. It is evidence of the evolution of that career; a chronicle truly physical. These early vessels have a matt finish and are of its aesthetic peaks and valleys, its conformity to and deviations arresting because of the absence of luster. The painting is less from an overriding theme. It is a signifier of the artist’s esteem and refined at the same time as being Picassolike; the surfaces seem stature within his or her community. It is a celebration and a authentic, like human skin, compared to the high polish on the eulogy, even if the artist is very much alive. later envelope containers. In the figurative part of the exhibition, But for observers of the artistic process, retrospectives serve an we see that Takamori adopts this natural surface once again. additional purpose. They are reminders that, in the beginning, It is worth noting here that the catalog, edited by the exhibition’s there was an idea that was manifest in objects. The maker of the curator, Peter Held, is excellent. Its essays by Held, Garth Clark, objects pursued and developed the idea from myriad angles so Edward Lebow and Toyojiro Hida provide insightful commen­ that, by gradual increments, a body of work amassed. Whether the tary, and the extensive images amply fulfill the aim of a mid-career artist is Jackson Pollock, Judy Kensley McKie or Akio Takamori, survey. But the catalog is not a substitute for seeing the exhibition he or she was made, not born. A retrospective permits viewers to in person. This is one instance when three dimensions are neces­ witness the progression and logical steps on the path from then to sary to understanding. now. And the human satisfaction in discerning the pattern in that “Spring” (1988) is representative of the glazed period and development makes the retrospective an “Aha!” experience. portrays the same subjects as Couple—white woman, shadowy Visitors to “Beyond Clouds of Memory” will elicit “ahas” for man. Whereas previously the couple saw each other eye-to-eye, the whole as well as particulars. Although the exhibition has several this time the man watches over the woman whose eyes are closed shortcomings, it is to be commended for its range of objects and in sleep, orgasm or death. This womans painted features are more the opportunity to examine the works up close. At its current realistic and overtly sexual than her previous manifestation: thick venue with the organizing institution, the Arizona State University brows and eyelashes, ruby lips, circled areolas, green navel. A Art Museum (http://asuartmuseum.asu.edu) in Tempe, Arizona, black outline defines her arms, breasts and thighs against peach- the absence of vitrines on the majority of pedestals allows for colored skin; the contrast is highly charged. Her watcher’s gaze is perusal of the inside of the vessels. This advantage makes this a wide-eyed. But is he her lover or her animus? Seeing these vessels must-see ceramics experience and it is hoped that installers of as a collection puts a new spin on their content. succeeding exhibitions recognize the merit of this approach. Lebow accounts for Takamori’s sexually explicit vessels as the The exhibition, a compilation from 26 lenders, is chronologi­ natural predilection of a young man. Clark, on the other hand, cal, spanning the period from 1976 to the present. By examining remarks on Takamori’s sexual objectivity as a result of being each piece in turn, knowledge accumulates about the artist. Works exposed to his father’s medical practice. With the amassing of this are clustered in four distinct sections: envelope vessels; freestand­ number of vessels, Clark’s assertion is confirmed. Eroticism is ing figures; graphics; and realistic self-portraiture in both two and diminished and the subject matter is, instead, the actuality of three dimensions. This arrangement corresponds to Takamoris human anatomy—intestines, pubic hair, backbone, birth canal, evolution as well as providing unity of form. penis, rib cage, buttocks. On view is the human body, its relation­ The envelope vessels are initially represented by “Couple” ships, its psyche. Face “coins” repeatedly inhabit the containers, (1980). A light-skinned female figure is embraced by a dark male representing the loves, dreams, mysteries and terrors of this life. and, while Takamori was inspired by an erotic 18th-century Japa­ The retrospective permits this more psychological/spiritual per­ nese woodcut, one can’t help but be reminded of Jung’s shadow spective on Takamori’s work. Continued

CeramicsMonthly December 2005 15 upfront

Originally part of a larger grouping titled “Path,” the freestanding figures are the aesthetic highlight of the exhibition. As time progressed, Takamori’s anonymous and historical personages took on more detail, imbuing them with universality, commentary and intrigue. The body gestures and facial expressions in “Greeters,” the curled toes of the woman in “Sleeping Woman and Child” are further evidence of an artist invested in the human condition. Finally, in this section is “Karako,” an enigmatic figure—A child sitting on cushions? An asexual ruler on a padded throne? Blood-red glaze drips from its cheeks onto a yellow gown and spills over the sleeves. The meaning is unclear and Karako’s placement in context at a future date may provide it. The graphics are a fitting backdrop to the sculpture. Since 1982, Takamori has undertaken printmaking at the invitation of a number of studios and his imagery reiterates issues manifest in his sculpture: sexuality, gender and metaphor. The presence of the prints echoes the intent of a retrospective. Andree Valley’s cup, 4 inches (10 centimeters) in height, Finally, Takamori’s two self-portraits look beyond now. The work is handbuilt earthenware with majolica decoration; at the Zazen Gallery in Paoli, Wisconsin. physically behind them in this installation and they gaze outside the exhibition. Instead of engagement in hindsight, the portraits are di­ the Zazen Gallery (www.zazengallery.com) in Paoli, Wisconsin, through rected to posterity, the succeeding generations of work. Beyond Clouds December 31. The exhibition was conceived as an exploration of of Memory—Akio Takamori’s past—prompts enthusiastic anticipa­ spouted forms and everyday containers, and also celebrates the friend­ tion of what will be forthcoming. ship of the two artists. Beyond Clouds of Memory will be on display at the Arizona State Edelman has been working in clay for fifty years and has focused University Art Museum through January 14, 2006. The exhibition will mostly on handbuilt teapots. Recently, she has been creating wheel- then travel to Marylhurst University's Art Gym, in Portland\ Oregon, thrown and altered ewers. The wheel-thrown pieces are cut into verti­ March 7-May 3, 2006 (to coincide with the 40th Annual NCECA cal sections and the spouts and necks are added onto slab tops. “There Conference); Tacoma Art Museum, Tacoma, Washington, June lO-Octo- is nothing quick about the way I work, although I have been trying to ber 2, 2006; and Racine Art Museum, Racine, Wisconsin, October 29, become looser and more spontaneous,” Edelman explained. 2006-March 18, 2007. “Pattern and texture concern us both,” said Valley. “My patterns are fine textures pressed or rolled onto slabs from which my pieces are Friendship: Clay and Metal formed. More pattern is then painted onto a majolica base with colors “Friendship: Clay and Metal,” an exhibition of worlds by Madison, mixed from oxides or carbonates. Form is also a major focus. I am not Wisconsin, artists Bacia Edelman and Andree Valley, is on display at concerned with the functionality of my clay pieces, but rather with the idea of them as a metaphor for function. Some of these pieces explore disparate elements that are found together in a kitchen such as a pouring container or dish towel.”

A Blue Plate Special “Platters and Plates: A Blue Plate Special,” an invitational exhibition curated by Gail M. Brown, will be on display at Chester Springs Studio

Left: Paul Heroux’s plate, 18 inches (46 centimeters) in diameter, stoneware, Bacia Edelman’s ewer, 51/2 inches (14 centimeters) soda fired. Right: Aysha Peltz’s platter, 22 inches (56 centimeters) in diameter, in height, wheel-thrown and altered porcelain, wood fired. white stoneware, $600; at Chester Springs Studio, Chester Springs, Pennsylvania.

CeramicsMonthly December 2005 16 upfront together this exhibition to encourage others to engage more actively in their dream lives, and to explore their own connections between the inner world of dreams and the creative process,” McCall explained. (www.chesterspringsstudio.org) in Chester Springs, Pennsylvania, Coral Gables, Florida, ceramics artist Christine Federighi creates through December 23. figurative sculptures. She says her work “might be considered a per­ ‘“Blue Plate Special’ is a phrase that stimulates memories of evoca­ sonal journey of narrative symbols that are continually evolving. I tap tive times and places,” stated Brown. “It may reference diners, home­ and the viewer is transported into the world of dreams and poetics.” made comfort food, blue-and-white willow ware pottery and kitsch memorabilia. ... I am interested in the range of expression that the Kate Hyde Honored for Achievement forms of platters and plates can take, made by contemporary artists Warsaw, Ontario, Canada, artist Kate Hyde recently won the “Wini­ who choose this scale and format for their exceptionally personal fred Shantz Award for Ceramists,” an annual award for Canadian exploration. Whether they are potters or sculptors, these works can all ceramists administered by the Canadian Clay and Glass Gallery be viewed as three-dimensional canvasses for individuality.”

Perchance to Dream “Perchance to Dream,” an exhibition of 40 works by 19 contemporary craft artists from across the United States, was on display recently at the Ohio Craft Museum (www.ohiocraft.org) in Columbus, Ohio. The exhibition was curated by Janet L. McCall, executive director for the Society of Contemporary Craft in Pittsburgh, Pennsylvania. “I put

Kate Hyde’s “Columbine’s Dream,” 20 centimeters (8 inches) in height, soft-slab-built porcelain, unglazed.

(www.canadianclayandglass.ca), and funded by Kitchener, Ontario, philanthropist and craft enthusiast Winifred Shantz. Seen as an award for achievement and an investment for the future, this $10,000 (Cana­ dian) award is designed to allow the recipient time away from the studio to travel for career development, link with mentors, visit other studios, study museum collections, investigate kiln sites or liaise with industry, and conduct research that will further their studio production. “My imagination has been engaged since I was a child by clothing history and theatre,” stated Hyde. “I use historical themes and refer­ ence the history of ceramics in my work. The clothing in my work is a kind of puzzle: Where is the body? The body has vanished, yet its gesture remains and hints about the past.”

Andy Nasisse “Amphorae,” an exhibition featuring a series of vessels by Athens, Christine Federighi’s “Dark Dreamer,” 28 inches (71 centimeters) in height, coil-built and carved stoneware, fired to Cone 04, black spray paint, oil Georgia, artist Andy Nasisse, was on view recently at Sherrie Gallerie paints and polyurethane; at the Ohio Craft Museum, Columbus, Ohio. (www.sherriegallerie.com) in Columbus, Ohio. Continued

CeramicsMonthly December 2005 18 upfront

Rain Harris’ “Cherry Crush” (detail), slip-cast porcelain pieces, fired to Cone 6, wall paint: at Nexus/Foundation for Today’s Art, Philadelphia, Pennsylvania.

“I didn’t want to restrain myself,” said Harris. “I wanted to give my­ self license to be as extravagant as I could possibly be. I wanted to know if I can push eclecticism to a point of excessive overindulgence so that it may transcend itself, recompose itself and find a new coherence.”

Les Blakebrough A solo exhibition of worlds by Les Blakebrough will be on view through January 15, 2006 at Object Gallery ( www.object.com.au) in Sydney, Australia. The exhibition is the first in a series of exhibitions entitled “Living Treasures: Masters in Australian Craft,” which was conceived to recognize Australia’s leading craft practitioners. “The quest for a beautiful surface that was both tactile and visually pleasing has resulted many years later in Southern Ice porcelain clay, the name I chose to reflect the part of the world that had so influenced

Andy Nasisse’s “Amphora V,” 46 inches (117 centimeters) in height, handbuilt, wheel-thrown and assembled white stoneware, carved, fired multiple times to 03-02; at Sherrie Gallerie, Columbus, Ohio

“This current group of vessels explores the notion that time is volumetric and that the container is like a moment in time, containing past, present and future,” said Nasisse. “I have borrowed and recom­ bined images from many ceramics cultures and many different time periods. An amphora might have a figure of a Mimbres rabbit rendered in relief, next to a figure from a classical Roman pot. “Over the years I have developed methods of working with clay that are meant to bring out the natural qualities of that material, and of the Les Blakebrough’s “Forest Floor Bowl,” 25 centimeters (10 inches) in diameter, deep-etched Southern Ice porcelain, process of drying, shrinking, glazing, melting and firing. By multiple unglazed; at Object Gallery, Sydney, New South Wales, Australia. firing, and layering of slips and glazes, I try to make objects that have stratified active surfaces, which snap and crackle with energy.” me,” said Blakebrough. “The use of metal salts to color the new surfaces and the deep etching were both embraced as processes because Rain Harris they functioned as unglazed surface [and are] minimal in appearance. “Cherry Crush,” an installation by Philadelphia, Pennsylvania, artist It was the notion of a pristine fired clay surface that stood up to Rain Harris was on display recently at NexuslFoundation for Today’s scrutiny in its naked’ state that made me persevere with the clay’s Art (www.nexusphiladelphia.org) in Philadelphia. The installation, development. The surface treatment reflects my world, work or play. which was made up of solid areas of saturated wall paint, stenciled Antarctica and the Southern Ocean are close by and indirectly influ­ patterns and bas-relief ceramic modules, was meant to explore the ence my work. The surface I call ‘southern ice’ is my way of recording boundaries of design using color, pattern and scale. the terrible beauty of Antarctica.” Continued

CeramicsMonthly December 2005 20 upfront size. Furthermore, I have put a lot of effort into achieving a harmonic surface and a defined access of lines to intensify the character of each object. The surfaces maintain a texture which reflects the depth and Michael Geertsen and Signe Schjoth sensuous presence of forms found in nature. Together these accentuate Works by Fredericksberg, Denmark, artist Michael Geertsen and the overall tactile quality of the works.” Copenhagen, Denmark, artist Signe Schjoth were on display at Puls Contemporary Ceramics (www.pulsceramics.com) in Brussels, Bel­ Helen Wright gium through October 1. A solo exhibition of figurative handbuilt sculpture by Macclesfield, England, artist Helen Wright is on display at the Craft Centre & De­ sign Gallery (www.craftscentreleeds.co.uk) in Leeds, England, through January 14, 2006.

Michael Geertsen’s untitled, 65 centimeters (26 inches) in length, earthenware, €950 (US$1154); at Puls Contemporary Ceramics, Brussels, Belgium.

“My objects are simple geometrical elements put together in stag­ gered split levels, like rhythmic, spatial symbols containing traces of our everyday functional objects,” stated Geertsen. “In my freestyle

Helen Wright’s “Bonzo,” 40 centimeters (16 inches) in height, handbuilt grogged paper clay with underglaze; at the Craft Centre & Design Gallery, Leeds, England.

“My work is always concerned with animals and humans,” said Wright. “Inspiration comes from old photographs, observations, sto­ ries and everyday life occurrences. The large dogs began after produc­ ing some heads for a show in Wales and evolved further after getting my first dog Freud, who is often behind the inspiration and the love Signe Schjoth’s untitled, 50 centimeters (20 inches) in diameter, earthenware. within my work. My aim is to create pieces with a spirit and essence ceramic pieces, what interests me is the place where functional pieces that make the viewer smile. Some will remind people of dogs they have and sculpture meet. In their studies of basic shapes, my objects make known or own now. Some might be seen as slightly grotesque with reference to classical ceramics, but in form and color so that it chal­ their false teeth and ungainly poses.” Wright’s work is handbuilt, mainly using slabs of clay. The large lenges both space and the viewer. I believe that ceramics, both func­ pieces are made quickly and padded from the inside to attain and tional objects and one-offs, have a function as contemporary statements. retain shapes. She mixes her own paper clay for large pieces and They are pictures of our social conventions, our way of life and our sometimes uses porcelain paper flax for smaller work. The work is rituals in a given epoch.” decorated using underglazes and oxides. “At the moment I am asking myself: Is it possible by combining or colliding senses to reach a more complex form? That is my ambition,” Submissions to the Upfront column are welcome. We would be pleased to consider press releases, artists’ statements and images in conjunction with exhibitions or other events of interest for publication. Images said Schjoth. “All my works are handbuilt. To achieve a sense of should be high-resolution digital on CD, or original (not duplicate) slides or transparencies. Mail to elegance and fragility, the shapes are made thin in comparison to their Ceramics Monthly, 735 Ceramic PI., Suite 100, Westerville, OH 43081.

CeramicsMonthly December 2005 22

answers itself. Even if you use lead only in glazes on the exceed the limits, penalties can be very severe. It is outside of the ware, the fuming lead can contami­very difficult for a small business to comply with From the CM Technical Staff nate the inside glazes as well, producing food- the regulations, since constant testing is necessaiy contact surfaces that contain lead. to prove exposure levels are within the limits Q Hello, I am interested in the limits of lead and The U.S. Food and Drug Administration allowed by law. For further information about other minerals allowed in ceramic ware coming in contact with food, both at the federal and (FDA) has established guidelines for lead contentregulations governing lead and lead compounds in state level. Could you direct me to any pertinent in ceramics that come into contact with food. Afterthe workplace, see the U.S. Department of Labor’s sources of information?—R.G. a leach test, which consists of filling a sample pieceOccupational Safety and Health Administration The general consensus among those who knowof ceramic ware with a 4% acetic acid (vinegar) (OSHA) website at www.osha.gov. about such things is that you just shouldn’t use solution for 24 hours, the amount of lead that Contamination of the environment also is a lead. There are simply too many expenses and leaches out into the solution is measured. There factor,are and you will be held responsible for the liabilities for it to be profitable. Aside from all that,different limits, expressed in f^g/L (micrograms impactper you make. Exhaust air from your studio can there is the considerable danger to yourself and liter or parts per million), for different kinds of contaminate the soil around the exit vent and this others in your studio or workplace, ranging fromware. Current FDA guidelines, revised in 1995, arebecomes your responsibility for cleanup. There exposure to raw materials containing lead to kilnas follows: also are drinking water standards and regulations exhaust fumes that carry lead. Even fine powders Plates, saucers and other flatware: 3|ig/L enforced in the United States by the Environmen­ from lead frits can be broken down by internal Small hollowware (cereal bowls, etc.): 2jig/L tal Protection Agency. For further information body fluids, making lead biologically available. Large hollowware (larger than 1 liter): 1 f-tg/L regarding environmental regulation of lead, see Part of the problem in trying to keep food- Pitchers, cups and mugs: 0.5|ig/L www.epa.gov. Drinking water standards vary from contact surfaces free of lead is kiln contamination.For further information on these FDA guidelines, state to state as well. For instance, California’s Lead is very sensitive to any degree of reductionsee in www.fda.gov. water standards are far more strict than the federal the kiln atmosphere and will produce fumes. This If you employ people in the manufacturing ofstandards, so also check with your state. can happen even in electric kilns. The net result ceramics,is there are strict regulations and testing This may seem like a very difficult situation, that the kiln itself can become contaminated. procedures for monitoring lead-exposure levels ofbut in trying to eliminate the dangers of lead, Then, every time the kiln is fired the ware is workers. You must monitor and provide results onregulators have made it almost impossible for contaminated by fumes coming from the kiln a regular basis. If test results of your workplace someone to produce lead-glazed functional pottery

CeramicsMonthly December 2005 26 answers If you are a potter who buys prepared bodies,you’ll choose to start experimenting. As you test, you have no choice as to what goes into that body.you learn which are plastic, which are more refrac­ They may be labeled for this or that purpose, buttory, which add color, which are prone to flashing, and be legally compliant at the same time. This is are they really? Commercial bodies are preparedwhich to shrink the most, etc. For instance, salt-glaze not necessarily a bad thing. Ron Roy have a very broad range of uses at the least cost tobodies are best with high-silica clays, especially free Ceramics Consultant the maker. If you get into testing bodies, you willsilica (so it is available to react with the sodium and Brighton, Ontario, Canada learn what each ingredient does to and for the form a glaze). Porcelains need pure kaolins for body, and you have the choice of tweaking what­whiteness and translucency, whereas wood-fire Q I have been using a few commercially pre­ ever characteristic you choose. bodies might need the opposite in order to get pared clay bodies for different construction and First, decide if you want a great throwing body,flashing from the vapors of burning wood and the firing techniques, but have never been totally satisfied with the results. Is it really worthwhile handbuilding body, sculpture body or porcelain fly ash in the kiln. You have to identify intent to consider mixing my own clay bodies? body. This decision will determine the materialsbefore you can proceed toward results. Let me say one more time that we need to rethink earlier concerns about the cost of clay bodies. Your materials cost for a year is the least amount of your expenses when making pots. What difference does it make if what you want to use is ten or twenty cents more than another body. Look at what you pay for a pound of clay or porcelain, and then look at what you sell that pound for. If a body does everything you want it to, and better than another body, who cares what it costs? We make pots for our pleasure, why shouldn’t it feel good and produce the results we want? Good luck testing and learning. Tom Turner Studio Potter Mars Hill, NC

Word of the Month

Vitrification The formation of glass in a material or the changing of a material into glass. For pottery, the term is used to describe the formation of a viscous (stiff) silicate liquid in clay by melting of some of the components during firing. The melt liquid is largely responsible for the densification of the clay (by the process known as liquid phase sintering) and the related shrinkage of the clay that occur during firing. During cooling, the liquid solidifies into solid glass that surrounds and binds together the other components of the clay body. An important property of a clay body, which determines its usefulness, is its vitrification range. This is the temperature range over which the melt liquid forms and the body shrinks and gets denser, without the formation of too much liquid that would cause the body to become too soft and unable to retain its shape.

If you have a question about this or any other ceramics topic, ask the CM experts at [email protected] You can also mail questions to Ceramics Monthly , 735 Ceramic PL, Suite 100, Westerville, OH 43081 ;or fax to (614) 891-8960.

