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Ceramics Monthly (ISSN 0009-0328) is published monthly, except July and August, by The American Ceramic Society, 735 Ceramic Place, 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 Ameri­ can 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 De­ partment, PO Box 6136, Westerville, OH 43086-6136. contributors: Writing and photographic guidelines are available online at www.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 articles are also indexed in the Art Index, daai (design and applied 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 Society, 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 edu­ cational classroom use, please contact Copyright Clearance Center, Inc. This consent does not extend to copying items for general distribution, or for advertising or promotional pur­ poses, or to republishing items in whole or in part in any work in any format. Please direct republication or special copying permission requests to the Senior Director, Publications, The American Ceramic Society, 735 Ceramic PI., Westerville, OH 43081, USA. postmaster: Please send address changes to Ceramics Monthly, PO Box 6136, Westerville, OH 43086-6136. Form 3579 requested.

Copyright © 2005 The American Ceramic Society All rights reserved

Ceramics Monthly April 2005 2

APRIL 2005 / Volume 53 Number 4

featu res

32 Margaret Bohls' Models of Tension by Glen R. Brown Artist explores concepts of form and function by accentuating volume and space monthly methods Handbuilding with Molds 37 Jim Wayne's Saggar-Fired Shino Teaware by Stewart Lenox Potter uses saggar firing to recreate the spirit of the Japanese wood-fired work he admires monthly methods The Japanese Tea Ceremony and Utensils 42 Pottery and Prophesy in the Casas Grandes Culture by Earnest H. Christman Symbolic depictions on pottery help to explain the belief system of a Mesoamerican culture 46 Pat Antonick: Seeing Beyond the Obvious by Pamela Dillon Artist with a knack for scavenging finds new uses for discarded objects monthly methods It's All in the Details recipes Cone 6-7 Oxidation Glazes 50 La Meridiana The International Center for Ceramic Arts in Tuscany by Marcia Selsor

54 Whitebread: The Second Slice by Angela Gaiiia Collaborative Work and Themes by Angela Gallia and Linda Gossett 55 Summer Workshops 2005 Whether you want an education, a vacation or both, you'll find them here

cover: "Teabowl, (Chawan)," 4 inches (10 centimeters) in height, wheel-thrown and carved Helmer clay, with Shino glaze, copper, ash and frit, saggar fired on its side to Cone 10 in reduction, 2003, by Jim Wayne, Aptos, California; page 37. Photo: Richard Sargent.

Ceramics Monthly April 2005 5 departments

1 0 letters from readers

1 2 Upfront reviews, news and exhibitions

24 answers from the CM technical staff

28 suggestions from readers 30 Tip of the Month: Clip and Sponge

62 call for entries 62 International Exhibitions 62 United States Exhibitions 64 Regional Exhibitions 64 Fairs and Festivals

66 new books 70 new videos

72 calendar 72 Conferences 72 Solo Exhibitions 74 Group Ceramics Exhibitions 76 Ceramics in Multimedia Exhibitions 78 Fairs, Festivals and Sales 78 Workshops 82 International Events

100 classified advertising 102 comment Hayland and Penstack by Jack Troy

104 index to advertisers

online www.ceramicsmonthly.org current features, expanded features, archive articles, calendar, call for entries and classifieds expanded features Jim Wayne's Saggar-Fired Shino Teaware by Stewart Lenox A history of Shinoware and more images of Jim Wayne's work special listings Gallery Guide Where to see ceramics in the U.S. and abroad Residencies and Fellowships Full listing of professional-development opportunities Summer Workshops 2005 Contact information for opportunities in the U.S. and abroad

Ceramics Monthly April 2005 6 Ceramics Monthly April 2005 7

primary applications (clay bodies, glazes or of components, when necessary for specific letters both), and different aspects of the composi­ applications) are fairly easy. tions are of interest for each application. I applaud the intent of the article to Using Clays Therefore, the most general form of the provide potters with a reference source for The chemical analyses presented in the data would probably be the most useful. comparison of clays, especially for identify­ article “Clays We Use” that appeared in the Furthermore, most of the calculations ing a substitute when a particular clay February 2005 issue might be more useful that potters are likely to use for clay body or might not be available, and for understand­ to most potters if it was presented in the glaze preparation would probably be based ing the sources of impurities which can standard weight percent format used for initially on weight percentages. Given the affect properties such as color in clay bodies such analyses, as in product data sheets availability of glaze calculation software, and glazes. Providing this type of compila­ from suppliers and material safety data conversion to mole percentages or other tion for a variety of other ceramic raw sheets. The clays listed are used for different manipulations (such as determining ratios materials and products, periodically up­ dated, would be a valuable service. Phil Berne burg, Bethesda, MD

Back with Advice I bought your December 2004 issue to catch up on what’s happening in the ceram­ ics world after a 28-year hiatus, during which time I focused on glass fusing. Talk about changes! Looks like you’re all having a lot of fun. I do have one comment I’d like to forward along to your readers, however, straight from the fusing world. In the “Sug­ gestions” column, a reader points out that ceramic fiber paper will protect kiln shelves from running glaze and sticking pots. While this is correct, I feel your readers also should know that ceramic fiber paper can be ex­ tremely dangerous stuff if handled incor­ rectly. Fiber paper is held together using a binder that burns out during firing. Once fired, the extremely fine ceramic particles can become airborne with the slightest air movement. These fibers can lodge them­ selves deep in the lungs, and eventually cause silicosis and other incurable respira­ tory problems. The way to combat future health problems when handling/disposing of this paper is to wear a NIOSH (National Institute of Occupational Safety and Health)—approved PI00 respirator. They can be found for very reasonable prices at most home-improvement stores. Make sure your respirator is fitted correctly and avoid doing anything that would put excessive dust into the atmosphere (i.e., blowing the paper off your kiln shelves). By taking these precautions, you should be able to use this very functional paper safely. Happy firing! Jennifer Cox, Sunnyvale, CA

Readers may submit letters to the editor online at www.ceramicsmonthly.org/lettertoeditor.asp Some edit­ ing for clarity or brevity may take place. All letters must include the writer’s full name and address. Mail to Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081; e-mail to [email protected] ; or fax to (614) 891-8960

Ceramics Monthly April 2005 10

upfront

13 Iznik: Legendary Ceramics of Turkey School of Visual Arts, New York

13 Bringing Modernism Home Columbus Museum of Art, Columbus, Ohio

14 Marty Shuter Dublin Arts Council Gallery, Dublin, Ohio

14 Carrianne Hendrickson Castellani Art Museum of Niagara University, Niagara, New York

16 Les Manning and Wim Borst Gallery Carla Koch, Amsterdam, Netherlands

16 Kirk Mangus Sherrie Gallerie, Columbus, Ohio

16 Tanya Batura Dubhe Carreno Gallery, Chicago

18 Iraq and China Arthur M. Sackler Gallery, Washington, D.C.

18 Peter Callas, Gallery Syoh, Osaka, Japan

20 Elizabeth Orleans Museum of Contemporary Art, Luther Burbank Center for the Arts, Santa Rosa, California

20 Rimas VisGirda Lithuanian Museum of Art, Lemont, Illinois

Right: Three tiles, each 23 centimeters (9 inches) square, with polychrome underglazes, based on 16th-century design, 2004. Plate, 30 centimeters (12 inches) in diameter, with polychrome underglazes, based on 16th-century plate, 2004; at the School of Visual Arts Gallery, New York.

Iznik: Legendary Ceramics of Turkey

“Iznik: Legendary Ceramics from Turkey: An Art Reborn,” was on intended to resemble those of semiprecious stones such as lapis view through February 26 in New York City at the School of lazuli, turquoise and emeralds. The figures and designs may reflect Visual Arts’ (www.schoolofvisualarts.edu ) new exhibition space, the flora and fauna of the region or allegorical symbols such as the Visual Arts Gallery. The exhibition featured traditional Turkish bravery, immortality and fertility. Many have inscriptions and ceramic art, which had been lost for the last three centuries, calligraphy, which are used not to praise or describe any particular including more than 50 examples of tiles, plates and vessels. It also individual, but rather to express Islamic thought and philosophy. offered visitors a unique opportunity to see recent works alongside Although no documentation exists of the actual making process, traditional 16th-century examples historical examples suggest extremely on loan from the collection of the intricate production methods. Metropolitan Museum of Art. Although no written documen­ Iznik (ancient Nicaea) is a town tation exists of the actual process of in the northwest of Turkey that was making Iznik ware, historical ex­ an important artistic and cultural amples confirm extremely intricate center during the reign of Otto­ production methods. The raw ma­ man Sultan Suleyman the Magnifi­ terials were obtained from Iznik and cent (1520-1566). Although its surroundings and included traditional Iznik tiles have not been quartz, which was ground and produced for over 300 years, they mixed with clay, glass, frit and wa­ are well known all over the world ter to make the paste. The paste for their vibrant colors and the com­ was then pressed into wooden plexity and diversity of their de­ frames and left to dry. The designs signs. Iznik ceramics appear as were drawn on paper and then kitchen utensils, tableware and ves­ transferred onto the tiles, painted sels, as well as architectural ele­ and then fired at temperatures ex­ ments. The tiles have adorned ceeding 900°C (1652°F). palaces, mosques, public buildings Tile, 23 centimeters (9 inches) square, with polychrome Over the past 10 years there has and domestic interiors, and have underglazes, based on 16th-century design, 2004. been a revival of Iznik ceramic pro­ survived to the present day. duction, in large part due to the Curator of the exhibition, Peter tireless efforts of the Iznik Founda­ HristofF, who is an instructor at School of Visual Arts and a third- tion. Their initiatives have reinvigorated the town and made it one generation Turkish painter, describes the experience of being in a of Turkey’s leading centers of ceramic art. Today, there are over 35 space covered in Iznik tiles: “Not only does one sense the seamless workshops producing Iznik-inspired wares. transition of the outside (the enchanted, perfumed garden) into the indoors, but also the beauty and goodness of life and its Bringing Modernism Home transitory nature. All Western preconceptions about ‘decorative “Bringing Modernism Home: Ohio Decorative Arts 1890-1960,” arts’ fall away when one encounters an art that is hundreds of years an exhibition of 20th-century decorative arts by Ohio artists, is on old but still appears fresh and timeless.” view at the Columbus Museum of Art ( www.columbusmuseum.org ) Iznik ware reflects an Islamic aesthetic and art-making practice through April 17. The exhibition showcases more than 100 objects in emphasizing repetition and tradition. The radiant colors used are ceramics, enameling, furniture design, glass, jewelry and metalwork.

Ceramics Monthly April 2005 13 upfront

“The state of Ohio enjoys an extensively rich artistic heritage: its residents have made significant contributions in the arts; its schools have produced artists of international acclaim; and its companies have encouraged progressive manufacturing techniques and pioneering ma-

Marty Shuter’s “Stonecarver and the Rocket Scientist,” to 24 inches (61 centimeters) in height, handbuilt sculpture clay with washes, fired to Cone 04; at the Dublin Arts Council Gallery, Dublin, Ohio. with no bodies, ears with no heads—relationships that are suggested but not obvious.”

Carrianne Hendrickson New work by Buffalo, New York, sculptor Carrianne Hendrickson is on display at the Castellani Art Museum of Niagara University (www.niagara.edulcam ) through April 24. “Rich in symbolism and lush with color, Hendricksons ceramic works reflect a sense of private devotion and personal exploration into Viktor Schreckengost’s “New Year’s Eve in New York City,” 16 inches (41 centimeters) in diameter, earthenware with engobes, sgraffito decoration mystical fairytale ephemera,” said Michael J. Beam, curator of exhibi­ and glazes, 1931; at the Columbus Museum of Art, Columbus, Ohio. tions and collections at the Castellani Art Museum. “Although her works have a storybook/nursery-rhyme context, they often have dark terials in the production of their wares,” said executive director Nannette undertones—suggestive of the dualities of human nature. Good and V. Maciejunes. “Ohio’s artistic patrimony is especially impressive in the evil, naivete and jaded aspects of human nature find themselves played area of the decorative arts from the first two-thirds of the 20th century. out in Hendricksons work. These narrative works, predominately sculp- The states economic boom at that time was due in part to innovating designs developed by companies working together with artists. This synergy of art, innovation, economics and business is elegantly dis­ played in our exhibition.”

Marty Shuter “Familiar Faces,” a solo exhibition by central-Ohio ceramist Marty Shuter will be on view in the Dublin Arts Council Gallery (www.dublinarts.org ) in Dublin, Ohio, from April 6—May 25. Shuter says she is drawn to people who give a face to her own emotional life; her perceptions of other peoples emotions, whether naked or veiled, become the impetus for her ceramic portraits. “How I perceive a person becomes the starting point for my sculp­ ture,” Shuter stated. “The resulting busts, heads and ears are unconven­ tional portraits that manifest a perceived emotional connection I have with a sitter or someone I am sculpting from memory. Left: Carrianne Hendrickson’s “Dream of Backyard Dogs,” 16 inches “My work is typically modeled after acquaintances or strangers I (41 centimeters) in height. Right: Carrianne Hendrickson’s “Queen’s Chair,” 17 inches (43 centimeters) in height. Both pieces are white earthenware have seen repeatedly, most often in familiar places like coffee shops or with underglaze and glaze, fired to Cone 05-04, 2004; at the Castellani grocery stores,” she continued. “The sculptures depict the average and Art Museum of Niagara University, Niagara Falls, New York. the common with a weight and an emotional underpinning that can be both familiar and disconcerting. tural teapots, are superbly gestural and often suggestive in content, but “The faces depicted in the work often seem familiar to viewers. never distasteful. They successfully twist the whole notion of what a They recognize a particularity and individuality in the pieces that fairytale can be—where its inspiration is born—and where it can lead.” reminds them of a schoolmate, a neighbor or a relative. This familiarity “In my work, I use the human figure in an illustrative manner to is coupled with a sense of anonymity and disconnectedness—heads elicit certain psychological responses in the viewer,” explained

Ceramics Monthly April 2005 14

upfront “When I first started pottery it was natural for me to make marks and images,” Mangus explained. “Occasionally they become full-fledged sculpture or perhaps statues. Usually I make pottery with complex Hendrickson. “Some might say that my work, while having an inno­ groupings of images that relate to what I am drawing in my notebooks. cence, also has a dark fringe. I do this because it is a symbolic reflection I try to cover a variety of of the human condition as being both good and evil—thick with all of emotional subjects—human its many dark and mysterious facets. relationships, war, death and nature—with a coarse hu­ Les Manning and Wim Borst mor. I believe it is difficult A double exhibition of works by Canadian artist Les Manning and and unnatural to deal with Netherlands artist Wim Borst will be on display at Gallery Carla Koch tragedy without that edge (www.carlakoch.nl ) in Amsterdam to celebrate the 10th anniversary of of divine comedy. the gallery. The exhibition runs from April 2-30. “This [exhibition] will be “Les Manning derives his inspiration from the Canadian landscape, a collection of wood-fired especially from the Rocky Mountains,” explained Carla Koch. “While pottery and sculpture that I running, climbing or cross­ have been working on for country skiing, he allows the the last eight years,” he con­ landscape to increase his aware­ tinued. “The ‘Cat Girl’ is ness of light and scale, and he one of several pieces I have tries to capture this awareness constructed using that par­ in ceramics. ticular image. She is made “His pieces usually have a from local Pennsylvania clay dark base, symbolizing the Kirk Mangus’ “Cat Girl,” 29 inches and an Ohio fireclay known landscapes background,” she (74 centimeters) in height, Fredericksburg as Fredricksburg. I fired her fireclay, local clay and sand, wood fired, continued. “On top of this, he 2000; at Sherrie Gallerie, Columbus, Ohio. in my large wood kiln in applies first a lighter layer of Pennsylvania in 2001. Other stoneware and then a white works in the show have been fired in Iowa, Illinois and Ohio. I have porcelain top. This allows him always tried to learn about the many types of wood kilns around the to capture the landscape: first country. The variations of long-term burning are part of my inter­ a dark underground, followed est. . . . how things happen with the infinite subtleties of clay, ash, by a lighter transition and charcoal and wood.” ending with the clear white of the snowy mountain peaks. Tanya Batura Through all of this he mixes “The Inside Room,” an exhibition of new works by Los Angeles artist accents of rose, green and blue, Tanya Batura, was on view recently at the Dubhe Carreno Gallery which symbolizes the clear win­ (www.dubhecarrenogallery.com ) in Chicago. The work in the exhibi- ter sun on the snow, vegetation and the lakes and the streams. “Wim Borst is always in search of contrasts and con­ Top: Wim Borst’s “Connections Series, 15,” nections. His objects always 15 centimeters (6 inches) in height, hand- built stoneware. have a mathematical precision Bottom: Les Manning’s “High Mist,” 26 of form, the tight lines of which centimeters (10 inches) in height, wheel- contrast with the rough skin. thrown and altered porcelain and stoneware; at Gallery Carla Koch, Amsterdam. The skin also contrasts with the smooth coloring and glaz­ ing. In his recent “Connections” series, Borst searches for the connec­ tions between quite different forms, while his “Circles” series studies the possibilities of the cylinder form. This subtle mix of contrasts and connec­ tions make Borsts objects excellent counterparts to Mannings forms.”

Kirk Mangus New work by Kent, Ohio, ceramics artist Kirk Mangus will be on display at Sherrie Gallerie in Columbus, Ohio, April 2-May 6. The exhibition will feature Mangus’ new animal-head series, amphora ves- i j j • a -1 -1 -11 i Tanya Batura’s “Intricacies of Dreaming I,” 12 inches nware with painted and sels and drawings. An opening reception with an artist lecture will take (3Q centimeters) in height) earthe place on April 2. airbrushed acrylic paint; at Dubhe Carreno Gallery, Chicago.

Ceramics Monthly April 2005 16 upfront tion is a compilation of conflicting ideas and emotions that are derived from viewing abstracted closeups of fashion models, dental and surgical procedures, as well as fetish and memorial photography. “I use clay to create psychological and dark figures,” explained Batura. “I am interested in the vulnerability and latent sensuality inher­ ent in these images, and the emotions that are elicited from the interac­ tions of their conflicting nature. Removing these images from their original context allows accentuation of these qualities, causing the resulting work to vacillate between the poles of pleasure and pain, the sublime and grotesque.”

Iraq and China “Iraq and China: Ceramics, Trade and Innovation,” an exhibition of Iraqi ceramics from the Ninth century, is on display at the Arthur M. Sackler Gallerywww.sackler.org ( ) in Washington, D.C., through April 24. The exhibition focuses on revolutionary and enduring changes that

Bowl, 20 centimeters (8 inches) in diameter, earthenware with cobalt blue and copper green brushwork with sa’da (prosperity) inscription and opaque white glaze, Iraq, Basra, Ninth century; at Arthur M. Sackler Gallery, Washington, D.C. decorated with calligraphic renderings of anonymous blessings or, in some cases, potters proudly added their names to the surfaces. Following the gradual disintegration of the Abbasid Empire after the 10th century, migrating Iraqi potters transmitted these techniques to Egypt and Iran from whence they traveled to Europe, giving rise to the great Majolica tradition in medieval Spain and Renaissance Italy. In China, 14th-century experiments with cobalt blue from the Islamic world led to Yuan and Ming blue-and-white.

Peter Callas Works by Belvidere, New Jersey, ceramics artist Peter Callas will be exhibited at Gallery Syoh in Osaka, Japan, from May 13-22. The exhibition will feature approximately 50 wood-fired pieces. “The process of wood firing is the creative touchstone that changed my life and established the direction of my art,” said Callas. “Interest in

Bowl, 20 centimeters (8 inches) in diameter, earthenware with cobalt blue and copper green brushwork and opaque white glaze, Iraq, Basra, Ninth century. took place in Iraqi ceramics as Islamic pottery responded to a wave of luxury Chinese goods imported by Arab and Persian merchants. During this period, Iraq became a center for Islamic ceramic production as new technologies transformed common earthenware into a vehicle for com­ plex multicolored designs. Chinese ceramics were admired in Iraq for their shiny white surfaces and hard body. As neither the essential raw materials nor the appropri­ ate firing technology were locally available, Islamic potters created their own versions by covering finely potted yellow hemispherical clay bowls with a tin glaze that turned opaque after firing, creating ceramics that were described as “pearl cups like the moon.” This technique offered the potters an ideal canvas for bold geometric and stylized designs, first in left: Peter Callas’ “Bulb Vase,” 17 inches (43 centimeters) in height, wood-fired stoneware with natural ash glaze. cobalt blue and then with luster mixtures of copper and silver, which right: Peter Callas’ flask, I 6Y2 inches (42 centimeters) in height, wood-fired were painted onto the glaze and fixed in a second firing. Bowls also were stoneware with natural ash glaze; at Gallery Syoh, Osaka, Japan.

Ceramics Monthly April 2005 18 upfront Orleans says her goal is to create works that are “beautifully gro­ tesque.” She hopes that Internal View will encourage the viewer to re­ evaluate everyday spaces and enter into the mind of the artist. “Parts of this arcane art was inspired by the kiln’s subtle, yet broad color palette, the exhibition may seem familiar, even touchable, and may conjure its elusive nature, and historically unequaled power that enhanced, for desires,” she remarked. “They are possibly unpleasant and yet beauti­ centuries, the beauty of ceramics. Collaborating with the fire, the fully pristine and white.” resultant works evolved to express an experimental character, intimate mastery of process and material, and helped meld my intuition, gesture Rimas VisGirda and passion. “Yellow, Green, Red,” an exhibition of work by Lithuanian-born Ameri­ “As an object maker, I am driven by aesthetic obsession, seamless can artist Rimas VisGirda, was on view recently at the Lithuanian imagination and focused vitality. The complex artistry of change and Museum of Art in Lemont, Illinois. self-appraisal come from practical faith, mental preparation for any challenge, and desire for self-improvement both in personal and techni­ cal realms. Where there is no passion there is no backbone.” A retrospective catalog of Callas work over the past 30years is available at www.petercallus.com.

Elizabeth Orleans “Internal View” an installation by Berkeley, California, artist Elizabeth Orleans, was on view recently at the Museum of Contemporary Art’s Passage Gallery in the Luther Burbank Center for the Arts (www.lbc.netldocs/moca/moca-home.html ) in Santa Rosa, California.

Rimas VisGirda’s “Mr. Man,” 22 inches (56 centimeters) in height, handbuilt earthenware/stoneware mix with engobes and lusters; at the Lithuanian Museum of Art, Lemont, Illinois. “I like to show that my work is a combination of man and material in which both have equal significance,” stated VisGirda. “I exaggerate dents and imperfections when appropriate to the construction process, as in throwing or handbuilding. Lately, I have been adding granite and decomposed granite to further activate the surface of my pieces. Elizabeth Orleans’ installation “Internal View,” pinched, press-molded, “The title of this exhibition, Yellow, Green, Red, derives from the slip-cast, wheel-thrown or Ram-pressed clay with white glaze, fired to colors of the Lithuanian flag. I have used this color combination in a Cone 05; at the Luther Burbank Center for the Arts, Santa Rosa, California. number of pieces—some obvious, some subtle—to symbolize a con­ The installation consisted of several thousand white-glazed ceramic nection between the country of my citizenship and the country of my bumps protruding from the walls and “dripping” from the ceiling. The birth; to help bring my past into my present.” bumps ranged in size from ½ of an inch to 8 inches and were pinched, press molded, slip cast, wheel thrown or Ram pressed. Orleans spent Submissions to the Upfront column are welcome. We would be pleased to consider press releases, artists’ statements and original (not duplicate) slides or transparencies in conjunction with exhibitions or other events of much of 2004 working on this project. interest for publication. Mail to Ceramics Monthly, 735 Ceramic PL, Westerville, OH 43081.

Ceramics Monthly April 2005 20

Stoney Matt Moving glazes down from Cone 11 to Cone 8 answers (Cone 11) and keeping them looking the same depends a lot From the CM Technical Staff Colemanite...... 3% Dolomite...... 15 on kiln atmosphere. If you are switching from Q I am thinking about firing to a lower tem­ Talc...... 16 reduction to oxidation, the job becomes difficult. perature. I currently fire the following recipes to Whiting...... 3 Of course, you must change clay bodies as well or Cone 11: Cornwall Stone...... 31 risk having leaky pots from underfired clay. Nepheline Syenite...... 13 Electric kilns usually cool faster than fuel- Muttonfat Calcined Kaolin ...... 10 (Cone 11) EPK (Edgar Plastic Kaolin)...... 9 burning kilns. To get glazes looking the same, you Whiting...... 21 % !oo% may need to slow the cooling of an electric kiln Cornwall Stone...... 17 Add: Opax...... 8% between 1000-800°C (1832-1472°F) to around Nepheline Syenite...... 15 Bentonite...... 2% 50°C (122°F) per hour. 6 Tile Clay...... 15 Silica (Flint)...... 32 I would like to drop these to Cone 8. How could I will assume you are going to use a similar clay 100% I change these recipes to do so?—T.C. body and will be firing in the same atmosphere as you were before. In the following adjusted formu­ lae, “*” indicates oxides contributing to unity.