Ceramics Monthly December 2005 28 suggestions a large sheet of poly cleaner bag material on the tion and cost nothing (or very little). If you use vermiculite bed. I then place the greenware piecethem with a bat underneath, you can stack them. in the center, bunch the poly sheeting up over Use an empty cottage cheese container for a mug the piece and fill the box with vermiculite. The or a garbage can for a sculpture; they all work vermiculite can be removed from around the great.—Michael Bossin, Sharon, MA Balloon Greenware Transport piece with a small hand vacuum, or it can be A constantly encountered problem is trans­ Keep A Tight Lid On It saved for reuse. With this method, you are able porting fragile greenware from place to place. If you have a top-loading electric kiln, the fit to transport even the most delicate pieces with Over the years I have used many methods with of the lid is important because gaps allow heat to ease.—David Ogle, Los Gatos, CA varying success. One of the easiest methods I escape, wasting energy and deteriorating the have discovered for carting greenware over shortBest Damp Box Ever bricks. Here is an easy way to ensure that the lid In our studio, we use inverted plastic bucketsfits well, with a minimum gap between it and to cover works in process. The buckets easily kiln body. hold work in “suspended animation” for several Put a lit flashlight in the kiln, with the light weeks at a time. For slow drying, a small hole orpointing up toward the top. Close the lid and two will provide a controlled environment. Youdim the room lights. When you look directly can even add moisture by placing a small dish ofinto the crack between the kiln and lid you will water under the bucket next to your piece. The see dark spaces where the lid touches the kiln, buckets don’t touch the work, they offer protec­and light where it doesn’t. Mark the points of contact, where the lid and kiln body touch (dark areas), by placing pieces of masking tape on the lid and on the kiln body. Open the kiln and first check the lid. On rare distances is to use inflated balloons to hold the occasions the lid may have a tiny high point various pieces in place while in transit. Pictured caused by a crack in the coating, etc. If there is here is a simple example of securing a greenware just a small high point, carefully sand the point piece. For transporting fragile (especially bone- of contact using a piece of fine sandpaper dry ware) over longer distances, I pour a couple wrapped around a block of wood of the same of inches of vermiculite (available at garden size. Make sure you don’t sand through the centers and drywall supplies) into a box and lay coating and expose the brick. Continued

CeramicsMonthly December 2005 30

If the lid is okay, sand the ldln body brick where the masking tape is, this time using me­ dium sandpaper around a block of wood. Go slowly and take care to not cause depressions where you are sanding. Take a couple of light passes then close the lid and check the fit. Repeat the process until you have a nice fit all the way around.—Gene Bobik, Fremont, CA

Tip of the Month Easy Hydrometer You can make an inexpensive hydrom­ eter out of a narrow plastic bottle, which can be found in the travel section of a drugstore. Start with the tallest, skinniest bottle you can find. Fill the bottom with about 150 grams of nails. Close the bottle and carefully float it into a well-stirred bucket of glaze. Add or subtract nails until the bottle floats upright, about three-quarters submerged. Now, when you have a batch of glaze at a consistency you like, carefully float the

bottle into the glaze, and mark precisely the depth to which it sinks. You can then use this mark to check or repeat the glaze’s consis­ tency whenever you like.

Congratulations to Mea Rhee of Silver Spring, Maryland. Your subscription has been extended by one year!

Share your ideas with others. Previously unpublished sugges­ tions are welcome. Ceramics Monthly will pay $10 for each one published. Include a drawing or photograph to illustrate your idea and we will add another $10 to the payment. E-mail to [email protected] ; mail to Ceramics Monthly, 735 Ceramic PI., Suite 100, Westerville, OH 43081, or fax to (614) 891-8960 CeramicsMonthly December 2005 32

Condiment Bowl and Butter Dish,” bowl, AV2 inches (11 centimeters) in height; dish, 91A inches (23 centimeters) in length, stoneware, soda fired to Cone 10, 2004.

I live in an old renovated schoolhouse built in 1901 in the Virginia the material. I can remember certain students over the years whose countryside—quite a change from the suburban rancher I grew up ideas and skills were evolving so rapidly that I could hardly wait to in outside of Chicago. It seems appropriate that, having been a see what they would show me next. Sharing discoveries that I made teacher for the past 30 years, I live in a space once devoted to while doing my own work enabled me to continually invigorate my learning. Now I invite my own students from the College of teaching, keeping it vital for both the students and myself. It is this William and Mary to the schoolhouse for potluck suppers, visiting exchange of ideas and interaction with students that has helped me artist slide shows, and afternoon teas to study pots I’ve collected. grow into my role as mentor—forging a sense of camaraderie I came directly to teaching from gradu­ based on creative thinking and the making ate school at the University of Minnesota, of objects that use a visual language. where I studied with Warren MacKenzie Over these thirty-plus years, I have and Curtis Hoard. I moved to Virginia in a worked in stoneware and porcelain, and have 1965 Volkswagon bus with my cat and have fired in reduction, raku, salt and soda. My been here ever since. The ceramics studio on roots are in making functional pots. Com­ campus was a small, windowless cinderblock ing out of the Minnesota program, I have a room, with the kilns stuck in the parking lot deep awareness of and appreciation for East­ next to the loading dock. It was dismal. ern aesthetics, and although my own work Students, out of desperation, were working has never consciously emulated that point on tables in a back hallway. I immediately of view, I pay attention to the essence of its began seeking an alternative space for the philosophy. Form has always been of pri­ clay program. After two years I was offered mary importance, simple and direct in a what used to be the college’s power plant; “Reflection,” 10 inches (25 centimeters) in height, formal sense, but arrived at from an intui­ built about 1911 and situated in the main­ handbuilt and molded red and white earthenware, tive direction. If I had to choose one source unglazed, fired to Cone 04, with mixed media, 1998. tenance area of the campus. It seemed per­ of reference, it would be architecture. I like fect with its brick interior, tall windows, large outdoor area and a pots that firmly stand their ground and inhabit a particular space. natural gas line to hook into. I was given a meager budget to convert My environment has a direct influence on my ideas—I teach, live and the space and move. Students helped build ware racks, move bricks work in unique old spaces—and I am drawn to architecture when I and rebuild kilns, and we moved in for classes the winter of 1977. travel. I’ve never sought to duplicate specific examples, but have Over time, teaching became an integral part of my development tried to interpret and abstract from them. During the late ’80s and as an artist. In the classroom, verbalizing methods of working to ’90s, I made many trips to Italy as a study-abroad teacher and artist- students brought greater clarity to my own thoughts, while in turn a in-residence. A third-floor apartment I had in the Italian hill town student’s fresh, intuitive approach challenged my preconceptions of of Urbino looked out onto the city’s rooftops, and I discovered that

CeramicsMonthly December 2005 36 every chimney was capped with slight variations. It was the place own body for a complete full figure. For the next six years I made where the mason injected his individual mark of creativity. Those sculptures from those molds, some incorporating mixed media. The chimneys have found their way into some oil pots I now make. large-scale pieces addressed themes of fear, luck, time and spiritual­ Prior to traveling to Italy, I spent the first fifteen years after ity with female figures that drifted into fragments, metamorphosed graduate school focused on making functional pots. But then my into plants, or wore disguises of various kinds—masks to hide emo­ path took an unforeseen turn, as if I was being tapped on the tions and provide a protective shield. After some years, storage was shoulder. Many things can cause change in our work, some are becoming a problem, and I also decided that instead of confronting unconscious and subtle, while others have much greater impact. viewers on their own scale, I wanted to draw them into a more Threatened with breast cancer and intimate space. The figures became my own mortality in the late ’80s, I 8-10 inches tall, always female and shifted my work from functional functional pots naked. They were placed in an ar­ pots to sculpture, coinciding with have an aesthetic impact chitectural setting—again derived the years when I was making trips from my travels to Italy—used as a to Italy. I discovered that removing on the routines and rhythms backdrop or stage for the message myself to another environment gave carried through the figures. They me greater clarity and coaxed me to of our daily lives. stood on bridges, in porticos with make this change in direction. vaulted ceilings, or rowed gondo­ Teaching for the University of Georgia in Cortona, Italy, in the las. I tried to incorporate symbolism with the potential for broad summer of 1988, I found my major task was to move their clay meaning and multiple interpretations, depending on each viewers studio that had been housed for 18 years in a centuries-old monas­ personal history of experiences. tery up to the top of the town into another equally old space. Sifting The figurative sculpture I made between 1988 and 1998 played a through stuff left by potters before me and deciding what to move, I critical role in my development as an artist and as a human being. It came across a plaster cast of a female torso. I knew immediately I enabled me to express my emotional and physical self at that time in needed to do something with it. That summer I made a series of a way that pots could not. But I missed making pots. I have always what I called “body boxes” generated initially from that mold. maintained the conviction that functional pots have an aesthetic When I returned home, a colleague helped me cast molds off my impact on the routines and rhythms of our daily lives—moving the

“Tea Set,” teapot, V/2 inches (19 centimeters); sugar and creamer with tray, 8 inches (20 centimeters) in height, stoneware, soda fired to Cone 10, 2004. ordinary into the exceptional. Pots in use are in their true environ­ iar shapes, and with my critical eye constantly scrutinize and assess ment, where they can best communicate the message of their maker. the aesthetic value of each piece. In a society that is becoming ever more technical, a pot can convey The aesthetic essence of my pots is a quiet balance or synthesis of human energy and touch, as well as beauty. As a teacher I had been old and new ideas. I look at historical pots, but I design with the making pots for my classes, but not for myself. In 1998 it was time contemporary table in mind. I have a preference for old objects that to return to my roots. I built my gas kiln and again started making have a history and have lasted through time, but I also appreciate pots, working with soda firing. It didn’t come easily. I found I could modern design and innovation. Old metal pouring pots line shelves not pick up where I left off a decade before because I was not the over the windows in my studio. A collection of vintage umbrellas same. I needed to find out how to say what I thought about pots at waits for rain next to the doorway. I also collect outsider art, naive this time in my life. There were also physical constraints, for I could paintings and drawings from a variety of contemporary nonschooled no longer throw at the wheel for long periods of time or handle large artists, along with matchstick objects, and popsicle-stick lamps that pieces. At first this was frustrating, but it has led to a way of working warmly illuminate our house at night. I know all of these things that feels comfortable and right. It has taught me something about somehow find their way into my work, but I am not always con­ boundaries and has encouraged me to respond creatively to chang­ scious of specifically how they do. I do know the work has been a ing conditions. So, for the most part, I now work on an intimate search for myself as well as for the pots. The pots were conceived in scale, with a few modestly large forms included within my current the need for answers. Paths that appeared to be diversions have been repertoire of pots. As in the sculpture, I find the smaller scale of enlightening, and limitations led to discoveries. In the end it has most pots draws a viewer in and establishes a more personal relation­ always been the work that has sustained me. It has been the vehicle ship. To make up for lack of size, I often work in sets or groupings to through which I could react creatively to life and events around me, add complexity—oil pots with trays and funnels, teapots with cups that could elicit a sense of calm and order. Working in clay has been and saucers, and sugar and creamer sets with spoons. a joy, but also a struggle, always daring me to move forward to new My details currently suggest an Art Deco quality, but they also possibilities. Mostly it is where I have found solid ground on which allude to the minimalist simplicity of the Arts and Crafts Move­ to stand, a refuge while responding to life’s unexpected challenges. ment. Every time I add something I ask myself if it is really needed— An expanded version of this article, including more images of works is it too much or not enough? My inclination is to hold back, to by Marlene Jack is available online at www.ceramicsmonthly.org. resist overstating the piece. I work slowly and usually in a series, arranging parts, varying proportions and improvising changes in the author Marlene Jack is a professor of ceramics in the Department of each firing cycle—never knowing when I begin a piece exactly how Art and Art History at the College of William and Mary in it will end. I continually introduce new forms but also revisit famil­ Williamsburg, Virginia.

“Centerpiece Vase with Stand,” 5½ inches (14 centimeters) in height, stoneware, soda fired to Cone 10, 2004. “Teapot with Cup and Saucer,” teapot, 7 inches (18 centimeters) in height; cup, 4½ inches (11 centimeters) in height, stoneware, soda fired to Cone 10, 2004, by Marlene Jack, Barhamsville, Virginia.

MONTHLY methods A Builder of Pots There’s a strong trend to make altered func­ back and forth between the two. I leave the enjoy building forms as assemblages, from tional work these days, and though as a rule I thrown skin of the pot fairly taut, with subtle an assortment of parts. Using simple molds resist trends in fashion or art, I’ve maintained evidence of a rib tool, and then apply other cut from styrofoam blue board, I lay slabs an interest in altering forms since graduate marks to relax the surface. I am interested in into the templates and work the surface with school over thirty years ago. Currently, nearly texture that is pressed, trailed, carved or shaved, a rubber rib. I make rectangular, square and everything I make is a nonround shape. and I sometimes look to fabric patterns as a elongated trays and serving dishes in gradu­ About half the work I do is initially thrown source. The unpredictable blushes of glaze color ated sizes, adding a thrown footring with on the wheel, many without bottoms so that in soda firing integrate with these textures and cutouts for feet. Plaster drape molds are used I can move the wall of the piece into a rect­ help create a more visually varied surface. Af­ for other forms, with either molded or carved angular, square or oval shape. I then stretch, ter texture is applied, I sometimes add small, feet added for elevation. cut, paddle or rasp the pieces into their final embossed details to emphasize corners or pro­ This process of alternating between the shape. I strive for simplicity of form with a vide an understated point of focus—like wear­ wheel and handbuilding serves my need to minimum of embellishment, constantly ques­ ing a vintage pin on a sweater. develop an assortment of forms while using tioning the balance between too much going The other half of my work is primarily a variety of techniques. It also has changed on in the piece and not enough. Form is my handbuilt, and molds have recently taken a how I teach my courses. I encourage stu­ first priority, and I instinctively use architec­ more prominent role. This is one way I have dents to embrace different methods of work­ ture as my reference for the underlying struc­ been able to overcome the limitation of not ing and to be open-minded about their tural framework. I prefer angles and feel being able to throw for hours at a time. approach to forming. Perhaps most impor­ uncomfortable around too many curves. Molds have opened a door of opportunity to tantly, I now think about the wheel as just My approach to surface is to orchestrate a move in a direction I might not otherwise one of my many tools and perceive myself as a blend of tight and loose elements, moving have explored to this depth. I find I really builder of pots.

CeramicsMonthly December 2005 39

The naturalist and filmmaker Sir David Attenborough is an "My interest lies in organic enthusiastic collector. His collection is wide-ranging, with the development, where one form emphasis more on artifact than on fine art. It includes things made for the improvement of the quality of life in primitive contains the seed for the next cultures as well as modern civilization. one, where form is rooted To have this life-enhancing function, a tool or a pot can be useful and beautiful, and it is particularly the sculptural quality in its own family tree." which Attenborough seeks out, and which defines his collec­ tion. Amongst modern potters whose work is included in the collection are Dame Lucie Rie, from whose long career are included items made more than 40 years apart, and Gabriele Koch, still in mid career, whose work he has admired and collected for many years. Indeed, he has written the introduc­ tion to the monograph on Koch’s work, which first appeared ten years ago. Apart from the fact that both Rie and Koch came to Britain to flower as artists from their native Austrian and German backgrounds, there is little in common between Rie the wheel thrower and Koch the handbuilder, except for the tremen­ dously high standard that each sets for her work, a perfection­ ism which infuses everything. However, it is worth mentioning the high regard that Rie had for Koch’s work. It was she who first drew the attention of the present writer to the pots of Koch nearly twenty years ago, when Koch was just making her name for burnished and smoke-fired ware. There are some who say that the burnish/smoke-fire tech­ nique is limited, and that to restrict oneself to it to the exclu­ sion of all else is to be confined. It does not seem so to me, or to Koch, who finds immense opportunities for experimentation and refinement within the self-imposed restrictions of this method. In her brief, but carefully considered personal state­ ment she says, “I am interested in the vessel as an abstract sculptural object. I am concentrating on simple essential forms, which sometimes emphasize the relationship between internal and external space; of movement or stillness within the form.” In a few words, she is describing ceramic sculpture at its best, where the undeniably attractive and compelling concept of the vessel is refined and developed to please the eye. The vessels she makes are in good company. They are at home alongside Attic vessels, pre-Columbian Pueblo pots, the more humble domestic ware of India or North Africa, and of course other fine modern ceramics. Though many potters, both amateur and professional, prac­ tice both handbuilding and smoke firing, Koch is one of very few in Britain whose career is founded exclusively on this specialized combined technique. She is often bracketed with the Nigerian-born Magdalene Odundo for no better reason than that these two women are the leaders in this field in Amphora, 19 inches (48 centimeters) in height, handbuilt Britain, for their work is unalike. Odundo’s work is African in T-Material, with slips, burnished and smoke fired.

CeramicsMonthly December 2005 41 “Blue Tower,” 12 inches (30 centimeters) in height, handbuilt T-Material, with slips, burnished and smoke fired. While T-Material offers incredible strength to Koch’s handbuilt forms, extremely close attention must be paid to the drying process; the timing of slip application and burnishing are crucial.

inspiration and form, whereas Koch’s work, originally inspired by And so it is with Koch. She explains, “I am not trying to make peasant work seen in anthropological museums, or firsthand in just any new form: this would be like inventing something for the Spain or Mexico, has moved away from domestic functional shapes sake of invention, trying to be clever. My interest lies in organic to more refined forms on which mathematics and architecture have development, where one form contains the seed for the next one, had more bearing. One might add music, with its mathematical where form is rooted in its own family tree.” intervals that relate to geometry and proportion, although the potter She works alone in a clean white studio in north London, some­ would find such an analogy pretentious. Indeed, Koch is very unpre­ times building several pots at once, or rather having various pots at tentious about her work. Rie, largely to fend off searching questions various stages. Slow drying is an essential requirement for forms that about her motives when she had become world famous, would say, are to be slipped and burnished, and each one has to be caught and “I am just making pots.” Underlying this, unsaid, is the essential “I carried forward at precisely the right time. Thus, in the interests of am trying to make better pots.” efficiency and production, perhaps four or five forms are in process

CeramicsMonthly December 2005 at once. Interestingly, there is usually wide variety amongst these For traveling potters or collectors who want to see her work, forms. She may be in the process of producing a series of very similar there is ample opportunity in European museums and public collec­ pots as one shape evolves from another, but, perhaps because of her tions. I urge all those who have not yet seen Koch’s work to try hard order book, or because she wants ideas to bounce from one form to to do so: it is a rewarding, special experience. A list of all public another, she can be working on a sphere, an open bowl, a rectilinear collections with her work is included in a monograph of her work, tower and an attenuated bullet form all at once. published by Marston House Publishers in 2002. The application of the colored slip to the drying form is time Koch will occasionally give lectures and demonstrations, but consuming as several layers are applied, one wet layer over another these occasions are more rare nowadays. Quite reasonably, it takes a layer that is drying, and her spectrum of slips is slowly changing. lot to persuade her to do a demonstration tour far from her London Her earliest work was in earth colors—brown, redlbrown or ochre. home, as she has to take enough of her preferred molochite-rich clay She still uses these colors from time to time, but has introduced a and her slips—very heavy and bulky materials. Also, she needs to vibrant blue, a beautiful duck-egg green and (my favorite) an have work half-made to show students or the demonstrations would orange color, which is organic, somewhere between a ripe apricot take several days. In her lectures she pays homage to sources of her and a chestnut. inspiration—Claudi Casanovas, Hans Coper, Peter Voulkos and Taking perhaps 200 times as long to make a single pot than a Paul Soldner; but more significantly I think, the Catalan artist repeat thrower means that her work, so labor intensive, is restricted Antoni Tapies, and also the dry, hot Spanish landscapes that first in number. She works very hard, but makes few pots. She wants to drew her to work in the field of earth and fire. be judged by the results; nothing that fails to match up to her Works by Gabriele Koch will be on view at Studio 147 in London standards is allowed to reach the marketplace. through December 4. Telephone 02 0829 231 69.

MONTHLY methods The Flexibility of Smoke Firing After the slow first firing in a gas kiln to 1740°F (950°C) is completed, Koch places the pot, vertically or at an angle, in a garbage bin kiln or any sort of metal container—sometimes an old oil drum. For really large pots, she may build a special kiln from firebricks joined with sticky clay, but the kiln is just a container for the heat, and how it is made or of what is unimportant. What is important is how she packs the pots inside and out with a mixture of different kinds of sawdust. It is her choice of sawdust and the density of the packing—how hard she presses the saw­ dust against the pot’s surface—that gives her control of the patterning, and she chooses this to suit each pot. The result does not always please her, in which case the patterning can be fired away in a standard gas kiln to a temperature of 1470°F (800°C) and smoke fired again in a new batch of sawdust. So, like a stage performance, or another “take” on film, or a piece of bronze casting where the patination needs to be stripped off chemically and done again, she can work on her perfect form until it has a perfect marriage with its smoky, carbonized surface.

Dimpled vessel, 12 inches (30 centimeters) in height, handbuilt T-Material, with slips, burnished and smoke fired, by Gabriele Koch, London, England.

CeramicsMonthly December 2005 43 Looking at Kesl and Tilton by Don Pilcher

Each winter, for the past But the clay is custom 24 years, John Tilton and blended by Tilton, who also Lennie Kesl have put aside throws all the “blank” forms their usual studio pursuits, that Kesl paints. Like his and turned their minds own work in porcelain, and imaginations toward a Tilton’s blank pots hide compelling collaboration. his hand. The vessels are The product is a large smooth, symmetrical, un­ group of painted plates, complicated and perfectly cups and jars. The appeal suited to carry Kesl’s im­ of this work reveals itself ages. Unless you know at several levels, as does the about undercuts and wall content. This is the work thickness, you wouldn’t Plate, 11 inches (28 centimeters) in diameter, wheel-thrown earthenware, of two serious artists mak­ know that these pieces with commercial glazes and underglazes, fired to Cone 06,1994. ing the most of their tal­ aren’t cast or jiggered. ents and experiences, in concert. As it turns out, each is also a The yearly collaborations last up to six weeks and the product is musician and, in both endeavors, they cook. divided equally. For the most part they keep the work in their own Tilton has been a well-known potter for a long time. His most collections, occasionally loaning a group to be exhibited locally. widely recognized work features organic porcelain forms with unbe­ Tilton will sell a piece once in a great while. Kesl’s are not for sale. lievably beautiful glazes, many of them of a unique macrocrystalline While both these men claim to be somewhat reclusive, you can’t variety. He is sixty now and lives with his wife, Anne, eleven miles go anywhere in Gainesville with them and not be greeted by well north of Gainesville, Florida. Tilton plays rhythm guitar, seriously. wishers. Their fame as artists and musicians precedes them. Tilton is Anne’s insights into the Tilton-Kesl partnership appear on page 47. part of the Hot Club de Ville, which plays a monthly gig in town. Kesl lives right in Gainesville. He will be 79 years old this year Kesl sometimes joins them as a vocalist. But their love of music is and is something of a legend in Gainesville. To some friends there he not limited to public performances. is known as “the irresistible Lennie Kesl.” He also is irrepressible and In preparing the studio for this collaboration many years ago, the inexhaustible. In the course of his life he has been many things: a first thing Tilton installed was a first-rate sound system. The music member of the 30th Infantry Division that invaded Germany in plays for long stretches, day and night. The selections are an eclectic World War II, a Fuller Brush salesman, a drummer, a recording mix but favor Django Reinhardt, Stephane Grappelli, and the com­ vocalist of three LPs and a CD, a son, a husband and father, a posers and lyricists of the great American standards. painter, a sculptor, and an art professor. He and Tilton began their While the music plays, Kesl offers a captivating, free-association collaboration while both were teaching at Santa Fe Community dialog on all matters: art, music, friends, foreign languages, world College in Gainesville. history and gems from his personal experiences. Today Kesl is wear­ The pots they make employ the techniques of commercial ce­ ing one of his father’s dress shirts. Consider that for a moment. ramic production but they also utilize the methods and sensibili­ Kesl was born in Edwardsville, Illinois, in 1926—the same year ties of fine studio pottery. The colors, glazes and kilns are exactly as Miles Davis and Marilyn Monroe. As a young man he met and what you’d find at the local greenwarelpaint-your-own-pottery shop. was befriended by the sculptor, David Smith, and box!collage artist,

CeramicsMonthly December 2005 44 Joseph Cornell. But in the main, Kesl’s insights about art are in­ formed by his knowledge of music. Pitch equals value and volume equals intensity. In his world, the black hair on his figures is chosen because black sets the pitch for the orchestration of all the other colors. When discussing his compositions, he recommends we con­ sider the interstices, the intervals. Look closely at the color and textural modulations that separate his shapes. His color mixing and application are a kind of phrasing, sometimes subtle and sometimes impetuously exaggerated. There is nothing postmodern, academic or pedantic about his commentary or his painting. All of his images, processes and theories are fluid and affirmative. This day Kesl is painting thirteen plates, the largest being 24 inches in diameter. Each carries the face of a young woman. Each face is eyes front, each head selectively proportional and comfortably composed within the circle. The exactness of the plate’s rim complements the nuanced irregularities of the hair. He paints slowly, precisely, reflectively. As he paints he recites a line from Henry David Thoreau, “Man is a tool of his tools” and then he turns a phrase about the nature of his subjects, the young girls, finding them to be “virtue on the hoof.” One of Kesl’s signa­ ture moves is the use of the underglaze bottle caps to impress cheeks and, sometimes, teeth. We are left to decide if this is a droll improvi­ “Elephant Bowl,” 14 1/2 inches (37 centimeters) in diameter, wheel-thrown sation with the tools at hand—Thoreau—or a kind of shorthand stoneware, with commercial glazes, fired to Cone 06,1982. not seen anywhere else in the work. It’s hard to know, but good art always raises a few questions. And in these pots we are reminded of the difference between talent and art. Talent applies itself and fills some space. Art, as seen here, goes in through our eyes and informs our minds. If it’s really good, then it lives in our hearts. This investment of talent, time and money raises the question “Why?” For each of these men, it’s the art. Tilton believes that this is work that should get made. And it needn’t be burdened by the demands of the marketplace. There is no rush to product. While he is in the business of being a potter year round, he also is wise enough to know that some of the best parts of life aren’t bought or sold. Kesl simply loves to work. And he loves to work with Tilton in the hope of making magic. As mentioned before, Kesl keeps his share of what he makes. He is a true collector—of many things: drawings, paintings, books, ceramics, LPs, correspondence and pho­ tos. Yet he is quick to note that we won’t be pulling the material world up through a hole in the clouds to heaven. The greatest truth is that the two of them, to use the old jazz expression, “really cook.” Kesl says that working with Tilton is like making surefire fudge. By his own admission, he doesn’t know that much about ceramics—but he doesn’t need to. This is a seamless team effort; no duplication of skills, no necessary steps avoided. There are serendipitous moments in this partnership and they Plate, 10 1/4 inches (26 centimeters) in diameter, wheel-thrown earthenware, occur with such frequency that it’s difficult to choose just one to with commercial glazes and underglazes, fired to Cone 06, 2004.

Ceramics Monthly December 2005 45 Plate, 14 1/2 inches (37 centimeters) in diameter, wheel-thrown earthenware, with commercial glazes and underglazes, fired to Cone 06, 1996. All pieces are wheel-thrown by John Tilton, Alachua, Florida, and glazed by Lennie Kesl, Gainesville, Florida. MONTHLY The Depth and methods Complexity of Underglazes In addition to Kesl’s composition and imagery, there is a good glazes and glazes (a clear, and several brilliant yellows, oranges deal about the underglaze and glaze application that accounts and reds), they have nearly 500 jars of color on hand. They go for the success of these pots. Unlike the figurative ceramic through the catalogs together and Kesl decides how many of works of Picasso or the village potters in Mexico, whose work is each color he wants. And there are new ones yet to try. Tilton primarily single stroke, Kesl builds the color over days of patient brushes three coats of clear for the glaze firing. Each piece is application. In this particular series, he has incised the features fired at least twice and as many as four or five times until the and then added as many as twenty layers of color over a spat­ image is right. tered ground, not unlike stucco. Sometimes he thins the color, A word about the firings: Tilton brings a commitment to other times he applies it like cake batter. In two instances, he detail that might never occur to some of us. For example, when applied dried out and crushed underglaze like chopped nuts to a using self-supporting cones, he uses a bubble level to set the freshly painted pool of contrasting color. The result is a complex shelf so that the cone is always true to level for each firing— and vibrant pastiche that responds with satisfying intensity to the tightisright. And he fires the cones by visual observation so that later application of glazes. the potentially fugitive cadmium-selenium hues don’t escape. This is not an inexpensive undertaking; Tilton has as­ This seems like a throwback in this age of programmed firings, sembled an amazing quantity of pigments. Including under- but it’s a practice that is typical with labors of love.

CeramicsMonthly December 2005 46 retell. But here it is, and it stands for many others, all equally moving. Collaborative Escape As a storyteller, either in song, prose or by Anne Tilton paint, Kesl has a legitimate gravity in his Central to making sense of the John-Lennie collaboration is the fact that their delivery. His voice is a seasoned baritone; temperaments are complementary. On the face of it, they are opposites. John is some notes round, some thin, some with a reserved; Lennie is flamboyant. John makes pots that don’t show the hand; Lennie, little sand, some with a little gravel. His dic­ as a courtesy to the viewer, makes rudimentary efforts to conceal his hand, but tion and phrasing are poetry, period. This actually wants the viewer to see where he has been (to see, as he told John once, afternoon he is playing his own CD, Mood “how you’ve suffered”). Musically, John prefers to be in the background, playing Swings, and singing along with himself as he rhythm guitar; Lennie likes to be in the foreground as a vocalist. When they divide paints. The first cut is “You Stepped Out of a up the pots after a working session, John and Lennie often want completely different Dream” (Herb Brown and Gus Kahn, Leo pieces. These complementary inclinations help their partnership function smoothly. Feist, Inc.) and the lyrics ask: Less obviously, they have strong similarities. Artistically, both men are strategists. Could there be eyes like yours, John, with his mathematical background and love of solving problems, is a more Could there be hair like yours, obvious strategist, and the desire to conceal his hand in the collaborative pieces Could there be teeth like yours, demonstrates this. Lennie’s painting, which at initial impression might appear Honest and truly? carefree and spontaneous, is deeply and strategically considered, with the composi­ Kesl’s brush moves in ballad time and tion paramount and each mark made with great deliberation and concentration. he lifts it to sustain a phrase. The song Both men also have a strong work ethic. After a short conversational period when ends with, “safe in my arms, here in my heart.” Lennie first arrives for a session, they plunge into their work for days on end. Both Moments later, his thoughts turn to the revere historical works and reference them in their own work, if somewhat ob­ long-ago death of a friend. As he shares their liquely. John’s pottery “blanks” have their roots in great functional pottery, and story, his eyes tear and his voice hesitates. He Lennie constantly uses specific references in his work. I remember one instance in stills his brush for just a moment and looks which he was painting two birds flying toward one another across a plate, the birds’ down at the thirteen young faces on his plates, beaks nearly touching. Pointing at the nearly-touching beaks, he turned around and each looking back at him. He collects him­ said, “That’s God touching the hand of Adam on the ceiling of the Sistine Chapel.” self and resumes the process of painting life One reason for the lack of commerce may be that their sessions together serve as into each countenance. Perhaps this is one of an escape from their normal lives. Lennie is “cocooned” with us. He is fed good those moments when intellect and intuition food, sleeps in quiet and beautiful surroundings here, is shielded from interlopers appear at the same time. It seems like a and is shepherded through the flow of the pottery-making process by John (who little bit of magic. Kesl finishes his story with truly fills the Good Shepherd role). Thus insulated from the concerns that normally a gentle but penetrating stare. Then he invade his life, Lennie can live for a short, suspended time reveling in pure daywork. reminds all around, “You can’t be a If Lennie’s experience is perhaps more tranquil than his day-to-day life, John’s is passive listener.” more stimulating. Used to working alone in porcelain, John switches to working in Nor should we be passive viewers. It is red earthenware, giving Lennie the run of the studio, and being bombarded with not often that we come across a full body of ear-blasting music and running commentary all day long. He comes away from their mature work that has remained relatively un­ collaborative sessions feeling that (although his eardrums may have been damaged) known; especially work made for over twenty his right brain has been stimulated and his horizons have broadened. If their years. This partnership and these pots pro­ working together were to become a commercial enterprise, the “escape from daily vide us with a rare look at a sustained in­ life” factor would be lost. volvement of like-minded, knowing and Incidentally, the Gypsy Jazz music that they love, which was popular during passionate individuals. To say it again, these WWII, may play a part in the “escape.” In the 1940s, with the War grimly raging, guys cook. people would leave their cares behind and dance to this music in the dance halls of Further information on the work of John Paris. It’s possible that Gypsy Jazz music, which is experiencing a resurgence in Tilton can be found at www.tiltonpottery.com. popularity today, promotes that feeling of freedom from boundaries. The author, Don Pilcher, can be reachedfor comment at [email protected].

CeramicsMonthly December 2005 47 “Two Sitars/Light Snow,” 91 centimeters (36 inches) in length, Maioli clay, with ash glaze and engobes, fired to 1235 C (2255 F), TWD$220,000 (US$6800), 2003.

Through complex and meaningful decorative details, the work of on to explore the establishment and precision of the norms of Taiwanese sculptor Shih Hsuan-yu conveys serious, mysterious interpersonal behavior. and metaphysical ideas. At the same time, Shih’s grasp of clay and While exploring the pattern of change in contemporary soci­ fire, and his formal aesthetic requirements, are fully revealed in ety, the artist also finds rays of wisdom in the words of the the external appearance of his works. ancients. With a respectful and modest approach, he follows the Shih’s creative choices begin with the observation of social footsteps of those who came before to retrace the beginnings of phenomena he encounters in his own life. These include a view of the phenomena. In his work, Shih attempts to reinterpret the time controlled by machines, a new social order mapped out by ultimate meaning and value of living. labels and barcodes, consumed religious fervor, and the genera­ We can see in Shih’s works his preference for a more cautious tional differences in the use of words and symbols. approach. His works display the classical features of symmetrical As a 20-year-old young man in the torrent of science and balance, dignity and solemnity, while also exhibiting a dualist technology, Shih experienced firsthand the transformation from form. However, beneath the seemingly balanced and stable exterior old to new. The rapid development of communications, transpor­ is hidden a sense of restlessness. This is because Shih uses a form of tation, computers and other technology changed how people expression that takes postmodern theory as its foundation. interacted. This new lifestyle mode had a totally different pace One of the special features of the work is the way in which he than that of earlier life, enough to accelerate changes in social assembles various symbolic elements, displaying a unique narra­ networks that had been developed over many years. tive nature. Recently, works have incorporated barcodes, num­ Shih’s work over the last ten years has moved from describing bers, old classics, computer-virus code, patterns and words from or interpreting social phenomena to crafting and conveying the different languages. These have been used as symbols describing metaphysical viewpoints behind it. Shih habitually focuses on the various phenomena that have arisen as a result of scientific and foundation of interaction between people: words. He then goes technological progress.

CeramicsMonthly December 2005 48 A second notable feature of Shih’s work is that it is constructed calculate average wind speed. This seems to imply that all rules using counter-posed or equal forms. At the same time, the content just follow what is convenient for human communication. There is simplified to a dual thought, emulating the two dimensional is no need to be too focused, the original features and state of forms of yin and yang, day and night, left and right, 0 and 1. things is really the basis of measurement. A third feature is that the artist changes existing operating The value and meaning of these works lie in the way of life it models or rules in order to create a new logical mode. Examples presents. Shih has a broad vision and ambitious creativity with include an English word or sentence converted into numbers and which he has established a new milestone in his personal art world. then a barcode; or illegible, seemingly ancient prayers that are in fact a self-created poem and not an ancient text. This utilizes the in­ herent meaning of barcodes and old prayers themselves to make it seem as though the work can be described. On the other hand, the artist also deconstructs the meaning of barcodes and old prayers in an attempt to break the direct reaction people have as a result of habit. Consequently, although the form of the barcodes is the same, the meaning is very different. This way of creating, being deliberately mysterious or amusing, gives people the misconception of belittlement, in­ difference, misplacement and distortion, forc­ ing them to consider whether their judgment of a phenomenon is too casual. In the work “Two SitarslLight Snow,” Shih uses the traditional Indian stringed instru­ ment as his main form. The two symmetrical voice boxes and the strings are very pro­ nounced, the playing method being very much like that for the Chinese gu zheng (a tradi­ tional multistringed instrument that is plucked). The most unique thing about the sitar is not its form, but the way in which it comes into being. Each sitar master has to play an instrument he or she makes person­ ally. There are no restrictions in terms of the number of voice boxes or strings and also no fixed tune or rhythm. The music played de­ pends on how the performer decides to play. This work seems to say that the rules for communication and languages between people are not eternal and do not have to be. In this way, the sitar player uses the instrument to present his or her own rich feelings. “Weathercock” copies the form and prin­ ciples of a rotating wind speed meter. The central tube is steel, and the horizontally spin­ ning wind cups and mortarlike base are made of clay. This piece of equipment can investi­ gate the most evasive and unpredictable thing in the natural world: the wind. Because the wind is constantly changing, the World Me­ teorological Organization stipulated that wind “Weathercock,” 59 centimeters (23 inches) in height, Maioli clay, with ash should be measured in ten-minute units, to glaze and engobes, fired to 1235°C (2255°F), TWD$120,000 (US$3700), 2003.

Ceramics Monthly December 2005 49 HEALTHY FOREST—HAPPY POTTERS by Tom Wolf

In northern New Mexico, near the end of the old Spanish Camino Real (Royal Road) from Santa Fe to Taos is an area called Pot Creek. Next to the road runs a little river whose floods and wandering meanders reveal ancient kilns and potsherds among today’s water-loving cottonwoods. Around the year 1200, many thousands of Anasazis lived and farmed in this valley. Using abundant local supplies of firewood and micaceous clay, they also produced vast quantities of pit-fired pottery, which they traded throughout the region we know today as the Southwest United States. By studying Pot Creek’s abundant charcoal deposits and tree rings, archaeologists from South­ ern Methodist University’s (SMU) nearby summer campus tell us that the Anasazi used fire as a tool—not just to harden their pots but also to strike a balance with their environment; to

Lidded Pot, 5 inches (13 centimeters) in height, wheel-thrown stoneware, with Shino glaze, wood fired to Cone 12, 2004, $95, by Karen A. Fielding, Taos, New Mexico.

CeramicsMonthly December 2005 50 Bottle, 4 inches (10 centimeters) in height, wheel-thrown stoneware, with Shino Bottle, 20 inches (51 centimeters) in height, wheel-thrown glaze, wood fired to Cone 12, 2004, $45, by John Bradford, Arroya Seco, New Mexico. stoneware, wood fired to Cone 12, 2004, $125, by John Bradford.

sustainably manage their forests. Thanks to their expertise in setting relatively cool, frequent fires, they lived surrounded by open, parklike forests of stately, well-spaced, old-growth ponderosa pine. A big ponderosa’s thick bark can withstand these cool fires. Like the ponderosas, the Anasazi lived more freely than we do today with hot, catastrophic wildfires. Today, the residents of Pot Creek inhabit a very different forest—a disaster waiting to happen. In the surrounding Carson National Forest, a few of the big, old ponderosas still raise their crowns to the sky. But these giants compete with thousands of bushy, thirsty, small-diameter trees; mostly pinon and juniper. The reasons for today’s dangerous and unnatural conditions are many, but the chief of these is a century of complete fire suppression. Without the frequent fires of the past, the pinon and juniper have invaded the open spaces, creating a situation of extreme fire danger. Dense and hard, pinon burns hot, sending flames up into the overhanging, needle-heavy branches of its larger ponderosa neighbors. The resulting super-hot fires kill everything in their path, destroying archaeological sites and baking soils to an impermeable surface that seems to mock the ancient wisdom of the Anasazi pot makers. As if to make things worse, the Southwest is now in the midst of a drying, warming trend that stresses all trees to the point where they are more susceptible to insects and disease. High mortality rates literally add fuel to the widespread conflagrations that the rest of the nation sees on television every summer.

CeramicsMonthly December 2005 51 MONTHLY methods

Big Brick Kiln Design

The design for the Healthy Forest—Happy Potters kiln is based on a Will Ruggles-and-Douglas Rankin-style kiln. It burns primarily pinon pine; a dense, pitchy, high-heat newcomer from the warmer, drier Chihuahua Desert to the south. Kiln builder John Bradford designed the kiln to burn 2 to 3 cords of wood per firing, but Dean and Fielding also requested a kiln that could be fired fast. Two-and-a-half days seemed to be about right. The kiln consists of three separate areas: the front is designed for “Rivers, Streams and Other Flowing Things,” 7 inches (18 centimeters) in height, slab-built stoneware, wood fired high ash deposits. Further down the 9-foot tube is a great place for to Cone 12, 2004, $795, by Pamala S. Dean, Taos, New Mexico. reduction-glazed pots. Then the last chamber is reserved for salt wares. This chamber also cuts down on the amount of sparks that come out of the chimney. These three chambers offer many different visual Faced with such challenges, the U.S. Forest Service is effects to the firing participants. Proudly displaying pots still warm teaming up with neighborhoods like Pot Creek to lessen from the kiln, Bradford says, “I like the dirty woods of New Mexico! the danger of wildfires and restore forests to sustainable, Cottonwood from along the river and pinon from our higher and drier healthy conditions. But before the people of Pot Creek thinning area produce great pots. Pinon is a pine that acts like a can welcome cool fires back into their lives, they must hardwood, resulting in some amazing yellow-brown colors.” thin forests to mimic the conditions familiar to the Anasazi. The HFHP kiln is a combination of two popular wood kiln de­ That’s where Healthy Forest—Happy Potters (HFHP) signs. The front is modeled after an anagama, while the salt chamber is enters the picture. Pamala Dean and Karen Fielding based on one chamber of a climbing kiln. The second chamber also founded this nonprofit organization to work with the cuts down on the amount of time it normally takes to fire a kiln like this. Forest Service to restore health to local forests, both pub­ Bradford also is a member of the Board of Directors of Healthy lic and private. Thanks to a $175,000 grant from the Forest—Happy Potters. He adds, “In Arizona, I saw how big, hot Forest Service, HFHP will thin adjacent public lands in wildfires threaten the old-growth ponderosas. It’s good for artists to Pot Creek and utilize the harvested wood in a variety of pitch in on the effort to restore our forests to health.” constructive ways. HFHP’s kiln burns some of the wood to make pots. The kiln also serves as a hub for supplying free wood to other wood-firing potters in the area. Excess wood goes to many local people who rely on firewood for heat during northern New Mexico’s cold winters. HFHP involves local high-school and college students in the project so that they will learn both the art and the science of sustainable forestry, kilnbuilding, and pot mak­ ing. Every firing of the kiln draws in some community group, such as the Girl Scouts, the Taos Pueblo Day School, the Rocky Mountain Youth Corps, local business owners and even Forest Service employees who welcome the chance to wrap their hands around clay destined for HFHP’s kiln. The kiln successfully destroys the myth that wood firing is dangerous. It’s a great example of artists looking to the past for guidance in imagining a better, more sustainable, more creative future. And it’s a real credit to Designed by John Bradford and Chris Reed, the Happy Forest—Healthy Potters kiln the U.S. Forest Service that this federal agency also can was made using 1750 straight hardbricks, 300 arch bricks, 500 softbricks, 800 chimney bricks and miscellaneous refactory material. learn from the past and collaborate with its neighbors in managing our public forests.

CeramicsMonthly December 2005 52 Frank Willett: Potter by James Marshall

Teapot, 9 inches (23 centimeters) in height, porcelain, with Ken’s Blue Glaze, wooden handle. Willett will sometimes go through a dozen or so different wooden forms before arriving upon one that works with the clay form.

Up on the ridge above his home and studio, I am watching Frank In the dead center of the potter’s wheel is absolute stillness, around Willett carefully balance a column of stones into a stone cairn. His which revolves constant change and transformation. You must mind quietly focused, he places the last stone on top of a perfectly keep your mind like this center: still and focused. In this way, you centered, balanced and joyfully playful totem. That stone cairn re­ will easily center the clay.” The class was mesmerized as Willett flects the nature of a quiet, direct and deeply centered potter. At 75- threw with the fluidity and ease of someone who has been potting years-old, Willett is tall and gray bearded with the countenance of a for a lifetime. wise elder. After fifty years of potting, his hands, mind and heart have Willett first learned to throw at a local community college on absorbed and reflect three lifetimes of what clay has to teach us all. treadle Singer sewing machines that had been converted into wheels. I first met Willett a couple of years ago while he was giving a Despite the marginal equipment, centering and throwing came demonstration to one of the throwing classes I teach. As the class easily for him, and the experience was enjoyable. It was the ’50s when watched, he placed the tip of his needle tool directly in the center he made this discovery, and, soon after, he was drafted into the Korean of the spinning wheel and mused, “Centering is not that difficult. War. After his tour of duty, he was left with indelible impressions.

Ceramics MonthlyDecember 2005 53 Covered jar, 14 inches (36 centimeters) in height, porcelain, with Titania Yellow Glaze, with a rutile, iron and Gerstley borate wash, fired to Cone 10 in reduction.