Muttonfat As it is, your Muttonfat is not what I would expect. These kinds of glazes usually contain a fair amount of magnesium, but yours has very little. Here is the unity formula for your Muttonfat: *CaO ...... 0.80 *MgO...... 0.01 *K 2O...... 0.0 6 *Na 2O...... 0.13 TiO2...... 0.01 Al2O3...... 0.43 SiO2...... 3.72 Al2O3/SiO2Ratio...... 1:8.61 Expansion...... 434.31 I have maintained the same flux ratio as the original and the same alumina/silica ratio. I have added some boron and lowered both the alumina and silica. Normally, I would advise doing a simple line blend, so I have included an even lower- melting version. Mix at least 200 grams. Weigh very carefully—no sense in doing all the work only to get a glaze that you can’t duplicate. Mix #1 and dip a test, Then mix #2 and dip a test. Mix them together and call it “1+2” and dip another test. Muttonfat Revision Test #1 Whiting...... 19 % Cornwall Stone ...... 13 Nepheline Syenite ...... 11 Frit 3134 (Ferro)...... 9 6 Tile Clay (EPK will work)...... 18 Silica (Flint) ...... 30 100% Muttonfat Revision Test #1 Unity: *CaO ...... 0.80 *MgO ...... 0.01 *K 2O...... 0.04 *Na 2O...... 0.14 TiO2...... 0.01 Al2O3...... 0.40 Continued

Ceramics Monthly April 2005 24 Ceramics Monthly April 2005 25 answers Stoney Matt Stoney Matt Revision Test #1 Unity: Unlike the Muttonfat, the Stoney Matt is a *CaO ...... 0.50 *MgO...... 0.29 B O ...... 0.11 high magnesium glaze. Here is the unity formula: 2 3 *CaO ...... 0.33 *KJD...... 0.05 SiO2...... 3.44 *MgO ...... 0.52 *Na 2O...... 0.17 Al2O3lSiO2 Ratio...... 1:8.70 Al O ...... 1.01 Expansion...... 434.31 *K 2O...... 0.05 2 3 *Na 2O...... 0.09 B2O3...... 0.17 Muttonfat Revision Test #2 Al2O3...... 0.38 SiO2...... 2.03 Whiting ...... 18.5 % B2O3...... 0.04 Al2O3:SiO2Ratio ...... 1:2.01 Cornwall Stone ...... 11.5 SiO2...... 2.04 Expanasion...... 440.73 Nepheline Syenite ...... 9.5 Al2O3:SiO2 Ratio ...... 1:5.37 I have not done a second recipe, because the Frit 3134 (Ferro)...... 12.5 Expansion...... 476.25 (a bit high) original is a lower-firing glaze anyway. Use it as #2 6 Tile Clay (EPK will work)...... 19.0 and do the line blend with it. Always fire with a Silica (Flint) ...... 29.0 The first thing I have done is increase the boron. Instead of using colemanite, I have substi­ pyrometric cone, and always have a cone beside any 100.0% tuted Ferro Frit 3134 (a more reliable material). tests. Remember, fast firing leads to more problems Muttonfat Revision Test #2 Unity: than slower firing. To get the recipe for the middle *CaO ...... 0.81 Stoney Matt Revision Test #1 glaze, add each material from the two recipes *MgO ...... 0.01 Dolomite ...... 16% together and divide by two. *K O...... 0.03 Talc...... 19 Ron Roy 2 Cornwall Stone ...... 23 *Na 2O...... 0.15 Ceramics Consultant TiO2...... 0.01 Nepheline Syenite ...... 7 Brighton, ON, Canada Al O ...... 0.38 Frit 3134 (Ferro) ...... 16 2 3 EPK (Edgar Plastic Kaolin)...... 19 B2O3...... 0.14 Have a problem? Subscribers’ questions are welcome! Those SiO ...... 3.29 100% of interest to the ceramics community in general will be answered 2 in this column. Mail your questions to Ceramics Monthly, Al2O3lSiO2 Ratio...... 1:8.73 Add: Opax ...... 9 % 735 Ceramic PI,, Westerville, OH 43081; e-mail to Expansion...... 436.2 Bentonite ...... 2 % [email protected] ; or fax to (614) 891-8960

Ceramics Monthly April 2005 26

long. Be sure that the teeth of the saw blades space will be the thickness of the wood plus the suggestions face in a backward direction (and that the ends thickness of both blades, with adjustment calcu­ From Readers of the blades extend beyond the end of the lated for shrinkage. wood by the same amount (at least 1 inch). You Press the tool into a slab of clay and cut the can glue the blades to the wood and wrap the two parallel lines between tiles. This works Great Grout Lines entire thing with cord or tape to make a com­ extremely well for irregular shapes. If the clay My late teacher Olin Russum had a great tool fortable handle. between the lines is stubborn when wet, it can be for cutting grout lines in large tile murals where easily chipped out when dry, or even after bisque it didn’t make sense to make individual tiles. firing if they are not too wide.— Keith H. Gor­ Cut two 3-inch pieces of hacksaw blade and don, Mohegan Lake, NY attach them to either side of a piece of wood that is at least as thick as the blades are tall For smaller grout line gaps, simply use a It's All in the Finish (usually about ½ an inch), and about 5 inches thinner piece of wood. Remember that the grout I make a rim-finishing tool out of hard plastic containers that can be cut with heavy scissors. The profiles can be made with assorted hole

punches or can be cut with the scissors in a variety of custom shapes. The tool works well on both turning or stationary pots.— Dennis Howell Sr., Wheatland, WY

Smooth Holes To make a nice clean hole in a bead or pendant, punch a suitably sized drinking straw through the soft clay, supporting it from behind with a finger. This method requires less clean up and sanding than a hole made with a drill bit.—Carol Hutchinson, Nelson, BC, Canada

Stir it Up I discovered a great tool for the studio! I replaced my stick blender (submersible blender) in the kitchen, so I took my old one to the studio. It is wonderful for stirring small buckets of glaze. It gets all that good stuff off the bottom and doesn’t add a bunch of air bubbles. Lumps are gone without straining through mesh.— Erica Bingham, Wolcott, CT

Masking Labels When I wish to mask an area for sponging or spraying stains, I use sticky labels, like the ones that say “hello,” etc. They adhere to greenware as well as bisqueware, and they leave no residue

Ceramics Monthly April 2005 28 Ceramics Monthly April 2005 29 suggestions

when peeled away. Before cutting them to shape with a sharp knife, I spray them with hairspray to prevent the paper from wrinkling in front of the blade.—Robert Brown, Miami, FL

Dust Jacket Reborn After having the dust in my studio destroy a couple of tape decks, I gave up and resigned myself to listening to the radio. I’m not much of a radio fan, because I’ve always liked to choose the music to go with the mood in the studio (or my head) at the moment. A solution came in the form of those plastic, snap-lid storage bins that seem to be everywhere nowadays. I chose one that had a locking clear top that would fit my new CD stereo system. I installed the stereo inside the clear plastic box and hung it vertically on the wall, so that the lid snaps onto the front. The entire system is (virtu­ ally) dust proof. The infrared beam of the re­ mote control works through the clear plastic lid and zippered plastic bag that protects it from clay, etc. I added another of the snap-lid boxes next to the stereo to hold a small collection of CDs.—Don Clarke, Eugene, OR

Tip of the Month Clip and Sponge You can make a small sponge on a stick with a chopstick, an alligator clip and heat- shrink tubing. You can get these things where electrical supplies are sold.

Push one side of the alligator clip over the small end of the chopstick. Slide the heat shrink over this area. Heat the heat shrink with a match or barbecue lighter and it will shrink tightly around the joint. Put a piece of an old worn out elephant ear sponge in the clip and away you go.

Congratulations to Renee Altman of Wash­ ington, D.C. Your subscription has been extended by one year!

Share your ideas with others. Previously unpublished sugges­ tions are welcome individually or in quantity. 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. Mail to Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081, e-mail to [email protected] ; or fax to (614) 891-8960

Ceramics Monthly April 2005 30 Ceramics Monthly April 2005 31 “Blue Drip Mugs,” 4 inches (10 centimeters) in height, handbuilt porcelain.

Margaret Bohls’ Models of Tension by Glen R. Brown

Their thin walls straining against a fixed grid, expanding through its functional objects. Early on, she posed for herself the challenge of immobile mesh and separating into orderly fields of convex planes, focusing on one utilitarian form at a time and discovering diverse the recent porcelain vessels of Margaret Bohls resemble balloons possibilities for it by changing the proportions of parts, the firing inflated within cages. The impression of conflicting elasticity and methods or the glazes. In her subsequent vessels she has continued rigidity provides the tension that every visually appealing object experimentation with these same central forms and their possible must convey on some level through some aspect of its form. Inter­ variations, but at a more protracted, contemplative rate. Her most estingly, however, Bohls’ consideration of the aesthetic dimensions recent works, which comprise what she describes informally as the of her work is always secondary to the utilitarian aspects of the “Upholstery” series, have evolved for more than a year but continue objects she makes. Form always follows function—at least in theory. to display nuances. Their symbolic description of volume is consis­ This sequence may unfold exclusively on a conceptual level, the idea tent, yet they also have provided an effective starting point for of function being a sufficient stimulus to creativity without the neces­ exploration of the historical dimensions and even hierarchical asso­ sity of the object’s actual destiny in use. The recent works originated ciations that functional form can acquire. Formal constants serve as entirely in the contemplation of volume as an indispensable charac­ backdrops to these variables, the grounds against which differences teristic of functional vessels. The task that Bohls set for herself was are revealed. Recognizing this, Bohls values consistency as much as to emphasize volume to the point that it became not merely a she values diversity. necessary physical trait of a container but also a means of identifying Throughout Bohls’ designs, the grid is an inflexible constant, a an object as a container. Her works, in other words, have aspired to counterpart to empty space, an essential framework that dramati­ be both literally volumetric and visually indicative of volume. cally arrests the expansion of volume and thereby draws special Since the days of her graduate study at Louisiana State Univer­ attention to it as a primary quality of a container. sity, where she received her M.F.A. in 1995, Bohls has concentrated The tension arising between expansion and restraint is central to her energies on utilitarian forms, as much for the purpose of ab­ both the aesthetic and conceptual aspects of Bohls’ “Upholstery” stracting from them concepts relating to use as for producing actual series, but it is not their sole focus. Seeking to situate her works

Ceramics Monthly April 2005 “Multi-Flower Vase,” 101/2 inches (27 centimeters) in height, porcelain, handbuilt using press-molded slabs.

Ceramics Monthly April 2005 33 within what could be described as a net­ work of gestures, Bohls places particular emphasis on the forms that surround the body of the vessel, that respond both to its utility and to the implications of force and counterforce that are conveyed by its for­ mal qualities. These contingent forms exist like the particles of two concentric spheres around the nucleus of the vessel, the con­ tainer itself. The first and most obvious layer is composed of spouts, handles, knobs and feet. While Bohls eschews the obvi­ ously anthropomorphic gestural qualities that such appended forms can acquire, she recognizes the degree to which they are fundamental to the impression of move­ ment and attitude in a vessel. Through these simple utilitarian extremities, she produces a sense of upward motion, a brisk vertical thrust that appears to elevate the distended body, which in contrast seems to weigh heavy as a bloated wineskin. The second layer in Bohls’ network of gestures is less obvious but ironically more literal, consisting of the motions made by the users, real or imagined, of her func­ tional vessels. Influenced by conversations with ceramist Linda Sikora, Bohls has care­ fully considered the persuasion that func­ tional objects can exercise over actions. Utility, she observes, is always oriented to­ ward the needs of human beings and the fulfillment of the physical tasks that must be accomplished in the ordinary course of daily life. The vessel is a tool wielded by the hand and therefore is intimately connected to gestures made by the body. While a ves­ sel must account for both the strengths and the limitations inherent in that body, it also enjoys a certain degree of freedom with “Pink Rose Flower Brick,” 8 inches (20 centimeters) in height, handbuilt porcelain. regard to the motions that it prompts: the

Ceramics Monthly April 2005 34 “Blue Cruet Set with Basket,” 10 inches (25 centimeters) in length, handbuilt porcelain and earthenware. particular direction in which the hand is compelled to move, the Recognizing this, Bohls does not argue for the universal comprehen­ amount of force that it must exert and the care that it must exercise sibility of utilitarian ceramic forms but on the contrary suggests that in grasping. Forms that are visually heavy, for example, are likely to within every cultural and historical context something like a ver­ incite a firmer grip than those that are perceived as light and deli­ nacular has circulated with respect to forms, their use and their cate, regardless of their actual weight. Factors that are ostensibly meanings. This vernacular has provided a communal framework purely formal can in this way choreograph events unfolding around through which to interpret the sequence of gestures that a utilitarian the utilitarian vessel. While Bohls makes a focus of this phenom­ vessel provokes. For Bohls, in other words, the meanings of such enon, she does not claim it as a unique property of her work. On the forms are always situated between universal movements of the body contrary, she recognizes that her vessels’ ability to prompt a succes­ and culturally collective codes for interpreting those movements. sion of gestures situates them squarely within the long tradition of If this conviction suggests that a good part of the original mean­ utilitarian pottery making. ing of historical vessels is irrecoverable in the present, it certainly In use, Bohls argues, a vessel is inherently connected to a limited does not imply that there is nothing to be gained through the careful range of human motions and therefore induces a repetition of study of forms from the past. On the contrary, Bohls has deliber­ gestures every time it is handled. The past insinuates itself in the ately sought inspiration in historical ceramic types from Koryo present through these gestures—the nuances of touching, lifting or celadons and Iznik pottery to Hall China and Russell Wright. The turning—and, consequently, the use or even simple handling of his­ challenge is to render aspects of these types intelligible within the torical vessels generates the impression of a living tradition that is so vocabulary of the present, a task that Bohls has attempted to accom­ familiar to potters. Of course, the precise meanings of the gestures plish by considering them in relation to contemporary issues. The that a particular vessel prompts, the interpretations of the perfor­ most obvious instance of this practice is reflected in her use of pastel mance that it initiates, are connected to specific circumstances. The colors and floral decals on many of her recent vessels. Linked to the original cultural and historical context of a vessel cannot be wholly 19th-century pastime of China painting, the saccharine colors and revived after the fact, and therefore a large part of the experience of dainty decals touch upon a kind of repressed insecurity within that object must necessarily be relative to present circumstances. contemporary American ceramics. While Bohls approaches her in-

Ceramics Monthly April 2005 35 MONTHLY methods Handbuilding with Molds

The most obvious formal constant in Bohls’ recent work—the bulging pattern that imparts to her vessels the appearance of overstuffed furniture, precious cargo protected in layers of neatly tied insulation, or an infant’s squeezable vinyl versions of domestic objects—is created during the handbuilding pro­ cess, partly through the use of plaster molds. These are not, however, as complex as one might suppose. In order to achieve the convincing quality of expansion in the final forms, Bohls presses slabs onto flat molds incised only with simple grids. Removing the slabs, she pushes out the rows of protrusions one-by-one with her fingers. The slabs can then be cut to the desired shape and joined to form the vessel body. Handles, knobs and spouts may be appended to enhance the potential for use. The resulting vessels are often designed to sit on trays

or within baskets that echo the grid through the geometry of “Red Rose Covered Jar,” 4 inches (10 centimeters) in length, their open structures of extruded earthenware coils. handbuilt porcelain, by Margaret Bohls, Minneapolis, Minnesota.

vestigation of the vessel as an intellectual pursuit, she recognizes whose efforts are directed toward more specialized aesthetic and that, for many others, ceramics is only a hobby. Although at one theoretical concerns. time she would have argued that an important distinction exists Although the primary tension in Bohls’ Upholstery works de­ between the two, she is now no longer so certain. After all, she rives from formal relationships between their static grids and their observes, “Maria Longworth Nichols and Adelaide Alsop Robineau ostensibly expanding surfaces, the secondary, conceptual tension is began as dilettantes but now are considered by many to be among perhaps even more significant. The confrontation between a ver­ the first American studio-art ceramists.” nacular understanding of form and a more theoretical, explorative The point is an interesting one. Within the ceramics community impulse is not uncommon in contemporary ceramics. Bohls is one a great deal of discussion has been directed toward the relationship of a great many American ceramists who acknowledge that conflicted between art and craft and the issue of exactly where ceramics is feelings are bound to arise in anyone whose work evolves in the situated as a field. An underdeveloped facet of the ongoing debate, uncertain space between tradition and innovation. Today, investiga­ however, has been the problem of the division within ceramics itself tion of this space has acquired new reasons for spawning anxiety, not between professionals and the large population of purely avocational the least of which is the tendency among many to equate tradition ceramists. Bohls is one of those who is not entirely comfortable with with craft and innovation with art. Inevitably, this line of thought the idea of a hierarchy between these groups. If her Upholstery broaches uncomfortable questions of hierarchy. While Bohls hesi­ vessels seem far removed from the awkward ashtrays and coffee tates to adopt facile formulas, she is keenly aware of their circulation mugs thrown by the unsteady hands of aspiring potters in makeshift both within a contemporary ceramics vernacular and in circles pro­ studios, she does not dismiss those efforts as entirely unconnected to fessing an allegiance to ceramic art. Her works therefore remain her own concerns. She is not interested, after all, in working exclu­ ambivalent, refusing to cast their lot exclusively with either camp sively on a rarefied level but rather in engaging the vocabulary of while acknowledging the existence of both. Formally and conceptu­ form that by definition must be as accessible to the hobbyist as to ally, her works are models of perpetual tension. In this respect they the academically trained professional—or, for that matter, to anyone could even be called symptomatic, indicative of the conflicted con­ else in contemporary society who has ever had occasion to use, and dition of American ceramics today. not necessarily make, ceramic vessels. One could even argue that the tentative efforts of amateurs are more likely to reflect a general the author a frequent contributor Ceramics to Monthly, Glen R. cultural understanding of certain ceramic forms (if not a physical Brown is an associate professor of art history at Kansas State University mastery of them) than are the works of those academic ceramists in Manhattan, Kansas.

Ceramics Monthly April 2005 36 Jim Wayne's Sa^ar-Fired Snino Teaware by Stewart Lenox

The Japanese ceramics used in the tea ceremony have been an as a lab technician for Herbert Sanders, author of the well-known inspiration for many American potters long before many of them The World of Japanese Ceramics. Sanders had an extensive collection experienced or understood the context in which they were created of Japanese ceramics, many of which were made for the tea cer­ and used. Jim Wayne, who recently retired from 33 years of teaching emony. Working with Sanders, Wayne became intimate with the ceramics at San Jose City College (SJCC) in San Jose, California, styles and techniques of well-known Japanese potters, and he found was one of them. Wayne began his study of clay during his under­ himself especially drawn to those in the folk-art tradition. graduate days at San Jose State University and found himself, through Soon after graduating in 1966, Wayne took a teaching position one of those serendipitous encounters that changed his life, working at SJCC. His interests tended toward functional stoneware and

“Cold Water Jar (Mizusashi),” 8V2 inches (22 centimeters) in height handbuilt white stoneware with Shino glaze and copper oxide, saggar fired inverted to Cone 10 in reduction, 2003. handbuilt sculpture. Although Japanese-style pottery was not his style, which is characterized by varied amounts of fly ash through main focus, he often used the teabowl as a teaching device. He saw most of the three chambers rather than applied glazes. As Oki says, in the teabowl an ideal vessel to use for demonstrating good form his work “goes in naked and comes out with clothes on.” He had and balance, as well as various throwing, glazing, carving and trim­ also discovered a way of creating beautiful surface effects on the ming techniques. Still, while the teabowl exerted an influence on coarsely grogged Shigaraki clay in the parts of his kiln which did not Wayne’s work and teaching, it was a form without a context or well- receive heavy ash accumulation. His method was to place clam shells understood function. But this was slowly, and inevitably it seems, to under the pieces, so that the resulting sodium fuming would create a be supplied in the future. subtle vapor-glazed surface, even without ash accumulation. In 1988, Wayne was offered an opportunity to visit several kiln Intrigued by Oki’s work, Wayne took a sabbatical from teaching in sites and potters in Japan. There he reconnected with a former 1991 and he and his wife Chizuko went to Japan to study firsthand student of his from the early ’70s, Oki Yasu, who had returned to with Oki. Wayne was taken by the rich surfaces that often develop on Japan many years earlier to set up a studio and kiln in the mountains pieces in a long firing, particularly those in the firebox, which can not far from Shigaraki. Oki’s kiln was designed to combine the best cause distortion and heavy ash deposition. He began producing flower features of both an anagama and a noborigama—firing sculpture vases for the tea room, combining wood firing and shell fuming. and teaware in the anagama section, and functional dinnerware in Upon his return to California, Wayne wondered how to attain the two subsequent chambers. Oki’s specialty is ware in the Shigaraki the surface effects he desired in his conventional gas kilns. He had

“Teabowl (Chawan),” 4½ inches (11 centimeters) in height, wheel-thrown and altered porcelain, with Shino glaze, wax resist and copper, saggar fired on side to Cone 10 in reduction, 2004.

Ceramics Monthly April 2005 38 begun experimenting with high-temperature saggar firing several years earlier with his students, and this challenge led him to continue in that direction. The saggars were thrown or handbuilt from scrap clay for each individual object. Some saggars were open, some lidded, others vented in various ways. By firing in saggars, Wayne did not intend to specifically duplicate the effects of wood firing, but to find another way as potentially rich in surface texture and color as wood firing can be. His experiments began with ash glazes but soon focused on a Shino-type feldspathic glaze.

Saggars and Surfaces Traditional Shinoware was fired in saggars to keep it away from the uncontrollable aspects of the fire, such as fly ash and scorching. For Wayne, saggars also are an essential part of the firing process, but he uses them instead to put the pieces into direct contact with fuming materials and carbon compounds. In the early stages of Wayne’s experimentation, he put seashells, copper (wire or carbonate), charcoal, wood and seaweed in the saggars to encourage unpre­ dictable fuming and flashing. Seashells and seaweed collected from local beaches release their sodium con­ tent slowly over a wide temperature range, causing flashing and color changes. The presence of copper develops colors from subtle pink blushes, deep reds, greens, to deep shades of gray and black. Carbon, in the form of crushed charcoal briquets, deepens the blacks, intensifies the copper colors and contributes to “Plate for Tea Sweets,’’ 8 inches (20 centimeters) square, wire-cut and slab-built white the reduction atmosphere necessary to produce car­ stoneware, with ash glaze and copper, saggar fired on edge to Cone 10 in reduction, 2003. bon trapping in Shino. Wayne often fires pieces up­ side down or on their sides so that they will distort in a closely reduction, beautiful and varied shades of red often develop, as well controlled manner, the fuming will be concentrated in a localized as carbon trapping. The refractory Shino glaze does not run but area, and the glaze will flow sideways or even appear to go uphill. allows the applied ash to slide and pick up copper and carbon; This also allows him to glaze the foot completely and be assured flashing, fuming and changing as it moves. Enjoying the serendipi­ that it will come out without the roughness caused by wadding or tous, Wayne frequently refires pieces (as Iga potters do) in anticipa­ other supports. tion of some improvement in the piece. He intentionally leaves part of the teabowl unglazed so that the While most of Wayne’s teabowls are thrown off the hump, he fuming from the organic and inorganic material placed in the saggar builds cold-water containers largely with wire-cut, stretched slabs. will cause red and orange blushes on the bare clay. Wayne says, “I The flowing lines of the distorted cuts provide surfaces on which the use various stoneware clays and a porcelain body shown to me years glaze will pool and run, increasing the surface richness and the ago by David Shaner. It contains Helmer kaolin, which flashes in my carbon-trapping possibilities. saggars as much as it does in wood firing. “Saggars have become more like crucibles for me, containing Firing elements of constant change and wonder, resulting in pieces that “I fire a small top-loading softbrick kiln in a 12- to 14-hour cycle possess unique characteristics, much like a person’s fingerprint, and with six to eight hours of strong reduction to Cone 9-10. The can never be duplicated.” advantages of this method are being able to fire often with frequent By mixing a small quantity of dry iron saturated Temmoku glaze experiments, rather than waiting to fill a large kiln or for the safe with charcoal ash and sprinkling this on the tacky Shino glaze, wood-firing season here in California. Since clay is pyrometric, I Wayne achieves an appearance reminiscent of certain Iga wares. By often fire without cones, instead watching for distortion through the spraying copper carbonate on the piece after glazing, then firing in flue or using a modified clay body elevated on posts to determine the

Ceramics Monthly April 2005 39 climax of the firing. This approach often brings results I don’t expect and cannot predict, but they are almost always welcome.”

Discovering the Tea Ceremony In 1998, Wayne’s wife Chizuko began to study the tea ceremony again after a 30-year hiatus. Soon Wayne was invited to the home of her teacher for an informal tea ceremony. For the first time Wayne saw the various utensils he had seen and made many times, begin­ ning many years ago, but now in their intended context. More importantly, perhaps, he saw how tea is made in a teabowl, how it is held by the guest when drinking, how it looks in combination with the other utensils. Now, the teabowl became an integral part of an activity that had requirements of its own, both functional and aesthetic, to which it must conform in order to be considered good. Soon afterward, they built a tea room in their home. Now that Wayne had more opportunity to see teaware in use, and participate firsthand in tea gatherings, his appraisal of his own work began to change. He began to see what other factors must be considered when making tea utensils. It has been said that the teabowl is the most difficult vessel to make precisely because it has so many aspects to consider and yet, when it is right, it is so simple. With this new appreciation for the complexity of, and interrela­ tionship between, tea utensils, Wayne’s work began to take a new direction. Inspired once again by Japanese utensils, in conjunction with a strong personal vision tempered by an appreciation of the specific function of the utensils, Wayne began to make a whole new kind of American teaware. Not only is it perfectly at home in the tea room with other utensils, Japanese and non-Japanese, but it works as a personal, unique contribution still guided by principles of tea, which have not changed in 400 years. Through bringing an impeccable technique together with a deep­ ening understanding of the context in which the utensils are used, Wayne has succeeded in creating an American teaware that meets all of the requirements of the tea ceremony. He says he is pleased when “the guests in the tearoom have the opportunity to examine the pieces, and appreciate the unusual surface attributes (crazing, crawl­ ing, distortion, scarring) that are technically flaws but together create a visual and tactile richness that hopefully contributes to the enjoyment of the tea gathering.” There is no single perfect teabowl, but there are good ones and bad ones. The good ones make you look at them deeply and want to have another bowl of tea. An expanded version of this article, including more images of works by Jim Wayne, and a history of Shinoware, can be seen online at www. ceramicsmonthly. org.

“Vase for Tea Room (Hanaire),” 11 inches (28 centimeters) in height, handbuilt and faceted stoneware, with Shino glaze and copper, saggar fired on side to Cone 10 in reduction, 2003. MONTHLY methods The Japanese Tea Ceremony and Utensils

The Japanese Tea Ceremony, or Chanoyu (literally, “hot water practitioner. How the utensils feel is as important, or more for tea”), is difficult to characterize succinctly. It has had many important, than how they look, especially with regard to the forms and participants, beginning in the 15th century with teabowl. A good teabowl is one in which it is easy to make tea, aristocrats, mostly male, enjoying tea as part of larger, lavish that feels good in the hands of the guest as he or she is drinking entertainments in mansions, and ending in the 21st century from it, and contributes to the aesthetic balance of all of the with the middle- and upper-class, mostly women, learning how other utensils. The shape, color, surface texture and weight are to ritualistically make a bowl of tea in a fairly small room. In important in determining whether it is a good one and whether between, it underwent fascinating transformations, a discus­ to use it for a particular gathering. Similar factors come into sion of which is beyond the scope of this article. play with the other utensils. There are many things to con­ In its simplest, purest form, from about the late 16th cen­ sider when assembling a group of utensils for a particular tea tury, it consists of a host making tea and serving food to no gathering but two stand out from the rest: appropriateness for more than four guests in a small room, dimly lit, with an the particular guests being invited and the overall aesthetic entrance that requires the guests to crawl in. The food is balance of the utensils. carefully prepared and presented using lacquer and ceramic dishes. The portions are small, just enough to satisfy ones hunger, but not enough to cause surfeit. The charcoal fire is prepared to heat the water for tea and, after a short break, thick tea is served. The guests quietly observe the host preparing the thick tea and then drink, in succession, from the same bowl. After thick tea is drunk and the utensils used to make the tea examined by the guests, the host makes thin tea. The mood in the tea room at this time is lighter, livelier and the guests drink one or more bowls of tea each while talking about appropriate topics. The gathering finally comes to an end after about four hours with the host and guests engaged in a silent bow after the guests have left the tea room and are preparing to depart through the tea garden. In a successful tea gathering, the host and guests have achieved a quiet intimacy that is created by the Jim Wayne and his wife Chizuko in their “three-mat sized” harmonious combination of their spirits with the tea room, tea room with alcove (tokunome). utensils, conversation, silence, flow­ ers, written words and more. The appreciation of utensils used in the tea ceremony figure promi­ nently in its practice, since ceramics comprise a large part of the required utensils. There are teabowls, tea cad­ dies, cold-water containers, waste-wa- ter containers, lid rests, food-serving dishes and bowls, oil lamps, and more. Combining these utensils, along with other nonceramic utensiles, in an aesthetically pleasing manner appropriate to the gather­ ing, is part of the set of skills re­ “Lid Rest (Futaoki),” “Teabowl (Chawan)” and “Incense Container (Kogo)” to 4 inches (10 centimeters) quired of an accomplished tea in height, stoneware, all fired in a saggar to Cone 10 in reduction, 2003, by Jim Wayne, Aptos, California.

Ceramics Monthly April 2005 41 Pottery and Prophecy in the Casas Grandes Culture

by Ernest H. Christman

The pottery of the Casas Grandes culture was produced between A.D. 1200 and 1450. There are over 10,000 ceramic vessels in public and private collections, many of which are in pristine condi­ tion. Thereon are found symbolic depictions of the beginning and prophesized end of the Mesoamerican world, along with the at­ tributes and deeds of the principal gods. The end of the millennia-old Mesoamerican cultures began with the arrival of the Spanish conquistadors in what is now Veracruz, Mexico, in 1519. The Aztec emperor was informed by his council that this could be a return of the god Quetzalcoatl to reclaim his kingdom, which was prophetically possible in that year. When the conquistadors approached his capital in what is now Mexico City, Montezuma went to meet this “deity” and his retinue, and was treacherously captured by their leader, Hernando Cortez. The conquest of the Aztec empire was abetted by the inherent pessimism in their religion. For them, the universe was only a temporary existence. It evolved and would end on a specific date. This theology was recorded by the friars of the colonizing Spanish after the empire was defeated and subjugated. The Casas Grandes culture is the only Mesoamerican entity that depicted their religious beliefs on their pottery. They were destroyed by unknown enemies Figure 1: “Ometeotl, the Ultimate Creator God,” 5 inches (13 centimeters) in about 1450, well before the conquest of Mesoamerica began. in height, Villa Ahumada polychrome slip over red clay; A.D. 1200-1450. The Casas Grandes Archaeological Zone is the largest in north­ ern Mexico, over 25,000 square miles, extending into southern New Mexico and southeastern Arizona. The main Casas Grandes settle­ ment, Paquime, is located 90 miles south of the border town of Columbus, New Mexico. In the beginning there was Ometeotl (“two god” in the Nahuatl language), the ultimate creator god, who came into being from noth­ ingness by disjoining into balanced, opposite energies (figures 1 and 2). His consort (wife) was but contrasting energy. Four sons “unfolded” from them. He resided in the Place of Duality, the highest heaven. Ometeotl is never represented pictorially on Casas Grandes pot­ tery, only symbolically by a double interlocking swirl (la). This represents the equilibrium that allows for the continuing existence of the universe. His colors are black (Underworld) and red (Overworld). In deference to him, these are the colors of poly­ chrome Casas Grandes pottery. His domain glyph is made up of red and black blocks representing the Overworld and Underworld (lb). Ometeotl’s four sons refined his creations. However, the ongoing quarrel between the two most powerful sons, Tetzcatlipoca and Quetzalcoatl, was instrumental in the destruction of the four previ­ ous worlds and the creation of the current epoch (the fifth era of existence)—the Age of Motion, represented by interlocking black- Figure 2: “Ometeotl, the Ultimate Creator God,” opposite view. and-red swirls (2a).

Ceramics Monthly April 2005 42 There were three vertical components to the created universe: the Overworld, the domain of the gods; the Underworld, the womb and tomb of all living creatures; and the Earth between. The single angular interlocking glyph (2b) represents the status of the Under­ Figure 3: “Earth Monster,” 5 inches (13 centimeters) in height, world where there is no movement and the conditions have re­ Ramos polychrome; A.D. 1200-1450. mained the same through all previous epochs. The physical universe was created from the body of a primor­ dial Earth Monster (figure 3). This monster was often depicted as a giant toad, as is the case with this effigy olla (large, globular, wide­ mouthed vessel). Earth Monster represented both the female and the male aspects that were necessary for prolificacy to be sustained. This is denoted by the lined “water” patches just above the head. These vertical patches represent the masculine principle of rain (3a). The horizon­ tal patches represent the feminine principle of standing water (3b). On the head and chest are the dotted squares that represent corn (3c), mankind’s most important sustenance, a gift from Earth Mon­ ster, according to one myth. The fifth world was fashioned by creating four roads to the center of the earth so that the gods could penetrate there to lift the sky. This resulted in four areas. The small olla in figure 4 has a central medallion with four directional glyphs representing the quad­ ripartite universe. They are, in clockwise order from the upper right: east, south, west and north. The east-west axis of Quetzalcoatl is at right angles to the north-south axis of Tezcatlipoca (figure 4). Figure 4: “The Quadripartite Universe,” 4 inches (10 centimeters) The olla in figure 5 recounts a world-creation myth involving in height, Ramos polychrome; A.D. 1200-1450 Tezcatlipoca and Quetzalcoatl. They created the earth (land) for the fifth era from the body of Earth Monster. As a reward, Quetzalcoatl was made Lord of the Milky Way, represented by the “star” glyph (5a). Tezcatlipoca was made Lord of the Night Sky. He had a special obsidian smoking mirror by which he could see the goings-on everywhere. This is the “star” glyph characterized by an Xpattern (5b). Tezcatlipoca, despite his status as a high god, was nevertheless ritually sacrificed yearly (via a surrogate) to ensure rejuvenation so that his powers would not weaken with age. The death mask repre­ sents this ceremonial slaying (figure 6). The glyphs on the hooded olla in figure 6 represent north (6a) and south (6b), the axis of Tezcatlipoca (the axis of war and strife). The four ear stripes refer to north, his domain. The seven chin stripes refer to universality, reflecting his status as a high god. Figure 7 is an anthropomorphic representation of Quetzalcoatl. The glyphs on the bowl represent west (7a) and east (7b), his directions (the path of the sun, also the axis of fertility). The three lines on the chin and each ear refer to the direction west. The black Figure 5: “Creation of the World,” 7 inches (18 centimeters) stepped design (7c) on both sides of the face is the clashing moun­ in height, Ramos polychrome; A.D. 1200-1450.

Ceramics Monthly April 2005 43 tain motif that refers to the place where water is stored. This identifies him as a lesser water deity. Figure 8 is a hooded effigy of Quetzalcoatl, the feathered serpent. It illustrates his being of spirit (the feathers on the cheeks) and of the Figure 6: “Tezcatlipoca; Axis of War and Strife,” 7 inches (18 centimeters) in height, Ramos polychrome; A.D. 1200-1450. earth (the snake on the head). The water dots on the brow represent his water-deity status. The red line on the nose and the snake’s red head are stigmata of divinity. The corn symbols on the snake remind the viewer that his cult claims that he brought this gift to mankind. The four stripes on the ears represent the quadripartite universe. The bowl has four north-south paths through the Underworld, where he is Overlord. The closed eyes and open mouth indicate the state of death. Around the eyes are lines that represent sores. In myth, while Quetzalcoatl was a man and leader of the Toltecs, he was shown his earthly sore-covered body by his arch-rival Tezcatlipoca. This set up a series of events leading to his getting drunk and committing incest with his sister. His consequent shame led to his departure and self- sacrifice. The six chin stripes represent the direction up, underscor­ ing his subsequent resurrection from the Underworld. He is to return eventually from the east to reclaim his kingdom. Quetzalcoad’s sister (figure 9), a guise of Quetzalcoatl, is iden­ tified by the circular Venus glyphs (9a) on her chest. These glyphs alternate with three red stripes that have short, protruding lines. Figure 7: “Quetzalcoatl; Axis of Fertility,” 7 inches (18 centimeters) The red stripes are pathways through the Overworld where in height, Ramos polychrome; A.D. 1200-1450. Quetzalcoatl is Lord. The three Venus symbols, three pathways and three facial stripes emphasize the third direction—west—the domain of women. Figure 11 is an agricultural solar calendar olla. After the creation of the new fifth era, time began again. The world was in danger of destruction every 52 years unless ritually saved. This would work only so many times, and eventual destruction was inevitable. The checkerboard pattern represents the nighttime sky, a Mesoamerican day. The red squares represent the daytime sky, also a Mesoamerican day. There are 20 of these shown, which comprise a Mesoamerican month. The white rim circles (10a) each represent a month. Multiplying 18 months by 20 days equals 360, the length of the year before they added five “special” but unlucky days, the Nemontemi, to make it equal the solar year. The black and white squares (10b) each repre­ sent a year; there are 52, a Mesoamerican century. The black inner-rim triangles (10c) represent the volcanic rock obsidian, which contained the life force stored within. The attached

Figure 8: “Quetzalcoatl: State of Death,” 7 inches (18 centimeters) crooks denote mobility, the cycling of this energy. The theme is that in height, Ramos polychrome; A.D. 1200-1450. life cycles are renewed every 52 years. Quetzalcoatl’s return from the

Ceramics Monthly April 2005 44 east to reclaim his kingdom could only occur once during this 52- year cycle. In the ongoing battle between Quetzalcoatl and Tezcatlipoca, Figure 9: “Quetzalcoatl’s Sister,” 7 inches (18 centimeters) in height, four previous worlds had been destroyed. Now, in the fifth era, the Ramos polychrome; A.D. 1200-1450. metaphysicians have predicted the ultimate victory of Quetzalcoatl over Tezcatlipoca. The olla in figures 11 and 12 relates that conflict. Quetzalcoatl was the sun, and he is represented by the rising sun, red against a dark sky (11a). Tezcatlipoca was lord of the night. He is designated by a dark cross, his smoking mirror symbol (lib) that allowed him to see all things. Quetzalcoad’s weapons are the darts that he manufactured in the Underworld, which are concentric circles (11c). Tezcatlipoca, as god of the night, is never seen directly because he hides behind clouds (lid). The action is in the darts that are thrown at the clouds. On each side, a large dart approaches Tezcatlipoca’s symbol. From this sym­ bol there is a path that can branch into the safety of his domain, which is the north (lie) or go to a different (vertical) level in the universe via the vortex (Ilf). The other side of this olla depicts Quetzalcoatl’s pursuit and impending defeat of Tezcatlipoca. This defeat will usher in the predicted age of calm and abundance. This is the culmination of the cosmic journey that the Mesoamerican peoples have taken with their gods. It will be limited, however, for the balanced, opposite Figure 10: “Solar Calendar Olla,” 6 inches (15 centimeters) in height, energies of the creator god Ometeotl will thereafter eventually col­ Ramos polychrome; A.D. 1200-1450. lapse and nullify everything, gods and all, at which point the great cosmic cycle will be completed on December 24, 2011. The fatalism inherent in Mesoamerican belief systems, combined with a reliance on gods, allowed a few hundred Conquistadors to topple a civilization of millions, bringing their culture to an end a half-millennium earlier than the foreboding date for the destruction of the world. It is poignant to have this so well portrayed on Casas Grandes pottery. the author Ernest H. Christman has been on the medical faculty of Harvard University; Temple University and the University of Pennsylvania. bibliography/further reading Waters, Frank. Mexico Mystique. Athens, Ohio: Swallow Press/Ohio University Press, 1989. Chapter 8. The Catastrophe. Christman, Ernest H. Casas Grandes Pre-Columbian Pottery De­ coded: of Gods and Myths. Albuquerque, NM: The Tutorial Press, Inc., 2002. Burland, C.A., and Forman, Werner. Feathered Serpent and Smok­ ing Mirror/The Gods and Cultures of Ancient Mexico. G.P. Putnam’s Figure 11: “The Final Battle,” 7 inches (17 centimeters) in height, Sons, New York 1975. Ramos polychrome; A.D. 1200-1450.

Ceramics Monthly April 2005 45 PAT ANTONICK: Seeing Beyond the Obvious By Pamela Dillon

“Uncle Ben Ironrite Condiment Set,” 10½ inches (27 centimeters) in height, handbuilt, press-molded and slip-cast red stoneware, with glazes and iron oxide, fired to Cone 6 in oxidation, $650. A wringer plate in a rusty metal bucket, old license plates and discarded toys—most people believe these items have outlasted their usefulness. But Dayton, Ohio, ceramist Pat Antonick respectfully disagrees. Antonick sees beyond what is obvious and imagines what these items can become—works of art. Like the day about three years ago when she spied the mop bucket: “I was teaching at Colonel White School for the Arts. I was washing my hands in an old sink and looked down and saw this wonderful treasure. It was just a pressure plate you squeeze a mop against, but I could hardly contain myself,” said Antonick. “I didn’t want to sound too excited, but I told another instructor I wanted to take it home and make an impression of it.” Now “Deluxe” has become somewhat of a signature design for Antonick. “Deluxe Boy on Beetle” uses that design around the body of the container, with a blue matt finish on the diamond-ridge texture. She wiped off most of the red iron oxide on the logo to make the most of the antique moniker. The brown-glazed boy on top was acquired on one of her flea market jaunts; the rickrack handles sport a dark gold patina. “I come into the storage room, put my hands on my hips and say, ‘Now what combination am I going to use today?’ I get a kick out of mixing different eras together,” said Antonick. “It took me half a day to find just the right wire for a paint can. I go dumpster “Deluxe Boy on Beetle,” 91/2 inches (24 centimeters) in height, handbuilt, hunting—that’s where I finally found it.” press-molded (old mop bucket press) and slip-cast stoneware, with glazes Antonick was always interested in industrial objects. History has and oxide stains, fired to Cone 7 in oxidation, $425. always fascinated her as well, so when she came upon fully-em­ bossed Michigan and Ohio license plates (the latter celebrating 150 years of statehood), her creative wheels started turning. One of the results of that find was a series of pieces called “Ohio Sesquicenten- nial Vases with Amphora Handles,” the largest of which includes the entire license plate (see page 48). Nature and leaves are a prominent theme in Antonick’s works. “The Weller Company, here in Ohio, did very beautiful pottery in the early 1900s,” she said, “and they used a lot of leaves on their pieces. That really inspired me.” As an example, large, ridged leaves snake up and across the base in “Acme Green Leaves.” Faux screws “hold” the sides together, while the ubiquitous brand Acme an­ nounces itself on the handle. Here again she found the moniker on one of her many jaunts to find inspiration. “Five years ago, I was taking an art class at Miami University [Oxford, Ohio]. While all the other students were in class, I was all over the campus looking for things to make impres­ sions from. I found a manhole cover that day,” said Antonick. Her curiosity started at a young age. She grew up in the country, near Detroit, Michigan, and she would explore the ditches near her home as a child. The trenches were 5 feet deep and would hold water. This discovery is what started her love affair with clay. “One day I was out playing and I saw this big vein of clay—I knew right away it was different and sticky so you could roll it. I used to get little “Acme Green Leaves,” 10 inches (25 centimeters) in height, tuna-fish and deviled-ham cans and mix the clay up in them and handbuilt and press-molded stoneware, with glazes, iron oxide leave them to dry,” said Antonick. “I was a serious mud-pie maker.” and stain, fired to Cone 7 in oxidation, $525.

Ceramics Monthly April 2005 47 Now she’s grown up and her pottery has as well. But that doesn’t Antonick combines many textures in her work. She’s very me­ mean she can’t have fun with it. License plates morph into leaves; ticulous about completely isolating glazed and unglazed elements. inverted gelatin molds serve as bases; toy skeletons, placed akimbo, “When I work in clay, it’s very pictorial and tells quite a story with become handles. “I find happy accidents all the time just riding textures and designs,” she said, “so I don’t use bright glazes except around,” said Antonick. “I was in K-Mart one day and came across for in very small amounts—as a kicker.” An example of that kicker this fabulous texture. It’s meant for shelf material or placemats, but can be found in “Blue Boy Alphabet Jar.” The little boy was made not for me. I go for the feel of things.” She used that material for the from her extensive collection of glass, rubber and plastic figures. She honeycomb texture on the base of her “Uncle Ben Ironrite Condi­ finished him in bright blue matt, which pops out over the iron oxide ment Set.” The three-piece set is handbuilt and press-molded red wash on the handle. stoneware; the Uncle Ben salt-and-pepper figures are slip cast and “People keep asking, ‘Why don’t you make it all blue, or green glazed. The Ironrite logo on the center jar is from an old mangier or whatever?’ But to me, the clay is the canvas,” said Antonick. (an ironing machine using heated rollers) she found in someone’s “How are they going to read what I am trying to say if I dip the trash pile recently. whole thing in one color?”

Detail of “Ohio Sesquicentennial Vases with Amphora Handles,” set of six, to 11½ inches (29 centimeters) in height, handbuilt and press molded, with glazes and iron oxide stain, fired to Cone 7 in oxidation, $1200.

Ceramics Monthly April 2005 48 MONTHLY methods It's All in the Details All of Antonick’s artwork is handbuilt using Standard 153 clay Gold Metallic Glaze (Uncle Ben Ironrite is the lone exception). She uses bisque (Cone 6-7, oxidation) molds for some of the larger pieces. Because the molds remain Manganese Dioxide...... 39.0% porous, they absorb water and easily release the wet clay. Ball Clay...... 4.3 Cedar Heights Redart...... 52.4 But what was troublesome to her was how to get a sturdy Silica (Flint)...... 4.3 mold out of the small found objects she loves. “I couldn’t figure 100.0% out how to make molds of the little fun collectible figures and Add: Black Copper Oxide...... 4.3 % gadgets. When I go to my dentist, I’m always back in the lab Cobalt Oxide...... 2.7% with the technicians because I gravitate to that type of stuff,” Antonick said. “I just went back there and asked if they could Green Wollastonite Glaze make me some molds.” (Cone 6-7, oxidation) So, armed with custom-made dental-grade plaster molds for Barium Carbonate...... 15.6% her characters and trinkets, she slip casts them and places them Gerstley Borate...... 10.4 Wollastonite...... 15.6 in small plastic sandwich bags that then hang from nails in her Nepheline Syenite...... 39.7 studio. This way, when she’s ready to assemble her work, it is Kaolin...... 10.4 still partially wet and pliable enough to manipulate. Often, she Silica (Flint)...... 8.3 will bend a cast object or alter the surface using hand tools. 100.0% Add: Black Copper Oxide...... 3.1 % Bentonite...... 2.1%

Black Slip Black Iron Oxide...... 17.6% Frit 3134 (Ferro)...... 35.3 C&C Ball Clay...... 47.1 100.0% Add: Black Stain...... 17.6%

Apply to leather-hard or bisqued surfaces.

“Blue Boy on Alphabet Jar,” 11 1 /2 inches (29 centimeters) in height, handbuilt, press-molded and slip-cast stoneware, with glazes, iron oxide stain and terra sigillata, fired to Cone 7 in oxidation, $650, by Pat Antonick, Dayton, Ohio.

Ceramics Monthly April 2005 49 The town of San Gimignano, across the rolling hills of Tuscany.

The hills of Tuscany evoke images from Renaissance paintings of neatly lined vineyards blanketing the steep rolling hills, dense foli­ age of richly textured greenery, medieval towers, castle silhouettes on the horizons and ochre colored villas with red tiled roofs standing sentinel at vantage points defined by tilled lines. The gracious sur­ roundings transcend time with a pastoral eloquence that belongs only to Tuscany. Nestled in the rolling hills of central Tuscany, La Meridiana, the International Center for Ceramic Arts in Tuscany (ICCAT), springs to life with the creative energy emanating from within the studios. Entering the driveway, ceramic columns, tall birdhouses, larger- than-life portraits reveal a magical place of art and creativity. The center has been offering courses and residencies for over 20 years; the brainchild of Pietro Elia Maddalena. With a collection of inter­ national teachers such as the late Michael Casson, Giovanni Cimatti, John Colbeck, Terry Davies, Josh DeWeese, Ian Gregory, Mo Jupp, Walter Keeler, Ron Meyers, Marcia Selsor, Ellen Shankin, Jeff Shapiro and Ruthanne Tudball, ICCAT has provided a diverse program of workshops in this restored 12th-century Florentine villa. Pietro Maddalena has been welcoming ceramists to La Meridiana International Center for Ceramic Arts in Tuscany since 1982.

Ceramics Monthly April 2005 50 Before establishing ICCAT, Maddalena lived for several years in England. He worked as a mold maker before training as a potter at the West Surrey College of Art and Design in Britain. Maddalena had the good fortune to be part of the Dartington Pottery Training Workshop, supervised by David Leach and Michael Casson. The program provided potential potters with a workplace where they could make their own work every fifth week while producing for the workshop the other four weeks. With the Leach tradition instilled in his pottery aesthetic, Maddalena returned to Italy. Once there, he decided to establish a pottery in Tuscany where he might benefit from an international community and tourism. However, the Italian market was not receptive to the Leach tradition of stoneware at the time, and his work did not sell very well. In 1982, in order to make ends meet, he began offering classes. That first year, there were seven students, the following year there were 14, and the next 28. Building on this obvious interest in classes, Maddalena decided to bring British potters to Italy as a way to expand the awareness of other pottery traditions. John Colbeck was the first guest teacher to give a workshop at La Meridiana. Since then, ICCAT has offered work­ shops in throwing techniques, soda firing, paper clay, experimental kilns (such as the world’s only floating kiln), architectural ceramics, ceramic portraiture, terra sigillata and raku. After more than two decades of offering classes, seminars and workshops, over 700 people have participated in the programs at ICCAT. In addition, some guest artists are invited to come to the center for a workshop or seminar. Some of the workshops are now available for university credit, and classes may be developed by artists/teachers from the United States and Canada who bring groups to Italy. During more quiet times, residencies are available for potters and ceramics artists wishing to spend time in a Tuscan studio. Sur­ rounded by cypress trees, green oaks, a hazelnut orchard, olive groves, herb and flower gardens, and a menagerie of various song­ birds, the undulating landscape is picture perfect for providing an inspirational place for creative development. There are always pot­ ters and friends stopping in to work or visit and discuss ideas, glazes or technical issues. In the earlier years, workshop participants were mostly Euro­ pean. Groups were fed in the living quarters of Maddalena and his wife, Giuliana, who prepared gourmet meals with fresh food from their garden. In recent years, ICCAT’s reputation has become truly international. Participants have come from all over the world: Eu­ rope, Canada, the United States, Israel, South America, Africa and Japan. A gourmet cook serves meals in a separate dining area; coffee breaks take place in the amphitheater; afternoon siestas may occur by the shaded patio by the pond. But the dream keeps expanding. Maddalena is always planning yet another project, something to Bottle, 45 centimeters (18 inches) in height, stoneware, soda fired, by Pietro Maddalena, Certaldo, Italy.

Ceramics Monthly April 2005 51 build, something to add another dimension to the program offer­ ings. Among the future plans is a bourry-box kiln, a sauna with a plunge pool, an expansion of a mosaic serpentine bench, garden arches, and additional living spaces in the huge ancient structure of the original barn. The potential is boundless. Maddalena maintains his pottery production of large elegant raku forms and stoneware pottery. He offers apprenticeship opportunities and supports assistants who help with programs. Wandering peacefully around the grounds in the early morning or in the glow of dusk enables one to appreciate the activities that have taken place at the school over the years. There are pieces immediately recognizable by the people who have worked here: paper kilns by Sebastian Blackie, pots by Keeler, soda-fired vases by Tudball, portrai­ ture by students of Jupp, graceful teapots by Shankin, large thrown urns by DeWeese and sumptuous terra sigillata by Cimatti. All adorn the grounds at every turn. Workshops, classes and seminars take place in the teaching stu­ dio. The very high ceilings and thick stone walls keep the space cool in the summer. The large windows light the work area and provide stunning views of the surrounding landscape. The kilns provide versatility for whatever firing technique is desired. Gas kilns, raku, soda, electric, an area for pit firings and soon the bourry-box kiln make the possibilities unlimited. Coffee breaks develop into lively discussion of the progress tak­ ing place inside the studio while Charlie, the dog, gets someone to throw a stick again and again. The midday meal provides even better opportunity for discussion and camaraderie. Typical Tuscan meals are served with primi (first) and segundi (second) courses and are capped off with espresso and fruit. Housing is spread throughout the neighboring villas. Some apart­ ments are a five-minute walk down a country road. The local bar/ restaurant/grocery store is a scenic 15-minute walk from the studio. The evenings under the stars, or among the thousands of fireflies lighting up the fields, tend to mellow the intensity of a hard workday. Many of the workshops run two weeks, Monday through Friday, with the weekend free for exploring the surroundings. Summer workshops bring together participants from around the world, pro­ viding a lively atmosphere of cultural exchange. Often, there are several languages being spoken at meals and in the studio. One-week workshops or weekend seminars take place in the spring, and Easter week is always scheduled for a raku workshop of five days. Winter is seeing more college groups coming for interim courses that combine studio experiences with art history, since Florence is so accessible. Part of the experience of being in Tuscany is to discover the surroundings in the provided free time. Certaldo is the closest town to the center and participants arrive here by train. An early morning “Column and Capital,” 40 inches (102 centimeters) in height, handbuilt raku clay, with terra sigillata, by Marcia Selsor, Billings, Montana.

Ceramics Monthly April 2005 52 Bowl, 30 centimeters (12 inches) in diameter, handbuilt, with terra sigillata, by Giovanni Cimatti, Faenza, Italy. bus travels to Florence, returning in the evening. There are trains to Siena, 45 minutes away, and to Pisa. Siena, once the rival of Flo­ rence, maintains the medieval pedestrian ambience with its narrow stepped streets and shell-shaped Campo. Pisa, an earlier medieval sea power, set the standards of marble inlay in architecture due to the proximity of the Carrara marble quarries. Near Pisa is San Piero au Grado. The outside basilica in San Piedro au Grado is decorated with large maiolica bowls from the 11th century. San Gimignano is a three-hour bike ride away; half an hour by car. The archaeology museum in San Gimignano has a comprehensive display of the development of ceramics in the area from the Etruscans to maiolica production. There is a Renaissance pharmacy arranged in a room with the barrel-shaped maiolica jars labeled with all the medicines they once contained. Tiles by Lucca Della Robbia can be found in the church of San Agostino, and there is an excellent contemporary ceramics gallery on the main street through town. The current mystique and popularity of Tuscany are experienced at ICCAT. The relaxing atmosphere allows the creative mind to focus on work. The chimes of the church bells from across the valley somehow reassure the rhythm of daily activity. To work in Tuscany while reflecting on the proximity of so much history and art, being surrounded by the beauty of nature and the accomplishments of a great age of mankind kindles a spiritual growth. ICCAT offers nutrients for the soul and enriches the creative energy we need to survive in today’s reality. the author Marcia Selsor is professor emerita at Montana State Univer­ sity in Billings. She has been a resident artist and occasionally teaches workshops at ICCAT. Pitcher, 16 inches (41 centimeters) in height, porcelain, wood/soda fired, by Josh DeWeese, Helena, Montana.