CeramicsMonthly December 2005 54 Titania Yellow Black Raspberry Alberta Rust (Cone 10 Reduction) (Cone 10 Reduction) (Cone 10 Reduction) Bone Ash ...... 6.8 % Dolomite ...... 5.7 % Whiting...... 10.5% Dolomite...... 10.2 Gerstley Borate...... 5.7 Cornwall Stone ...... 26.3 Talc...... 5.7 Whiting...... 7.3 Alberta Slip ...... 63.2 Whiting ...... 10.2 Potassium Feldspar...... 45.8 100.0% Potassium Feldspar ...... 26.2 EPK Kaolin ...... 7.3 Add: Red Iron Oxide...... 5.2 % Albany Slip ...... 15.9 Silica (Flint)...... 28.2 This is number 23 out of Rhodes' Book with EPK Kaolin...... 25.0 100.0% Alberta instead of Albany Slip (either works 100.0% Add: Barium Carbonate ...... 4.9 % well). It is a nice temmoku with little green Add: Tin Oxide ...... 5.7 % Bentonite...... 2.1% spots; will run where thick. Titanium Dioxide...... 5.7% Copper Carbonate ...... 1.2 % Red Iron Oxide...... 0.2 % This is a reliable muted light yellow matt that Ken's Blue Tin Oxide...... 1.3 % is quite active; layers well with other glazes (Cone 10 Reduction) Zinc Oxide ...... 2.2% but will run where thick. Whiting ...... 25% 6300 Mason Stain ...... 0.1 % Potassium Feldspar...... 25 Blue Use with other glazes—Blue, Green and Star Kaolin...... 25 (Cone 10 Reduction) Ruby, and especially Alberta Rust—as sloshes Silica (Flint)...... 25 Whiting...... 20% on platters. Do not use these combinations 100% Potassium Feldspar...... 40 on vertical surfaces as it will run terribly. Add: Cobalt Carbonate ...... 2 % Kentucky Ball Clay (OM 4) ...... 10 Nickel Oxide...... 1 % Silica (Flint)...... 30 Rutile...... 10% 100% Makes a nice, mottled, mossy green. Add: Cobalt Carbonate...... 2 % Manganese Dioxide ...... 2 %

This Leach Limestone base with coloring in it makes a fat, rich royal blue that is very stable and works well on stoneware or porcelain.

For Green, use same base as above, with the following additions:

Add: Chromium Oxide ...... 2 % Manganese Dioxide ...... 2 %

Star Ruby (Cone 10 Reduction) Dolomite ...... 9.6% Gerstley Borate ...... 9.6 Whiting...... 2.8 Potassium Feldspar...... 46.3 EPK Kaolin...... 2.2 Silica (Flint) ...... 29.5 100.0% Add: Barium Carbonate ...... 4.8 % Copper Carbonate...... 1.1% Red Iron Oxide ...... 0.5% Tin Oxide ...... 2.8% Zinc Oxide ...... 1.7 % Bowl, 12 inches (30 centimeters) in diameter, porcelain, with Alberta Rust, Blue, Green, Star Ruby Blood red; keep it inside the load so that it and Black Raspberry Glazes, fired to Cone 10 in reduction, by Frank Willett, Santa Fe, New Mexico. doesn't get fresh air. To achieve these multiple colors, Willett often layers several sprayed glazes on top of one another.

CeramicsMonthly December 2005 55 “Man’s behavior,” he reflected, “has been terrible historically. I believe He took this initial setback as fuel for his creative fire and that, in spite of what is going on in the world today, it is possible that continued to work on his forms and glaze surfaces. His work during humanity can figure out how to get along and create a presence that this period was moving toward a classical precision. He established a can make a positive change in the world.” successful wholesale business in Los Angeles, and, when that market With the new perception gleaned from his war experience and dried up, he sold through galleries and craft fairs. All the while, his the G.I. Bill, he began college at California State University at Long forms continued to mature. His pots still exhibited the precise Beach, majoring in Sociology, with a minor in Art to further explore classical line but the innate strength and character began to grow. his interest in clay. After graduating, Willett began teaching in the During the last five years, Willett’s work took another quantum art department of El Rancho High School in Pico Rivera, Califor­ leap forward. His new work reflects a fluid, organic geometry of nia, and set up a small studio in his garage. simplified form. The glazed surfaces of this recent work enhance To continue to develop his skills, he went to workshops. Willett’s these looser, softly geometric forms and move across the surface in a most important workshop experience was with Bob Kinzie. Perhaps shifting blend that alludes to the multicolored blush of a high the most important thing he learned from that workshop was to be mountain desert in late afternoon. He has been exploring some new conscious of exactly what his hands were doing while throwing. teapot forms with elongated slab-built spouts and found wooden Kinzie would ask a bewildered student, “What is the ring finger on handles (see Monthly Methods below). He told me his investigation your left hand doing?” Willett uses the knowledge gleaned from into form was “still in the operation.” And the making of beautiful Kinzie to this day. pots continues. During these workshop experiences as a budding potter, Willett I asked Willett what he felt was the true function of a pot. found himself becoming deeply embedded in the Leach/Hamada Without skipping a beat, he responded, “It is a presence that changes aesthetic. The concept of being a studio potter, the esoteric and the world that you are living in.” political values of making pots and, of course, the seductive process I visited Willett in his studio recently and observed him quietly of high-fire reduction were penetrating the hearts and minds of throwing pots for a local craft fair. Centered, balanced and as present young idealistic potters like Willett. His first attempt at a studio as that stone cairn on top of the ridge, he was deep into the joy of pottery business was unsuccessful, however. creating pots with a presence.

MONTHLY Found Wooden Handles methods The wire, rattan or bamboo handles prevalent on pots today first influenced Willett to make nonclay handles. But he preferred twisted, weathered tree roots, branches or driftwood to the more traditional materials. His choice of woods include driftwood from the California coast, cholla cactus, juniper, and pinon roots and branches, which are all found in New Mexico. He begins with the basic shape of a teapot, lidded jar or open bowl. After throwing the body of the pot, Willett applies tabs necessary to affix the wooden handle to the thrown form. The tabs have two or three holes in each, through which baling wire is threaded. For teapots and pitchers, he adds looser and more ragged handbuilt spouts. The spouts are made from slabs, and they add a visual bridge between the thrown form of the pot and the more organic handle shape. After the pot is glaze fired—sometimes two or three times to acheive the fullness that he is searching for—the handle is chosen. At this point the stick will dictate whether to wrap wire around it or insert the wire in two holes in the underside. If he likes the stick too much to cover it with wire, he drills holes on the underside and glues the bunched wires into them. Five-minute epoxy is injected into the holes and the wires are inserted. At this point Willett has to raise or lower the handle to create a visual balance between the pot and the handle. If wrapping is necessary, he grooves the high points of the wood handle for wrap­ ping around the wooden form. Sometimes the handles are sanded down or sandblasted and dipped in matt varnish or lacquer, which is wiped off to a very thin coating. Spray paint is used

sometimes to make the wood similar in color to the glazed pot. He usually sprays and Frank Willett assesses the potential of a piece of found wipes off the paint, making it more a staining process than a painting process. wood as a handle for a freshly thrown covered jar.

CeramicsMonthly December 2005 56 After sitting idle for three years, Billy Henson’s groundhog kiln was fired twice by a group of volunteers. The project was sponsored by two museums and attended by many people from the surrounding community.

A Community Gathers to Remember a Friend by David Hooker

In the summer and fall of 2004, a group of potters got together in voluminous and beautiful. His attention to detail showed in his face Lyman, South Carolina, to revive a tradition: firing the groundhog jugs, his lug handles and his decoration. When he died unexpectedly kiln of the late Billy Henson. The event, sponsored by the Greenville of cancer in 2001, we all lost a remarkable craftsman. County Museum of Art and the South Carolina State Museum, The idea for the commemorative firing came from a conversa­ included thirteen area potters with diverse backgrounds. We came tion I had with Paul Matheny, curator for the South Carolina State together to stoke, eat, sweat and swap stories. We also held a sale of Museum. Matheny is a longtime collector and admirer of the folk the work we fired, managing to make a little money for the Henson arts in South Carolina, and as such, has close ties to the Henson family and for ourselves. But the biggest benefit was connecting family. I was brainstorming event ideas for the Center for Museum with the larger community. Education at the Greenville County Museum of Art, and I won­ Henson was a third-generation folk potter. His grandfather ran dered if it would be possible to fire the Henson kiln as part of a class one of six or seven small family potteries in the Lyman area in the on historical South Carolina pottery. 19th century. They made pots with clay dug from the creek bed and The Henson family had donated much of Henson’s equipment fired them with alkaline glazes. Henson himself was not particularly to the State Museum and Matheny had set up a working pottery interested in pottery until he was an adult. Inspired by an article in studio display there, complete with throwing demonstrations by The Foxfire Book by Eliot Wigginton (Editor), he took apart his local potters. Matheny had been thinking about firing the pots from grandfather’s old kiln and rebuilt it. He then took apart one of the those demonstrations. JoAnne Henson, Billy’s widow, graciously old treadle wheels, reassembled it and taught himself how to throw offered the kiln and the wood to fire it, and asked if we would fire pots. From humble beginnings, Henson’s pots became remarkably the pots that had been left unfinished in the studio when Billy

CeramicsMonthly December 2005 57 passed away. We were thrilled and honored to have to opportunity We advertised the two firings and I was astonished to see not to fire the last of Henson’s work. only potters gathered around the kiln, but 40-50 other people. Well The kiln arrangements made, I gathered a group of potters— wishers came and went throughout the day, sharing stories about ranging from self-taught folk potters to students to college profes­ Billy and the Henson family. I quickly realized what this little kiln sors—to help with the firing. When we measured the inside of the meant to everybody. A few people brought fresh clay and we turned kiln and discovered just how many of Henson’s old greenware pots face jugs on the treadle wheel between stokes. The whole day had were still on the shelves in his studio, we realized we would need to the feeling of a neighborhood picnic and we all felt happy to be a make arrangements for a second firing. part of it. The kiln master for both firings was Roger Henson, Billy’s nephew. A week after the last firing, it was time for the sale. By the time Roger, a quiet, unassuming man, insisted that he had never fired the we rounded up all of Henson’s leftover pots, there were more than kiln before. Despite this insistence, his knowledge of the kiln was 150 of them. Throngs of people showed up for the sale. Following a invaluable. He led us in two perfectly controlled firings—not an Henson tradition, everyone drew a number out of a hat and got to easy task with a groundhog kiln, which has never been known as the pick one of Billy’s pots when the number was called. In just two smoothest firing wood kiln. In both firings we reached Cone 8 in hours all of his pots were gone and the crowd was thinning out. under 12 hours with surprisingly even temperatures throughout. The greatest success of the sale was not the money made, but When we first embarked on this project, I hadn’t realized that how it invigorated the Henson family and the community. The Henson’s firings were not as much about pottery as they were about firing rekindled Billy’s brother-in-law Bill Green’s interest in throw­ community. When he fired, an announcement in the local paper ing pots, and Billy’s sister, Linda Green, is now learning to throw. brought people from all over the county. The family cooked food to Billy’s niece, Kim Stewart, and nephew Roger, also are beginning to share. People would come with lawn chairs and stay the day. Farmers throw. With any luck Bill, Linda, Kim and Roger will keep turning would sell fresh melons out of their trucks. Strangers were made pots and keep a family tradition alive through another generation. welcome and went home full of casseroles and cobbler. When Henson Images of works from the commemorative firings of Billy Hensons died and the kiln sat unfired, it left a hole in the community. groundhog kiln are available online at www.ceramicsmonthly.org.

Left: Billy Henson is shown stoking the groundhog kiln, which built using the bricks that were used in his grandfather’s kiln, Right: Roger Henson, Billy Henson’s nephew, both commemorative firings in the same kiln.

CeramicsMonthly December 2005 58 A Natural Fixation

by Chris Nielsen I decided I wanted to be a potter in the early 1970s, as did a lot of us. It was the mode in which I feel reasonably confident and that has “naturalism” of traditional pottery that I was excited about—as exemplified by gained some degree of recognition. Bernard Leach, and the great neomingei Japanese potters like Shoji Hamada I’ve stayed in the realm of traditional pottery, follow­ and Toyo Kaneshige. I craved the opportunity to dig clay out of stream banks, ing classical form and using materials that approximate fire with wood and glaze with ashes or salt. I wanted to exemplify that alchemi­ those of 1000 years ago. For a number of years, I pur­ cal miracle of earth, water, air and fire. posely limited my glaze materials to feldspar, flint, whit­ I didn’t end up doing all of that, and what I have done has been intermittent ing, kaolin and wood ash. Far from trying to explore all over the years—always more than a hobby, but less than a career. I’ve worked the possibilities of those materials in a scientific way, I almost completely on my own. Over the last ten years or so, I’ve settled into a made glazes like a cook—a little more of this, a little less of that. I just wanted a few good expressions of some classic Chinese and Japanese glazes, especially archaic ash glazes, slip glazes and celadons. Though I gamely tried in earlier years to develop a more expressive way of decorating pots, I’ve gravitated to the simplest possible embellishments—hakeme (slip brushing), banded combing, and occasional applied lugs and medallions. Though I’ve experimented with more sculptural forms, they’ve always ended up echoing tradi­ tional pottery in one way or another. In some ways, those ancient forms seem like arche­ types that keep percolating up in my mind, as they have I suspect the famous potters of the early twentieth century would be hard pressed to get their work noticed and ac­ cepted if they were just getting started in today's market.

in the minds of potters throughout history and across all cultures. As any educated potter knows, even the most self-consciously original ceramic work can turn out to have been prefigured in something made a millennium ago. All supposedly cutting-edge experiments in form, color and texture end up returning to the critique of eye and hand, and that critique is embedded in ancient human experience. My fixation on natural materials and methods has progressed from salt glazing with additions of Albany slip, through a 1980s Northwest vogue for volcanic ash from Mt. St. Helens, to glazes using native Garry Oak ash. One problem with that fixation is a sense of pre- ciousness; I have some remnants of commercially extinct Albany Slip and Mt. St. Helens ash that I hesitate to use any more, contrary to all rational consideration. In fact, my best results with Mt. St. Helens ash came from only partially reduced firings that I wouldn’t ever want to duplicate. The coarse grain of the ash yielded a

“Tall Vase,” 16 inches (30 centimeters) in height, wheel-thrown stoneware, with richly speckled iron red-to-black effect that doesn’t hap­ Semitransparent Blue-Gray Celadon Glaze over brushed white slip, fired to Cone 10, $60. pen under better-reduced conditions, which tend to-

CeramicsMonthly December 2005 60 Platter, 14 inches (36 centimeters) in diameter, wheel-thrown stoneware, with Iron Red and Transparent Feldspar Ash glazes over brushed and combed white slip, fired to Cone 10, $75.

ward a flatter iron red. This was a case of luck in spite of mediocre pot. I’ve been gratified to notice how much ash glazes are appreci­ firing techniques that would ruin most of my current ware. ated by some people—their tactile, as well as visual, quality is Working with wood ash in this day and age is more a labor of unique, exemplifying the naturalness I always aspired to. romanticism than art, since ash glazes have been exhaustively ana­ Celadons are another glaze field I’ve been obsessed with, and here lyzed in terms of more convenient materials and can be synthesized I haven’t found any better aid than Chinese Glazes by Nigel Wood with impunity. Nevertheless, I have so labored, at least a bit. My best (University of Pennsylvania Press, 1999). It contains chemical analy­ results have been with Northwest native Garry Oak ash, unwashed ses of glazes from Chinese pots of various periods and reformula­ and dry screened to 40 mesh. Combined with Custer Feldspar, it tions in terms of contemporary materials. Whatever the virtues of makes a delicately blue-gray matt glaze with characteristic runny methodical contemporary testing systems, I think there’s some value “legs,” but is stiff enough with thin application to not run off the in trying some version of what the “old masters” had to work with,

CeramicsMonthly December 2005 in terms of oxides, if not native materials. For anyone who’s stood longingly in front of a museum case featuring luscious Longquan (Lung ch’uan) celadons, this is the book. My marketing efforts have been limited to a few venues in Portland and Seattle. I’ve repeatedly found that my rather subdued work does best in places that emphasize a traditional Asian aesthetic. In more modernist settings it’s overwhelmed by the competing range of forms and colors that attract most people’s eyes. The old arts-and-crafts ideals of naturalness and tradition, of truth to mate­ rial and technique, have long been outpaced by the imperative to innovate and individuate, to say nothing of technical advances. I suspect the famous potters of the early twentieth century would be hard pressed to get their work noticed and accepted if they were just getting started in today’s market. On the other hand, even amongst all the brilliantly individual work we see in the market, classical forms and the subtle colors and textures of traditional glazes have an enduring appeal. Even the most innovative potters look back on past standards, or they find them­ selves facing ancient work that seems to uncannily mirror their own.

Platter, 16 inches (41 centimeters) in diameter, wheel-thrown stoneware, Chris Nielsen maintains a resident-artist studio at Pottery the author with Semitransparent Celadon Glaze over brushed and combed white slip, Northwest in Seattle. See www.potterynorthwest.org. fired to Cone 10, $75, by Chris Nielsen, Seattle, Washington.

Garry Oak Ash Glaze Transparent Feldspar-Ash Semitransparent Celadon (Cone 10) (Cone 10) (Cone 10) Garry Oak Ash (dry screen, 40 mesh)... 50 % Whiting ...... 14.3% Whiting ...... 16.0% Custer Feldspar ...... 50 Wood Ash ...... 28.5 Custer Feldspar ...... 39.0 100% Custer Feldspar ...... 57.2 Kaolin...... 18.0 Add: Bentonite ...... 3 % 100.0% Silica (Flint) ...... 27.0 Add: Bentonite ...... 2.9% 100.0% In reduction, this is a blue-gray matt, with Add: Bentonite ...... 3.0 % bluer "legs" in heavy reduction. In oxidation, This is from Bernard Leach's A Potter's Book. Red Iron Oxide...... 1.5% it is oatmeal. Black Clay Matt The base for this glaze is a Cone 10 reformu­ Iron Red (Cone 10) lation of Bernard Leach's Cone 8 Limestone (Cone 10) Whiting ...... 14.8% Glaze. In heavy reduction, it is a semitranspar­ Red Iron Oxide ...... 11.0% Wood Ash (mixed) ...... 9.9 ent jade green. In oxidation, it is a grayltan. Whiting...... 11.9 Custer Feldspar ...... 31.7 Best when applied thick. Unispar...... 40.4 Kaolin...... 23.8 Silica (Flint)...... 36.7 Silica (Flint) ...... 19.8 Shino

100.0% 100.0% (Cone 10) Add: Bentonite...... 1.8% Add: Bentonite ...... 2.9% Unispar ...... 53.0% Calcium Chloride ...... 0.3% Red Iron Oxide...... 4.9 % Spodumene (LM)...... 37.0 Kaolin...... 10.0 In heavy reduction, the surface varies from In reduction, this is richly textured dark olive 100.0% glossy to crystalline, and the color varies from to black, breaking to iron red where thin at Add: Bentonite ...... 2.0% redlviolet to tan (black where thick or oxi­ higher temperatures. It goes charcoal gray Calcium Chloride...... 0.3 % dized). I usually apply this glaze over white with more oxygen. Without ash, it turns an slip work. I then overlap it with Transparent uninteresting flat brown. In reduction, this glaze is speckled orangel Feldspar-Ash Glaze. The slip will show through brown, white where thick. In oxidation, it is as transparent olive green. simply white.

CeramicsMonthly December 2005 62

plus purchase. For prospectus, send SASE to Marko Crosse 54601; e-mail [email protected]; call for entries Fields, Art Dept., Concordia University, 275 Syndi­ see www.thepumphouse.org; or telephone (608) Deadlines for Exhibitions, Fairs and Festivals cate St., N, St. Paul 55104; or e-mail [email protected]. 785-1434. January 9, 2006, entry deadline See call for entries online at www.ceramicsmonthly.org Anchorage, Alaska "Planes, Trains & Automobiles: United States Exhibitions Transportation and Travel in Art" (June 18, 2006- May 17, 2007), open to all media. Juried from up December 10 entry deadline to 10 slides or CD. Contact Julie Decker, Anchor­ Nelsonville, Ohio "Starbrick Clay National 2006" age Museum of History and Art, PO Box 100239, (February 24-March 31, 2006). Juried from slides. International Exhibitions Anchorage 99510;[email protected] . Juror: Chris Staley. Fee: $20 for up to 3 entries. December 15 entry deadline February 14, 2006, entry deadline Awards: $1000. For prospectus, send SASE to Tallahassee, Florida "Combined Talents Annual Mission Viejo, California "Da Yu Ziao Hu 2: Second Starbrick Clay, 21 W. Columbus St., Nelsonville Juried Exhibition" (August 28-September 24, International Small Teapot Competition" (Febru­ 45764; e-mail [email protected]; see ary 15-March 9, 2006), open to small ceramic 2006), open to all media. Juried from up to 2 slides www.starbrick.com; ortelephone (740) 753-1011. teapots. Juried from slides or digitals. Juror: or CD. Jurors: Florida State University College of December 12 entry deadline Guangzhen 'Po' Zhou. Fee: $35 for up to 3 entries. Visual Arts, Theatre and Dance Faculty. Fee: $20. Sacramento, California "Affinity for the Cup II" Awards: $4000, plus trip to China. Sales commis­ Awards: 1st place, $1000; 2nd $500. Contact (March 2—April 1, 2006), open to all ceramic cups. sion: 30%. Contact Saddleback College Art Gal­ Jean D. Young, Florida State University Museum of Juried from slides. Juror: Linda S. Fitz Gibbon. Fee: lery, 28000 Marguerite Pkwy., Mission Viejo 92692; Fine Arts, 8347 Summerdale Ln., Tallahassee $ 15 for up to 3 entries. Awards. For further infor­ or see http:llgallery.saddleback.edu. 32306-1140; email jdy1 [email protected]; see mation and prospectus, send SASE to exploding Minneapolis, Minnesota "NA1GAS—North www.mofa.fsu.edulcombinedtalents.htm; or tele­ head gallery, 924 12th St., Sacramento 95814; or American Graduate Art Survey" (June 13—July 27, phone (850) 644-3906. e-mail [email protected]. 2006), open to current graduate students in all February 22, 2006, entry deadline December 15 entry deadline media. Juried from slides or digitals. Juror: Diane Murfreesboro, Tennessee "Siggraph 2006, The St. Petersburg, Florida "Unrestricted" (April 6- Mullin, Ph.D., associate curator, Weisman Art Mu­ Teapot as Object and Icon" (August 1-3, 2006), June 22, 2006), open to women working in any seum. Awards: $900. Sales commission: 30%. For open to teapots designed with computer graphic media. Juried from 7-10 slides or CD ROM. Jurors: prospectus, contact University of Minnesota, Regis technologies. Juried from digitals. For further in­ Maria Saraceno, studio artistand Karen Haraminac, Center for Art, 405 21st Ave., S, Minneapolis formation, contact Marc Barr, Middle Tennessee director of exhibitions at Florida Craftsmen. Fee: 55455; see http:llartdept.umn.edu; telephone State University, Department of Electronic Media $20. For prospectus, send SASE to Women's Invi­ (612) 625-8096; or fax (612) 625-7881. Communication, Murfreesboro 37132; e-mail tational, Karen Haraminac, do Florida Craftsmen, January 3, 2006, entry deadline [email protected]; see www.siggraph.org!s2006; 501 Central Ave., St. Petersburg 33701; e-mail St. Paul, Minnesota "First Biennial Concordia Con­ or telephone (615) 898-51 18. [email protected]; see tinental Ceramic Competition" (March 9—April 7, April 5, 2006, entry deadline www.floridacraftsmen.net; telephone (727) 821 - 2006), open to residents of Canada, the Carib­ La Crosse, Wisconsin "The Art of the Doll" (July 1- 7391; or fax (727) 822-4294. bean, Central America, Mexico and the U.S. Juried August 19, 2006), open to all craft media. Juried January 4, 2006, entry deadline from slides or CD (tif, jpeg or Photoshop). Jurors: from slides or digitals. Juror: Judy Onofrio. Fee: Carbondale, Colorado "For the Dogs and Cats of Marko Fields, Mika Negishi-Laidlaw and Keith Wil­ $25 for 3 entries. Awards: $2000. For further Our Lives: a Juried Exhibition of Pet-Related Art­ liams. Fee: $25 for up to 3 entries. Awards: $ 1000, information, contact Pump House, 119 King St., La work" (February 3-March 1, 2006), open to all

Ceramics MonthlyDecember 2005 64 call for entries

media. Juried from slides. Fee: $25. For further information and prospectus, send SASE to Car- bondale Clay Center, 135 Main St., Carbondale 81623; e-mail [email protected]; telephone (970) 963-2529; or fax (970) 963-4492. January 10, 2006, entry deadline Portland, Oregon "Form and Function: The Tea­ pot" in conjunction with NCECA (March 6-12, 2006), open to functional teapots. Juried from slides. Jurors: Craig Martell and Don Sprague. Fee: $ 15 for up to 3 entries. For further information and prospectus, send SASE to OPA Form and Function Show, 4614 S.E. Salmon St., Portland 97215; see www.oregonpotters.org. Portland, Oregon "The Mad Hatter's Tea" in conjunction with NCECA (March 6-12, 2006), open to sculptural and/or decorative teapots. Juried from slides. Jurors: Patrick Horsley and Jim Koudelka. Fee: $15 for up to 3 entries. For pro­ spectus, send SASE to OPA Sculptural Teapot Show, 4614 S.E. Salmon St., Portland 97215; or see www.oregonpotters.org. Portland, Oregon "Membership has its Benefits" in conjunction with NCECA (March 6- 12,2006), open to current and former members of the Oregon Potters Association, Local Clay or Clayfolk. Juried from slides. Jurors: Hsin-Yi Huang, Kathryn Finnerty, Ron Linn, Craig Martell and Natalie Warrens. Fee: $5 for up to 2 entries; $10 for 3. For prospectus, send SASE to OPA Member­ ship Show, 4614 S.E. Salmon St., Portland 97215; or see www.oregonpotters.org. January 14, 2006, entry deadline Monticello, Arkansas "First Annual National Juried Cup Show" (March 5—April 9, 2006). Juror: Kirk Mangus. Fee: $20. For prospectus, send SASE to Scott Lykens, University of Arkansas at Monicello, Cup Show c/o UAM Art. Dept., PO Box 3460, Monticello 71656; e-mail [email protected]; or telephone (870) 460-1238. February 1, 2006, entry deadline West Palm Beach, Florida "Madd Hatter's Tea Party" (March 12-26,2006), open to fun, wild and wacky teapots in all media. Juried from slides or jpegs. Juror: Debbie Weinstein. Fee: $25 for up to 3 entries. Commission: 50%. For prospectus, send SASE to Armory Art Center, Attn: Madd Hatter, 1700 Parker Ave., West Palm Beach 33401; or see www.armoryart.org. Chicago, Illinois "17th Annual Teapot Show: On the Road Again, An Urban Affair" (April 2-May 15, 2006), open to fun, funky, functional teapots with an urban flair. Juried from 2 slides. Fee: $25 for up to 2 works. Contact A. Joan Houlehen, A. Houberbocken, PO Box 196, Cudahy, Wl 53110; or telephone/fax (414) 481-4000. Shippensburg, Pennsylvania "Seventh Annual National Exhibition" (April 5-26,2006), open to all media. Juried from 3 slides or digital prints. Juror: Kathryn Markel, Kathryn Markel Fine Art NYC. Fee: $25. For prospectus, send SASE to Kauffman Gal­ lery, Shippensburg University, 1871 Old Main Dr., Shippensburg 17257; see www.ship.edu/~art. February 6, 2006, entry deadline Eugene, Oregon "Look! Positive Sexuality in Art" (August 2-30, 2006), open to all media. Juried from slides or CD. Juror: Robert Canaga, Opus6ix and Mary Nyquist Koons. Fee: $30 for up to 3 entries. Sales commission: 50%. For further infor­ mation and prospectus, send SASE to PPHSSO, 360 E. Tenth St., Ste. 104, Eugene 97401; e-mail [email protected]; see www.new3rs.info; or tele­ phone (541) 344-1611 x14. February 10, 2006, entry deadline Lincoln, California "Feats of Clay XIX" (April 29- May 28, 2006). Juried from slides. Juror: Judith Duff. Fee: $15 for 1 entry; $25 for 2; $30 for 3.

Ceramics Monthly December 2005 66

sity, 121 Comstock Art Facility, Syracuse 13244- tional and sculptural ceramics. Juried from Slides. call for entries 5050; e-mail [email protected]; telephone Juror: Doug Casebeer. Fee: $ 10for 1 entry; $20for (315) 443-3830; or fax (315) 443-3032. 2; $25 for 3. Awards: Best in Show, $500; Second, March 11, 2006, entry deadline $250; third, $100; purchase award. Commission: Awards: $24,000 in place, merit and purchase. For Waynesboro, Virginia "Masks, Visages and Veils" 40%. For prospectus, send SASE to m.t. burton prospectus, send #10 SASE to Lincoln Arts, 540 F (May 18-June 28, 2006), open to all craft media. gallery, JSCN '06,1819 Long Beach Blvd., Surf City St., Lincoln CA 95648; see www.lincolnarts.org. Juried from up to 6 slides (1 full shot and 1 detail 08008; e-mail [email protected]; see February 15, 2006, entry deadline of each entry), or images on CD. Juror: Trudi Van www.mtburtongallery.com; telephone (609) 494- Syracuse, New York "Shaped Clay 2006 National Dyke, executive director, Torpedo Factory Art Cen­ 0006; or fax (609) 494-0105. High School Ceramics Exhibition" at the Everson ter. Fee: $20 for up to 3 entries. Awards: Best in Museum of Art (April 7-May 14, 2006), open to Show, $750; 1st, $500; 2nd, $250. Sales commis­ Regional Exhibitions current and recent high school graduates. Juried sion: 40%. For prospectus, send SASE to Artisans from up to 5 slides or CD in MAC format. Jurors: Center of Virginia, PO Box452, Waynesboro 22980; January 13, 2006, entry deadline Marisa Pascucci, senior curator, Everson Museum telephone (540) 946-3294; [email protected] ; St. Peter, Minnesota "Clay Bodies by Student of Art and Errol Willett, associate professor of or see www.artisanscenterofvirginia.org. Bodies" (April 3-26, 2006), open to undergradu­ ceramics, Syracuse University. Fee: $25 for up to 3 March 20, 2006, entry deadline ates and graduates in Iowa, Minnesota or Wiscon­ slides; $35 for 4; $45 for 5. Awards: $1500. For Surf City, New Jersey "Jersey Shore Clay National sin. Juried from slides or jpegs. Juror: James Watkins, prospectus, contact Errol Willett, Syracuse Univer­ 2006" (May 27-June 26, 2006), open to func­ professor, Texas Tech University. Fee: $15 for up to 3 entries. Awards: $1000. For prospectus, contact Donald Myers, Hillstrom Museum of Art, Gustavus Adolphus College, 800 W. College Ave., St. Peter 56082; e-mail [email protected]; see www.gustavus.edulgolhillstrom; telephone (507) 933-7171; or fax (507) 933-7205.

Fairs and Festivals January 4, 2006, entry deadline Brooklyn, New York "First Annual Craft as Art Festival at Brooklyn Museum" (October 14-15 and 21 -22,2006), open to all handcrafted work. Juried from 5 slides. Booth feelweekend: $490for 10x10- foot space; $735 for 10x15; $960 for 10x20. For further information, contact Raya Zafrina, director of operations, c!o ACAC, PO Box 650, Montclair, NJ 07042; e-mail [email protected]; or see www.craftsatlincoln.org. New York, New York "30th Annual American Crafts Festival at Lincoln Center" (June 3-4 and 10-11,2006), open to all handcrafted work. Juried from 5 slides. Booth feelweekend: $530 for 8x8- foot space; $595 for 10x7; $695 for 10x10. For further information, contact Raya Zafrina, director of operations, do ACAC, PO Box 650, Montclair, NJ 07042; e-mail [email protected]; or see www.craftsatlincoln.org. New York, New York "21st Annual Autumn Crafts Festival at Lincoln Center" (September 9-10 and 16-17, 2006), open to all handcrafted work. Juried from 5 slides. Booth feelweekend: $530 for 8x8-foot space; $595 for 10x7; $695 for 10x10. For further information, contact Raya Zafrina, di­ rector of operations, do ACAC, PO Box 650, Montclair, NJ 07042; e-mail [email protected]; or see www.craftsatlincoln.org. Roslyn Harbor, New York "10th Annual Craft as Art Festival at Nassau County Museum" (Sep­ tember 29-October 1, 2006), open to all handcrafted work. Juried from 5 slides. Booth feel weekend: $490 for 10x10-foot space; $735 for 10x15; $960 for 10x20. Contact Raya Zafrina, director of operations, do ACAC, PO Box 650, Montclair, NJ 07042; e-mail [email protected]; or see www.craftsatlincoln.org. January 15, 2006, entry deadline Houston, Texas "ClayHouston Festival" (July 8-9, 2006). Juried from 3 slides. Juror: Louis Katz. Booth fee: $75-$ 150. For prospectus, send SASE to Daryl McCracken, ClayHouston, PO Box 667401, Houston 77266; e-mail [email protected]; or see www.clayhouston.com. March 1, 2006, entry deadline Salina, Kansas "Smoky Hill River Festival Fine Art! Fine Craft Show" (June 10-11, 2006). Juried from 6 slides. Fee: $20. Booth fee: $250 for 10x10-foot space. Awards. Contact Karla Prickett, Visual Arts Coordinator, PO Box 2181, Salina 67402-2181; e-mail [email protected]; see www.riverfestival.com; telephone (785) 309-5770; or fax (785) 826-7444. Salina, Kansas "Smoky Hill River Four Rivers Craft Market Show" (June 9-11, 2006). Juried

Ceramics MonthlyDecember 2005 68 call for entries

from 6 slides. Fee: $20. Booth fee: $250 for 10x10-foot space. Awards: $1800. Contact Karla Prickett, Visual Arts Coordinator, PO Box 2181, Salina 67402; e-mail [email protected]; see www.riverfestival.com; telephone (785) 309-5770; or fax (785) 826-7444. March 15, 2006, entry deadline New Brunswick, New Jersey "32nd Annual New Jersey Folk Festival Juried Craft Market" (April 29, 2006). Juried by slides or digitals. Fee: $5. Booth fee: $130. For prospectus, contact Helene Grynberg, American Studies Dept., Rutgers, the State University of New Jersey, 131 George St., New Brunswick 08901; e-mail [email protected]; see http://njfolkfest.rutgers.edu; or telephone (732) 932-5775. May 1, 2006, entry deadline Cranford, New Jersey "Spring Nomahegan Park Fine Art and Crafts Show" (June 3-4, 2006), open to all handcrafted work. Juried from 3 slides/ photos of work; 1 of booth. Booth fee: $305 for 10x12-foot space. Contact Rose Squared Produc­ tions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844; see www.rosesquared.com; or telephone (908) 874-5274. Verona, New Jersey "Fine Art and Crafts at Verona Park" (May 20-21, 2006), open to all handcrafted work. Juried from 3 slides/photos of work; 1 of booth. Booth fee: $305 for 10x12- foot space. Contact Rose Squared Productions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844; see www.rosesquared.com; or telephone (908) 874-5274. June 1, 2006, entry deadline Montclair, New Jersey "Spring Brookdale Park Fine Art and Crafts Show" (June 17-18, 2006), open to all handcrafted work. Juried from 3 slides/photos of work; 1 of booth. Booth fee: $305 for 10x12-foot space. Contact Rose Squared Productions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844; see www.rosesquared.com; or telephone (908) 874-5274. September 1, 2006, entry deadline Cranford, New Jersey "Fall Nomahegan Park Fine Art and Crafts Show" (September 30-0ctober 1, 2006), open to all handcrafted work. Juried from 3 slides/photos of work; 1 of booth. Booth fee: $305 for 10x12-foot space. Contact Rose Squared Productions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844; see www.rosesquared.com; or telephone (908) 874-5274. Upper Montclair, New Jersey "Fine Art and Crafts Show at Anderson Park" (September 16- 17, 2006), open to all handcrafted work. Juried from 3 slides/photos of work; 1 of booth. Booth fee: $305 for 10x12-foot space. For further infor­ mation, contact Rose Squared Productions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844; see www.rosesquared.com; or telephone (908) 874-5274. October 1, 2006, entry deadline Montclair, New Jersey "Fall Brookdale Park Fine Art and Crafts Show" (October 14-15,2006), open to all handcrafted work. Juried from 3 slides/ photos of work; 1 of booth. Booth fee: $305 for 10x12-foot space. Contact Rose Squared Produc­ tions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844; see www.rosesquared.com; or telephone (908) 874-5274.

For a free call for entries listing, submit information on juried events at least four months before the entry deadline. Add one month for listings in July; two months for August. Regional exhibitions must be open to more than one state. Mail to Call for Entries, Ceramics Monthly, 735 Ceramic PL, Suite 100, Westerville, OH 43081; submit online at www.ceramicsmonthly.org/submissions.asp: e-mail [email protected] : or fax (614) 891-8960.

Ceramics MonthlyDecember 2005 70

new books Like the exhibition, the catalog groups the €28 (US$34). ISBN 3-87909-855-7. Published Freudenberg Collection into six areas: Living by Museum fur Angewandte Kunst Frankfurt National Treasures, Folk Kilns, Six Ancient Schaumainkai 17> Frankfurt-am-Main 60594 The Fascination of Ceramics Kilns, Great Individualists, Sculpturally Ori­ Germany; telephone 49 69 212 34037; or see Masterpieces of Modern ented Ceramists and Painted Ware. Each sec­ www. museumfuerangewandtekunst.frankfurt. de. Japanese Pottery from the tion contains an introductory essay along with Gisela Freudenberg Collection full-color images. In ad­ Alternative Kilns This beautifully illustrated catalog was pub­ dition, the book features by Ian Gregory lished to accompany an exhibition of the same five essays: Japanese Ce­ The art of kiln building has survived for name at the Museum fur Angewandte Kunst in ramics of the Showa Pe­ centuries without many changes to its basic Frankfurt, Germany, which presented the Gisela riod (1926-1989) and principles. As a follow-up to Kiln Building, Freudenberg collection in its entirety to the How a German Lady Gregory’s previous book in this series, this book public for the first time. Came to Appreciate takes a fresh look at the process, suggesting “Gisela Freudenberg is distinguished by the Them; Modernism and unconventional materials fact that she does not simply rely on the sacro­ Tradition in Twentieth and new styles of kilns, sanct Living National Treasures, but has instead Century Japanese Ce­ many of which are art observed the continuing development of a long ramics; Bizen Wares: Momoyama Revival and forms in their own right. tradition of Bizen, Shigaraki, Iga and Tanba,” the Creation of a National Identity; The Eye of Designed for the ex­ states Ulrich Schneider in his foreword to the the Ego Looks to Clay: Twentieth Century perienced kiln builder, the catalog. “She has also introduced, at a relatively Japanese Ceramics and the Individual; and book provides a few basic early date, the great individualists to a Western Mingei Potters and the Negotiation of Values. instructions as well. Gre­ audience, ceramists, who, despite their some­ 240 pages including ap-pendixes with biographi­ gory begins with basic times more advanced ages, are still considered cal data on the artists and authors, list of periods kiln building information young radicals.’ In addition, she has also begun of Japanese history, a map of Japanese kiln sites, such as fuel sources, kiln locations, kiln types and to build a bridge to ceramic sculpture, going diagrams of kiln types, Japanese-English-Ger- materials. He then moves on to explanations beyond the realm of functional utensils and man glossary, bibliography, and photo credits. and photos of 24 alternative kilns, providing toward autonomous art.” 303 color and 29 black-and-white photographs.information on kiln design when possible. The

CeramicsMonthly December 2005 72 new books W1D 3QZ England; see www.acblack.com; or of Art through March 19,2006. In the book and telephone442077580200. Published in the U.S. exhibition, curators Mark Hewitt and Nancy by University of Pennsylvania Press, 4200Pine St., Sweezy examine the genesis of North Carolina’s book also features a heavily illustrated chapter onPhiladelphia, PA 19104-4011; telephone (800) stoneware tradition, trace its evolution in the performance kilns and installation pieces, which537-5487; or see www.upenn.edu/pennpress . nineteenth century and look at its ongoing profiles twelve projects. The book concludes expression by contem­ with a brief section on health and safety. 112 The Potter's Eye porary artists. pages including list of suppliers, bibliography Art and Tradition in “All potters have an and index. 116 color and 20 black-and-white North Carolina Pottery ‘eye,’ a sensibility toward photographs. Softcover, US$26.50 (£17.50). by Mark Hewitt and Nancy Sweezy what they make, a dream ISBN (US.) 0-8122-1902-3. ISBN (UK.) This exquisitely illustrated book is the com­ they make real,” state 0-7136-6164-X. Published in the U.K. by A&C panion catalog to an exhibition of the same Hewitt and Sweezy in Blacky Alderman House, 37 Soho Sq., London name on display at the North Carolina Museum the introduction. “The Potter’s Eye is about the beauty of simple utilitarian pots, a beauty that began in the mind’s eye of the potters who made them. This book and the accompanying exhibi­ tion are celebrations of the ways traditional pot­ ters look at shape, color and decoration, and they honor the keen focus that these potters bring to their materials, tools, techniques and history.” The book includes interviews with six con­ temporary North Carolina potters. Essays by Hewitt link the North Carolina salt-glaze and alkaline-glaze traditions with their historical an­ tecedents, including the pottery traditions of Europe, Asia, New England and neighboring South Carolina. The essays include abundant images, and many images include incredibly detailed surface shots. 296 pages including lender list, donor list, director’s word, foreword, exhi­ bition checklist, photographer’s notes and in­ dex. 235 color photographs. $39.95. ISBN 0-8078-2992-7.Published by the University of North Carolina Press, PO Box2288, Chapel Hill, NC 27515-2288; see http://uncpress.unc.edu; or telephone (800) 848-6224.

Studio Ceramics in Canada by Gail Crawford In this well-illustrated book, art historian Gail Crawford examines the growth of ceramics as an art form in Canada. Crawford traveled from coast to coast conducting extensive inter­ views, and combing public and private col­ lections to detail the unique ceramics his­ tory of every province and region. Studio Ce­ ramics in Canada cel­ ebrates the Canadian artists, craftspeople, instructors, retailers, curators and collectors who share a passion for objects transformed by fire. When she first embarked on this project, Crawford found herself “with a multitude of

CeramicsMonthly December 2005 74

new books topics demanding consideration: early instruc­ tors and their aesthetics; types of clay; primitive equipment, particularly kilns; public acceptance, exposure, and support from galleries and muse­ ums; growth of ceramics support organizations; and the particularities of each region that dic­ tated the direction for studio development there.” Region by region, Crawford examines these details and links clay practice in Canada with critical developments in England and the United States. 310 pages including acknowledgments, list of Canadian ceramics artists, endnotes, se­ lected bibliography, photo credits and index. 170 color and 200 black-and-white photo­ graphs. Softcover, CAN$45 (US$38). ISBN 0-86492-428-3. Published by Goose Lane Edi­ tions, 469King St., Fredericton, New Brunswick, E3B 1E5 Canada; see www.gooselane.com; or telephone (888) 926-8377.

Japanese Wood-Fired Ceramics by Masakazu Kusakabe and Marc Lancet This book is a comprehensive reference for wood-firing effects and techniques, surface de­ velopment and kiln building. It features infor­ mation on the traditions, techniques and technology behind this age-old art form, and offers Japanese insights into rarely discussed techniques and practices. The book begins with a section examining the allure of wood-fired ceramics. In examining this allure, the authors present a substantial section on Yohen (the Japanese classification of wood-firing effects, colors and surfaces), which includes color images and explana­ tions of many Yohen terms. A subsequent section features step-by-step in­ structions for the construction of two types of wood-fire kilns: the Dancing Fire Wood Kiln and the Sasukenei Smokeless Kiln. In addition, the book presents recipes for a variety of wood- fire slips and glazes, and guides readers through the six stages of wood firing. 320 pages in­ cluding appendixes, bibliography, recommended reading and index. 700 color photographs and 85 illustrations. Softcover, $44.99. ISBN 0-87349-742-2. Published by kp Books, 700 E. State St., Iola, WI 54990-0001; or telephone (800) 258-0929.