Ceramics Monthly April 2005 53 White Bread: The Second Slice Collaborative Work and Themes by Angela Gallia and Linda Gossett by Angela Gallia

A year ago, Catherine Basharka approached Linda Gossett and me about having a show at Gallery 2520 in Dallas. At the same time, Susan Warnell, owner of Gecko Gal­ lery at the Chicken Farm Art Center in San Angelo, asked us to do a show to coincide with “The San Angelo National Ceramic Competition” and “Ceramic Week” at the Chicken Farm. We had only a couple of months to come up with a cohesive plan and to get the work done. We held an emergency research-and-de- velopment meeting over sushi and beer, and developed a plan. What transpired was an interesting series of collaborative works and themes that are still evolving long af­ ter the shows have ended. Linda and I happen to be potters and “The Seven Deadly Sins,” to 15 inches (38 centimeters) in height, handbuilt very good friends with similar back­ earthenware and stoneware, by Angela Gallia and Linda Gossett, Dallas, Texas. grounds. We came up with the theme of “White Bread” for this project. Within it, we explored our collective lack of specific cultural heritage, as well as the trials and tribulations associated with growing up that way. We work differently but with similar materials. Over the past couple of years, we’ve been teaching a series of workshops together focusing on handbuilding and surface treatments. Col­ laboration was something we’d both been thinking about for a long time; however, had the opportunity not presented itself, it probably never would have happened. It has been a great experi­ ence and has stretched us both in surprising ways. Pat Johnson, artist and director of the Live Oak Art Center, saw the show in San Angelo and requested an encore. This brings us to “White Bread: The Second Slice” at the Live Oak Art Center in Columbus, Texas. The encore exhibition is scheduled to run through May 15. “The White Bread Family Side Show,” featuring freaks and carnival oddities, will run concurrently with the show. As well as works by Linda and me, the side show will feature works by Barbara Buell, Cindy Kelley, Pat Johnson, Beverly and Billy Ray Mangham, and Andrea Power. For further information, contact the Live Oak Art Center, 1014 Milam, Columbus, TX 78934; (979) 732-8398. “Get the Leg Juan, Get the Leg,” 14 inches (36 centimeters) in height, handbuilt earthenware, by Linda Gossett.

Ceramics Monthly April 2005 54 summer workshops

Whether you wa nt an education, a vacation or both, you'll fi nd them here.

Arizona, Flagstaff "Japanese Lantern Making/Noborigama Wood Firing" with Don Bendel, Jason Hess and guest artists (June 7- July 7). "Wood-Fire Workshop," 8 different types of firings (July 11-25). "Salt Glaze Workshop," wood, salt/ soda and gas firings (July 26-August 8). Fee/session: $650, includes materials and firing. Lodging: $ 16/day. Participants should bring bisqueware. Instructor/session (unless noted above): Jason Hess. All skill levels. Contact Jason Hess, Northern Arizona University, PO Box 6020, Flagstaff 86011; e-mail [email protected]; tel. (928) 523-2398 or (928) 699-8984; or fax (928) 523-3333.

Arizona, Tucson "Intensive Tile Making Santa Theresa Style" (July 18-22); fee: $550, includes materials, firing and dinners. Contact Leslie Gamble, Santa Theresa Tile Works, Inc., 440 N. Sixth Ave., Tucson 85705; e-mail [email protected]; see www.santatheresatileworks.com; tel. (800) 862-2198 or (520) 623-1856; or fax (520) 882-0868.

Arkansas, Mountain View "Personalizing Traditional Forms," demo with David Dahlstedt (June 12-13); fee: $100. "Slip Decorating on

Clay" with Judi Munn (July 17-19); fee: $165, includes summer workshops 2005 materials. Beginning/intermediate. Contact Terri Bruhin, Ozark Folk Arts Center, PO Box 500, Mountain View 72560; e-mail [email protected]; see www.ozarkfolkcenter.com; tel. (870) 269-3851; or fax (870) 269- 2909.

California, Escondido "Handbuilding With Colored Clay Additions" with Vir­ ginia Cartwright (June 24-26); fee: $260, includes lodg­ ing and meals. Beginning. Contact Jackson Gray, Ceramics Artists of San Diego, PO Box 22524, San Diego, CA 92192-2524; e-mail [email protected]; see Eric Vandermolen demonstrates throwing during a workshop at Pope Valley Pottery, Napa Valley, California. www.ceramicartistsofsandiego.org; tel. (858) 270-3828.

California, Fresno "Clay as a Medium for Sculpture" with Patsy Cox, Walter Stejskal; or "Ornately Functional: Form and Surface" with bring bisqueware. "Portraits in Clay," live models with McConnell, Richard Notkin, Nan Smith and Sue Whitmore Kristen Kieffer (June 20-24). "A Dialogue with Clay" with Paige Pedri (July 18-23); fee: $300, includes materials (July 10-23). Intermediate through professional. Contact Pete Kuentzel; or "Creating Unique Stonelike Clay Tex­ and firing. All skill levels. Scholarship or work-trade avail­ the California State University Summer Arts, 401 Golden tures and Colors Including Post-Fire Alterations" with able. For further information, contact Richard Carter, Shore, sixth fI., Long Beach, CA 90802; e-mail Brad Miller (June 27—July 1). "Ritual Vessels" with Rick Pope Valley Pottery, 1570 Ink Grade, Pope Valley, CA [email protected]; see www.csusummerarts.org; Hirsch (July 11-15). "Jugs and Jars—In the English Style" 94567; e-mail [email protected]; see tel. (562) 951-4060; or fax (562) 951-4982. with Linda Mau (July 18-22)." Expressive Portrait as Art in www.popevalleypottery.org; or tel. (707) 965-2383. Ceramic Sculpture" with Tony Natsoulas; or "Generating California, Orangevale California, Idyllwild Ideas for Pottery... Or Making Pots Personal" with Peter "Advanced Throwing Techniques" with Eric Struck (June "Zuni Pottery," handbuilding traditional methods of poly­ Beasecker (July 25-29). "Ceramic Sculpture in Stoneware 21-22); fee: $125. "Architectural Ceramics" with Peter chrome Zuni pottery with Milford Nahohai (July 3-9). and Porcelain" with Jim Danisch and Santa Kumar (Au­ King (August 10-14); fee:$500. Contact Morgan Britt, "Adult Ceramics," throwing and handbuilding with Eric gust 1-5). "Throwing Pots, Altering and The Personal FireArt ClayWorks: see www.fireartdayworks.com; or Kao and Greg Kennedy (July 10-22); fee: $515/week, Object" with Mark Boguski; or "Handbuilding: The Figure tel. (916)715-6113. includes materials and firing. "Santa Clara Pueblo Pot­ in Clay" with Peter and Camille Vandenberge (August 8- tery," handbuilding traditional Tewa pottery with Rose­ 12). "Rock Art" with Donna Billick (August 15-19). California, Penryn mary Lonewolf (July 10-16). "Acoma Pottery," "Figure Sculpture and Slab-Built Teapot" with Xiaoping " Woodstoke 2005," with Rudy Autio, Tom Collins, Kathy handbuilding traditional coiled polychrome pottery with Luo and Shao Junya (August 22-26); fee: $400; includes Koop, Glenn Krishkoff, Brian Ransom and Paul Soldner Emma Lewis Mitchell and Delores Lewis Garcia (July 17- materials. Fee (unless noted above): $340, includes mate­ (June 7,10-13); fee: $425 or $ 100/day. Bring bisqueware. 23). Fee (unless noted above): $535, includes materials rials. Contact Mendocino Art Center, PO Box 765,45200 Lodging: $25/night in dorm; campsite $50. All skill levels. and firing. All skill levels. Contact Diane Dennis, Idyllwild Little Lake St., Mendocino 95460; e-mail Contact Rodney Mott, Penryn Workshop, 1394 Orange Arts, PO Box 38, Idyllwild 92549; e-mail [email protected]; see www.mendocinoartcenter.org; Hill Ln„ Penryn 95663; tel. (916) 663-2815; or see [email protected]; see www.idyllwildarts.org; tel. tel. (707) 937-5818 or (800) 653-3328; or fax (707) 937- www.penrynworkshops.com. (951) 659-2171, X2365; or fax (951) 659-4552. 1764. California, Point Reyes Station California, Mendocino California, Napa Valley "Magic Fire," handbuilding, burnishing and beach pit "Throwing, Enhancement and Surface" with Crispin "Salt/Soda Glazing in a Wood-Fired Noborigama," with firings with Molly Prier (July 22-29 or August 5-12); fee: Gonzalez (June 13-17). "Using Figurative Imagery to Willie Hulce (June 13-19 or August 22-28); fee: $325, $450, includes materials and firing. Some scholarships Develop a Creative Vocabulary" with Richard Garriott- includes some materials and firing. Participants should available. All skill levels. Contact Molly Prier, PO Box 337,

Ceramics Monthly April 2005 55 ; ; ; see ; see ; or see

www.lalobaranch.com . . ; or tel./fax (970) 879-9139. ; see [email protected] [email protected] [email protected] [email protected] [email protected] www.wesleyanpotters.com "Trompe I'Oeil Ceramics," handbuilding with Lillian "Innovative Handbuilding Techniques" with Lana Wil­ "Wood and Salt Firing in a Noborigama" with Louise "Kilnbuilding Workshop: Building a Gas-Fired Sprung "Patterned Porcelain Pots," throwing, stamping, altering "Crystalline Glazes" with Tim Scull (May 1 & June 18 or "Porcelain Pots—An Elegant Twist," throwing and alter­ Muller (July 7-8). "Teaware Techniques" with Peter Brookfield 06804; tel. (203) 775-4526; fax (203) 740- Dodson (June4-5). "PaperClay" with Rebecca Hutchinson Dodson (June4-5). "PaperClay" Callas (July 9-10). Fee (unless noted above): $240. Skill requirements vary. Contact Dee Wagner, Brookfield Harter (July 15-18); fee: $385, bring bisqueware. ments vary. Contact Judith Carol Day, Laloba Ranch Art 7815; e-mail and meals. All skill levels. Contact Ceramic Annie Chrietzberg, Design Group, PO Springs 80477; e-mail Box 775112, Steamboat Craft Center, PO Box 122, 286 Whisconier Rd., Ron Meyers demonstrating during a workshop Electric Firings" with Tim Scull (August 21); fee: $110. Center, 33516 County Rd. 43A, Steamboat Springs 80487; County Rd. 43A, Steamboat Center, 33516 at Santa Fe Clay, Santa Fe, New Mexico. ing with Susan Filley (August 12-14); fee: $300. "Bring information, contact Melissa Schilke, Wesleyan Potters, Skill requirements vary. For further information, contact Canton Clay Works, 150 06019; Cherry Brook e-mail Rd., Canton e-mail www.ceramicdesigngroup.net Connecticut, Brookfield (June 15-17); fee: $325. "Tile Making" with Chris Bonner (June 18-19). "Raku Firing Techniques" with Kristin tel. (970) 870-6423; or fax (970) 870-6452. tel. (970) 870-6423; son (July 30-31); fee: $250, includes materials, firing Connecticut, Canton August 7 8< 27); fee: $200. "Extruded and Handbuilt terials, some firings, lodging and meals. Skill require­ www.brookfieldcraftcenter.org (860) 693-4800; Out the Animal in You" with Pat Simmons (August 20- 21, September 9); fee: $250. Intermediate. For further 350 S. Main St., Middletown 06457; tel. (860) 347-5925; or see Wares" with Hayne Bayless (June 25-26); fee: $220. Arch Kiln" with Lisa Stinson (July 30-31); fee: with $220. Matt Towers (August 13-14); fee: $220. "Fearless www.cantonclayworks.com; tel. (860) 693-1000; or fax fax (860) 344-1096; e-mail Connecticut, Middletown ; see ; tel. (970) ; tel. (970) ; or see April 2005 Surface Techniques" with ; & 56 www.gjartcenter.org ; or tel. (719) 372-6846. www.ancientarts.org ; tel. (970) 923-3181; or fax ; see ; see [email protected] Ceramics Monthly [email protected] "Makin' and Bakin': Wood Fire, Raku and High-Low Salt" Wood Fire, Raku and "Makin' and Bakin': "Anasazi Pottery at Mesa Verde," handforming, clay "Earth, Water, Wind and Fire" forming, decorating, and "Human Nature," handbuilding the figure with Patti 18-29); fee: $860. "The Figure: Your Voice" with Arthur 19); fee: $860. "Total Clay Weekend" with Paul Soldner "Advanced Throwing, Firing 12-19). "Porcelain: Salt 8< Soda," throwing and hand­ rials, firing and field trips; bisqueware. Intermediate through bring professional. Contact tools and Cone 07 N. Seventh St., Grand Junction 81501; e-mail processing, burnishing, painting and trench-kiln firing potters) with Gregory S. Wood (June 11-17); fee: $395, includes materials, firing, campsite, t-shirt and trips to PO Box [email protected] 27, Masonville, CO 80541; e-mail Molds for the Studio Potter" with Tom Spleth (June 27- Pots," stoneware with Ellen Shankin $840. "Basic (July Handbuilding: Objects 4-15); and Ideas," stone­ fee: Randy Brodnax (June 11-18). "Attention to Detail: Trans­ 243-7337; or fax (970) 243-2482. 243-7337; or fax Spanish. Contact Ancient Arts®, Adams State College, PO Box 5598, 5263 Owl Creek Rd., Snowmass Village e-mail Additional $135 for 3 archaeological sites and museums. Instruction in English and graduate credits. All skill levels. 223-9081; or fax (970) 226-4509. Studios, 1753 13th St., Penrose 81240; e-mail building Terra-Cotta Pottery" with Gail Kendall (July Gonsalez (July 25-August 5); fee: $860. "Exquisite Pot­ building with Matt Long (July 22-29). "Getting it To­ ing and throwing with Sandi Pierantozzi and Neil Patterson with Rodney Mott (July 8-12); fee: $450, includes mate­ Colorado, Mesa Verde ancient Anasazi and Pueblo potters with Vern Roberts (June 6-14); fee: $325, includes most materials and [email protected] All skill levels. Contact Terry Shepherd, Art Center, 1803 [email protected] www.shepherddayworks.com that were available to Pueblo (using only native materials ativity," stoneware with Patrick S. Crabb (June 13-24); 81615; e-mail Construction," stoneware with Anne Currier (August 8- Terry Shepherd, Shepherd Clay Works, 791 25 Rd., Grand Terry Shepherd, Shepherd Clay Junction 81505; tel. (970) 241 -1284; fax (970) 243-2482; Colorado, Penrose firing with traditional materials/methods used by the firing. Additional $ 135 for 3 graduate credits. Beginning through advanced. Contact Vern Roberts, Coyote Arroyo Colorado, Snowmass Village Warashina (June 6-10); fee: $520. "Basic Pottery &Clay Working," earthenware with Pete Pinnell fee: $790. (June "Vessels: A Deconstruction Approach to 6-17); Cre­ fee: $790. "Throw, Fire, Pour," stoneware and porcelain with Jim Connell (June 20—July 1); fee: $790. "Plaster ware with Sally Brogden (July 11-22); fee: $840. "Hand­ (970) 923-3871. (August 1-12); fee: $890. "Empty All Your Pockets: Clay (August 20-21); fee: $350. "Strength in Numbers," por­ celain and/or white stoneware with Lynn Smiser Bowers and Diane Kenney; fee: $890; or "Clay & Spirit: Handbuilt (August 22-September 2); fee: $790. Skill requirements contact Doug Casebeer, Anderson Ranch Arts Center, (June 22-29). "The Functional Sculptural Form" with and Special Effects" with Charlie and Linda Riggs (July gether: Altering Pots," throwing with Meira (August 2-9). Mathison "Form, Texture and Process," handbuild­ (August 12-19). Fee/session: $1585, includes some ma­ July 8); fee: $860. "Round 8< Beyond: Exploring Useful tery," porcelain with Sarah Jaeger and Bonnie Seeman www.andersonranch.org forming Ware into Fine Art," throwing with Tom Turner Tom and Elaine Coleman (July 2-9). "Raku, Saggar Firing Vessels and Objects," earthenware with Tom Kerrigan vary. All include studio fee. For further information, Colorado, Steamboat Springs ; ; ; ; tel. ; tel. ; see

www.swinkart.com [email protected] www.carbondaleclay.org www.crowcanyon.org ; see www.arvadacenter.org ; see ; or tel. (408) 245-6262. ; see ; see [email protected] [email protected] www.mamasclay.com "Mayco Ceramics Camp" (July 17—18); fee: $150, in­ "Innovative Handbuilding Techniques" with Lana Wilson "Raven Ridge Anasazi Workshop," handbuilding, clay Earth Clay Art 790 Center, Sunnyvale 94085; Lucerne Dr., Point Reyes Station 94956; e-mail Point Reyes Station information, contact Mayco Karen Colors/Coloramics, LLC: Shelton 19). Fee/session: $235; members, $215; includes lunch. " Porcelain: The Plasticity of a Line," demo with Alleghany "Mesa Verde Black-on-White Pottery Workshop" with 19); fee: $150. "Pots and Possibilities," throwing and (July 9-10); fee: $125; demo only, $65. Contact Mother processing, yucca-brush painting and trench-kiln firing [email protected] "Handbuilt Pouring Vessels" with Sam Chung (June 18- "Tableware, Form and Surface," earthenware with Peter cludes materials and lunch. All skill Levels. For further see California, Vallejo or tel. (415) 669-7337. Meadows (June 4-5). "Contemporary Southwest Pottery logical Center, 23390 Cty. Rd. K, Cortez 81321; [email protected] e-mail $1095, includes materials, firing, Beginning lodging through and advanced. For meals. further information, California, Sunnyvale Paul Ermigiotti and Gregory S. Wood (July 19-25); fee: (720) 898-7239; or fax (720) 898-7217. Sat.); fee: $120. "Crystal (August 23-September 1); Glazes" fee: $110. Skill with requirements Jon Kulczycki www.maycocolors.com; or telephone (614) 675-2025. Compton Pottery, Bristol, Vermont. contact Betty Lou Greenemeier, Crow Canyon Archaeo­ (800) 422-8975; or fax (970) 565-4859. Colorado, Bayfield rials, firing, lodging and meals. All skill Clint levels. Swink, Contact Swink Art, 688 Raven Ridge, 81122; Bayfield, CO e-mail [email protected] vary. Contact Bebe Alexander, The Arvada Center, 6901 Wadsworth Blvd., Arvada 80003; e-mail altering with Nick Joerling (July 16-17); fee: $ 150." Raku" altering with Nick Joerling (July 16-17); fee: $ 150." Raku" mold making and sculpture with Marie E.V.B. Gibbons with Clint Swink (July 9-16); fee: $ 1200, includes mate­ Techniques & Process" with Michael Wisner (June 18- tel. (970) 563-4624; or fax (970) 563-3141. with Bob Smith (July 21-August 10, Thurs. eves, and 1 (June 15—July 13, Wed. eves.); fee: $120, includes firing. and Susan Stark (June 11-12); fee: $150. "Multiplicity," A student glazing during a workshop at Robert Colorado, Grand Junction tel. (970) 963-2529; or fax (970) 963-4492. Colorado, Carbondale Workshop with with fee: $250. All skill levels. Contact Malcolm Carbondale Clay Cen­ Davis ter, (June 25-26); 135 Main St., Carbondale 81623; e-mail Colorado, Arvada Colorado, Cortez

summer workshops 2005 Florida, St. Petersburg (August 1-5). "Hand as Tool: Handbuilding with Porce­ Louisiana, Monroe "Echizen Pottery," demo with Naoki Zumi (July 23-24). lain" with Annette Gates (August 15-19). Fee (unless "Crystalline Porcelain Workshop," throwing with Donald Instruction in English and Japanese. "Slip," throwing listed above): $350, includes materials and some meals. Holloway (July 11-16); fee: $250, includes materials, and slip decoration with Matt Long (August 26-28); Skill requirements vary. Contact Debbie Sanders, the firing and 2 meals. Advanced. Contact Donald Holloway, fee: $225; students, $175. Skill requirements vary. Hambidge Center, PO Box 339, Rabun Gap 30568; e-mail Crosscraft Originals, 18 Jana Dr., Monroe 71203-2736; Contact Jennifer Lachtara, St. Petersburg Clay Com­ [email protected]; see www.hambidge.org; tel. e-mail [email protected]; or tel. (318) 343-9220 or pany, 420 22nd St. S, St. Petersburg 33712; e-mail (706) 746-5718; or fax (706) 746-9933. (318) 343-7658. [email protected]; see www.stpeteclay.com; or Maine, Deer Isle tel. (727) 896-2529. Demo with Ellen Shankin (June 11-12); fee: $120. Con­ tact Nancy Green, 1500 Tappan Spur Rd., Watkinsville "Handbuilding, Glazing, Scenery" with Andrea and John Florida, Sopchoppy 30677; e-mail [email protected]; or tel. (706) Gill (June 5-17). "I Love Surface" with Kathy King (June "An Apprenticeship to Clay: The Handcrafted Life," func­ 769-5659. 19—July 1). "Handbuilt Pots: Function, Context and Pro­ tional stoneware, single-fire oxidation, fast-fire wood cess" with Mark Pharis (July 3-15). "Shaping Clay and Illinois, Antioch Words to Form Meaning" with Stuart Kestenbaum and "Pottery Making," 4 to 16-week sessions with Suzi Chris Staley (July 17-29). "Working Wet" with Gay Smith Goldstein, Nancy Hawfield and Jill Tortorella (May 31- (July 31-August 19); fee: $875. "Pottery with Traditional September 2, 2-8 hrs/wk); fee: $285, includes materials Concepts" with Randy Johnston (August 21-September and firing. All skill levels. For further information, contact 2). Fee (unless noted above): $655. All skill levels. For Jill Tortorella, Antioch Pottery Works, 25942 Heart O'Lakes further information, contact Stu Kestenbaum, Haystack Blvd., Antioch 60002; e-mail [email protected]; see Mountain School of Crafts, PO Box 518, Deer Isle www.antiochpottery.com; or tel. (847) 838-9949. 04627; e-mail [email protected]; see www.haystack-mtn.org; tel. (207) 348-2306; or fax Illinois, Evanston (207) 348-2307; "Drawing and Painting with Clay," exploring the bowl form, terra sigillata and saggar firing with Patrick Dragon Maine, Monroe (August 19-21); fee: $ 190, includes materials and firing. "Women's Full Moon/Summer Solstice Retreat" (June All skill levels. For further information, contact Melanie 21-23). "Family Clay Weekend," handbuilding, throw­ Feerst, Evanston Art Center, 2603 Sheridan Rd., Evanston ing, primitive firing for all ages (July 1-4). "Clay: The Full 60201; e-mail [email protected]; see Cycle" (July 17-23). "Clay Breathing: A Workshop for www.evanstonartcenter.org; tel. (847) 475-5300 x203; Women Addressing the Question, 'What Makes My Clay or fax (847) 475-5330. Work Mine?"' (July 31-August 6). "Throwing Pots— Mastering the Art and Craft" (August 26-28). Instructor/ Illinois, Sugar Grove session: Squidge Liljeblad Davis. Fee/session: $750/week; "Master Class" with Lynn Smiser Bowers (June 5-11); $350/weekend; includes materials, firing, lodging and fee: $429, includes materials and firing; bring 6-8 pieces meals. All skill levels. Contact Squidge Liljeblad Davis, of Cone 10 porcelain bisque. Intermediate through pro­ Starflower Farm and Studios, 941 Jackson Rd., Monroe fessional. Contact Doug Jeppesen, Waubonsee Commu­ 04951; e-mail [email protected]; see nity College, Rte. 47 at Waubonsee Dr., Sugar Grove www.starflowerfarmstudios.com; ortel. (207) 525-3593. 60554; e-mail [email protected]; see http://chat.wcc.cc.il.us/~djeppese/; or tel. (630)466-2505. Maryland, Frederick summer workshops 2005 "Masters Throwing" (June 2-5 or August 4-7); fee: Indiana, Indianapolis $245. "Masters Throwing II" (June 9-12); fee: $245. "Low-Fire Clay and Glaze" with David Gamble (June 20- 25); fee: $443; credit hours, $855; includes materials and A student removing moisture during a workshop at firing. "Screen-Printing" with Rimas VisGirda (July 25- 30); fee: $250, includes materials and firing. Instruction in Robert Compton Pottery, Bristol, Vermont. English and Lithuanian. Skill requirements vary. Contact and business as an art form with George Griffin (1 week Patty Duval, University of Indianapolis, 1400 E. Hanna in June); fee: $400, includes materials and firing. Interme­ Ave., Indianapolis 46227; e-mail [email protected]; tel. diate. Limit of 2 participants. Contact George Griffin (317) 788-3253; or fax (317) 788-6105. Pottery, One SunCat's Ridge, Sopchoppy 32358; or tel. Indiana, New Harmony (850) 962-9311. "Ceramics," handbuilding, throwing, glazing and differ­ Georgia, Cave Spring ent firing techniques with Les Miley (June 20—July 22); "Cone 6 Studio," handbuilding and throwing with John fee: $500; 3 credit hours, $1000. Intermediate through Johnston (June 22-25, Wed. and Sat.); fee: $150, in­ professional. Contact Les Miley, University of Evansville, cludes materials and firing. All skill levels. Limit of 7 Dept, of Art, 1800 Lincoln Ave., Evansville, IN 47722; participants. Contact Johnston Pottery, Box 133, Cave e-mail [email protected]; see www.evansville.edu; or Spring 30124; e-mail [email protected] ; tel. (706) tel. (812) 479-2043. 777-8546; or fax (706) 777-2204. Iowa, Okoboji Georgia, Decatur "Ceramics Workshop" with Rodney Mott (July 11-15); Randy Brodnax and Don Ellis team up for a throwing "Glaze Textures and Dynamic Decoration" with Brian fee: $195; members, $150; includes materials and fir­ demonstration at the Kelowna Clay Festival, Kelowna, Gartside (June 10-12); fee: $ 150, includes materials and ing. All skill levels. "Screen-Printing and Decal Making British Columbia, Canada. firing. "Handbuilding" with Kathy Triplett (July 23-24); for Ceramics" with Rimas VisGirda (August 1-5); fee: fee: $110, includes breakfast. Skill requirements vary. $225; members, $175; includes materials. Instruction in "Throwing Large Forms" with Kevin Crowe (June 20-24); Contact Erik Haagensen, MudFire Clayworks, 175 Laredo English and Lithuanian. Contact Shelagh Gamble, the fee: $210. "Eastern Coil" (June 25-26); fee: $150. "Ce­ Dr., Decatur 30030; e-mail [email protected]; see Lakes Art Center, 2201 Hwy. 71, PO Box 255, Okojobi ramic Sculpture" (July 5-15); fee: $695. Instructor (unless www.mudfire.com; tel. (404) 377-8033; or fax (404) 51355; e-mail [email protected]; see noted above): Joyce Michaud. Skill requirements vary. 377-1554. www.lakesart.org; tel. (712) 322-7013; or fax (712) Contact Joyce Michaud, Hood College, 401 Rosemont 322-7014. Ave., Frederick 21701; e-mail [email protected]; see Georgia, Rabun Gap www.hood.edu/academic/art; tel. (301) 696-3456; or fax Kentucky, Harrodsburg "Object Moments," handbuilding red earthenware with (301) 696-3531. Mikey Walsh (June 6-10). "Altered Pots," throwing with "Sculptured Pottery" with David Chesar (June 17- Ellen Shankin (July 13-17). "Exploring the Figure," hand­ 19); fee: $180, includes materials, 1 firing, lodging Maryland, Thurmont building with Debra Fritts (June 20-24). "Approaching and meals. "Handbuilding and Raku Firing" with "Monocacy Pottery Wood-Firing Workshop" with John the Wheel" with Dawn Holder (July 7-9); fee: $210. Wyman Rice (July 15-17 and 22-24); fee: $300, Theis (June 9-11, 18); fee: $200, includes materials and "Dare to Play," throwing and altering animal imagery includes materials, firing, lodging and meals. Skill firing. Intermediate through professional. Contact Dale with Bernadette Curran (July 11-15). "Responding to requirements vary. For further information, contact Marhanka, the Art League School, 305 Madison St., Touch: Porcelain Pots Thrown & Altered" with Leah Don Boklage, Open Ground, 981 Rye Ln., Harrodsburg Alexandria, VA 22314; tel. (703) 683-5358; fax (703) Leitson (July 25-29). "The Dynamic Potential of Clay," 40330; e-mail [email protected]; see 683-7325; e-mail [email protected]; or see throwing and low-fire techniques with Randy Brodnax www.openground.info; or tel. (859) 375-2411. www.theartleague.org.