CeramicsMonthly December 2005 76

Arizona, Scottsdale through December 17 Steven through January 14, 2006 Akio Takamori. January calendar Heinemann; at Cervini Haas/Gallery Materia, 4222 N. 17-March 11, 2006 Ron Nagle; at Garth Clark Gallery, Conferences, Exhibitions, Workshops, Fairs Marshall Way. 24 W. 57th St., Ste. 305. Arizona, Tempe through January 14, 2006 "Akio January 3-28, 2006 Tania Kravath, "Generation to See calendar online at www.ceramicsmonthly.org Takamori: Between Clouds of Memory, A Mid-Career Generation"; at Ceres Gallery, 547 W. 27th St. Survey"; at ASU Art Museum Ceramics Research Cen­ ter, Arizona State University, Mill Ave. and Tenth St. Conferences California, Berkeley through December 9 Mary Roehm; at TRAX Gallery, 1812 Fifth St. Arizona, Tempe February26-28, 2006 "Ceram-a- Florida, St. Petersburg January 13-26, 2006 Rama," includes a lecture by Ron Nagle, panels, tours Chloe Rothwell; at St. Petersburg Clay Company, 420 of collectors' homes and artists' studios, and exhibi­ 22 St., S. tions. Contact Tiffany Fairall, ASU Art Museum Ceram­ Georgia, Roswell January 16-February 17, 2006 ics Research Center, Arizona State University, Mill Ave. A.J. Argentina, "ClayScapes"; at Art Center West, and Tenth St., Tempe 85287-291 1; e-mail 1355 Woodstock Rd. [email protected]; or telephone (480) 965-0014. Illinois, Chicago through December 8 Sunkoo Ohio, Springfield January 14, 2006 "Two Expres- Yuh, "Microcosms of Memory"; at Parkland Art Gal­ sions/Two Media," symposium including a national lery, Parkland College, 2400 W. Bradley Ave. clay and glass show curated by Sherrie Hawk, work­ Kansas, Lindsborg January 3-February 26, 2006 shops, demonstrations and lecture with keynote Todd A. Van Duren, "Architectural Whimsy"; at Birger speaker, Bill Hunt. Contact Charlotte Gordon, Spring­ Sandzen Memorial Gallery, 401 N. First St. field Museum School of Art, 107 Cliff Park Rd., Spring­ Massachusetts, Bridgewater through December field 45501; e-mail [email protected]; or 30 Dorothy Pulsifier; at Wallace Anderson Gallery, telephone (937) 324-3729, . Bridgewater State College, 40 School St. North Carolina, Asheboro March 3-5, 2006 Massachusetts, Brockton through February 19, "Nineteenth North Carolina Potters Conference," in­ 2006 Tiles by Maishe Dickman; at Fuller Craft Mu­ cludes lectures by Janet Mansfield, Chester Nealy and seum, 455 Oak St. Dr. Owen Rye. Fee: $165, includes most meals. Con­ Michigan, Bloomfield Hills through January 15, tact Randolph Arts Guild, PO Box 1033, Asheboro 2006 Ruth Duckworth, "Modernist Sculptor"; at 27204-1033; e-mail [email protected]; see Cranbrook Art Museum, 39221 Woodward Ave. www.randolphartsguild.com; telephone (336) 629- Minnesota, Minneapolis January 13-February 19, 0399; or fax (336) 629-2892. 2006 Daisy Brand; at Northern Clay Center, 2424 “Head,” by Adrian Arleo; at Pacini Lubel Gallery, Franklin Ave., E. Seattle, Washington Solo Exhibitions New York, Alfred through December 16 Eva Kwong; at Schein-Joseph International Museum of Ceramic Art, January 26-March 24, 2006 Katsuyo Aoki; at Arizona, Phoenix through March 22, 2006 Sir NY State College of Ceramics at Alfred University. Greenwich House Pottery, Jane Hartsook Gallery, 16 Anthony Caro, "The Kenwood Series"; at Bentley New York, New York through December31 Kate Jones St. Projects, 215 E. Grant St. Anderson; at Nancy Margolis Gallery, 523 W. 25th St. New York, Peekskillthrough December 24 Ce-

Ceramics MonthlyDecember 2005 78

Ohio, Columbus through December 31 Thomas Zach Duncan-Tessmer. Bernadette Curran; at the Clay calendar Hoadley; at Sherrie Gallerie, 937 N. High St. Studio, 139 N. Second St. solo exhibitions Ohio, St. Clairsville January 9-February 2, 2006 South Carolina, Florence through January 1,2006 Betsy Cox, "Mud Manipulation"; at Ohio University Patz Fowle, "Visual Voices... Multimedia Narratives"; ramies by Chris Ostrowski; at Flat Iron Gallery, 105 S. Eastern Art Gallery, 45425 National Rd. at the Florence Museum, 558 Spruce St. Division St. Oregon, Portland January 14-March 12, 2006 Virginia, Richmond through December 18 Fiona North Carolina, Asheville through December 31 Patti Warashina, "Real Politique and Drunken Power Ross, "Mattering"; at University of Richmond Muse­ Malcolm Davis. Linda Arbuckle; at Blue Spiral 1, 38 Series." Anthony Prieto, "A Family Collection." Helen ums, Lora Robins Gallery of Design from Nature. Biltmore Ave. Otterson, "Halvorsen Artist-in-Residence"; at the Con­ Washington, Seattle through December 17 Ce­ North Carolina, Charlotte through December 31 temporary Crafts Museum & Gallery, 3934 S.W. ramic sculpture by Adrian Arleo; at Pacini Lubel Gal­ "Don Reitz: Clay, Fire, Salt and Wood"; at the Mint Corbett Ave. lery, 207 Second Ave. S. Museum of Craft + Design, 220 N. Tryon St. Pennsylvania, Bradford through December 10 Wisconsin, Racine through January 8, 2006Toshiko North Carolina, Seagrove through February 26, Sin-ying Ho; at KOA Art Gallery, University of Pitts­ Takaezu, " Heaven and Earth"; at Racine Art Museum, 2006 James Teague, "Excellent Potter, Excellent burgh Bradford, Blaisdell Hall, 300 Campus Dr. 441 Main St. Farmer." December3,2005-March 25,2006 Mary Lou Pennsylvania, Erie through June 1, 2007 Eva Higgins, "The Narrative Spirit"; at North Carolina Zeisel; at the Erie Art Museum, 411 State St. Group Ceramics Exhibitions Pottery Center, 250 East Ave. Pennsylvania, Philadelphia January 6-29, 2006 Arizona, Tucson December 1-30 "It's Lidded"; at the Modern Hand Gallery, 186 N. Meyer. California, Claremont January 24-April 9, 2006 "Ceramic Annual 2006: Scripps Ceramic Annual"; at Ruth Chandler Williamson Gallery, Scripps Womens College, 1030 Columbia Ave. California, El Cajon January 23-February 16, 2006 "Viewpoint: Ceramics 2006"; at Grossmont College, Hyde Gallery, 8800 Grossmont College Dr. California, Pasadena December 3, 2005-Febru- ary 16, 2006 "Made by Heart, Defined by Desire"; at Xiem Clay Center & Gallery, 1563 N. Lake Ave. California, San Diego through February28, 2006 "Vivika and Otto Heino Ceramics"; at the Mingei International Museum, 1439 El Prado, Balboa Park. California, Santa Monica through December 31 "Group Show: Harrison McIntosh, Tony Marsh, Karen Thuesen Massaro"; at Frank Lloyd Gallery, 2525 Michi­ gan Ave., B5B. California, Stanford through February 26, 2006 " Fired at Davis: Figurative Ceramic Sculpture by Robert Arneson, Visiting Professors and Students at the Uni­ versity of California at Davis, from the Paula and Ross Turk Collection"; at Cantor Arts Center, Stanford University, 328 Lomita Dr. Florida. St. Petersburg December 3, 2005-Janu- ary 7, 2006 "Member's Holiday Show." January 27- February 11, 2006 Brad Schwieger and Robert "Boomer" Moore; at St. Petersburg Clay Company, 420 22nd St. S. Georgia, Atlanta through December23 "Holiday Studio Exhibition"; at MudFire Gallery, 175 Laredo Dr. Hawai'i, Honolulu through December 11 "Yaki- mono: 4000 Years of Japanese Ceramics." through January 29, 2006 "From the Fire: Contemporary Ko­ rean Ceramics"; at Honolulu Academy of Arts, 900 S. Beretania. Illinois, Chicago December 1-31 "Not Only Wood: Figurative African Ceramics"; at the Douglas Dawson Gallery, 400 N. Morgan St. December3, 2005-February20, 2006 "For Hearth and Altar: African Ceramics from the Keith Achepohl Collection"; at the Art Institute of Chicago, 111 S. Michigan Ave. Illinois, Grayslake through December22 "Invita­ tional Mug Show and Sale"; at Neil Estrick Gallery, LLC, 36 S. Whitney St. Indiana, Fort Wayne through January 6, 2006 "Cup: The Intimate Object IV"; at Charlie Cummings Clay Studio, 4130 S. Clinton St. Indiana, Indianapolis through January 8, 2006 "Overbeck Pottery of the Arts and Crafts Movement"; at the Indianapolis Museum of Art, 4000 Michigan Rd. Louisiana, Shreveport through January 15, 2006 "A Glimpse into Echizen Ceramics"; at Meadows Museum of Art, Centenary College. Maine, Portland through December 23 "Cup of Comfort International 2005." January 9-February 10, 2006 "Reflection, Portland International Invitational 2005"; at the High Land Modern Art Center, 74 Dibiase St. Maryland, Baltimore through December 23

Ceramics MonthlyDecember 2005 80 CeramicsMonthly December 2005 81 calendar group exhibitions

"Winterfest 2005"; at Baltimore Clayworks, 5707 Smith Ave. Massachusetts, Beverly through January 6, 2006 "Whimsical Pottery"; at Redbrick Art Center, 95 Ran- toul St. Massachusetts, Lenox through December31 "An­ nual Studio Pottery Invitational"; at Ferrin Gallery, 69 Church St. Michigan, Bloomfield Hills through December 30 "Ruth Duckworth Selects: Ceramics from the Col­ lections of Cranbrook Art Museum and Cranbrook Institute of Science"; at the Cranbrook Art Museum, 39221 Woodward Ave. Michigan, East Lansing through December 17 "Pewabic: A Century of Michigan's Art Pottery"; at Kresge Art Museum, Michigan State University. Michigan, Grand Rapids through January 1, 2006 "Marvels of Maiolica: Italian Renaissance Ceramics from the Corcoran Gallery of Art Collection"; at Frederik Meijer Gardens and Sculpture Park, 1000 E. Beltline NE. Minnesota, Minneapolis through December 30 "Holiday Exhibition and Sale." "4ttTJtff + 4ttt & Count­ ing." January 5-29, 2006 "Marc Digeros, Shirley Johnson and Tara Wilson." January 13-February 19, 2006 "Three Jerome Artists," Cynthia Levine, Kathleen Moroney and Kristin Pavelka; at Northern Clay Center, 2424 Franklin Ave., E. Missouri, Kansas City January 5-February 10, 2006 "Teapot Show"; at Red Star Studios, 821 W. 17th St. Montana, Helena through December 23 "Archie Bray Foundation Holiday Exhibition and Sale"; at Archie Bray Foundation, 2915 Country Club Ave. Nebraska, Lincoln through December 30 Juried ceramics show; at Showroom University Place Art Center, 2601 N. 48th St. New Mexico, Santa Fe December 2-31 "Japan/ USA: A Cross Cultural Exchange." January 6-February 4,2006 Ceramics by Nancy Barbour, Bernadette Curran, Sanam Emami, Sarah Jaeger, Julie Johnson and Laurie Shaman; at Santa Fe Clay, 1615 Paseo de Peralta. New York, New York through December 30 "Cheap and Plastic: Ceramic Figures in the 30s and 40s"; at Garth Clark Gallery, 24 W. 57th St., Ste. 305. through December30 "Made in Clay Benefit: Invi­ tational Showcase"; at Greenwich House Pottery, 16 Jones St. New York, Port Chester December 1, 2005- January 21, 2006 "Fine Functional Pottery and Ce­ ramic Sculpture"; at the Clay Art Center, 40 Beech St. New York, Valley Cottage December 3-31 "Clayarts"; at Valley Cottage Library, 110 Rte. 303. North Carolina, Charlotte December 16, 2005- July2, 2006 "Fancy Rockingham Pottery: The Modeller and Ceramics in 19th-Century America"; at Mint Mu­ seum of Art, 2730 Randolph Rd. North Carolina, Pineville through January 31, 2006 "Second Funk-Tion National Ceramics Exhibi­ tion"; at Stretch Gallery, 10726 Pineville Rd. North Carolina, Raleigh through March 19, 2006 "The Potter's Eye: Art and Tradition in North Carolina Pottery"; at North Carolina Museum of Art, 2110 Blue Ridge Rd. Ohio, Kettering through December 16 "Earth in Balance 2005, A Regional Clay Competition"; at the Rosewood Gallery, 2655 Olson Dr. Oregon, Portland January 14-March 26, 2006 "Chronicles in Clay: Ceramics from the Permanent Collection"; at Contemporary Crafts Museum & Gal­ lery, 3934 S.W. Corbett Ave. Pennsylvania, Chester Springs through Decem­ ber 23 "Platters & Plates: A Blue Plate Special"; at Chester Springs Studio, 1671 Art School Rd. Pennsylvania, Philadelphia through December

Ceramics MonthlyDecember 2005 82

Obsidian Gallery, St. Philip's Plaza, 4320 N. Campbell Florida, Tampa though December 31 "Images of calendar Ave., #130. Women From the Classical World, From the Celia and group exhibitions California, Claremont through December 18 Walter Gilbert Collection"; at Tampa Museum of Art, "Scripps College Faculty Exhibition," including ceramics 600 N. Ashley Dr. 31 "Gifted: The Clay Studio's Annual Holiday Exhibi­ by Stan Hunter; at Ruth Chandler Williamson Gallery, Illinois, Chicago through March 26,2006 " Pompeii, tion." January 6-29, 2006 "The Figure in Context," Scripps Womens College, 1030 Columbia Ave. Stories from an Eruption"; at the Field Museum, 1400 Tanya Batura, Kyle and Kelly Phelps, Katy Rush, Lee California, Pomona January 17-February25,2006 S. Lake Shore Dr. Stoliar, Hiro Tashima, and Arnie Zimmerman; at the "Ink and Clay 32"; at W. Keith and Janet Kellogg December2-31 "Annual Holiday Exhibition 2005," Clay Studio, 139 N. Second St. University Art Gallery, 3801 W. Temple, California including ceramics by Jennifer Allen, Christa Assad, South Carolina, Florence January 17-April 6, State Polytechnic University-Pomona. Autumn Cipala, Kathryn Finnerty, Alan Lerner and 2006 "Skin Deep: Celebrating the Rich Diversity of California, San Diego through April 23, 2006 Robert Sutherland; at Lillstreet Art Center, 4401 N. Ceramic Surfaces"; at Francis Marion University, Dept, "Norway—Art of the Land and the People"; at Mingei Ravenswood Ave. of Fine Arts. International Museum, 1439 El Prado, Balboa Park. Indiana, Bloomington through December 23 Texas, El Paso through February 11, 2006 "The California, San Rafael through January 9, 2006 "Kaleidoscope," including ceramics by Steve Dream of Earth: 21st-Century Tendencies in Mexican "60 Years of Fire, Form & Function: Ceramics 8t Glass Hemingway; at Bloomington Art Center, 1800 W. Old Sculpture"; at Stanlee & Gerald Rubin Center for the from the Members of the Association of Clay & Glass Shakopee Rd. Visual Arts, University of Texas at El Paso, 500 W. Artists of California"; at Falkirk Cultural Center, 1408 Indiana, Indianapolis through January 22, 2006 University Ave. Mission Ave. "International Arts and Crafts"; at the Indianapolis Virginia, Richmond through September 10, 2006 Colorado, Denver through December31 "Heaven Museum of Art, 4000 Michigan Rd. "Traditions in Miniature: The Louise Westbrook Col­ and Home: Chinese Art of the Han Dynasty from the Kentucky, Berea through January 31, 2006 "Ken­ lection of Chinese Ceramics." January20-July9, 2006 Sze Hong Collection." "New Classics"; at Denver Art tucky Teapots"; at Kentucky Artisan Center at Berea, "Parian Porcelain: A Nineteenth-Century Passion"; at Museum, 100 W. 14 Ave. Pkwy. 975 Walnut Meadow Rd. University of Richmond Museums, Lora Robins Gallery Connecticut, Hartford through January 15, 2006 Maryland, Frederick through December 18 "Trans­ of Design from Nature. "Old MasterslNew Directions: A Decade of Collect­ lations: Hood College Art Department Faculty," in­ Washington, Seattle through December 30 "The ing"; at Wadsworth Atheneum Museum of Art, 600 cluding ceramics by Phil Berneburg, Xiaosheng Bi, Simple Cup"; at KOBO at Higo, 604 S. Jackson St. Main St. Kevin Crowe, Susan Nayfield Kahn, Jenna McCracken, Wisconsin, Belleville through December 31 Connecticut, Middletown through December 17 Joyce Michaud, David Young and Carol Spicer; at "Friendship: Clay and Metal," Bacia Edelman and "Wesleyan Potters 50th Annual Exhibition and Sale"; Hodson Gallery, Hood College, 401 Rosemont Ave., Andree Vallery; at Zazen Gallery, 6896 Paoli Rd. at Wesleyan Potters, 350 S. Main St. Tatem Art Center. D.C., Washington through May 29, 2006 "Freer Massachusetts, Brockton January 14-April 30, Ceramics in Multimedia and Tea: 100 Years of the Book of Tea." "Artists of the 2006 "The Edges of Grace: provocative, uncommon Exhibitions Edo 1800-1850"; at the Freer Gallery of Art, craft"; at Fuller Craft Museum, 455 Oak St. Smithsonian Institution, Jefferson Dr. at 12th St., SW. Massachusetts, Cambridge through June30,2007 Arizona, Tucson through December 31 "Holiday Florida, Davie through December 15 "Florida "The Moche of Ancient Peru: Media and Messages"; Exhibition," including ceramics by David Aguirre, Craftsmen's 51 st Anniversary Exhibition"; at Broward at the Peabody Museum, Harvard University, 11 Divin­ Wesley Anderegg, Michael Corney, Esmeralda Delaney, Community College Fine Arts Gallery, 3501 S.W. ity Ave. Gene Gnida, Thomas Kerrigan and Jeffrey Reich; at Davie Rd. Massachusetts, Northamptonthrough Decem-

Ceramics MonthlyDecember 2005 84 CeramicsMonthly December 2005 85 calendar multimedia exhibitions ber 15 "A Place to Take Root: The History of Flower­ pots and Garden Containers in North America"; at Botanic Garden of Smith College, Lyman Plant House Exhibition Gallery, 15 College Ln. Minnesota, Minneapolis December 15-24 "Holi­ day Show," including ceramics by Susan Feigenbaum; at Frank Stone Gallery, 1226 Second St., NE. New Jersey, Frenchtown through January8,2006 "Off the Wall: An Evolving Exhibition," including ce­ ramics by Francoise Choveau, David Eichelberger, Terry Gess, Shawn Ireland, Michael Kline, Gloria Kosco, Lisa Naples, Karen Newgard and Mimi Strang; at Harrison Street Gallery, 108 Harrison St. New Jersey, Trenton through February 26, 2006 "Preserving Our Past: An Inspiring Exhibition Honoring those Who Chronicle Our Heritage"; at The Trenton City Museum, Ellarslie Mansion, Cadwalader Park, Parkside Ave.

Stoneware ewer by Dganit Moreno; at Alder Gallery, Coburg, Oregon.