Ceramics Monthly April 2005 57 ; tel. ; tel. (406)

www.archiebray.org ; see www.montana.edu/art ; see [email protected] ' Raku in the Rockies," one weekend creating pieces and ' Raku in the Rockies," one weekend creating pieces and "Indigenous Ceramics," includes"Indigenous Ceramics," digging and processing "Listening, Seeing, Touching: An Open Making Pots with 1); fee: $575, includes firing. "Beyond Rules: the Process, Montana, Bozeman Montana, University— Michael Peed, Montana State levels. Contact Montana, Helena Ayumi Horie (June 20—July Mind" with Steve Godfrey and Montana, Red Lodge Drama, Mystery and Magic," demo with Don Reitz (July Heeney (August 12-14); fee: $175, includes materials. Foundation, 2915 Country Club Ave., Helena 59602; Nevada, Incline Village resident, $557; includes materials and firing. All skill "Sounding Sculpture: Musical Clay Instruments" with School of Art, 213 Haynes Hall, Bozeman 59717; e-mail 994-4283; or fax (406) 994-3680 30-31); fee: "Building $175. on Tradition: Creating Large- Scale Contemporary Artwork with Brick" with Gwen Skill requirements vary. Contact Lisa Myaya, Archie Bray "Fast-Fire Pottree" with Randy Brodnax and Don Ellis clay, making and firing work in bonfires or kilns created at the site with Michael Peed (July 11-16); fee: $1757; e-mail Hummingbird, Jacksonville, Oregon. [email protected] 443-0934. (406) 443-3502; or fax (406) (July 16-17 and 23-24); fee: $ 155; includes materials and 59068; or tel. (406) 446-1370. the other firing raku and horse hair with Marcia Selsor Carbon County Arts Guild, 11 W. Eighth St., Red Lodge Shao (June 13-17), instruction in Chinese and English. Brian Ransom (June 20-24). "Fun in the Mud," functional Functional Pot: Tricks, Tips, Tools and Techniques" with Bill van Gilder (July 11-15). "Throwing Basics" with Eric meals. "Lidded Pots," throwing with Mary Law (July 18- A student works on a figure during a workshop at (June 6-10). "Yixing Teapots," handbuilding with Junya Struck (July 16-17); fee: $240, includes materials and 22). "Throwing Extraordinary Forms on the Wheel" with rials and meals. Instruction in English and Japanese. "Pots noted above): $495, includes materials, firing and meals. firing. Beginning through advanced. Contact Deb Kline, work with Kent Rothman (June 25-26); cludes fee: materials $240, and in­ meals. "Free Clay," and handbuilding throwing with Rodney Mott (June 27—July 1). "The Virginia Scotchie(July 25-29). "Upside-DownThrowing" with Shuji Ikedan (July 30-31); fee: $240, includes mate­ that Pour" with John Neely (August 1-5). Fee (unless ; ; see ; tel. ; tel. (508) 349- April 2005 www.snowfarm.org ; or tel. (601) 446-6334. [email protected] [email protected] ; or tel. (573) 998-2611. ; or tel. (816) 474-7316. 58 ; or tel. (507) 895-3370. ; see www.castlehill.org ; see ; tel. (800) 318-3019; or fax (312) Ceramics Monthly Ceramics Monthly [email protected] www.redstarstudios.org "Fire & Smoke: Raku & Pit Firing" with Erica Wurtz (June Colored Clay" with Naomi "Nerikomi: Handbuilding with "Wheel Time: Intermediate Ceramics" with Mark Shapiro "Wheel Throwing" with Rob McClurg (June 19- Massachusetts, Williamsburg $560, includes materials, firing, lodging and meals. ing" with Anne Goldberg (August 8-12); includes mate­ rials and bisque firing. "Lidded Forms" with Michael ber 2-3). Fee (unless noted above): $300. Skill require­ ments vary. Contact Cherie Mittenthal, Truro Center for Michigan, Saugatuck 7511; or fax (508) 349-7513. Decorating Add-On" with Bob Green (August 15-17); "Wood-Fire Workshop" with Mike Knox and guest artist & Handbuilding" with Ayumi Horie; or "BeginningThrow­ Ayumi Horie; with & Handbuilding" Connelly (August 15-19); includes materials. "Primitive Firing" with Mikhail Zakin; or "Precious Metal Clay" with Lindenfeld (June 24-26); fee: $295, includes materials. " Participation Workshop," forming, spraying glazes, single Fire: Primitive & Saggar Fired Pottery" with Bob Green lodging and meals. Skill Mary requirements Colwell, vary. Snow Contact Program, Farm: The 5 New Clary [email protected] England Rd., Craft Williamsburg 01096; e-mail Minnesota, La Crescent 3-5); fee: $295, includes materials. "Handbuilding with Clay; Exploring Form" with Bob Green (June 18-24); fee: Mississippi, Natchez the Arts at Castle Hill, PO Box 756, Truro 02666; e-mail [email protected] Missouri, Ellsinore "Expanding Your Pots," handbuilding, throwing and (August 11-14); fee: $390, includes materials. "Firing 8t Judith Goldstein (August 22-26); includes firing. "Raku Workshop" with Jim Brunnelle (August 29-30, Septem­ (August 21-27); fee: $560, includes materials, firing, Chicago, IL 60603; e-mail Bruce Howdle (June 6-12); fee: $275, includes materials levels. Contact Mike Knox, Chicken Ridge Studio, 2510 [email protected] Missouri, Kansas City "Functional Stoneware/Single Firing," emphasis on plates, (413) 268-3101; or fax (413) 268-3163. tive" with Israel Davis (July 3-16). "Vessel/Figure/Object" fee: $295, includes materials and firing. "Painting with 899-5139. Chicken Ridge Rd., La Crescent 55947; e-mail materials and firing. "Demonstration Workshop" with ments vary. For further Burns, information, Burns Pottery, contact 209 Franklin Conner St., Natchez 39120; raku with David Porter (June 2-5); fee: materials, firing, lodging and meals. "Wood $300, as the Fuel" includes 514 County Rd. 418, Ellsinore 63937; e-mail July 2). "Objects and Images: Screen Printing and Narra­ with Tom Bartel (July 17-30). "Wood Kiln Construction" with Charles Jahn (July 31 —August 13). Skill requirements vary. Contact Sarah Workneh, Ox-Bow, 37 S. Wabash, www.ox-bow.org and firing. Participants can bring bisqueware. All skill materials, firing, lodging and meals. "Art 8< the Environ­ ment" with Jennifer Russell includes materials, (August lodging and meals. "Clay as Fine Art" 5-7); fee: $350, materials, firing, lodging and meals. Skill requirements Kinney, Red Star Studios Ceramic Center, 821 W. 17th platters and bowls (June 5-12); emphasis on pitchers (July e-mail 31-August 7); fee/session: $650, includes firing. Instruc­ St., Kansas City 64108; e-mail firing with Conner Burns (June 5-11); fee: $350, includes Jed Schlegel (August 20-21); fee: $125. Skill require­ with David Porter (June 11-25); fee: $650, includes [email protected] with Robert Carlson (August 12-14); fee: $300, includes vary. Contact David Porter, Raven Center for the Arts, see tor/session: Steven Hill. All skill levels. Contact Michael ; ; see ; tel. (617)

[email protected] www.commongroundonthehill.org ; see ; see www. is 183.org; tel. (413) 298-5252. "Portrait Pots and Raku" with Jim McDowell (July 3-8); Maryland, Westminster Maryland, "Painting with Fire and Smoke," saggar, pit and sawdust Massachusetts, Stockbridge includes materials. All skill levels. Instruction in Spanish on All skill levels. Instruction includes materials. request. Contact Common Ground on the Hill, McDaniel Massachusetts, Boston "Raku Workshop," building and firing with Diane Heart "Altering Thrown Forms" with Gay Smith; or "Beginning Using Luster Glazes and Decals" with Leon Nigrosh (Au­ fee: $240. "Pottery: Focus on Surface Texture," hands-on Massachusetts, Truro College, 2 College Hill, Westminster 21157; e-mail workshop with Kathy Whitley (July 10-15); fee: $275, gust 6-7); fee: $160, includes materials and firing. Skill requirements vary. Contact IS183, Berkshires, Art School PO of Box the 1400, Stockbridge 01262; e-mail cludes materials and firing. "Designing and Altering Your Wheel-Thrown Forms" with Sheilagh Flynn (July 23-24); fee: $200, includes materials. "Overglaze Decorating: Conner Burns altering a piece during a workshop [email protected] Two-, four-, tiles and murals, photo throwing, handbuilding, figures, eight- and 12-week sessions on or tel. (410) 857-2771. firings with Judy Motzkin (June 20-24); fee: $465, in­ [email protected] at Burns Pottery, Natchez, Mississippi. 495-8680; or fax (617) 496-9787. imagery and varying firing techniques (June 13-Septem- ber 3); fee: $550-$785, includes Instruction in materials English, Japanese and and Korean. For further firing. information, contact Shawn Panepinto, Ceramics Pro­ building with Washington Ledesma (July 25-29). "Saggar Firing" with Crystal Ribich (August 1-4). "Dry Throwing Potters Language" with Cathy Mahan (July 18-22). "Clay (June 27-28, July 1- 2); includes materials and firing. gram at Harvard University, 219 Western Ave., 02134; Boston e-mail Throwing on the Wheel" with Lin DiManno fee: $275, includes bisque firing. "Functional Pots: Devel­ (July 4-8); oping an Expressive Body of Work" with Mark Shapiro (July 11-13); includes bisque firing. "Surface Integration/ www.fas.harvard.edu/~ofa/programs/ceramics as Expressive Self: Creating Decorative Surface," hand­

summer workshops 2005 Lodging: $375. All skill levels. Contact Sheri Leigh, Own Voice" with John Britt (July 11-22); fee: $750; neys, Taos Art Retreat, PO Box 2539, 6690 Hwy. 518 Sierra Nevada College, 999 Tahoe Blvd., Incline Village members, $652.50. "Pots Transformed or Handbuilding mm67, Taos 87571; e-mail [email protected] 89451; e-mail [email protected]; see on the Wheel" with Collette Smith (August 8-12). "Sag­ or [email protected]; see websites www.sierranevada.edu/workshops; tel. (775) 831-7799, gar Firing" with David Joy (August 19-21)." Raku/Pit-Fire www.taosartretreat.com or www.happypotters.org; ext. 5039; or fax (775) 832-1694. Workshop" with Ramon Camarillo (August 29-Septem- tel. (505) 751-3220; fax (505) 751-0131. ber 2); fee: $285; members, $250. Fee (unless noted Nevada, Tuscarora above): $225; members, $191; includes firing and glazes. "Tradition of Maria Martinez Workshop," digging clay, "Throwing on the Wheel," throwing and single firing Intermediate. Contact Joyce Dunkelburger, Long Beach making Yucca brushes, mineral and vegetal paints, and functional ware with Ben Parks (July 9-22 or July 23- Island Foundation of the Arts & Sciences, 120 Long Beach pit firing (July 25-30). "Tradition of Lucy Lewis Work­ August 5); fee: $950, includes materials, firing, lodging Blvd., Loveladies 08008; e-mail [email protected]; shop," digging clay, making Yucca brushes, mineral and and meals. Beginning/intermediate. For further informa­ see www.lbifoundation.org; tel. (609) 494-1241; or fax vegetal paints, and pit firing (August 1-6). Contact Taos tion, contact Ben Parks, Tuscarora Summer Pottery School, (609) 494-0662. Art School, PO Box 2588, Taos 87571; e-mail [email protected]; see www.taosartschool.org; or tel. (505) New Jersey, Surf City 758-0350. "Handbuilding with Porcelain" with Allison McGowan (July 2). "Throwing and Surface Decoration" with Skeff New York, Clayton Thomas (July 23)." Making Animal Pots" with Bernadette "Clay BasicsforTeens and Adults" with Rebekah Baldwin Curran (August 13). Fee/session: $75. Beginning. For (July 11-15); fee: $175, includes materials and firing. further information, contact Matt Burton, m.t. burton "Open Clay Studio" with Ginger Dunlap-Dietz (August gallery, 1819 Long Beach Blvd., Surf City 08008; e-mail 1-5); fee: $175, includes firing. "Variations on a Pot," [email protected]; see www.mtburtongallery.com; throwing with Art Sennett (August 15-19); fee: $200, tel. (609) 494-0006; or fax (609) 494-0105. includes materials and firing. Skill requirements vary. Contact Carri Manchester, Handweaving Museum & Arts New Mexico, Abiquiu Center, 314 John St., Clayton 13624; e-mail "Pit-Fired Pottery," handbuilding (June 6-11, June 27- [email protected]; see www.hm-ac.org; tel. (315) 686- July 3 or August 1-7); fee: $235. "Pueblo Pottery," 4123; or fax (315) 686-3459. handbuilding with Clarence Cruz (July 4-10); fee: $240. "Raku" (July 11-17); fee: $245. "Stoneware pottery" New York, Corning (July 18-24); fee: $245. "Micaceous Pottery" with Beth "Anagama-Firing Workshop" with Dan Murphy (July 11- Sanchez (July 25-31); fee: $235. "Raku Kiln," building 17); fee: $200; CCC members, $50. Participants should and firing (August 8-14); fee: $270. "Crystalline Glazes" bring Cone 6-10 stoneware and porcelain bisqueware. Participants gather clay during a workshop at Coyote (August 15-21); fee: $270; skill requirements vary. All skill levels. Contact Fred Herbst, Corning Community Arroya Studios, Penrose, Colorado. Instructor (unless noted above): Jim Kempes. Contact College, 1 Academic Dr., Corning 14830; e-mail Jim Baird, Ghost Ranch in Abiquiu, HC77, Box 11, [email protected]; see www.corning-cc.edu; tel. PO Box 6, Tuscarora 89834; e-mail [email protected]; see Abiquiu 87510; e-mail [email protected]; see (607) 962-9297; or fax (607) 962-9456. www.tuscarorapottery.com; or tel. (775) 756-5526. www.ghostranch.org; tel. (505) 685-4333; or fax (505) New York, Hammondsport New Hampshire, Northwood 685-4519. "Glaze Formulation"; or "Working with Porcelain" (Au­ "Practice Makes Perfect—Throwing in Series," produc­ New Mexico, Santa Fe gust 1-5). Instructor/sesson: Alan Bennett. Fee/session:

tion throwing with Jeff Brown (June 25-26); fee: $100. summer workshops 2005 "Storytelling, Narrative Sculptures," handbuilding earth­ $ 100, includes materials and firing. Intermediate through Contact Jeff Brown, Jeff Brown Pottery, 950 First NH Tpk., enware with Debra Fritts(June 13-17). "CeramicTransfer professional. For further information, contact Barbara Northwood 03261; e-mail [email protected]; Printing" with Richard Shaw (June 20-24). "Poetic Lucas, ArtHaven, 8888 County Rte. 87, Hammondsport see www.jeffbrownpottery.com; tel. (603) 942-8829; or Intention," handbuilding sculptures with Xavier Toubes 14840; e-mail [email protected]; see fax (603) 942-8845. (June 27—July 1). "The Wildness Within," handbuilding www.arthaven.com; tel. (607) 569-3322; or fax (775) human and animal sculptures with Beth Cavener Stichter New Jersey, Demarest 239-1739. (July 4-8). "Drawing on Form, Developing a Personal "Majolica and More," throwing with Posey Bacopoulos Vocabulary," throwing and handbuilding porcelain with New York, Middlesex (June 13-14). "Handles: Functional to Fantastic," reeds, Jason Walker (July 11-15). "Keeping it Fresh, Functional "Teenage Pottery Workshop" with Annie Schliffer and vines or bamboo with Arline Shalan (June 15); fee: $95. Pots," throwing stoneware with Robert Briscoe (July 18- Claire Willis (June 10-12); fee: $150, includes materials, "Raku Firing" with Bob Green (June 16-17). Fee (unless 22). "Drawing with Form," throwing stoneware with noted above): $175. Skill requirements vary. For further Jane Shellenbarger (July 25-29). "The Devil's Hobby information, contact Lorraine Zaloom, Old Church Cul­ Hat," handbuilding and slip casting with Charles Krafft tural Center School of Art, 561 Piermont Rd., Demarest (August 1-5). "A Week with Jack," handbuilding figures 07627; e-mail [email protected]; see with Jack Earl (August 8-12). "Form and Surface in www.occcartschool.org; tel. (201) 767-7160; or fax (201) Earthenware" with Victoria Christen (August 15-19). 767-0497. Fee/session: $475, includes materials and firing. Instruc­ New Jersey, Layton tion in English, Spanish and German. Skill requirements "For Your Table: Dinnerware" with Lynn Munns(June3- vary. Contact Avra Leodas or Triesch Voelker, Santa Fe 7); fee: $475. "Ceramic History and the Studio" with Clay, 1615 Paseo de Peralta, Santa Fe 87501; e-mail Mary Barringer (June 10-12); fee: $335. "Producing [email protected]; see www.santafeclay.com; tel. Work for the Anagama: Open Studio" with Bruce Dehnert (505) 984-1122; or fax (505) 984-1706. (June 17-21); fee: $510. "Firing the Anagama" with Todd Piker (June 22-28, July 3); fee: $685. "Pinching " Printing with Colored Clay" with Mitch Lyons (July 4-8); Together" with Jimmy Clark and Paulus Berensohn (July fee: $524, includes materials. All skill levels. Contact the 8-12); fee: $470. "Thrown Porcelain—Attention to De­ Institute of American Indian Arts, 7506 Old Santa Fe Trail, tail" with Tom Turner (July 15-19); fee: $475. "Tile Santa Fe 87505; e-mail [email protected]; see Making: An Exploration of Texture and Relief Sculpture www.makingartsafely.com; or tel. (505) 820-7875. Patti Warashina giving a figure-building demon­ Techniques" with Karen Singer (July 22-26); fee: $490. stration at Santa Fe Clay, Santa Fe, New Mexico. New Mexico, Taos "Laser Printed Decals" with Sin-ying Ho (July 29-August "The Earth Connection," forming, finishing, displaying 2); fee: $485. "La Mia Ceramica (Majolica)" with Nicola firing, lodging and meals. "Yoga and Pottery—Exploring (June-August, Mon. eves.); fee: $25/class, includes mate­ Boccini (August 5-9); fee: $490. "Altering Surfaces, the Connection" with Annie Schliffer (August 12-15); rials. "Healthy Forest—Happy Potters, Inc. Wood-Fire Throwing & Special Firing Techniques" with Randy Brodnax fee: $275, includes materials, firing and meals. Lodging: Workshop" with John Bradford (June 2-8 or August 18- (August 12-16); fee: $480. "Pots for Wood and Salt" $150. Skill requirements vary. Contact Annie Schliffer, 24); fee: $450, includes materials and firing. "Family Art with Blair Meerfeld (August 19-27); fee: $690. Skill Rochester Folk Art Guild, 1445 Upper Hill Rd., Middlesex Play" (June 11-August 6, Sat.); fee: $20, includes mate­ requirements vary. All fees include lab fee. Contact Peters 14507; e-mail [email protected]; see www.rfag.org; or rials. "Dragonfly Journeys Within" with Pamala S. Dean Valley Craft Education Center, 19 Kuhn Rd., Layton tel. (585) 554-5463. (July 1-4); fee: $395, includes materials. "Raku Fridays" 07851; e-mail [email protected]; see www.pvcrafts.org; (July 15 or August 19); fee: $40, includes materials and New York, New York tel. (973) 948-5200; or fax (973) 948-0011. firing. "Raku Mask Making" (August 7-13); fee: $355, "PMC Connection Artisan Certification Level One" (June New Jersey, Loveladies includes materials and firing. Instructors (unless noted 3-5 or 24-26); fee: $470, includes materials, firing and "Tableware: An Investigation into Functional Pottery" above): Pamala S. Dean and Karen A. Fielding. All skill PMC Guild membership. "Techniques in Precious Metal with Paul Donnelly (June 27—July 1). "Developing Your levels. For further information, contact Dragonfly Jour­ Clay" (June 4-5 or 25-26); fee: $270, includes materials

Ceramics Monthly April 2005 59 ; ;

www.claymakers.com ; tel. (828) 285-0210; or ; see [email protected] ; or tel. (800)(828) 365-5724; or fax www.highwaterclays.com "Wildacres Retreat Art Workshops," hands-on work­ "Handbulit Pots: From Drawing to Form" with Sam 19). "Firing the Soda Kiln" with Leonora Coleman (June "Throwing and Decorating High-Fired Porcelain" with Ringling School of Art & Design, 2700 N. Tamiami Trail, North Carolina, Little Switzerland lodging and meals. All skill levels. Contact Diane Zorn, Maren Kloppmann handbuilding a bowl during a $388. Skill requirements vary. Contact John C. Campbell North Carolina, Durham Form," earthenware with Ronan Kyle Peterson (June 15- "Coil Building," with Tom Spleth (May 30-June 3). "Cre­ "Wood Firing" with Darrell Adams (June 5-12); fee: Folk School, One Folk School Rd., Brasstown 28902; see Chung (June 8-12). "Pile it On! Low-Fire Surface and North Carolina, Brasstown $574. "Exploring the Potter's Wheel" with Rebecca Floyd Duncan (July 10-16). "Wild & Expressive Figurative Clay Sculpture," handbuilding with Barb Doll (July 24-30). Doug Dacey (August 7-13). "Wood Fire" with Peter Rose shop focusing on raku with Lynn Merhige (July 17-23, 24-30); fee: $495-$595, includes most materials, firing, 837-8637. 25-26, 29); fee: $125, bring Cone (unless noted above): $390, includes materials. Interme­ 10 bisqueware. Fee diate through professional. Contact Leonora Coleman, Claymakers Inc., 705 Foster St., Durham 27603; e-mail [email protected] North Carolina, Asheville North Peters (June 20-24). "Handbuilt Clay for the Wall" with Kathy Triplett (June 27—July 1). "Flat to Functional," workshop at Santa Fe Clay, Santa Fe, New Mexico. tel. (919) 530-8355; or fax (919) 530-8306. handbuilding with Lisa Naples (July 11-15). "Sounding Fee/session: $425, includes registration fee. Skill require­ Fee/session: $425, includes ments vary. contact Cynthia Lee, For further information, www.folkschool.org Gustin (June 6-10). "Raku" with Steven Forbes-DeSoule Ceramic Forms" with Brian Ransom (July 18-22). "Narra­ Odyssey Center for Ceramic Arts, 236 Clingman Ave., (June 12-18). "Throw Pots in One Day" with Mike Lalone (June 26—July 2). "Smoke, Fire & Color" with Susie (August 21-28); fee: $574. Fee (unless noted above): ating Vessels," handbuilding and throwing with Chris (June 13-17). "Form and Surface," throwing with Mark Asheville 28801; e-mail see fax (828) 252-2951. tive Figures," handbuilding with Debra Fritts (July 25-29). tive Figures," handbuilding ; tel. ; tel. ; see ; tel. (315) ; ortel. (518) April 2005 www.wsworkshop.org www.clayartcenter.org ; or tel./fax (631) 725-4605. [email protected]; or tel. www.mwpai.org 60 [email protected] ; see ; or tel./fax (631) 725-4605. ; see ; or tel./fax (585) 271-5183. ; or tel. (607) 783-2476. Ceramics Monthly www.catskillmtn.org/sugarmaples [email protected] "Mastering the Materials: Porcelain and Shino," demo 12442; see "Noborigama Woodfiring" with Michael Carroll (July 16- 17); fee: $130, includes firings. Intermediate. Contact "Porcelain Pots: Thrown and Altered Tableware," with 13—14); fee: $320, includes materials. "Functional Wheel- 13—14); fee: $320, includes materials. "Functional Wheel- "Smoke Firing" with Susan Raber Bray (June 11-12); fee: "The Vessel—Form and Function," with Bryan McGrath "Luscious Raku Art Tile Making" with Christine Merriman "The Expression of Pottery," throwing and altering with New York, Sag Harbor $325; members, $250; includes materials and firing. $250. Contact Nancy Robbins, the Clay Art Guild of the Hamptons, 51 Round Pond Ln., Sag Harbor, NY 11963; New York, White Plains Mariotti, Westchester Art Workshop, 196 Central Ave., New York, Rochester Margie Slinker, Genesee Pottery, 713 Monroe Ave., Roch­ New York, Port Chester New York, Port New York, Rosendale information, contact Joanna Joslyn, Women's Studio Hamptons, 51 Round Pond Ln., Sag Harbor 11963; e-mail Hamptons, 51 Round Pond Ln., Sag Harbor 11963; e-mail New York, Utica [email protected] New York, Water Mill New York, Windham Form," slab building with Annette Gates (August 4-7); Contact Bryan McGrath, Pratt at Munson-Williams-Proc- 797-0000, x2176; or fax (315) 797-9349. Licul (June 12 or 26); fee: $75. "Morphic pressive Changes," Handbuilt Figures" with Janis Mars Wunderlich niques" with Suk-Jin Choi (July 16-17); fee: $175. "Inti­ mate Objects," small-scale sculpture with Michaelene For further information, contact Kelli Damron, Clay Art [email protected] Contact Nancy Robbins, the Clay Art Guild of the 263-4104, x 259. pieces: $5 each. Lodging: $230. Instructor/session: Eliza­ $230. Instructor/session: $5 each. Lodging: pieces: beth Nields. All skill levels. Contact Elizabeth Nields Clay ester 14607; e-mail Center, 40 Beech St., Port Chester 10573; e-mail exploring ceramic surfaces with Melissa Stern (August 20-21); fee: $210. Skill requirements vary. For further (845) 658-9133; or fax (845) 658-9031. (June 4-12); fee: $350, includes materials. Intermediate. [email protected] e-mail (June23-28). "Gas/Soda Kilnbuilding" with Bruce Dehnert (July 11-21). "Vessels That Pour" (August 11-16). with Contact the Catskill Mountain Susan Founda­ Beecher tion, Sugar Maples, PO Box 924, Rte. 23A, Hunter, NY (914) 606-7500. [email protected] (914) 937-2047; or fax (914) 935-1205. sculpture with Leslie Ferst (June 13-16); fee: $300. "Ex­ (July 8-9); fee: $175. "Korean Surface Decoration Tech­ fee: $560, includes materials. "Breaking the Rules," Workshop, 722 Binnewater Ln., Rosendale 12472; e-mail tor Arts Institute, 310 Genesee St., Utica 13502; e-mail with Malcolm Davis (July 22-23); fee: $325; members, Workshop with Peter Beasecker (July 8). Contact Lisa White Plains 10606; e-mail Workshop, 429 Chicken Farm Rd., Otego 13825; e-mail Jessica Parker (July 16); fee: $105. "Giving Shape to Walsh (August 1-5); fee: $385. "Pots with a Presence," throwing and altering with Silvie Granatelli (August 3-5); fee: $250. "The Clay Moment: Porcelain and the Vessel," throwing and altering with Aysha Peltz; or "Liquid Pots for Pouring and Drinking," throwing and altering with Todd Wahlstrom (August 8-12); fee: $385. All skill levels. www.geneseearts.org Thrown Pottery," demo with Linda Christianson (August Josh DeWeese (June 4-5); fee: $175. "Raku" with Denis [email protected]; see ; ; or ; see

[email protected] ; tel. (212) 242-4106, www.earthworksnyc.com ; or tel. (212) 947-6879. ; or tel. (646) 505-5715. [email protected] www.silverclay.com "Salt Glaze Intensive Workshop" (July 5-7, 16-18); fee: $400, includes materials, firing for 10 pieces and lunch. Extra pieces: $10 each. Lodging: $ 150—$300. "August 19-June 23, Thurs.). "Sushi Plates + Sake Cups" with $890. "Raku Workshop" (August $145, includes 15-16, materials and 22-23); firing for fee: 8 pieces. Extra New York, Otego Manhattan, 334 Amsterdam Ave., New York 10023; see "Envisioning Pots + Sculpture" with Vera Lightstone (May Contact Martina D'Alton, Earthworks Pottery, 1705 First cludes materials and lunch on weekdays. Lodging: $650- Clay Workshop," making clay, handbuilding, throwing, glazing, firing an 80-cubic-foot gas kiln, salt firing and "Can You Repeat That—Stamp Making in Terra Cotta" 10014; e-mail setting up an exhibition (August 1-28); fee: $830, in­ www.jccartstudios.org and firing. "PMC Connection Artisan Certification Level "Process, Form, Content," handbuilding with Rina fee: $225, includes materials. Intermediate/advanced. Foundation for the Arts, Skopelos, Greece. Two" (June 10-12); fee: $470, includes materials, firing and PMC Guild membership. Skill requirements vary. For Jungwon Lee (June 26—July 24, Sun.). Contact JCC in Mitch Lyons will demonsrate his clay transfer $395, includes materials and firing. Skill requirements $395, includes materials and further information, contact Vera Lightstone, 347 W. with Martina D'Alton and Wendy Walker (August 7-28); Ave., New York 10128; see Greenwich House Pottery, 16 Jones St., New York Peleg (July 7-10). "Form and Function," throwing Randy with Johnston (July 14-17). "Handbuilt Slabs and andfiring. "Bells and Whistles," handbuilding with Michael andfiring. "Bells and Whistles," handbuilding with Michael Shroyer (July 31); fee: $45. "Majolica—Old into New" technique during a workshop at Skopelos tel. (212) 876-6945. 39th St., New York 10018; e-mail Surfaces" with Mary Barringer; or "The Eccentric Pot," x14; or fax (212) 645-5486. vary. Forfurther information, contact Lawrence Deurloo, see www.greenwichhousepottery.org with Sara Patterson (July 17); fee: $60, includes materials throwing with James Lawton (July 28-31). Fee/session:

summer workshops 2005 Sarasota FL 34234; e-mail [email protected]; see $245, includes materials and meals. Skill requirements throwing, handbuilding, extruding, tool making with www.ringling.edu/continuingstudies; tel. (941) 955-8866; vary. Contact Leslie Lee, Hummingbird, 8150 Applegate David Hendley (July 25-29). "Totems for the Garden," or fax (941) 955-8801. Rd., Jacksonville 97530; e-mail [email protected]; throwing, handbuilding, anchoring, installation with seewww.hummingbirdsouthernoregon.com; ortel. (541) Vincent Sansone (August 1-5). Fee (unless noted above): North Carolina, Penland 899-7045. $300, includes firing. Skill requirements vary. Contact " Double Vision" with George Bowes and Suze Lindsay; or Gail Gentry, Appalachian Center for Craft, 1560 Craft "Discovering Your Form" with Alice Ballard Munn (May Pennsylvania, Philadelphia Center Dr., Smithville 37166; e-mail [email protected]; 29-June 10). "Series with Majolica" with Linda Arbuckle; "All About Electric Kilns" with Hide Sadohara (June 11). seewww.tntech.edu/craftcenter; tel. (615) 597-6801; or or "Majolica: Color & Decoration" with Matthias "Low-Fire Surface Decorating" with Heeseung Lee (July fax (615) 597-6803. Ostermann (June 12-24). "Evolving a Palette for Expres­ 9). "The Doll as Metaphor," slabs and molds with Pam sive Pottery" with Catherine White; or "Crossing Bound­ Lethbridge (July 23). "Sets: Tea, Coffee & More," throw­ Texas, Houston aries: Turkish & American" with Lale Andig and Donna ing with Ben Schulman (August 6-7); fee: $205, includes "Handbuilding with Colored Clays" with Thomas Perry Polseno (June 26—July 8). "Vessels: Thrown & Handbuilt" materials. "Colored Clay Jewelry," porcelain with Cate (August 13 and 20); fee: $ 165, includes materials. Begin­ Fetterman (August 20); fee: $80, includes materials. Fee ning. Contact Amy Weber, Houston Center for Contem­ (unless noted above): $65, includes materials. Skill re­ porary Craft, 4848 Main St., Houston 77002; e-mail quirements vary. Contact Kathryn Narrow, the Clay Stu­ [email protected]; see www.crafthouston.org; dio, 139 N. Second St., Philadelphia 19106; e-mail tel. (713) 529-4848x102; or fax (713) 529-1288. [email protected]; see www.theclaystudio.org, Texas, Ingram tel. (215) 925-3453 x11; or fax (215) 925-7774. "Production Pottery" with Walt Glass (July 15-16); fee: Rhode Island, Providence $75. Intermediate. For further information, contact "Animal Sculpture Workshop" with Patricia Uchill Simons Debbie Luce, Hill Country Arts Foundation, 120 Point (June 25-26, July 24). "Building the Glowworm," build­ Theatre Rd., S, PO Box 1169, Ingram 78025; e-mail ing/firing a high-fire fiber wood kiln with Thomas Ladd visualarts@hcaf .com; see www.hcaf.com; tel. (830) 367- (July 16-17). Intermediate. For further information, con­ SI 20; or fax (830) 367-4332. tact Kris Pederson, Dew Claw Studios, 95 Hathaway St. Vermont, Bradford Providence 02907; e-mail [email protected]; see www.dewdawstudios.com; or tel./fax (401) 461-2069. "Youth Summer Arts Program" with Cindy McCann and Bruce Murray (July 18-29); fee: $550, includes materials Tennessee, Gatlinburg and firing. Ages 12-18. "Soda Kiln: Build & Fire" with "Clay: Surface and Form," earthenware with Victoria Steve Daniel and Bruce Murray (August 1-5); fee: $425, Christen (June 5-11). "Functional Forms from Slab Con­ includes materials and firing. Skill requirements vary. Contact Bruce Murray, South Road Pottery, PO Box 706, A student glazing mugs during a workshop at Quinta do struction" with Margaret Bohls and Lana Wilson (June 12-18)."Wood/Salt-Fired Pottery," functional work with Bradford 05033; e-mail [email protected]; see Caneiro, Caldas da Rainha, Portugal. Linda Christianson (June 19-25). "Out of the Dining www.brucemurraypotter.com; tel. (802) 222-5798; or fax (802) 222-4725. with Chuck Hindes and Ron Meyers; or "Working in Clay: Room & Into the World: Site-Specific Ceramics" with Matt Nolen; or "Clay + Wood + Fire = The Anagama Exploration" with James L. Tanner (July 10-22). "Capac­ Vermont, Bristol Experience" with Jim Brashear and David Hiltner (June ity: Techniques for Big Ware" with David Stuempfle; or "Wood Firing & Salt Glazing," firing a 2-chambered "Concealment/Discovery: Lidded Vessels" with David R. 26—July 9). "Narrative Figures in Clay," handbuilding with noborigama, plus one pit firing (July 29-August 1); fee: summer workshops 2005 Debra Fritts; or "Responding to Touch: Porcelain Pots MacDonald (July 24-August 9). " Raku, Saggar & Throw­ $560, includes materials, firing and meals. "Throwing ing Large" with James C. Watkins; or "Forming Clay with Thrown & Altered" with Leah Leitson (July 10-16). "Spon­ Molds" with Steven Heinemann and Tom Spleth (August taneous Ceramics from Handmade Clay Molds" with Lisa 14-26). "Flash Firing/Multifired Raku" with Harvey Sadow; Orr (July 17-30). "Wheel Pots: Basics and Beyond" with or "Form from Function" with Anne Hirondelle (August Bede Clarke (July 31-August 6). "Raku Pots: Contrasting 28-September 3). Contact the Penland School of Crafts, Textures" with Steve Loucks (August 7-13). Fee/session: PO Box 37, Penland 28765; tel. (828) 765-0433; or see one week, $370; two weeks, $790. Skill requirements www.penland.org. vary. Contact Kim Newman, Arrowmont School of Arts & Crafts, 556 Parkway, Gatlinburg 37738; e-mail North Carolina, Raleigh [email protected]; see www.arrowmont.org; tel. (865) "Bonsai Containers & Planters" with Jamie Kirkpatrick 436-5860; or fax (865) 430-4101. (July 23-24); fee: $77; residents, $70. Intermediate. Con­ Tennessee, Johnson City tact Robbie Stone, Pullen Arts Center, 105 Pullen Rd., Raleigh 27607; see www.parksraleighnc.gov; tel. (919) "Kilnbuilding Seminar II" with Don Davis (June 6-17); fee: 831-6126; or fax (919) 831-6720. $200, includes materials. All skill levels. Contact Don Davis, East Tennessee State University, PO Box 70708, North Carolina, Troy Johnson City 37614; e-mail [email protected]; see "Discovering Watercolor Techniques that are Applicable www.etsu.edu; or tel./fax (423) 439-7864. to 3-D Clay Forms" with Lenton Slack (July 29-31). Tennessee, Sewanee A student throwing with her feet during a workshop Contact Montgomery Community College, 1011 Page at Rochester Folk Art Guild, Middlesex, New York. St., Troy 27371; e-mail [email protected]; or "Function and Beyond," throwing and altering with tel. (910) 576-6222, x238. Cynthia Bringle; or "Handbuilding Functional Pots" with Sandi Pierantozzi (June 12-17). "Pots and Possibilities," Giant Pots" (August 12-14). "Thrown and Altered Pots" Ohio, Oxford throwing and altering with Nick Joerling; or "Innovative (August 26-28). Fee (unless noted above): $420, in­ "Beginning Throwing" with Ryan Fitzer (June 13-17). Thrown and Handbuilt Pottery," with Jeff Oestreich and cludes materials and meals. Instructor/session: Robert "Fire and Smoke: The Art of Raku" with Steven Forbes Lana Wilson (June 19-24). Fee/session: $550, includes Compton. Intermediate. For further information, con­ DeSoule (June 20-24). "MosaicTile," making and install­ meals. Skill requirements vary. ContactClaireD. Reishman, tact Robert Compton Pottery, 2662 N. 116 Rd., Bristol ing with Suzanne Fisher (June 27—July 1). "Lidded Ves­ Shakerag Workshops, 290 Quintard Rd., Sewanee 37375; 05443; e-mail [email protected]; see sels" with Michael Connelly (July 11-15). Fee/session: e-mail [email protected]; see www.shakerag.org; tel. www.robertcomptonpottery.com; ortel. (802)453-3778. $542.29, includes firing. Skill requirements vary. For (931) 968-0210, x3165; or fax (931) 968-0200. further information, contact Joyce Ponder, Miami Univer­ Vermont, Shelburne sity, Craftsummer Program, Oxford 45056; e-mail Tennessee, Smithville "Shino Demo & Firing" with Malcolm Davis (July 29-31); [email protected]; see www.craftsummer.org; "Wheel Throwing, Handbuilding & Image Transfer Fun" fee: $160, includes materialsandfiring. Beginning through tel. (513) 529-7395; or fax (513) 529-1509. with Juan Granados (June 6-10). "Creative Construc­ advanced. For further information, contact Judy Raven, tion," handbuilding and throwing with Wesley Smith Shelburne Craft School, 64 Harbor Road, Shelburne Oregon, Jacksonville (June 13-17). "China Painting" with Paul Lewing (June 05482; e-mail [email protected]; see "Faces and Hands: Telling Gesture in Figurative Sculp­ 20-24). "Functional Pots for the Wood Kiln" with Charity www.shelburnecraftschool.org; tel. (802) 985-3648; or ture" with Leslie Lee (July 16-18). "Handbuilding with Davis-Woodard and Peg Malloy (June 20-29); fee: $600, fax (802) 985-8438. Slabs: Incorporating Decoration at the Making Stage" includes firing. "Raku for Breakfast," glaze manipulation with Dennis Meiners (July 22-24). "Making Molds for with William Capshaw (June 27—July 1). "Pottery as Virginia, Alexandria Creative Applications" with Jim Koudelka (August 13- Expression," throwing, handbuilding, salt/soda firing with "Alternatives: Pit, Saggar, Raku, Terra Sigillata" with 15). "Glaze Basics—Theory to Application" with Richey Josh DeWeese (July 11-15). "Lidded Vessels," throwing Linda and Charlie Riggs (June 4-5); fee: $175. "Yixing Bellinger (August 27-29); bring bisqueware. Fee/session: with Michael Connelly (July 18-22). "Tricks of theTrade," Continued on page 88

Ceramics Monthly April 2005 61 [email protected]; see www.greenearts.org; call for entries or telephone (518) 943-3400. Deadlines for Exhibitions, Fairs and Festivals May 20 entry deadline See call for entries online at www.ceramicsmonthly.org Costa Mesa, California "Art on a Stick Toy Compe­ tition" (July 8-31), open to artist-made toys 3x3 inches. Juried from up to 3 works. Juror: Jim Jenkins. For prospectus, contact Orange County Fair, 88 Fair Dr., Costa Mesa 92626; e-mail [email protected]; see www.ocfair.com; or International Exhibitions telephone (714) 708-1624. June 3 entry deadline April 18 entry deadline Alexandria, Virginia "Containers/Contained" (July Wichita, Kansas "The Wichita National All Media 22-August 28), open to all media pertaining to Craft Exhibition 2005" (September 9-October 23). containment. Juried from slides or jpegs of up to Fee: $25 for up to 3 entries. Juror: Harold B. 3 works. Juror: Twylene Moyer, managing editor Nelson, director of the Long Beach Museum of of Sculpture Magazine. Fee: $25. Awards: $500. Art. Awards: $2500. For prospectus, send SASE For prospectus, send SASE to Target Gallery, 105 to Wichita Center for the Arts, Wichita National N. Union St., Alexandria 22314; e-mail 2005, 91 12 East Central, Wichita 67206; see [email protected]; see website www.wcfta.com; or telephone (316) 634- www.torpedofactory.org; or telephone (703) 2787 x18. 838-4565. June 18 entry deadline May 1 entry deadline Berrien Springs, Michigan "Made by Hand, Meant Toronto, Ontario, Canada "The Distill Cup" (June for Use—2005" (July 25-August 29), open to all 16-26), open to Canadian artists. Juried from handmade, useful ceramics. Juried from slides. slides. Fee: $20 for up to 4 entries. Best in show Juror: Dick Lehman. Fee: $25 for 2 entries. For juror: Steven Heinemann. Cash awards. Contact prospectus, send SASE to ARC Exhibitions, distill, Allison Skinner, 55 Mill St. #56, the Distillery "MBHMFU-2005" Division of Architecture, Historic District, Toronto, Ontario M5A 3C4; or see Andrews University, Berrien Springs 49104-0450; www.distillgallery.com. e-mail [email protected]; see June 15 entry deadline www.andrews.edu/arch/arcex; or telephone (269) Damascus, Maryland "Kaleidoscope Reflections" 471-0429. (September 8-October 15), open to all media June 24 entry deadline relating to kaleidoscopes. For further information New Canaan, Connecticut "Craft USA 2005" (Oc­ and prospectus, send SASE to Brewster Kaleido­ tober 16-November 18), open to all craft media. scope Society, PO Box 95, Damascus 20872; see Juried from slides. Juror: Gail M. Brown, indepen­ www. b re wste rsoc i ety. co m. dent curator. Fee: $35. Cash awards. For prospec­ July 1 entry deadline tus, send #10 SASE to Craft USA, Silvermine Guild Cheongju City, Korea "Fourth Cheongju Interna­ Arts Center, 1037 Silvermine Rd., New Canaan tional Craft Competition" (September 30-0cto- 06840; see www.silvermine.org; ortelephone(203) ber 23), open to craftworks reflecting the theme 966-9700, x26. "Hide and Reveal." Juried from 3 slides and 1 color June 30 entry deadline photo. Awards: grand prize US$20,000 (includes Stockton, California 'Visions in Clay" (August 30- purchase of artwork); four gold prizes US$10,000 September 24), open to functional and nonfunc­ each (includes purchase of artwork); 1 silver prize tional ceramics. Juried from up to 3 entries. Juror: per category, US$2500 each; 1 bronze prize per Adrian Saxe, professor of ceramics, University of category, US$1000 each. For prospectus, contact California Los Angeles. Fee: $12 per entry. Com­ Competition Dept., the Organizing Committee of mission: 25%. For prospectus, send SASE to Vi­ the Cheongju International Craft Biennale, 755 sions in Clay, 2437 Pheasant Run Circle, Stockton Sajik 1-dong, Heungdeok-gu, Cheongju City, 95207; e-mail [email protected]; see Chungcheongbuk-do, 361-828 Republic of Ko­ www.pacific.edu/reynoldsgallery; or telephone rea; e-mail [email protected]; (209) 933-9373. see www.okcj.org; telephone (82) 43 277 2603; or July 1 entry deadline fax (82) 43 277 2610. La Crosse, Wisconsin Juried one-person three- dimensional showand demonstration: Viterbo Uni­ United States Exhibitions versity (September 7-October 4). Juried from 10-20 April 8 entry deadline slides. Jurors: Gerard Justin Ferrari and Viterbo Las Vegas, Nevada "Jackpot! Ceramic Competi­ University Faculty. Fee $20. Responsibilities in­ tion" (May 28-June 25), open to ceramic cups. clude installation, attendance at opening, removal Juried from slides. Juror: Mark Burns, ceramics of show and a one-day workshop. professor at University of Nevada Las Vegas. Best Award: $1000 honorarium. E-mail Gerard Justin of show wins a trip to Las Vegas. For prospectus, Ferrari: [email protected]; or telephone (608) send SASE to Natalia Ortiz, the Contemporary Arts 796-3757. Collective, 101 E. Charleston Blvd., Ste. 101, Las July 8 entry deadline Vegas 89104; e-mail [email protected]; Geneseo, New York "In Our Cups" (August 27- see www.cac-lasvegas.com; or telephone/fax (702) September 17), open to ceramic drinking vessels. 795-1722. Juried from slides. Juror: Ron Meyers. Fee: $25 for May 16 entry deadline up to 3 works. Awards. For prospectus, send SASE Mableton, Georgia "18th Annual National to "In Our Cups" Art Dept., SUNY Geneseo, 1 Juried Art Exhibition" (July 11-August 14), open College Cir., Geneseo 14454; or e-mail to all media. Juried from up to 3 slides. Fee: [email protected]. $25. Cash and purchase awards. For further July 23 entry deadline information, contact South Cobb Arts Alliance, Missoula, Montana "Fourth Annual Soda/Salt Na­ 5239 Floyd Rd., Mableton 30126; or see tional" (September 2-30). Juried from slides. Ju­ www.artshow.com/mablehouse. ror: Gail Nichols. Fee: $25 for 2 slides; $30 for 3. Windham, New York "Journeys in Clay V" Cash awards. For further information and pro­ (June 18—July 31). Juried from 5-10 slides or pho­ spectus, send business-size SASE to the Clay Studio tos. Jurors: Ruth Sachs and Joan Snyder. Commis­ of Missoula, 910 Dickens, Missoula 59802; sion: 30%. For prospectus, contact Donna Barrett, e-mail [email protected]; see Greene County Council on the Arts, 398 Main St., www.theclaystudioofmissoula.org; or telephone PO Box 463, Catskill, NY 12414; e-mail (406) 543-0509.

Ceramics Monthly April 2005 62

residing in a state bordering a Great Lake. Juried Show and Exhibition" (August 4-14), open to call for entries from up to 3 slides. Juror: Sean Ulmer, curator at artists residing in Arizona, California, Colorado, University of Michigan Museum of Art. Fee: $25. New Mexico, Nevada, Oklahoma, Texas or Utah. Awards: $5000. For prospectus, contact Deborah For prospectus, send SASE to RFAL/NMMAS, Box Greer, River Gallery, 120 S. Main, Chelsea 48103; 2928, Roswell 88202; e-mail [email protected]; or Regional Exhibitions e-mail [email protected]; see telephone (505) 622-4985. www.chelsearivergallery.com; or telephone (734) June 15 entry deadline April 5 entry deadline 433-0826. Pittsburgh, Pennsylvania "WAD Clay Institute Juried Erie, Pennsylvania "82nd Annual Spring Show" May 2 entry deadline Annual" (August 26-September 26), open to ce­ (April 23-June 12), open to artists in a 250-mile Portland, Oregon "Craft Biennial: A Review of ramics artists residing in Washington D.C., Mary­ radius of Erie. Juror: Steven Assael. For further Northwest Art 8< Craft" (July 14-August 28), open land, Pennsylvania, Ohio, New York, New Jersey, information, contact Erie Art Museum, 411 State to artists residing in Oregon or Washington. Juried Virginia and West Virginia. Juried from slides of up St., Erie 16501; e-mail [email protected]; from slides. Contact Oregon College of Art & to 3 works. Juror: Dale Huffman, art dept, head of see www.erieartmuseum.org; or telephone (814) Craft, 8245 S.W. Barnes Rd., Portland 97225; or Carlow College. For prospectus, send SASE to 459-5477. telephone (503) 297-5544. Gerry Dinnen, WAD Clay Institute, 2100 Mary St., April 8 entry deadline June 6 entry deadline Pittsburgh 15203; or telephone (412) 279-9956. Chelsea, Michigan "Great Lakes Region: Juried New Mexico, Roswell "Roswell Fine Arts League/ Exhibition" (June 11—July 17), open to all artists New Mexico Miniature Arts Society Juried Art Fairs and Festivals April 5 entry deadline Chautauqua, New York "Crafts Festivals 2005" (July 8-10 or August 12-14), open to fine crafts. Juried from 3 slides of work, 1 of booth. Jurors: Chautauqua Crafts Alliance. Jury fee: $15/show. Booth fee: $260/show. For prospectus, send busi­ ness-sized SASE to Devon Taylor, Festivals Director, Chautauqua Crafts Alliance, PO Box 89, Mayville, NY 14757-0089. May 1 entry deadline Cranford, New Jersey "17th Annual Spring Nomahegan Park Fine Art and Crafts Show" (June 4- 5), open to all handcrafted work. Juried from 4 slides. Booth fee: $295 for 10x12-foot space. Contact Rose Squared Productions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844; e-mail [email protected]; see www.rosesquared.com; telephone (908) 874-5247; or fax (908) 874-7098. Montclair, New Jersey "17th Annual Spring Brookdale Park Fine Art and Crafts Show" (June 18-19), open to all handcrafted work. Juried from 4 slides. Booth fee: $295 for 10x12-foot space. Contact Rose Squared Productions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844; telephone (908) 874- 5247; e-mail [email protected]; see www.rosesquared.com; or fax (908) 874-7098. August 1 entry deadline Upper Montclair, New Jersey "22nd Annual Fine Art and Crafts at Anderson Park" (September 17- 18), open to all handcrafted work. Juried from 4 slides. Booth fee: $295 for 10x12-foot space. For further information, contact Rose Squared Pro­ ductions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844; e-mail [email protected]; www.rosesquared.com; telephone (908) 874- 5247; or fax (908) 874-7098. September 1 entry deadline Cranford, New Jersey "17th Annual Fall Nomahegan Park Fine Art and Crafts Show" (Oc­ tober 1-2), open to all handcrafted work. Juried from 4 slides. Booth fee: $295 for 10x12-foot space. Contact Rose Squared Productions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844; e-mail [email protected]; see website www.rosesquared.com; telephone (908) 874- 5247; or fax (908) 874-7098. Montclair, New Jersey "Seventh Annual Fall Brookdale Park Fine Art and Crafts Show" (October 15-16), open to all handcrafted work. Juried from 4 slides. Booth fee: $295 for 10x12- foot space. Contact Rose Squared Productions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844; e-mail [email protected]; see website www.rosesquared.com; telephone (908) 874- 5247; or fax (908) 874-7098.