New York, Beacon December 1, 2005-January 15, 2006 "Relations," including ceramics by Harriet Ross; at Kiesendahl+Calhoun Contemporary Art, 192 Main St. New York, Corning December 2, 2005-February 22, 2006 "Clay and Glass," including ceramics by Meredith Brickell, Bernadette Curran, Ayumi Horie, Julie Johnson, Simon Levin, Tom O'Malley, Colby Par- sons-O'Keefe, Liz Quackenbush and Jared Ward; at Corning Community College, Atrium Gallery, 1 Aca­ demic Dr. New York, New York through December6 "Holi­ day Fine Craft Show Celebrating Women Artists"; at Pen & Brush, Inc., 16 E. Tenth St. through January 15, 2006 "Changing Hands: Art Without Reservation 2: Contemporary Native North American Art from the West, Northwest and Pacific"; at Museum of Arts & Design, 40 W. 53rd St. through March 7, 2006 "Yinka Shonibare Selects: Works from the Permanent Collection." January 27- April 23, 2006 "Solos: New Design from Israel"; at Cooper-Hewitt National Design Museum, 2 E. 91st St. North Carolina, Charlotte January 28-August 6, 2006 "Crosscurrents: Art, Craft and Design in North Carolina"; at Mint Museum of Craft + Design, 220 N. Tryon St. North Carolina, Salisbury through January 14, 2006 "Thresholds, Expressions of Art & Spiritual Life"; at Waterworks Visual Art Center, 123 E. Liberty St. Ohio, Cincinnati through December 31 "African Art, African Voices: Long Steps Never Broke a Back"; at the Cincinnati Art Museum, 953 Eden Park Dr. Ohio, Cleveland through December 10 "Third Cleveland Biennial—Craft Media"; at Cleveland State University Art Gallery, 2307 Chester Ave. through January 8, 2006 "The Arts & Crafts Move­ ment in Europe and America, 1880-1920: Design for the Modern World"; at the Cleveland Museum of Art, 111 50 East Blvd. Continued

Ceramics MonthlyDecember 2005 86

Pennsylvania, Wayne December 2, 2005-Janu- Washington, Bellevue through February26,2006 calendar ary 27, 2006 "Craft Forms 2005"; at Wayne Art "Looking Forward Glancing Back: Northwest Designer multimedia exhibitions Center, 413 Maplewood Ave. Craftsmen at 50"; at Bellevue Arts Museum, 510 Texas, Denton January 28-March 26, 2006 "Ma­ Bellevue Way NE. Ohio, Columbus through December 23 "Gifts of terials Hard & Soft, 19th Annual National Contempo­ Washington, Moses Lake through December 31 the Craftsmen"; at the Ohio Craft Museum, 1665 W. rary Craft Exhibition"; at the Greater Denton Arts "Annual Holiday Show"; at Moses Lake Museum & Art Fifth Ave. Council Center for the Visual Arts, Meadows Gallery, Center, 228 W. Third Ave. Oregon, Coburg through January 21, 2006 "La 400 E. Hickory St. West Virginia, Charleston through January 29, Petite 13—Small Format Competition"; at Alder Gal­ Texas, Houston through January 1, 2006 "Recent 2006 "West Virginia Juried Exhibition 2005"; at the lery, corner of Willamette and Pearl sts. Accessions in Modern and Contemporary Design"; at Cultural Center, 1900 Kanawha Blvd. E. Oregon, Portland through December31 "When it Museum of Fine Arts Houston, Caroline Weiss Law Wisconsin, Racine through January22,2006 "New Rains, It Pours: Teapots from Portland Collections." Bldg., 1001 Bissonnet St. Works 2005: Celebrating Recent Gifts to RAM." "East Through January8,2006 "Good Bird/Bad Bird." "Hand­ Vermont, Middlebury through December 11 Meets West: The Contemporary Asian Aesthetic in made for the Holidays"; at the Contemporary Crafts "Asian Games: The Art of Contest"; at the Middlebury RAM's Collection"; at the Racine Art Museum, 441 Museum & Gallery, 3934 S.W. Corbett Ave. Museum of Art, Rte. 30. Main St. Pennsylvania, Harrisburg December 3-29 "5- Virginia, Waynesboro through December 31 "A Person Show," including ceramic platters by Scott R. Handmade Season"; at Artisans Center of Virginia, Fairs, Festivals and Sales Jones; at Art Association of Harrisburg, 21 N. Front St. 301 Shenandoah Village Dr. Arizona, Carefree January 20-22, 2006 "13th Annual Carefree Fine Art & Wine Festival"; downtown, Easy and Ho Hum sts. Arizona, Phoenix January 28-29, 2006 "10th Annual Heard Museum Guild Library Book & Art Sale"; at Heard Museum, 2301 N. Central Ave. Arizona, Scottsdale January 12-March 26, 2006 "Arizona Fine Arts Expo"; corner of Scottsdale and Pinnacle Peak rds. California, Berkeley December 3-4, 10-11, 17- 18 and 19-24 "34th Annual Holiday Show & Sale 2005, Playing with Fire"; at Berkeley Potters Guild, 731 Jones St. California, San Jose January 28-29, 2006 "12th Annual Bay Area Pottery Show"; at the Santa Clara County Fairgrounds, 344 Tully Rd. California, Woodland Hills December 10 "Pierce College Annual Ceramics Sale"; at Pierce College, Art bldg., 6201 Winnetka Ave. Connecticut, Brookfield through December 31 "30th Annual Holiday Exhibition & Sale"; at Brookfield Craft Center, Rte. 25. Connecticut, South Windsor December 3-4 and 10-11 "Greenleaf Pottery 30th Holiday Open Studio"; at Greenleaf Pottery, 240 Chapel Rd. D.C., Washington December 9-11 "18th Annual Washington Craft Show"; at the Washington Conven­ tion Center, 801 Mt. Vernon PI., NW. Florida, Gainesville January 28-29 and February 4-5,2006 "20th Annual Hoggetowne Medieval Faire"; at the Alachua County Fairgrounds, SR 222. Georgia, Athens December 9-11 "Eighth Annual Pottery Sale"; at Good Dirt, 510 N. Thomas St. Hawai'i, Honolulu through December 11 "24th Annual World Art Bazaar"; at Honolulu Academy Art Center, 900 S. Beretania St. Illinois, St. Charles December 2-10 "Christmas­ time at the Fine Line Members Show and Sale"; at Fine Line Creative Arts Center, 6N158 Crane Rd. Kentucky, Louisville through December 31 "Holidazzle"; at Kentucky Museum of Art and Craft, 715 W. Main St. Maryland, Gaithersburg December9-11 "Sugar- loaf Crafts Festival"; at Montgomery Co. Fairgrounds, 16 Chestnut St. Massachusetts, Easthampton December 2-4 and 10 "Multiple Open Studios Sale"; at Kaleidoscope Pottery, 1 Cottage St, #11. New York, New York January 18-22, 2006 "7th Annual New York Ceramics Fair"; at National Acad­ emy Museum and School of Fine Arts, 1083 Fifth Ave. Ohio, Columbus January 28-29, 2006 "Art Studio Clearance Sale"; at Veterans Memorial, 300 E. Broad St. Virginia, Chantilly January 27-29, 2006 "Sugar- loaf Crafts Festival"; at Dulles Expo Center, 4320 Chantilly Place Center.

Workshops California, Huntington Beach January 28-30, 2006 "Geil/Coleman Firing Workshop," with Tom

Ceramics MonthlyDecember 2005 88 Ceramics Monthly December 2005 89 calendar workshops

Coleman and Paul Geil. February 18-19, 2005 "Crys­ talline Firing Workshop" with Kris Friedrich. Contact Sofia, Geil Kilns, 7201 Clay Ave., Huntington Beach 92648; e-mail [email protected]; or telephone (800) 887-4345. California, Sunnyvale January21-22,2006 "Paul Soldner: Master at Work." Fee: $ 135; ACGA, OVCAG, MECAC members, $125. February 11-12, 2006 "Throwing Textured Slabs for Handbuilt Artwork" with Bob and Sandy Kinzie. Fee: $125; ACGA, OVCAG, MECAC members, $115. Contact Mother Earth Clay Art Center, 790 Lucerne Dr., Sunnyvale 94085; see www.mamasclay.com; or telephone (408) 245-6262. Connecticut, Brookfield January 14-16, 2006 "Throwing Teapots" with Michael Connelly. January 21-22, 2006 "Coil and Slab" with Elizabeth Mac­ Donald; or "Electric Kilns" with Kristin Muller. January 27-29, 2006 "Throwing Large Forms" with David Dotter. February 3-5, 2006 "Tilemaking" with Chris Bonner. February 11-12, 2006 "Basement Potter" with Kristin Muller. March 4-5, 2006 "Basic PMC" with Pat Gullet; or "Throwing for Teens" with Chris Alexiades. Contact John I. Russell, Brookfield Craft Center, 286 Whisconier Rd., PO Box 122, Brookfield 06804; e-mail [email protected]; see www.brookfieldcraftcenter.org; telephone (203) 775- 4526; or fax (203) 740-7815. Florida, St. Petersburg January 14-15, 2006 "The Art of Decoration" with David and Tracy Gamble. Fee: $75; St. Petersburg Clay Company members and stu­ dents, $50. Limit of 25 participants. January 28-29, 2006 Demonstrations with Robert "Boomer" Moore and Brad Schwieger. Fee: $ 135; students, $ 115. Con­ tact Jennifer Lachtera, the St. Petersburg Clay Com­ pany, 420 22nd St. S, St. Petersburg 33712; e-mail [email protected]; see www.stpeteclay.com; telephone (727) 896-2529. Florida, West Palm Beach December 16-18\Nork- shopwith RimasVisGirda. January 13-15,2006 Work­ shop with Joe Bova. January 27-29, 2006 Workshop with Patti Warashina. February 4-5, 2006 Workshop with Josh DeWeese. February 24-26, 2006 Workshop with Ron Korczynski. March 25-26, 2006 Workshop with Scott Lykens. April 28-30, 2006 Workshop with Xavier Gonzalez. Contact the Armory Art Center, 1700 Parker Ave., West Palm Beach 33401; or see www.armoryart.org. Georgia, Atlanta January 14-15, 2006 "Pots! Possibilities," demonstration with Nick Joerling. Fee: $110. ContactGlenn Dair, Callanwolde Fine Arts Cen­ ter, 980 Briarcliff Rd., Atlanta 30306; e-mail [email protected]; or telephone (404) 874-9351. Hawai'i, Maui January 6-11, 2006 "Ideas About Pots" with Randy Johnston and Jan McKeachie. Con­ tact Linda Doyle, Hui No'eau Visual Arts Center, 2841 Baldwin Ave., Makawao, Maui 96768; or see www.huinoeau.com. Illinois, Oak Park January 14-15, 2006 Workshop with Ron Meyers. Fee: $140; in advance, $125. Con­ tact Terra Incognito Studios and Gallery, 246 Chicago Ave., Oak Park 60302; telephone (708) 383-6228; see www.terraincognitostudios.com. Maryland, Baltimore January 7-11, 2006 "Mak­ ing Pots" with Linda Christianson. Fee: $300; mem­ bers, $280. February 18-19, 2006 "Showing it All," demo with Tom Coleman. Fee: $180; members, $160. Contact Baltimore Clayworks, 5707 Smith Ave., Balti­ more 21209; www.baltimoreclayworks.org; or tele­ phone (410) 578-1919. Maryland, Columbia December 10-11 Workshop with Kevin Crowe. Fee: $110; residents, $100. All skill levels. February 25-26, 2006 "Handbuilding Func­ tional Pots" with Sandi Pierantozzi. Fee: $150. For further information, contact Liz Henzey, the Columbia Art Center, 6100 Foreland Garth, Columbia 21045;

Ceramics MonthlyDecember 2005 90 ceramics iviomniyuecemoer zuus 91 calendar workshops

e-mail [email protected]; telephone (410) 730-0075; or fax (410) 997-2902. Maryland, Frederick January5-8,2006 "Master's Throwing" with Joyce Michaud. Fee: $245. Advanced. February 11-12, 2006 "Eastern Coil" with Joyce Michaud. Fee: $165. February 12, 2006 "Electric Kiln Workshop" with Phil Berneberg. Fee: $85. February 18-19, 2006 "Slips, Glazes and Terra Sig" with Pete Pinnell. Fee: $185. February25-26, 2006 "Plates and Platters" with Joyce Michaud. Fee: $165. For further information, contact the Hood College, Ceramics Program, 401 Rosemont Ave., Frederick 21701; see www. hood.edulacademiclart; or telephone (301) 696-3456. Minnesota, Minneapolis January 12, 2006 Lec­ ture with Daisy Brand. Free. January 14, 2006 Demon­ stration with Daisy Brand. Fee: $25; members, $20. February 12, 2006 Demonstration with Maren Kloppmann and Tetsuya Yamada. Free. February 14, 2006 "Roses are Red, Violets are Blue, Our Pots are Hot, Yours Can be Too," couple workshop. Fee: $80, includes materials. March 5, 2006 Demo with Posey Bacopoulos. Fee: $45; members, $35. Contact the Northern Clay Center, 2424 Franklin Ave. E, Minne­ apolis 55406 e-mail [email protected]; see www.northernclaycenter.org; or telephone (612) 339-8007. Minnesota, St. Peter April 3, 2006 Ceramic tech­ nique workshop with James C. Watkins. Contact Donald Myers, Hillstrom Museum of Art, Gustavus Adolphus College, 800 W. College Ave., St. Peter 56082; e-mail [email protected]; telephone (507) 933-7171; see www.gustavus.edulgolhillstrom; or fax (507) 933-7205. Missouri, Kansas City February 18-19,2006 Work­ shop with Don Reitz. April 8-9, 2006 Workshop with Matthew Metz. Contact Red Star Studios Ceramic Center, 821 W. 17th St., Kansas City 64108; see www.redstarstudios.org; telephone (816) 474-7316. New York, New York January 6-8, 2006 "Pre­ cious Metal Clay Certification Level Two." Fee: $550, includes materials, silver and gold. Instructor: Vera Lightstone. Contact Vera Lightstone, 347 W. 39th St., New York 10018; e-mail [email protected]; see www.silverclay.com; or telephone (212) 947-6879. New York, Port Chester December 8 "Basic Plas­ ter Mold" with Anat Shiftan. Fee: $75. Contact Clay Art Center, 40 Beech St., Port Chester 10573; see www.clayartcenter.org; or telephone (914) 937-2047. North Carolina, Brasstown December 4-10 "Whimsical Handbuilt Clay Birdhouses" with Mark Wingertsahn. Fee: $388. January 8-14, 2006 "Varia­ tions on Raku" with Steven Forbes-DeSoule. Fee: $453. January 15-21, 2006 "Advanced Wheel Throwing: Following Hunches, Taking Risks" with Kevin Crowe. Fee: $453. January 22-29, 2006 "Pitchers and Tum­ blers" with Mark Peters. Fee: $647. February 5-11, 2006 "Mud Made Fun: Getting a Spin on the Potter's Wheel" with Andrew Stephenson. February 12-17, 2006 "Clay Sculpture—Portrait Bust" with Bruce Everly. Fee: $375. February 19-25, 2006 "Notice What you Notice: Wonderment and Uncertainty" with Michele Drivon. March 26-April 1, 2006 "Porcelain: Wheel, Slab, Brush and Carve" with David Voorhees. April2- 9, 2006 "Altered Functional Pottery" with Rebecca Floyd. Fee: $610 .April 16-22, 2006 "Clay and Light" with Talia Waterman. April 23-29, 2006 "Nature as Art" with Kaaren Stoner. Fee (unless noted above): $412. Contact John C. Campbell Folk School, 1 Folk School Rd., Brasstown 28902; see www.folkschool.org; telephone (800) 365-5724; or fax (828) 837-8637. North Carolina, Charlotte February 18-19, 2006 Workshop with Peter Rose. Fee: $ 125, includes break­ fasts and lunches. Contact the Carolina Claymatters Guild, 10720 Alexander Mill Dr., Charlotte 28277;

Ceramics MonthlyDecember 2005 92 CeramicsMonthly December 2005 93 calendar workshops e-mail [email protected]; or telephone (704) 394-2529. North Carolina, Creed moor April 22-23, 2006 Demo with Ron Meyers. Contact the Cedar Creek Gallery, 1150 Fleming Rd., Creedmoor 27522; see www.cedarcreekgallery.com; or telephone (919) 528-1041. North Carolina, Durham January 3-6 and Febru­ ary 25-28, 2006 "Playing with Fire: Making Pots and Firing the Wood Klin" with Mark Peters. Fee: $435, includes materials. Contact Claymakers, 705 Foster St., Durham 27701; see www.claymakers.com; or telephone (919) 530-8355. North Carolina, Wentworth February 4-5, 2006 Workshop with Cynthia Bringle at Rockingham Com­ munity College. Fee: $100. Contact Molly Lithgo, 636 S. Cedar St., Greensboro, NC 27401; e-mail [email protected]; or telephone (336) 275-1202. Oklahoma, Oklahoma City February25-26,2006 Demo with Tony Clennell. Fee: $135. Contact the City Arts Center, 3000 General Pershing Blvd., Oklahoma City 73107; e-mail [email protected]; see www.cityartscenter.org; telephone (405) 951-0000; or fax (405) 951-0003. Oregon, Astoria January 21-22, 2006 "The Busi­ ness of Art, A Workshop for Artists" with Pamela Mattson McDonald. Fee: $150, includes materials. Contact Astoria Visual Arts Gallery, 160 Tenth St., Astoria 97103; or e-mail [email protected]. Pennsylvania, Philadelphia March 4-5, 2006 "Altering Techniques" with Mary Law. Intermediate! advanced. March 18-19, 2006 "Print on Clay" with Martin Mohwald. All skill levels. April 1-6, 2006 "Playing with Animals" with Bernadette Curran. All skill levels. Feelsession: $205; members, $195. Con­ tact the Clay Studio, 139 N. Second St., Philadelphia 19106; see www.theclaystudio.org; or telephone (215) 925-3453. Texas, Dallas September 8 (lecture)-l0, 2006 Hands-on workshop with Linda Christianson. Contact the Craft Guild of Dallas, 14325 Proton Rd., Dallas 75244; see www.craftguildofdallas.com; telephone (972) 490-0303; or fax (972) 490-0304. Washington, Bellevue December 11 "The White House Collection of American Crafts," lecture with Michael Monroe. Free. Contact Bellevue Arts Mu­ seum, 510 Bellevue Way NE, Bellevue 98004; or see www.bellevuearts.org. Washington, Tacoma December 17 "Naked Raku." January 14, 2006 "Foil Saggar." Feelsession: $75; must bring 5-10 bisqued pots. Instructorlsession: Joseph Brecha. Limit of 10 participantslsession. Con­ tact Clay Art Center, 2636 Pioneer Way E, Tacoma 98404; see www.dayartcenter.net; telephone (253) 922-5342; or fax (253) 922-5349.

International Events

Australia, Sydney through January 15, 2006 Les Blakebrough, "Living Treasure: Master of Australia Craft"; at Object: Australian Centre for Craft and Design, 415 Bourke St., Surrey Hills. Belgium, Brussels through December 22 Arnold Annen and Ane-Katrine von Bulow; at Puls Contempo­ rary Ceramics, 4, place du Chatelain. Canada, British Columbia, Burnaby February 11-12,2006 "Making What the Eyes Wantto Touch" with Chris Staley. Fee: $107 (US$90); after January 10, CAN$117.70 (US$99). Contact Jay Maclennan, Shadbolt Centre for the Arts, 6450 Deer Lake Ave., Burnaby, British Columbia V5G 2J3; e-mail [email protected]; or telephone (604) 205-3042. Canada, British Columbia, Vancouver through December31 "50Vases." December 1-31 "Members'

Ceramics MonthlyDecember 2005 94 CeramicsMonthly December 2005 95 calendar international events

Show"; at Gallery of BC Ceramics, 1359 Cartwright St., Granville Island. Canada, Ontario, Burlington through December 19 "Recent Acquisitions 2004." through February 6, 2006 "Jim Koyanagai Collection." "Edouard Jasmin: A Centennial Celebration." January 10, February 7 and 14, 2006 "Crystalline Glaze Workshop" with Frank Friedman. Fee: CAN$120 (US$101); FUSION or Burlington Potters Guild members, CAN$65 (US$55). Limit of 12 participants. Contact Burlington Art Cen­ tre, 1333 Lakeshore Rd., Burlington, Ontario L7S 1A9; see www.burlingtonartcentre.on.ca; or contact Fu­ sion: Ontario Clay & Glass Association, 225 Confed­ eration Dr., Scarborough, Ontario, M1G 1B2; or see www.clayandglass.on.ca. Canada, Ontario, Scarbrough January2-13,2006 Three-person exhibition including ceramic sculpture by Judith Morssink; at Cedar Ridge Studio Gallery, 225 Confederation Dr. Canada, Ontario, Toronto through December24 "Twinkle Twinkle . . . The Holiday Collection"; at the Guild Shop, 118 Cumberland St. January 21 -March 12, 2006 Susie Osier, "BLOOMvase." "Material World," including ceramics by Hilary Masemann, Dawn Petticrew and Mary Beth Marmoreo. Wendy Walgate, "Migration"; at Harbourfront Centre, 235 Queens Quay W. England, Bowness-on-Windermere, Cumbria through December23 Edmund de Waal; at Blackwell, the Arts & Crafts House. England, Clitheroe, Lancashire through January 7, 2006 "Christmas Exhibition"; at Platform Gallery, Station Rd. England, Leeds, West Yorkshire through Janu­ ary 14, 2006 Helen Wright. January 21-March 31, 2006 Sally Bradley; at the Craft Centre & Design Gallery, City Art Gallery, The Headrow. England, London through January 7, 2006 Carol McNicoll & Jacqueline Poncelet; at Barrett Marsden Gallery, 17-18 Great Sutton St. December8, 2005-February 26, 2006 "Table Man­ ners: International Contemporary Tableware"; at Crafts Council Gallery, 44a Pentonville Rd. France, Manosque December 1-31 Raku by Georges Peyrano; at Galerie Voghera, 4 rue Tribunal. France, Nan^ay through December 11 Three-per­ son exhibition including ceramics by Claude Champy; at Galerie Capazza, Grenier de Villatre. France, Paris through December23 "Crac! Bourn! Hue!, The Ceramics of Emmanuel Boos"; at Jousee Entreprise, 34 rue Louise Weiss. through January 14, 2006 Valerie Hermans, "Con­ temporary Porcelains"; at Galerie Arcanes, 11 rue de Lille. France, Sarreguemines through March 19, 2006 Jean Girel, "Ceramics of Nature, Nature of Ceramics"; at Musee de la Faience, Jardin d'Hiver, 17 rue Poincar£. France, Troyes through January 31, 2006 "Euro­ pean Biennial of Contemporary Ceramics" at la Maison de I'Outil, Hotel De Mauroy 7, rue de la Trinity. Germany, Berlin through January 2, 2006 "Ura­ nium Glaze and Persian Blue"; at Keramik-Museum Berlin, Schustehrusstrasse 13. Germany, Hamburg December 17, 2005 or Janu­ ary 8, 2006 "The New Porcelain and Faience Collection Lecture." December 18, 2005, January21 or22, 2006 "Japanese Tea Ceremony Demonstration." January 28, 2006 "Aesthetics of the Tea Ceremony," lecture by Dr. Nora von Achenbach; at Museum fur Kunst und Gewerbe Hamburg, Steintorplatz. Italy, Faenza through December31 "54th Inter­ national Competition of Contemporary Ceramic Art"; at Museo Internazional delle Ceramiche, Via Campidori 2. Japan, Gifu through December 11 "Yagi Kazuo— A Retrospective." through October 16, 2006 "Euro-

Ceramics MonthlyDecember 2005 96 CeramicsMonthly December 2005 97 calendar international events pean Noble Wares"; at Museum of Modern Ceramic Art, Gifu, 4-2-5 Higashi-machi, Tajimi-shi. Japan, Seto through January 15, 2006 "The World of Black and White: The Works of Kiyoyuki Kato." Through March 31, 2006 "Contemporary Ceramics." January 28-March 26, 2006 "Chinese Grave Goods: Chinese Ancient Life and Dream"; at Aichi Prefectural Ceramic Museum, 234 Minami-yamaguchi-cho. Japan, Shigaraki through December 18 "Works from the Lake Land—Ceramic Artisans of Shiga"; at the Museum of Contemporary Ceramic Art, Shigaraki CeramicCultural Park, 2188-7 Shigarakicho-Chokushi. Laos, Luang Prang, Ban Chan and Cambodia, Angkor \Nat January 27-February 14,2006 Hands-on workshop, including throwing/forming methods, wood firing an underground, scorpion-shaped earthenware kiln with Denys James and local potters from Ban Chan village, and excursions. Fee: CANS4450 (US$3700), includes airfare, materials, lodging, breakfasts, tours and excursions; withoutairfare, CAN$3050 (US$2530). Contact Denys James, Discovery Art Travel, 182 Welbury Dr., Salt Spring Island, British Columbia V8K 2L8 Canada; e-mail [email protected]; see www.denysjames.com; or telephone (250) 537-4906. Netherlands, Apeldoorn through December 18 Henk Wolvers; at Galerie Montana, Montanalaan 8. Netherlands, Delft through December 31 "Dark Days of Delft." December 17, 2005-January 28, 2006 Martin McWilliam; at Galerie Terra Delft, Nieuwstraat 7. Netherlands, Deventer through December 31 "25 Years of Ceramics, 25 Masterpieces, 25 Favor­ ites"; at Loes & Reinier, Korte Assenstraat 15. Netherlands, Leeuwarden through January 8, 2006 "Boumbaclaque, Sengalese Ceramic Art"; at Princessehof Leeuwarden, Grote Kerkstraat 11. Scotland, Falkirk January 14-February 26, 2006 "Elemental Insight"; at Callendar House, Falkirk Civic Offices, Callendar Park. Scotland, Fife through December21 "Crafts at the Crawford Showcase," including ceramics by Frances Ford; at Crawford Arts Centre, 93 North St., St. Andrews. Spain, Manises through January 14, 2006 "7th International Biennial of Ceramics, Manises 2005"; at Museu de Ceramica de Manises, C/ Sagrario 22. Sweden, Vetlanda through December 11 Johan Thunell, "1000 Heads"; at Vetlanda Konstforening, Box 15. Switzerland, Geneva through March 20, 2006 "Four Ceramists from the Kyoto Region,"Koichi Eiraku, Rikichi Miyanaga, Taimei Morinao and Mutsuo Yanagihara; at Ariana, Musee Suisse de la Ceramique et du Verre, 10 Ave. de la Paix. Thailand, Bangkok December 15, 2005-January 3, 2006 "Wood-Fired Pottery," with Denys James, Louis Katz and Suwanee Natewong, includes excur­ sions. Fee: CAN$4395 (US$3650), includes airfare, transportation, lodging, breakfasts and tours; without airfare, CAN$2900 (US$2350). Contact Denys James, Discovery Art Travel, 182 Welbury Dr., Salt Spring Island, British Columbia V8K 2L8 Canada; e-mail [email protected]; see www.denysjames.com; or telephone (250) 537-4906. Wales, Cardiff through December 24 "Mixed Christmas Exhibition," including ceramics by Sonje Hibbert; at Victoria Fearn Gallery, 6B Heol y Deri. Wales, Swansea through January 22, 2006 "Fig­ uring Narratives," Sam Bakewell, Victoria Burgher, Claire Curneen and Stephen Dixon; at Glynn Vivian Art Gallery, Alexandra Rd.______For a free listing, submit announcements at least two months before the month of opening. Add one month for listings in July; two months for those in August. Mail to Calendar, Ceramics Monthly, 735 Ceramic PI., Suite 100, Westerville, OH 43081; submit online at www.ceramicsmonthly.org/submissions.asp e-mail [email protected] ; or fax (614) 891-8960.