For a free 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 PI., Westerville, OH 43081; submit online at www.ceramicsmonthly.org/submissions.asp e-mail [email protected] ; or fax (614) 891-8960

Ceramics Monthly April 2005 64

only for porcelain, but for all the artists and new books intellectuals who triumphed over hardships dur­ ing China’s last tumultuous century.” Dear Mr. Leach Written in both Chinese and English. 149 Some Thoughts on Ceramics pages including preface by Wayne Higby, by Sebastian Blackie acknowledgements, selected bibliography, and When Sebastian Blackie was a teenager and list of Shi Yuren’s published and unpublished aspiring potter, he sent a letter to the legendary writings. 91 color and 72 black-and-white pho­ Bernard Leach. He received an encouraging tographs. $30. ISBN 7-80690-493-X. Published reply and went on to make a career for himself in by Jiangxi Fine Arts Publishing Co. Distributed ceramics. Now more than 30 years later, Blackie in the U.S. by Carla Coch; e-mail “reopens” the lines of [email protected]; or see website communication in this www. spiritandvessel. com. collection of e-mails to the deceased master. Naked Clay Through these e-mails he Ceramics without Glaze reflects upon various by Jane Perryman modern trends both “‘Naked Clay’—the words conjure up evoca­ within and outside the tively the primal quality of the stuff of ceram­ world of ceramics. In ad­ ics—that cool earth dition to the compilation of e-mails, Blackie transformed by the heat provides biographical sketches of some of the of the flame,” says Moira other well-known figures who are mentioned in Vincentelli in this book’s the text. 128 pages including acknowledgements foreword. “The product and introduction. 110 color photographs. £16.99 can be rough and rock- (US$32). ISBN 0-7136-6942-X. Published by like or smooth and se­ A&CBlack Publishers Ltd., Alderman House, 37 ductive. . . . For all the Soho Sq., London W1D 3QZ England; e-mail artist’s represented here, [email protected]; see website it is the properties of the materials themselves www. acblack. com; telephone (44)2077580 229.that sing out.” In this beautifully illustrated book, Jane Dao Qi-Spirit & Vessel Perryman presents the finished works and tech­ by Carla Coch niques of an international group of artists; she This book was published as a companion to also investigates their ideas and areas of inspira­ an exhibition at the Jingdezhen Ceramic Insti­ tion. Sections include Clay with Surface Pig­ tute. The exhibition featured the work of Shi ment, Clay Marked by Fire, Pure Clay, and Clay Yuren (1928-1996) and seven master artists with Additions. 182 pages including acknowl­ among his first generation of students—Zhang edgments, introduction, foreword, background Yuxian, Qi Peicai, Peng Jingqang, Qin Xilin, and index. 230 color photographs. $49.95 Guo Wenlian, Zhang Xuewen and Zhong (£32.50). ISBN (U.S.) 0-8122-3848-6. ISBN Liansheng. The beauti­ (U.K.) 0-7136-5309-4. Published in the U.K. by fully illustrated book fea­ A&C Black, Alderman House, 37 Soho Sq., Lon­ tures full-page color don ID 3QZ England; seewww.acblack.com . photographs of works by Published in the U.S. by University of Pennsylva­ Shi, as well as his stu­ nia Press, 4200Pine St., Philadelphia, PA 19104- dents. It also includes an 4011; e-mail [email protected]; see introduction to Shi’s life website www.upenn.edu/pennpress; or telephone and the porcelain mak­ (800)537-5487. ing in Jingdezhen, a memoir written by Shi’s eldest son, Shi Guo, Don Reitz and biographical introductions to the other Clay, Fire, Salt, and Wood seven artists featured. by Jody Clowes “In a country where porcelain is revered as This book was published in conjunction the most direct representation of the culture, Shi with a retrospective exhibition of the same name Yuren is its most outstanding representative on display at the Elvehjem Museum of Art at the during the last half of the 20th century,” states University of Wisconsin-Madison. The exhibi­ author Carla Coch. “His life and work speak not tion runs through June 5 and features 74 ce-

Ceramics Monthly April 2005 66

new books “When Don Reitz was a kid, his father called anecdotes from the artist. A chronology illus­ him ‘Butterfly,’ and he’s still in constant mo­ trated with black-and-white photographs traces tion,” states Clowes. “His restless, searching major events of Reitz’s life. 128 pages including ramie works that Reitz created between 1960 pace is legendary among his peers; at times Reitz chronology, catalog, and the present. seems almost manic as if he can’t wait to move exhibition history, Don Reitz has pursued a life-long investiga­ onto the next step or the next project. His work, bibliography, index tion of salt and wood firing. This well-illustrated like his physical presence, has both muscle and and list of exhibition book includes an essay by exhibition curator flair, projecting a curiously flamboyant power.” lenders. 72 color and Jody Clowes examining Reitz’s work, his contri­ The book also includes interviews by Mark 37 black-and-white butions to American studio ceramics since 1960, Leach and Clowes. A catalog section with 72 photographs.Soft- and his impact on the field as an innovator, color photographs features information about cover, $29.95. ISBN teacher, and mentor. the works, commentary by the curator and 0-932900-01-1. Published by the Uni­ versity of Wisconsin Press; see www.wisc.edu/wisconsinpress. Distrib­ uted by Chicago Distribution Center, 11030 S. Langley Ave., Chicago, LL 60628; or telephone (773)702-7000.

The Potter's Book of Glaze Recipes by Emmanuel Cooper This revised edition of this reference book includes 455 basic glaze recipes, and variations ranging from opaque, matt and transparent glazes to crystalline and black iron glazes, organized according to their varying temperature ranges. The new edition also contains color photographs of glaze recipes, new material on safety tech­ niques, and is spiral bound for ease of use in the studio. In addition to glaze recipes, the book includes chap­ ters devoted to glaze materials, glaze firing temperatures and classification, and coloring, mix­ ing and applying glazes. A chapter on adjusting glazes addresses how to counteract some glaze problems such as pinholing, craz­ ing, shivering, crawling, bloating and dunting. 208 pages including list of materials, conver­ sion tables, list of further reading and list of suppliers. 475 color photographs. $35 (£23). ISBN (U.S.) 0-8122-3771-4. ISBN (U.K.) 0-7136-6115-1. Published in the U.K. by A&C Black, Alderman House, 37Soho Sq., London ID 3QZ England; seewww.acblack.com . Published in the U.S. by University of Pennsylvania Press, 4200 Pine St., Philadelphia, PA 19104-4011; e-mail [email protected]; see website www.upenn.edu/pennpress; or telephone (800) 537-5487.

Ceramics Monthly April 2005 68 Ceramics Monthly April 2005 69 new videos

Paul Soldner Playing with Fire This documentary film provides a look into the life and art of American ceramics legend Paul Soldner while exploring the creative pro­ cess in general. Through interviews with Soldner himself, as well as his former students, art historians and collectors, the film reveals the influences and events that shaped Soldner’s career and the profound impact of his career on American ceramics. Soldner describes his Mennonite upbring­ ing as being supportive of his artistic explora­ tions, but explains that he did not consider a career in art until after World War II. As a Mennonite, he declared himself a conscien­ tious objector to the War and was drafted as a medic. His war experience became the major impetus for his de­ velopment as a professional artist. When he re­ turned from the war, he decided to pursue his interest in ceramics with financial help from the G.I. Bill. He learned of a former Archie Bray Foun­ dation instructor named Peter Voulkos who was moving to Los Angeles to start a ceramics program at the Los Angeles County Art Insti­ tute (now Otis Art Institute). The only appli­ cant to the program, Soldner was accepted and had the opportunity to be involved in its devel­ opment from the ground up. The atmosphere at Otis encouraged experimentation and wel­ comed accidents. Soldner explains that study­ ing with Voulkos helped him to develop his teaching philosophy, which was to “leave ev­ erybody alone.” After graduating from Otis, Soldner took this teaching philosophy to Scripps College and helped develop a repu­ table program there. With footage of various recent exhibitions and workshops. $30. Pro­ duced, directed and edited by Renee Bergan, Renegade Pictures, Inc., 275 Rosario Park Rd., Santa Barbara, CA 93105; e-mail info @renegadepix. net; see www. renegadepix. net; or telephone (805) 967-4679.

Ceramics Monthly April 2005 70

England, London May 6-8 "Ceramic Art London through May 24 Gilda Oliver, "Kharma—Angelic calendar 2005," includes fair, exhibition, lectures, demonstra­ Creatures"; at Carroll Mansion, 800 E. Lombard. tions and filmslvideos. Presenters include Edmund de through September 1 Nancy Josephson, "Holy H O: Conferences, Exhibitions, Workshops, Fairs 2 Waal, Walter Keeler, Kate Malone, Grayson Perry and Fluid Universe." Andrew Logan, "Cosmic Egg"; at the See calendar online at www.ceramicsmonthly.org Takeshi Yasuda. For further information, contact Ce­ American Visionary Art Museum, Inc., 800 Key Hwy. ramic Art London 2005, 25 Foubert's PI., 3rd FI., Maryland, Frederick April 6-May 2 Amy Corbin, London W1F7QF; e-mail [email protected]; "Exposing Triangles"; at Hood College, Hodson Li­ Conferences see www.ceramics.org.uk. brary, 401 Rosemont Ave. Korea, Icheon April 26-28 "Third International Maryland, Salisbury through April 15 Ramon California, Davis April 29-May 7 "16th Annual Ceramic Symposium—New Horizon of Ceramic Art," Camarillo, "Clay, Fire and Sand"; at the University California Conference for the Advancement of Ce­ will include presentations, lectures and exhibitions. Galleries at Salisbury State (Atrium Gallery), 1101 ramic Art," includes demonstrations, lectures, exhibi­ Advanced registration fee: KRW 40,000 (US$50); stu­ Camden Ave. tions. Fee: $155; student, $105; Friday and Saturday dents KRW 20,000 (US$25). Contact Yoewool Kang, Massachusetts, Boston through April 13 Miranda only, $105; student, $75; Saturday and Sunday only, Symposium Coordinator, International Exhibition Team, Thomas; at Mercury Gallery, 8 Newbury St. $125; student, $90. Contact John Natsoulas Gallery, CEBIKO Dept., World Ceramic Exposition Foundation, Massachusetts, Concord May 12-28Tim Rowan; 521 First St., Davis95616; seewww.natsoulas.com; or San 69-1, Gwango-dong, Icheon, Gyeonggi Province at Lacoste Gallery, 25 Main St. telephone (530) 756-3938. 467-020; e-mail [email protected]; see Massachusetts, Lexington April 1-May 1 Joan Georgia, Atlanta October 5-8 "Growing Creativ­ www.wocef.com; telephone (82) 31 631 6512; or fax Carcia, "Touched by Fire"; at Depot Square Gallery, ity .. . Continuing the Journey," Society of Craft (82) 31 631 1614. 1837 Massachusetts Ave. Designers annual conference. Contact SCD Headquar­ Wales, Aberystwyth July 1-3 "Tenth Interna­ Michigan, Detroit through May 14 Thomas ters, PO Box 3388, Zanesville, OH 43702-3388; e-mail tional Ceramics Festival," includes demonstrations and Hoadley. May 20-July 15 Adam Posnak; at Pewabic [email protected]; see www.craftdesigners.org; tele­ lectures by over 14 presenters, firings, and exhibitions. Pottery, 10125 E. Jefferson. phone (740) 452-4541; or fax (740) 452-2552. For further information, contact Sophie Bennett, Inter­ Minnesota, Minneapolis through April 24 Deb Kentucky, Berea June 2-5 "2005 Craft Organi­ national Ceramics Festival, Aberystwyth Arts Centre, LeAir; at Clay Squared to Infinity, 34 13th Ave., zation Development Association (CODA) Confer­ the University of Wales, Aberystwyth, Ceredigion NE, #109 ence," includes panels, presentations, tours and peer SY23 3DE; e-mail [email protected]; see discussions. For further information, contact Linda www.internationalceramicsfestival.co.uk; telephone Van Trump, CODA managing director, PO Box 51, (44) 1970 622 882; or fax (44) 1970 622 883. Onia, AR 72663; e-mail [email protected]; or tele­ Wales, Cardiff June 29-30 "The Fragmented Fig­ phone (870) 746-4396. ure," includes lectures, sessions and an exhibition. North Carolina, Seagrove June 5-10 "Cross­ Contact Cardiff School of Art and Design, the Centre roads: Traditions and Change, Seagrove International for Ceramic Studies, Howard Gardens, Cardiff CF24 Ceramics Conference," includes demonstrations, ac­ OSP; e-mail [email protected]; or tele­ tivities, lectures, presentations, kiln building and fir­ phone (44) 29 2041 6636. ings, exhibitions and tours. Fee: $375; students, $275; includes 4 lunches and 6 dinners. Contact Randolph Solo Exhibitions Arts Guild, PO Box 1033, Asheboro NC 27204-1033; e-mail [email protected]; telephone (336) 629-0399; Arizona, Phoenix through June 30 "Virgil Ortiz— or fax (336) 629-2892. Le Renaissance Indigene"; at Heard Museum, 2301 N. Central Ave. Tiles by Laura Shprentz; at the Pennsylvania California, Lincoln April 27-May 22 Rodney Mott, Convention Center, Philadelphia. "Ceramic Show"; at Lincoln Arts, 580 Sixth St. California, Pomona April 9-May 7 Chun Wen Wang, "The Secret of the Song Dynasty"; at the May 20-July 70Jami McKinnon, "Social Isolation"; American Museum of Ceramic Art, 340 S. Garey Ave. at Northern Clay Center, 2424 Franklin Ave., E. California, San Francisco May 4-28 Susan York; Missouri, St. Louis May 20-July 3 Dan Anderson, at BraunsteinlQuay Gallery, 430 Clementina St. "Various Architectural Clay Miracles"; at Xen Gallery, California, Ventura through May22 "Otto Heino: 401 N. Euclid. Celebrating 90 Years"; at Ventura County Museum of Montana, Kalispell through April 26 "David History & Art, 100 E. Main St. Shaner—A Retrospective"; at Hockaday Museum of Colorado, Denver April 29-May 22 Alicia Bailey, Art, 302 Second Ave., E. "Secrenere"; at Edge Gallery, 3658 Navajo St. New York, New York through April 16 Eva Hild. Illinois, Geneva May 1-31 Jim Kearns; at Down to April21-May21 Karen Bennicke. May 26-June 25Tip Earth Pottery, 217½ S. Third St. Toland; at Nancy Margolis Gallery, 523 W. 25th St. Cream and sugar set by Julia Galloway; at Worcester Illinois, Oak Park through April 6 Soda-fired por­ through April 76 Josephine Burr, "Points of Entry"; Center for Crafts, Worcester, Massachusetts. celain by Gay Smith. April 9-May 18 Tony Winchester. at Jane Hartsook Gallery, Greenwich House Pottery, 16 May 22-June 22 Chuck Hindes; at Terra Incognito Jones St. China, Yixing May 30-June 4 "International Ce­ Studios & Gallery, 246 Chicago Ave. New York, Niagara Falls through April 24 ramic Art Conference," includes lectures, forums, Indiana, Upland through April 75 Dick Lehman; at Carrianne Hendrickson, "Contemporary Narratives in workshops, tours and exhibitions by national and Taylor University, Modelle Metcalfe Visual Arts Center, Clay"; at Castellani Art Museum, Niagara University. international artists. Fee: $800, includes transporta­ Metcalf Gallery, 236 W. Reade Ave. New York, Port Chester May 1-28 Ruth tion, lodging and meals. For further information, con­ Iowa, Iowa City April 5-21 Jeff Oestreich. Aymui Borgenicht; at the Clay art Center, 40 Beech St. tact Guangzhen Zhou, Chinese Ceramic Art Council Horie. Ron Meyers. May 20-June 2 Triesch Volker; at Ohio, Canton April22-July29 Tom Radca, "Paint­ USA, PO Box 1733, Cupertino, CA 95015; e-mail AKAR, 4 S. Linn St. ing with Fire." Bill Hunt, "A40-Year Retrospective"; at [email protected]; www.yixing2005.org; Maryland, Baltimore through April 10 Jeffrey Canton Museum of Art, 1001 Market Ave., N. telephone (800) 689-2529; fax (408) 777-8321; or Dalton; at Center Stage, 700 N. Calvert St. Ohio, Columbus April 2-30 Kirk Mangus. May 7- Richard Notkin, PO Box 698, Helena, MT 59624-0698; through April 75Tim Rowan, "Abstract Vessels and 31 Tom Bartel; at Sherrie Gallerie, 937 N. High St. e-mail [email protected]; telephone (406) 442-4382; or Boxes"; at Community College of Baltimore County- Ohio, Dublin April 6-May 25 "Marty Shuter: Fa­ fax (406) 457-0058. Catonsville Gallery, 800 Rolling Rd. miliar Faces"; at the Dublin Arts Council Gallery, 7125 Denmark, Skaelskor August 12-14 "Storytelling through April 16 Jane Morais; at CVS Pharmacy Riverside Dr. & Poetry Seminar," includes ceramics lectures, work­ Window, 1000 S. Charles St. Oregon, Salem April 2-May 14 Heidi PreussGrew, shops and excursions with Philip Eglin, Louise through April 16 Lauren Levine, "Biotic Units"; at "Porcelain and Other Stories"; at Hallie Ford Museum Hindsgavl, Steve Mattison, Richard Notkin, Justin the True Vine, 1123W. 36th St. of Art, 900 State St. Novak, Hana Pubkrabkova, Ilona Romule and Katy through May 2 Frank Martin; Street Window, 201 Pennsylvania, Huntingdon Valley May 6-June 5 Rush. For further information, contact Guldagerg^rd, N. Charles St. Shane Keena, "Infestus Tutamen"; at Vessel Gallery, International Ceramic Center, Heilmannsvej 31 A, through May8iar\e Morais; Light Street Storefront, 2465 Huntingdon Pike. 4230 Skaelsk0r; e-mail [email protected]; see 28 Light St. Pennsylvania, Philadelphia through April 23 www.ceramic.dk; telephone (45) 5819 0016; or fax through May 8 Heather Stauffer; Light Street Store­ Margot Nimiroski, "New Works in Fiber and Clay"; at (45) 5819 0037. front, 10 Light St. Wexler Gallery, 201 N. Third St. Continued

Ceramics Monthly April 2005 72

College, DeChiaro College Ctr., Julio Fine Arts Gallery, calendar 4501 N. Charles St. solo exhibitions through April 10 "Clay, Fire and Sand; Eastern Shore Clay Guild"; at the Stewart Building, 228 W. Lexington St. through April 10 "Export China: Jingdezhen Sanbao May 6-29 Kari Radasch. May6-June 77 Julia Gallo­ Ceramic Art Institute," 2004 residents Barbara Diduk, way; at the Clay Studio, 139 N. Second St. Kate Fisher, Ann Hazels, Barbara Kaiser, Jim Leedy, Rhode Island, Providence through May 7 Betty Jiansheng Li, Kate Maury, Paul Mathieu, Heather Woodman; at the Rhode Island School of Design, 2 Ossandon and Neil Read; at Center Stage, 700 N. College St. Calvert St. Tennessee, Nashville April 8-May 25 Viola Frey; through April 13 "Stages of Life," Carolyn Eddins, at Frist Center for the Visual Arts, 919 Broadway. Tina Gebhart, Ebby Malmgren, Jane Miller, Dina Texas, Houston April 16-30 Kay Nguyen, "East Weston, John C. Wilson; at Baltimore Theater Project, Meets West"; at Houston Potters' Guild Shop and 45 W. Preston St. Gallery, 2433 Rice Blvd. through April 15 "SCHOOL'S OUT!, Young Ceram­ Washington, Seattle through April 77 "Mountain ics Artists Up to 6 Years Out of School"; at Community Dreams: Contemporary Ceramics by Yoon Kwang- College of Baltimore County-Catonsville Gallery, 800 Cho"; at the Seattle Asian Art Museum, 1400 E. Rolling Rd. Prospect St. through April 24 "Approach SI," members of Sculp­ Wisconsin, Madison through June 5 Don Reitz, tors Incorporated; at Gallery ID8, 2007 Fleet St. "Clay, Fire, Salt and Wood"; at the Elvehjem Museum through April 27 "4 the Wall," Vincent Burke, of Art, University of Wisconsin-Madison, 800 Univer­ Annabeth Rosen, Virginia Scotchie, Deborah Sigel; at sity Ave. Goucher College/Rosenberg Gallery, 1021 Dulaney Wyoming, Buffalo May27-August 13 Peg Malloy; Valley Rd. at Margo's Pottery and Fine Crafts, 1 N. Main. April 9-May 15 "Evocative Implements"; at Balti­ more Clayworks, 5707 Smith Ave. Group Ceramics Exhibitions Maryland, Easton through April 10 "Particles and Passion: The Art of Clay"; at Academy Art Mu­ California, Davis April 29-May 28 "California seum, 106 South St. Clay Competition"; at the Artery, 207 G St. Maryland, Ellicott City through April22 "Stories, California, Lincoln April 23-May 22 "Feats of Clay Emotions and Science," Nathalie Ann MacDonald, XVIII"; at Gladding, McBean, 601 Seventh St. Jacqueline S. Johnson, Yelena Sheynin; at Howard California, Los Angeles through July 3 "Ceramic County Center for the Arts, 8510 High Ridge Rd. Masters: The Art of Vivika & Otto Heino and Their Massachusetts, Concord April 9-28 Chris Gustin, Contemporaries"; at Craft & Folk Art Museum, 5800 Randy Johnston and Jim Lawton; at Lacoste Gallery, 25 Wilshire Blvd. Main St. April 16-May 20 "Hot Tea"; at Del Mano Gallery, Massachusetts, Pittsfield May 14-October 30 11981 San Vicente Blvd. "Wit and Wine:A New Look at Ancient Iranian Ceram­ California, Pomona May 14-July 2 Mel Jacobson ics from the Arthur M. Sackler Foundation"; at the and Joe Koons; at American Museum of Ceramics, 340 Berkshire Museum, 39 South St. S. Garey Ave. Michigan, Berrien Springs April 5-May 20 "Dif­ Colorado, Carbondale April 1-May 5 "For Two"; ferences with Functionality," Robert Briscoe, Sam at Carbondale Clay Center, 135 Main St. Chung, Charity Davis-Woodard, Julia Galloway, Dick Colorado, Colorado Springs through April 19 Lehman, Warren MacKenzie and Ellen Shankin; at "Keramos: Colorado Clay Artists" at the Colorado Andrews University, Division of Architecture. College Coburn Gallery, 14 E. Cache la Poudre. Michigan, Detroit May 20-July 15 "Chris Gustin Connecticut, New Haven through April 16 "Light and Friends"; at Pewabic Pottery, 10125 E. Jefferson. from the Age of Augustine, Late Antique Ceramics Minnesota, Minneapolis through May 8 "The from North America"; at Knights of Columbus Mu­ Social Life of Pouring Pots." "Exchanging Views: The seum, One State St. Clay Studio's Resident Artists." May 20-July 10 "Per­ D.C., Washington through April 24 "Iraq and foration, " Tony Marsh, Jeffrey Mongrain, Mary Roehm, China: Ceramics, Trade and Innovation"; at Arthur M. Marit Tingleff and Xavier Toubes; at Northern Clay Sackler Gallery, 1050 Independence, Ave., SW. Center, 2424 Franklin Ave., E. through June 4 "Mosaics: Two shows"; at Eleven Montana, Missoula April 1-20“ Potsketch 2005"; Eleven Sculpture Space, 1111 Pennsylvania Ave. at the Clay Studio of Missoula, 910 Dickens. through September 18 "Rusticity Found: Kyoto New Jersey, Newark through August 14 "Earthen Ceramics by Ninsei"; at the Freer Gallery of Art, Jefferson Elegance: African Vessels from the Newark Museum Dr. at 12th St., SW. Collection"; at Newark Museum, 49 Washington St. Florida, West Palm Beach through April 16 "Mad New Jersey, Surf City May 28-June 29 "Jersey Hatter's Tea Party"; at the Armory Art Center, 1700 Shore Clay National"; at m.t. burton gallery, 1819 Parker Ave. Long Beach Blvd. Illinois, Carbondale through May 3 "The Clay New Mexico, Santa Fe through April 23 Linda Cup X"; at Southern Illinois University Museum. Arbuckle, Kathryn Finnerty, Lisa OrrandTriesch Voelker. Indiana, Indianapolis May 6, 2005-January 8, "2005 Summer Workshop Preview Exhibition." April 2006 "Overbeck Pottery of the Arts and Crafts Move­ 29-May 28 "The Flowers that Bloom in the Spring"; at ment"; at the Indianapolis Museum of Art, 4000 Santa Fe Clay, 1615 Paseo de Peralta. Michigan Rd. New York, New York through May 1 "Imperial Iowa, Iowa City May20-June2 "Formsand Shapes: Elegance: Chinese Ceramics from the Asia Society's Narrative Vessel"; at AKAR, 4 S. Linn St. Mr. and Mrs. John D. Rockefeller 3rd Collection"; at Louisiana, New Orleans through April 10 "5000 the Asia Society, 725 Park Ave. Years of Chinese Ceramics from the Robin and R. New York, Port Chester April 2-23 "Linda Randolph Richmond Collection." through September McFarling and the Soda Chicks," Suze Lindsey, Linda 4 "Seldom Seen: Aspects of English and Continental McFarling and Gay Smith; at the Clay Art Center, 40 Ceramics from the Permanent Collection"; at New Beech St. Orleans Museum of Art, 1 Collins Diboll Cir. North Carolina, Charlotte through June 26 "Por­ Maryland, Baltimore through April 8 "Rhythm celain American Style." through July 17 "Pottery Ameri­ and Breath: Revealing the Invisible," Chris Gustin, Brad can Style"; at Mint Museum of Art, 2730 Randolph Rd. Miller, Jill Oberman, Leigh Taylor Mickelson; at Loyola Ohio, Kent April 26-June 11 "Fifth Annual Na-