Ceramics MonthlyDecember 2005 98 CeramicsMonthly December 2005 99 ceramics monthly annual index January-December 2005

Business Departments Creating Colored-Porcelain Patterns, Jan., p 47 Healthy Forest—Happy Potters, Wolf, Dec. p 50 The following departmentalfeatures appear monthly Depth and Complexity of Underglazes, The, Making Choices for a New Clay Studio, Petty, except as noted: Dec. p 46 Nov., p 49 Calendar Electric and Propane Combination Firing, Moving Experience, A: The New Mesa Arts Center, Call for Entries May, p 47 Reich, June/July/Aug., p 60 Classified Advertising Flexibility of Smoke Firing, The, Dec., p 43 Emerging Artists, May, p 50 Found Wooden Handles, Dec., p 56 Clay and Glazes Gallery Guide, Oct., p 97 Handbuilding with Molds, Apr., p 36 Anne Floche, Nielsen, June/July/Aug., p 66 Centering: Community, Clay and Culture, Taylor Homemade Wedging Table, Nov., p 51 Antje Wiewinner, A Dialog Between Interior and Mickelson, NCECA 2005 Preview, Feb., p 47 Inspired by Terra Sigillata, Floche, June/July/ Exterior, During, Feb., p 49 Letters Aug., p 69 Built by Hand, Painted by Nature, Joan Carcia’s New Books Integrating Imagery with Screen Printing, Saggar-Fired Vessels, Mellin, Jan., p 48 Answers from the CM Technical Staff Nov., p 44 Challenging Beauty, The Sculpture of Tom Bartel, Residencies and Fellowships, Jan., p 66 It’s All in the Details, Apr., p 49 Turner, June/July/Aug., p 41 Suggestions from Readers Japanese Tea Ceremony and Utensils, Apr., p 41 Choosing the Right Clay, Zamek, Jan., p 50 Summer Workshops 2005, Apr., p 55 Layered Surfaces with Decals, Oct., p 47 Clay Studio: 30 Years, Weaver, Mar., p 55 Upfront Lively Pots with Precise Patterning, Oct., p 59 Clays, Slips and Glazes for Wood Firing, Hoffman, Video, Apr., p 70; June/July/Aug., p 82 Low-Tech Construction and Multifiring, BarteL, JunelJulylAug., p 53 June/July/Aug., p 44 Exhibitions Clays We Use, Formula for Clays in CM Recipes, Low Temperature Multifiring, Feb., p 41 Feb., p 45 Cup: The Intimate Object, Sept., p 54 Making an Air-Supplied Face Mask, Powning, Collaboration in Temmoku, A, Koons, Mar., p 64 Naked Truth: 2004 International Wood-Fire Oct., p 39 Feldspars We Use, Chemical Analyses of Feldspars Conference, Poellot, Jan., p 51 Making and Glazing Incised Ware, Jan., p 42 and Related Raw Materials, June/JulylAug., p 64 Slip-Cast Object, A National Juried Exhibition, Modern Twist on an Old Idea, A, Oct., p 61 Frank Willett, Marshall, Dec., p 53 May, p 33 Natural Surface Texture, Mar., p 54 Glazes: Materials, Mixing, Testing and Firing, White Bread: The Second Slice, Collaborative Sculpting with Wire, Sept., p 63 Zamek, Mar., p 68 Work and Themes by Angela Gallia and Linda Steel Armatures for Stacked Sculpture, Taylor Joyce Jablonski: An Artist’s Way of Being, Gossett, Gallia, Apr., p 54 Mickelson, Mar., p 74 Desmond, Oct., p 44 History Surface: Stencils and Resist, Feb., p 36 Lee Middleman, Chin Lui, Feb., p 42 Surface Variation Begins with Form, Sept., p 59 Ben Owen III, Clark, Nov., p 36 Luminosity, James Haggerty’s Low-Fire Lusters, Temmoku Testing, Jacobson, Mar., p 65 Jingdezhen: Tradition and Promise, Coch, Janos, Nov., p 57 Sept., p 64 Trappings of a Dream Ceramics Facility, Natural Fixation, A, Nielsen, Dec., p 59 Ode to Japanese Pottery, Sake Cups and Flasks, June/July/Aug., p 63 Oxidation Reverberation, The, How the Gas Crisis Yellin and Lehman, Jan., p 60 of the 1970s Influenced American Ceramics, Potters and Pottery Past, Present and Future on the Gulf Coast, Brian Shatz^ Sept., p 66 Addicted to Clay: Meira Mathison, Sullivan, Nettles, The Ohr-O’Keefe Museum and Katrina, Past, Present and Future on the Gulf Coast, Brian Oct., p 40 Levin, Nov., p 60 Balanced Hand, A, Jack, Dec., p 36 Nettles, The Ohr-O’Keefe Museum and Katrina, Pottery and Prophecy in the Casas Grandes Culture, Levin, Nov., p 60 Ben Owen III, Clark, Nov., p 36 Christman, Apr., p 42 Pat Antonick: Seeing Beyond the Obvious, Bob Nelson: In Solitude, Tumquist, Jan., p 55 Unearthing Thailand’s Treasures, Shippen, Dillon, Apr., p 46 Clay Studio: 30 Years, Weaver, Mar., p 55 June/July/Aug., p 49 Hoffman, Satori Yamaoka’s Kobushigama, McWilliams, Clays, Slips and Glazes for Wood Firing, May, p 46 Miscellaneous June/July/Aug., p 53 Collaboration in Temmoku, A, Koons, Mar., p 64 Studio in the Woods, A, Gerry Dinnen’s Salt-Fired Centering: Community, Clay and Culture, Taylor Cup: The Intimate Object, Sept., p 54 Pots, Raine, Oct., p 49 Mickelson, NCECA 2005 Preview, Feb., p 47 Community Gathers to Remember a Friend, Diversity, Community, Synergy, A Review of Craig, Commentary A, Hooker, Dec., p 56 Edinboro Ceramics, Nov., p 45 An Apprenticeship, Poster, Nov., p 96 Diversity, Community, Synergy, A Review of Emerging Artists, May, p 50 Finding My Niche, Selberg, Jan., p 38 Butter Dish Saga, The, Rhudy, Feb., p 94 Edinboro Ceramics, Craig, Nov., p 45 Taiwan Incident, The, Lincoln, Jan., p 102 Helen W. Drutt English Ceramics’ Champion, Frank Willett, Marshall, Dec., p 53 Healthy Forest—Happy Potters, Wolf Dec. p 50 Hayland and Penstack, Troy, Apr., p 102 McClelland, May, p 37 Pricing for the Market, Wood, Dec., p 104 Jingdezhen: Tradition and Promise, Coch, Helen W. Drutt English Ceramics’ Champion, Sketchbook: Fertile Ground, Pierantozzi, Sept., p 64 McClelland, May, p 37 McCuistion, June/July/Aug., p 112 Ken Ferguson: A Remembrance, Shapiro, Bracker Homage to Palissy, Oct., p 60 Lenox, Still Life: The Rarefied Domain, Troy, Sept., p 104 and Bracker, Mar., p 66 Jim Wayne’s Saggar-Fired Shino Teaware, Upon Further Review, Pilcher, Oct., p 95 La Meridiana, The International Center for Apr., p 37 Lee Middleman, Chin Lui, Feb., p 42 Welcome to My World, Prouty, Mar., p 124 Ceramic Arts in Tuscany, Selsor, Apr., p 50 What is a Second, Turner, May., p 96 Looking at Kesl and Tilton, Pilcher, with Monthly Methods Collaborative Escape, Tilton, Dec., p 44 Decoration and Process Big Brick Kiln Design, Dec., p 52 Margaret Bohls’ Models of Tension, Brown, Clays, Slips and Glazes for Wood Firing, Hoffman, Builder of Pots, A, Dec., p 39 Apr., p 32 June/July/Aug., p 53 Building, Packing and Saggars, Jan., p 49 Naked Truth: 2004 International Wood-Fire Collaboration in Temmoku, A, Koons, Mar., p 64 Claymobile, Bringing Clay to Philadelphia, Conference, Poellot, Jan., p 51 Pottery and Prophecy in the Casas Grandes Culture, Meckley, Mar., p 59 Natural Fixation, A, Nielsen, Dec., p 59 Christman, Apr., p 42 Collins’ Kilns, Sept., p 49 Nic Collins: In Search of Space, Gent, Sept., p 45 Thirty Years: A Life Built Around the Pursuit of Color: Cones 6 through 10, Mar., p 44 Ode to Japanese Pottery, Sake Cups and Flasks, Clay, Lehman, Mar., p 45 Color and Glue, Sept., p 53 Yellin and Lehman, Jan., p 60

CeramicsMonthly December 2005 100 Oxidation Reverberation, The, How the Gas Crisis Luminosity, James Haggerty’s Low-Fire Lusters, of the 1970s Influenced American Ceramics, Janos, Nov., p 57 Shatz, Sept., p 66 Making Choices for a New Clay Studio, Petty, Past, Present and Future on the Gulf Coast, Brian Nov., p 49 Nettles, The Ohr-O’Keefe Museum and Katrina, Mixed Bag: Baggage by Sharon McCoy, Benke, Levin, Nov., p 60 Jan., p 58 Pots with a View, The Work of Richard Hensley Naked Truth: 2004 International Wood-Fire and Donna Polseno, Hluch, Mar., p 76 Conference, Poellot, Jan., p 51 Pottery Unplugged, The Handbuilt Pottery of D. Pat Antonick: Seeing Beyond the Obvious, Hayne Bayless, Ruescher; Feb., p 32 Dillon, Apr., p 46 Pottery and Prophecy in the Casas Grandes Peter Powning, Creber, Oct., p 38 Culture, Christman, Apr., p 42 Rain Harris: The Process of Addition, Kaplan, Reconnecting: The Expressive Utilitarian Wares Feb., p 56 of Andy Shaw, Taylor Mickelson, Oct., p 56 Recollecting the Past, Joan Takayama-Ogawa’s Regis Center for Art’s Warren MacKenzie Ceramics Wit and Whimsy, Seckler, Feb., p 37 Studio, The, Riddle, Nov., p 52 Reflections of Accumulation, Walgate, Sept., p 50 Satori Yamaoka’s Kobushigama, McWilliams, Regis Center for Art’s Warren MacKenzie Ceramics May, p 46 Studio, The, Riddle, Nov., p 52 Studio in the Woods, A, Gerry Dinnen’s Salt-Fired Sacred Petals, Rozman, Jan., p 63 Pots, Raine, Oct., p 49 Slip-Cast Object, A National Juried Exhibition, Thirty Years: A Life Built Abound the Pursuit of May, p 33 Clay, Lehman, Mar., p 45 Too Much is Not Enough, Sessions, Mar., p 40 Tim Foss: Concerned Ceramics, Kangas, June/ Transformation and Mutation, The Ceramic July/Aug., p 38 Works of Marcy Neiditz, Norgaard, Sept., p 56 Unearthing Thailand’s Treasures, Shippen, Virginia Scotchie: The Familiar in Act and Object, June/July/Aug., p 49 Brown, May, p 29 Wandering Between Reality and Eternity, The Sculptors and Sculptures Work of Shih Hsuan-yu, Chuang, Dec., p 48 Anne Floche, Nielsen, June/July/Aug., p 66 White Bread: The Second Slice, Collaborative Antje Wiewinner, A Dialog Between Interior Work and Themes by Angela Gallia and Linda and Exterior, During, Feb., p 49 Gossett, Gallia, Apr., p 54 Built by Hand, Painted by Nature, Joan Carcia’s Zhi-jun Zheng, Finkelnburg, Mar., p 50 Saggar-Fired Vessels, Mellin, Jan., p 48 Studio, Tools and Equipment Beauty in Simplicity: DaNisha Sculpture, Piazza, Feb., p 52 Clay Studio: 30 Years, Weaver, Mar., p 55 Centering: Community, Clay and Culture, Taylor La Meridiana, The International Center for Ceramic Arts in Tuscany, Selsor, Apr., p 50 Mickelson, NCECA 2005 Preview, Feb., p 47 Challenging Beauty, The Sculpture of Tom Bartel, Making Choices for a New Clay Studio, Petty, Nov., p 49 Turner, June/JulylAug., p 41 Moving Experience, A: The New Mesa Arts Center, Clay Bodies Fill Negative Spaces, Angrill, Mar., p 75 Reich, June/July/Aug., p 60 Clay Studio: 30 Years, Weaver, Mar., p 55 Regis Center for Art’s Warren MacKenzie Ceramics David Furman: The Human Connection, Brown, Studio, The, Riddle, Nov., p 52 Oct., p 34 Satori Yamaoka’s Kobushigama, McWilliams, David Packer’s Poetics of Destruction, Welch, May, p 46 Oct., p 53 Diversity, Community, Synergy, A Review of Upfront Review Edinboro Ceramics, Craig, Nov., p 45 Beyond Clouds of Memory: Akio Takamori, A Dong Hee Suh: A Slice of Paradise, Brown, Mid-Career Survey, Wood, Dec., p 14 Sept., p 60 California Conference for the Advancement of Emerging Artists, May, p 50 Ceramic Art, Sept., p 15 Esther Stasse, van Kester, June!July/Aug., p 46 Ceramic Masters: The Art of Vivika and Otto Heino Fertility and Fragility, The Work of Leigh Taylor and their Contemporaries, Seckler, May p 12 Mickelson, Cloonan, Mar., p 71 Cloth and Clay: The Installations of Anne Cofer, Fractals Wrapped in Clay, Brandt-Hansen, Jan., Willett, Nov., p 18 p 43 Color as Meaning: NCECA Clay National 2005, Fun and Games, Recent Stadiums from Douglas Merino, Sept., p 14 Baldwin, Russo, Oct., p 43 Grayson Perry: Urbane Guerilla, Enright, Mar., p 16 Gabriele Koch, Birks, Dec., p 40 Hot Stuff/Clay Tigers: LSU Ceramics 1970-2005, Healthy Forest—Happy Potters, Wolf, Dec. p 50 Joiner, June/July/Aug. p 14 Helen W. Drutt English Ceramics’ Champion, Picasso and Ceramics, Grande, Jan., p 16 McClelland, May, p 37 Pygmalion’s Gaze Reimagined, Brown, June/July/ Hui Ka Kwong, Carney, May, p 41 Aug. p 116 Jeremy Jernegan: Surface and Form, Brown, Nov., Ron Myers at AKAR, Terpstra, Jan., p 18 p 41 Tile Adorned City, Levine, Oct., p 14 Journey Continues, The, Haydon, Sept., p 42 Visceral Vessel, The, Roberts, Nov., p 16 Joyce Jablonski: An Artist’s Way of Being, Wit and Wine: A New Look at Ancient Iranian Desmond, Oct., p 44 Ceramics, Wood, Nov., p 14

CeramicsMonthly December 2005 101 CeramicsMonthly December 2005 102 CeramicsMonthly December 2005 103 CoiYllYlCVit Ithe soul of a young potterby Val Cushing, Jeff Shapiro and Linda Sikora

There are those in the ceramics field whom we for one, though terribly saddened, have grown are proud to have Jared among the ranks of credit with having such talents and devotion as from the relationship with this young potter. our alumni. to influence a great many people beyond those In essence, the student became the teacher By working with Jared during his tenure they actually come into contact with. Their and the teacher the student. Thank you Jared. at Alfred, and then through our many subse­ impact may be seen in teaching; reaching Jeff Shapiro quent conversations about pots and life, I through their students to the next generation of came to know Jared more intimately as an students. Sometimes their work occupies a par­ Jared decided to attend Alfred well before artist and a friend. Knowing Jared has been ticular place in ceramics tradition and history. completing his secondary schooling. The story an absolute honor and inspiration. Remem­ (as told by Linda White) is that he voluntar­ bering him continues to be that. Many have carved out their place promoting a ily staffed the Alfred booth at the National Linda Sikora particular school of thought or approach. People Council on Education for the Ceramic Arts in the categories above share a passion for and (NCECA) conference on more than one oc­ Many people loved Jared Branfman, and I commitment to the study of ceramics. Some are casion while he was a high school student. was one of them. The years he had were full teachers; some are students. Below, the authors One could partially attribute his early pas­ of promise and accomplishment, but we describe one such student. Their friend and sion for ceramics to the good fortune of hav­ grieve because they were so short. I came to fellow potter, Jared Michael Branfman, passed ing a dynamic, supportive family, including know Jared during his sophomore year at away in the early hours of September 27, 2005. a father who is vastly active in the field as an Alfred. I had just retired from teaching. Our Sherman Hall artist and educator (and, who brought him friendship developed meaning somewhat in along to ceramics conferences). However, pas­ the way a young man relates to a grandfather. Jared Branfman was a fighter. He was dealt a sion as deep as Jared’s does not issue forth He came to my home now and then, and heavy blow with a terminal form of cancer from good fortune alone. It also is significant sometimes we went to my studio to look at while he was still in the prime of his life and that this fortune occurred for an individual and talk about pots, or books, or whatever a student at the New York State College of who was deeply curious about all he encoun­ else we felt like sharing with each other. Re­ Ceramics at Alfred University. Once diag­ tered, visually and otherwise. He was thrilled spect and concern for each other grew as we nosed, he took the same intense passion he by the possibility of the physiological, from got closer. One day he came to say good-bye had for pots and understanding ceramics, the alert dance of his hands with clay on a as he left for the Ohio Valley, where he had a and directed it towards fighting the disease potter’s wheel, to his speed and endurance in summer apprenticeship in the ceramics in­ that was trying to take over his body. cycling, his every gesture in life was one of dustry. He was making another step toward a We first met when Jared came to assist moving toward (not away from) experiences. life in ceramics and his eyes shone with ex­ with an eight-day wood firing. His hunger Jared was present to the world and all that citement and anticipation. It was there, that for knowledge and the pleasure of being chal­ was around him. He possessed an openness summer, when a tumor was discovered, and lenged was palpable, a rarity in one so young. that many of us work years to achieve, with when Jared began his long and painful fight Perhaps wisdom comes with age and the pas­ no guarantee we will accomplish the level of to get well. He was courageous and he never sage of time, but passion is what drives us in trust or confidence that makes it possible. In stopped trying. He was a man of intelligence ways that are undefinable. this way, Jared was always much older, much and diverse talents. One of his special gifts My relationship with Jared only deep­ more evolved than his years. It may be this was the way he could connect and communi­ ened through the trying times of elation and that set him apart and made him an excep­ cate with people of all ages and backgrounds. disappointment. Throughout the ordeal, he tion among many. He was mature beyond his years, and was proved to be the consummate optimist and On the 14th day of September 2005, the filled with compassion and understanding. yet a realist at the same time. faculty of the Division of Ceramic Art and Stephan Haggard once wrote, . for this I There are lessons to be learned from the the School of Art and Design joined Dean hold, friendship is more than life, longer than most difficult of situations. This is a tribute Lewis, President Edmondson, and the Board love, and shall prove warm to the spirit when to the life of a young potter, but it also is a of Trustees at Alfred to confer upon Jared the body is cold.” Jared has gone, but many tribute to life itself. Seizing the moment and Michael Branfman an Honoris Causa Bach­ of us are better people because he lived. moving on one’s intuition is one of the les­ elor of Fine Arts degree. This degree acknowl­ Val Cushing sons learned from Jared, an example for all edged Jared’s outstanding achievements young would-be potters and ceramics artists. during his three-year tenure at Alfred, as well the authors Jeff Shapiro is a ceramics artist Life is precious; a gift. The moment is now. as his continued professional activity in the living in Accord, New York; Linda Sikora is a The short life of Jared Branfman was a ceramics field during his medical leave of potter and an associate professor at New York very full one, filled with love of family and absence. This included notable creative work, State College of Ceramics at Alfred University, friends. But without knowing it, he has set research, exhibitions, published writing, and Alfred, New York; Val Cushing is a potter and an example and left each of us with a chal­ ongoing consultation with the faculty and professor emeritus at New York State College of lenge: to make the most of what we have. I professionals in the field. All of us at Alfred Ceramics at Alfred University.

CeramicsMonthly December 2005 104