Ceramics Monthly April 2005 74 Ceramics Monthly April 2005 75 Colorado, Evergreen May 27-June25 "Textiles & calendar Textures x 2," ceramics by Gail Frasier; at the Firehouse group ceramics exhibitions Art Center, 667 Fourth Ave. D.C., Washington through April 24 Cai Guo- Qiang, "Traveler: Reflection." through May 15 "Asian Games: The Art of Contest"; at the Arthur M. Sackler tional Juried Cup Show"; at Kent State University Gallery, 1050 Independence Ave., SW. Museum, Rockwell Hall. through June 26 "Luxury and Luminosity: Visual Ohio, Toledo through June 12 "Vive La France: Culture and the Ming Court." through September 18 Sevres Porcelain in the 1800s"; at the Toledo Musuem "Games, Contests and Artful Play in Japan"; at the of Art, 2445 Monroe St. Freer Gallery of Art, Smithsonian Institution, 12th St. Pennsylvania, Lancaster April 23-May 22 "13th and Independence Ave., SW. Annual Strictly Functional Pottery National"; at Florida, Fort Myers through April 16 "In Bloom, Lancaster Museum of Art, in the Atrium at the South­ First Annual Florida Teapot Show"; at Bloom Flower & ern Market. Gift Shop, 6900 Daniels Pkwy. #28. Pennsylvania, Philadelphia April 1-May 1 "30 Hawai'i, Honolulu through April 24 "The Art of Years of Excellence." May 20-June 26 "The Second Rice: Spirit and Sustenance in Asia"; at the Honolulu Annual Marge Brown Kalodner Graduate Student Ex­ Academy of Arts, 900 S. Beretania St. hibition"; at the Clay Studio, 139 N. Second St. Illinois, Chicago April 3-May 15 "On the Road Rhode Island, Kingston April 7-May 1 Again 16th Annual Teapot Show"; at Chiaroscuro "Earthworks: Open Juried Clay Annual"; at South Galleries, 700 N. Michigan Ave. County Art Association, 2587 Kingstown Rd. Kansas, Topeka through April 8 "Topeka Com­ Rhode Island, Providence through May 1 "Studio petition XXVII"; at the Alice C. Sabatini Gallery, Ceramics from the Museum Collection; at Rhode Is­ Topeka and Shawnee County Public Library, 1515 land School of Design, 224 Benefit St. S.W. Tenth Ave. Texas, Columbus through May 15 "White Bread: Kansas, Wichita through April 26 "Art Show at The Second Slice," Angela Gallia and Linda Gossett; at the Dog Show"; at the Century II Convention Center, Live Oak Arts Center, 1014 Milam. Foyer Gallery, 225 W. Douglas. Texas, Lubbock April 16-June 24 "Clay on the Kentucky, Louisville through April 23 "For the Wall: 2005 Clay National"; at Texas Tech University Love of Flowers"; at the Kentucky Museum of Arts + School of Art. Design, 715 W. Main St. Virginia, Alexandria through April 27 "Fertile Maryland, Baltimore through May 1 "Art Blos­ Earth—Islamic Influences in Contemporary Ceram­ soms"; at Off-Broadway Jewelry and Art, 1709 ics," Alan Caiger-Smith, Sanam Emami, Neil Forrest, Aliceanna St. Amanda Jaffe, Andrea Gill, Karen Koblitz, Nermin Maryland, Brookland through April 22 "Social Kura, Liz Quackenbush, Carolinda Tolstoy; at Target Realisms," including ceramics by Cynthia Consentino Gallery, Torpedo Factory, 105 N. Union St. and Hirotsune Tashima; at the Park School, 2425 Old Virginia, Arlington through June 4 "Mosaics Ex­ Court Rd. hibition"; at Ellipse Art Center, 4350 N. Fairfax Dr. Maryland, Frederick April 6-May 1 "Annual Stu­ dent Art Exhibition"; at Hood College, Hodson Gallery, Ceramics in Multimedia 401 RosemontAve. Exhibitions Massachusetts, Cambridge through June 30 "Imazighen: Beauty and Artisanship in Berber Life"; Arizona, Tempe through April 23 "The Other at the Peabody Museum, Harvard University, 11 Divin­ Mainstream: Selections from the Collection of Mikk ity Ave. and Stanley Weithorn," including ceramics by Robert New Jersey, Pennington through April 27 "Meta­ Arneson, Justin Novak and Wanxin Zhang; at ASU Art morphosis," including ceramics by Connie Bracci- Museum Ceramics Research Center, Arizona State Mclndoe; at the Silva Art Gallery, Pennington School, University, Mill Ave. and Tenth St. 112 W. Delaware Ave. Arizona, Tucson through April 16 Four-person New Jersey, Plainfield April 2-30 Two-person exhibition, including ceramics by Mary Fischer; at exhibition including ceramics by Elaine Lorenz; at Swain Obsidian Gallery, St. Philip's Plaza, 4320 N. Campbell, Galleries, 703 Watchung Ave. Ste. 130. New York, New York through June 5 "Cherished California, Oakland May 16-July 1 "ACGA Comes Possessions, A New England Legacy"; at the Bard to Oakland"; at the Craft & Cultural Arts Gallery, State Graduate Center, Studies in the Decorative Arts, De­ of California Office Bldg., 1515 Clay St. sign and Culture, 18 W. 86th St. California, Pasadena through April 9 "For the May26-September 11 "Dual Vision, The Collection Garden," including ceramics by Annette Atwood and of Jerome A. and Simona Chazen"; at the Museum of Stefani Gruenberg; at the Folk Tree Collection, 199 S. Arts & Design, 40 W. 53rd St Fair Oaks Ave. North Carolina, Asheville through April 23 California, San Diego through April 25 "Borders "Haywood Community College Graduate Show"; at of Intimacy," including ceramics by Cheryl Tall; at Blue Spiral 1, 38 Biltmore Ave. Mesa College Art Gallery, 7250 Mesa College Dr. North Carolina, Charlotte through April 17 California, San Francisco through April 14 "Joint "Speaking Volumes: Vessels from the Collection of the Exhibition of the Association of Clay & Glass Artists of Mint Museums." May 7-October 9 "Point of View III," California and Baulines Craft Guild"; at the Atrium, including ceramics by Mark Hewitt; at Mint Museum of 600 Townsend St. Craft + Design, 22 N. Tryon St. California, Santa Ana April 2-May 1 "Get it Off Ohio, Columbus through April 77 "Bringing Mod­ Your Chest"; at Orange County Center for Contempo­ ernism Home: Ohio Decorative Arts 1890-1960"; at rary Art, 117 N. Sycamore, Columbus Museum of Art, 480 E. Broad St. California, Stanford through June 12 "Guardian May 1-June 19 "Best of 2005"; at the Ohio Craft of the Flame: The Art of Sri Lanka." May 25-August Museum, 1665 W. Fifth Ave. 21 "Vanishing Worlds: Art and Ritual in Amazonia"; at Ohio, Westerville through June 12 "Nigerian Im­ Iris B. Gerald Cantor Center for Visual Arts, Stanford ages, Selections from the Germanson Collection"; at University. Otterbein College, Frank Museum of Art, 39 S. Vine St. Colorado, Denver through December31 "Heaven Ohio, Zanesville May 1-June 5 "59th Annual May and Home: Chinese Art of the Han Dynasty from the Art Show and Craft Exhibition"; at Zanesville Art Sze Hong Collection." "New Classics"; at Denver Art Center, 620 Military Rd. Museum, 100 W. 14 Ave. Pkwy. Oregon, Portland through May 29 "Waking

Ceramics Monthly April 2005 76 Ceramics Monthly April 2005 77 Texas, San Antonio April 16-17 "Fiesta Arts Fair"; calendar at Southwest School of Art & Craft, 300 Augusta. ceramics in multimedia exhibitions Virginia, Chantilly May 13-15 "Sugarloaf Crafts Festival"; at the Dulles Expo Center, 4320 Chantilly Place Center.

Dreams: The Art of the Pre-Raphaelites from the Dela­ Workshops ware Art Museum"; atthe Portland Art Musuem, 1219 S.W. Park Ave. Arkansas, Fayetteville April 9-10 "Tile: Making, Pennsylvania, Wayne through May 2 "2005 Decorating, Marketing" with Paul Lewing. Contact Wayne Art Center National Spring Open Juried Exhibi­ Flat Rock Studio & Clay Supplies, 2002 S. School, tion"; at Wayne Art Center, 413 Maplewood Ave. Fayetteville 72701; e-mail [email protected]; or South Carolina, Greenville April 20-June 26 telephone (479) 521-3181. "RiverRun: Art of the Reedy"; at Greenville County Arkansas, Mountain View April 22-26 "Firing a Museum of Art, 420 College St. Wood-Burning Kiln" with Judi Munn and John Perry. Texas, Columbus through May 15 "The White Fee: $265, includes materials; participants may bring Bread Family Side Show"; at Live Oak Art Center, 1014 bisqueware. For further information, contact Terri Milam St. Bruhin, Ozark Folk Center, PO Box 500, Mountain Texas, Dallas through May 29 "Splendors of View 72560; e-mail [email protected]; see China's Forbidden City: The Glorious Reign of Emperor www.ozarkfolkcenter.com; telephone (870) 269-3851; Qianlong"; at the Dallas Museum of Art, 1717 N. or fax (870) 269-2909. Harwood St. California, Apple Valley April 16 Workshop with Virginia, Richmond through May 7 "Bonnie Prince Greg Richards. Fee: $50. May21 Workshop with Peter Charlie and the Royal House of Stuart, 1688-1788: Callas. Fee: $75. Contact Diana Ware Clay Studio, Works of Art from the Drambuie Collection"; at the 21887 Hwy. 18, Apple Valley 92307; e-mail University of Richmond Museums, George M. Modlin [email protected]; see www.diana-ware.com; or Center for the Arts, Marsh Art Gallery telephone (760) 242-0360. Wisconsin, Racine through September 11 "Glitz, California, Costa Mesa April 9-10 "Gesture and Lusterand Luxe in RAM's Collection"; atthe Racine Art Rhythm" with Steven Hill and Matt Long at Orange Museum, 441 Main St. Coast College. Contact Rosemarie Copado, Laguna Clay, 14400 Lomitas Ave., City of Industry, CA91746; Fairs, Festivals and Sales see www.lagunaclay.com; or telephone (626) 330- 0631,x231. California, Lincoln April 23 "Feats Fundraising California, Pomona October 14-15 "Mayco Ce­ Benefit." Contact Lincoln Arts, 601 Seventh St, Lincoln ramics Camp." Fee: $150, includes materials and 95648; see www.lincolnarts.org; or telephone (916) lunch. All skill Levels. Contact Mayco Colors/Coloramics, 645-9713. LLC: Karen Shelton [email protected]; Florida, West Palm Beach April 28-May 1 see www.maycocolors.com; or telephone (614) "SunFest, 23rd Annual Fidelity Federal Fine Art & Craft 675-2025. Show"; downtown, along the Intracoastal Hwy. California, Santa Ana April 16 "Alternative Ap­ Maryland, Gaithersburg April 8-10 "Sugarloaf proaches to Throwing Large Vessels with Unique Ma­ Crafts Festival"; at the Montgomery Co. Fairgrounds, terials as Support Systems" with Bob Dixon. Fee: $55; 16 Chestnut St. advance, $45; includes lunch. Contact Patrick Crabb, Maryland, Timonium April 8-10 "Sugarloaf Santa Ana College, 1530 W. 17th St., Santa Ana Crafts Festival"; atthe Maryland State Fairgrounds, 22 92706; e-mail [email protected]; or telephone York Rd. (714) 564-5613. Massachussets, Worcester April 8-10 "Third An­ California, Santa Maria April 5 "Gesture and nual Pottery Invitational Show & Sale"; at Worcester Rhythm," slide presentation with Steven Hill and Matt Center for Crafts, 25 Sagamore Rd. Long at Hancock College. Contact Rosemarie Copado, Michigan, Detroit April 23-25 "Annual Overrun Laguna Clay, 14400 Lomitas Ave., City of Industry, CA Sale"; at Pewabic Pottery, 10125 E. Jefferson. 91746; see www.lagunaclay.com; or telephone (626) Michigan, Novi April 15-17 "Sugarloaf Crafts 330-0631, x231. Festival"; at Novi Expo Center, 43700 Expo Center Dr. California, Santa Rosa September 24-25 Work­ Missouri, Hanibal May 28-29 "River Arts Festi­ shop with Xiaoping Luo and Junya Shao at Santa Rosa val"; downtown, N. Main St. Junior College. Fee: $1000. For further information, New Jersey, New Brunswick April 30 "31st An­ see www.xiaopingstudio.com; or telephone (707) nual New Jersey Folk Festival"; on the Douglass cam­ 527-4397. pus of Rutgers, the State University. California, Sunnyvale April 9 "Yixing Teapot Work­ New Jersey, Verona May 14-15 "19th Annual shop" with Mequin Gu. Fee: $65; OVCAG, ACGA or Fine Art and Crafts at Verona Park"; at Verona Park, Mother Earth members, $60. April 22-24 "Master at 475 Bloomfield Ave. Work" with Paul Soldner. Fee: $125. May 28-29 New York, New Paltz May 28-30 "Woodstock- "Stories To Throw By . . ." with Mel Jacobson. Fee: New Paltz Art & Crafts Fair"; at the Ullster County demo only, $65; 2-days hands-on, $125. Contact Fairgrounds. Mother Earth Clay Art Center, 790 Lucerne Dr., Sunny­ New York, New York April 1-6 "Heavenly Earth: vale 94085; see www.mamasclay.com; or telephone Contemporary Asian Ceramics," 10th Annual art fair; (866)311-0244. at the Museum of Arts & Design, 40 W. 53 St. California, Torrance April 7 "Gesture and Oregon, Portland April 30 "Art on the Vine Ben­ Rhythm," slide presentation with Steven Hill and Matt efit Auction"; at Oregon Convention Center, 77 N.E. Long at El Camino College. Contact Rosemarie Copado, Martin Luther King Dr. For tickets, telephone (503) Laguna Clay, 14400 Lomitas Ave., City of Industry, CA 297-5544, x146. 91746; see www.lagunaclay.com; or telephone (626) Pennslvania, Philadelphia April 15-17 "Philadel­ 330-0631, x231. phia Furniture & Furnishings Show"; at the Pennsylva­ Colorado, Carbondale April 30-May 1 "Altered nia Convention Center, 1101 Arch St. Forms," demonstration workshop with Sequoia Miller. South Carolina, Greenville April 21-24 "Arti- October 15-16 Workshop with Mary Barringer. Con­ sphere"; at Reedy River Falls Park. tact Carbondale Clay Center, 135 Main St., Carbondale Texas, Austin May 7-8 "Art of the Pot, An Austin 81623; e-mail [email protected]; see Pottery Tour." For maps, see www.artofthepot.com; www.carbondaleclay.org; telephone (970) 963-2529; or telephone (512) 329-91 13. or fax (970) 963-4492. Continued

Ceramics Monthly April 2005 78

gram, 219 Western Ave., Allston 02134; see calendar www.fas.harvard.edu/~ofa/programs/ceramics; tele­ workshops phone (617) 495-8680; or fax (617) 496-9787. Maryland, Baltimore April 30-May 8 "Wood Kilnbuilding Workshop" with Kevin Crowe. Fee: $270; members, $250. May 74-75 "Combined Techniques— Colorado, Denver October 21-22 "Mayco Ce­ Process and Meaning" with Matt Wilt. Fee: $180; ramics Camp." Fee: $150, includes materials and members, $160. Contact Baltimore Clayworks, 5707 lunch. All skill Levels. Contact Mayco Colors/Coloramics, Smith Ave., Baltimore 21209; e-mail LLC: Karen Shelton [email protected]; [email protected]; see see www.maycocolors.com; or telephone (614) www.baltimoreclayworks.org; or telephone (410) 675-2025. 578-1919. Colorado, Snowmass Village September 12-30 Maryland, Frederick May 14-15 "Glaze Applica­ "Developing Vessel Form: Studio Intensive" with Christa tion" with Joyce Michaud. Fee: $150. Contact Hood Assad, Doug Casebeer, Daphne Hatcher and James College, Ceramics Program, 401 Rosemont Ave., Lawton. Fee: $1290, includes studio fee. All skill levels. Frederick 21701; see www.hood.edu/academic/art; or For further information, contact Anderson Ranch Arts telephone (301) 696-3456. Center, 5263 Owl Creek Rd., PO Box 5598, Snowmass Massachusetts, Stockbridge April 2 and 16 "Tile Village 81615; e-mail [email protected]; Making" with Diane Sullivan. May 14 "Electric Kilns, see www.andersonranch.org; telephone (970) 923- and Cone 6 Clay and Glaze" with Jeff Zamek. Fee: 3181; or fax (970) 923-3871. $100. May21-22 "Pull it Up—Push it Out: The Thrills, Florida, Orlando April 29-30 "Mayco Ceramics Problems and Discipline of Throwing" with Scott Camp." Fee: $150, includes materials and lunch. All Goldberg. Fee (unless noted above): $200, includes skill Levels. Contact Mayco Colors/Coloramics, LLC: materials. Contact Karin Watkins, IS 183, Art School of Karen Shelton [email protected]; see the Berkshires, PO Box 1400, Stockbridge 01262; www.maycocolors.com; or telephone (614) 675-2025. e-mail [email protected] ; see www.is183.org ; or tele­ Florida, St. Petersburg April 9-10 "Japanese Slip phone (413) 298-5252. Trailing & Inlay Decoration" Gregory Miller. Contact Massachusetts, Sturbridge May 6-7 "Mayco Ce­ Jennifer Lachtara, St. Petersburg Clay Company, 420 ramics Camp." Fee: $150, includes materials and 22nd St. S, St. Petersburg 33712; e-mail lunch. All skill Levels. Contact Mayco Colors/Coloramics, [email protected]; see www.stpeteclay.com; LLC: Karen Shelton [email protected]; or telephone (727) 896-2529. see www.maycocolors.com; or telephone (614) Florida, Winter Park May 21-22 Workshop with 675-2025. Timothy Weber. Fee: $170; members, $150; includes Massachusetts, Truro May 22-23 "Kilnbuilding firings. Contact Niki Pierson, Crealde School of Art, Workshop" with Jim Brunelle and Diane Heart. Fee: 600 St. Andrews Blvd., Winter Park 32792; see $150. May28-29 "Raku Firing" with Kristin Dennison, www.crealde.org; or telephone (407) 671-1886. Diane Heart, Tim Scull, Judy Shaffer and Mikhail Zakin. Georgia, Atlanta April 76-/7 "Ash Glaze," hands- Fee: $200, includes materials and firing. September 5- on workshop with Mark Issenberg. May 14-15 Dem­ 9 "Poetics of Clay" with Paul Soldner. Fee: $500, onstration workshop with Gay Smith. Fee/session: includes firing. September 12-16 "Alternative Firing" $110. Discount: 15% with 60-day advance registra­ with Tim Scull. Fee: $450. All skill levels. Contact tion. Contact MudFire Clay Studio and Gallery, 175 Cherie Mittenthal, Truro Center for the Arts at Castle Laredo Dr., Atlanta 30030; e-mail [email protected]; Hill, PO Box 756, Truro 02666; e-mail [email protected]; see www.mudfire.com; or telephone (404) 377-8033. see www.castlehill.org; telephone (508) 349-7511; or Georgia, Rabun Gap April 22-23 "Exploring Na­ fax (508) 349-7513. ked Raku" with WallyAsselberghs. Fee: $160, includes Minnesota, Bemidji April 13-14 Workshop with lunch. May 14-15 "Sculpting the Figure: Making and Bob and Cheryl Husby at Bemidji State University. Fee: Using Visual References" with Keith Smith. Fee: $ 160, $35. Contact Bemidji Community Arts Council, 426 includes lunch. September 19-23 Workshop with Chris Bemidji Ave., N, Bemidji 56601; see www.bcac-mn.org; Gustin. October 22-23 Workshop with Ron Meyers. or telephone (218) 444-7570 or (218) 755-3736. Contact the Hambidge Center, PO Box 339, Rabun Montana, Helena May 27-29 "Get Your Gap 30568; see www.hambidge.org; or telephone Downdraft On," kilnbuilding with Ben Krupka and (706) 746-5718. Curtis Stewardson. Contact Archie Bray Foundation, Idaho, Boise April 6-7 Workshop with Stan Welsh. 2915 Country Club Ave., Helena 59602; Fee: $25; BSU students and faculty, free. Contact Jim www.archiebray.org; or telephone (406) 443-3502. Budde, Boise State University, 1910 University Dr., New Jersey, Layton May20-22 "Starting Out and Boise 83725; e-mail [email protected]; see Moving On: Learning from Mistakes," throwing with www.boisestate.edu; telephone (208) 385-0849; or Matt Burton. Fee: $310, includes lab fee. May 27-29 fax (208) 426-1243. "Printing with Colored Clays" with Mitch Lyons. Fee: Ilinois, Oak ParkMay 21-22 Workshop with Chuck $325, includes lab fee. May 27-31 "Yixing Traditional Hindes. Fee: $140; advance, $125. Contact Terra Slab-Built Teapots and Contemporary Sculpture," Incognito Studios and Gallery, 246 Chicago Ave., Oak hands-on workshop with Xiaoping Luo and Junya Park 60302; see www.terraincognitostudios.com; or Shao. Fee: $470, includes lab fee. September 2-4 telephone (708) 383-6228. "Paper Clay" with Jerry Bennett. Fee: $315, includes Indiana, Bloomington April 9-10 "A Touch of lab fee. September 9-11 "Letting Go," pit firing, Porcelain—The Elegance of Form" with Susan Filley. painting and gilding with Bennett Bean. Fee: $325, Contact Cheri Glaser, Local Clay Potters' Guild, 830 includes lab fee. Skill requirements vary. Contact Pe­ N. Sewell Rd., Bloomington 47408; e-mail ters Valley Craft Center, 19 Kuhn Rd., Layton 07851; [email protected]; or telephone (812) 336-3463. e-mail [email protected]; see www.pvcrafts.org; or Indiana, Indianapolis October22-23 "Mayco Ce­ telephone (973) 948-5200. ramics Camp." Fee: $150, includes materials and New Mexico, Abiquiu May 12-13 "Brush Mak­ lunch. All skill Levels. Contact Mayco Colors/Coloramics, ing" with Kathryn Holt. Fee: $65; members, $50.May LLC: Karen Shelton [email protected]; see 13-15 "Embellishing the Surface" with Susan Harris. www.maycocolors.com; ortelephone (614) 675-2025. Fee: $165; members, $145; includes materials and Maryland, Allston April 23-24 "Surface Texture firing. All skill levels. Contact Maxine Chelini, New for Tiles" with Nancy Selvage. May 7-8 "Collaborative Mexico Potters & Clay Artists, 1564 Cerro Gordo, Tile Design and Fabrication" with Wasma'a Chorbachi. Santa Fe, NM 87501; e-mail [email protected]; see Fee: $150; undergraduates, $35. Contact Nancy Sel­ www.nmpotters.org; or telephone (505) 986-1865. vage, Office for the Arts at Harvard, Ceramics Pro­ New Mexico, Santa Fe April 30-May 1 "Post-

Ceramics Monthly April 2005 80

ter, 250 East Ave., Seagrove 27341; telephone (336) calendar 873-8430. workshops Ohio, Columbus September 24-25 "Mayco Ce­ ramics Camp." Fee: $150, includes materials and lunch. All skill Levels. Contact Mayco Colors/Coloramics, LLC: Karen Shelton [email protected]; see Firing Techniques" with Gretchen Ewert. Fee: $200, www.maycocolors.com; or telephone (614) 675-2025. includes lab fee. Contact Santa Fe Clay, 1615 Paseo de Ohio, Wooster April 13-16 "Functional Ceramics Peralta, Santa Fe 87501; e-mail [email protected]; 2005" with Mark Hewitt, Sandi Pierantozzi and Neil or telephone (505) 984-1 122. Patterson. Fee: $175; full-time students, $90. Contact New York, New York April 29-May 1 "PMC Phyllis Blair Clark, 2555 Graustark Path, Wooster 44691; Connection Artisan Certification." Fee: $470, includes or telephone (330) 345-7576. materials, firing and PMC Guild membership. April 30- Oregon, Astoria April 12-17, unload23 "Six-Day May 1 "Techniques in Precious Metal Clay." Fee: $270, Wood-Fire Workshop" with Owen Rye. Fee: $200. For includes materials and firing. May 14-15 "Dichroic further information, contact Teri Sund, Clatsop Com­ Glass and Precious Metal Clay." Fee: $270, includes munity College, Art Center Gallery, 1653 Jerome Ave., materials and firing. Instructor/session: Vera Light­ Astoria 97103; e-mail [email protected]; telephone stone. Contact Vera Lightstone, 347 W. 39th St., New (503) 338-2478; or e-mail Richard Rowland, York 10018; e-mail [email protected]; see [email protected]; ortelephone (503) 325-0184 www.silverclay.com; or tel. (212) 947-6879. or (503) 338-2449. May 16 and 23 "Introduction to Precious Metal Oregon, Gresham/\pr//8-70Workshop with Owen Clay" with Vera Lightstone. Fee: $222; members, Rye. Fee: $100. Contact Stephen Mickey, Mt. Hood $180. Contact JCC Manhattan, 334 Amsterdam Ave, Community College, 26000 S.E. Stark St., Gresham New York 10023; or telephone (646) 505-5708. 97030; or e-mail [email protected]. New York, Port Chester April 17, May 8 or 22 Pennsylvania, Philadelphia April 9 "Fun Glazing "Raku" with Denis Licul. Fee/session: $75. May 14-15 Techniques" with Doug Herren. Fee: $65; members, "Handbuilding: Extruding and Slab Techniques" with $60. April 17 "Explore Paper Clay" with Jerry Bennett. Hayne Bayless. Fee: $175. Skill requirements vary. Fee: $130; members, $120. April 23 "Coloring Out­ Contact Kelli Damron, the Clay Art Center, 40 Beech side the Lines" with Rain Harris. Fee: $80; members, St., Port Chester 10573; e-mail [email protected]; $75; includes materials. May 13 (lecture), 14-15" Func­ see www.clayartcenter.org; telephone (914) 937-2047; tional Excess" with Julia Galloway. Fee: $205; mem­ or fax (914) 935-1205. bers, $195; lecture, $5. Contact the Clay Studio, 139 New York, Rosendale September 10 "Figurative N. Second St., Philadelphia 19106; see Porcelain Sculpture" with Linda Cordell. Fee: $120. www.theclaystudio.org; telephone (215) 925-3453; Intermediate through professional. Contact Joanna or fax (215) 925-7774. Joslyn, Women's Studio Workshop, 722 Binnewater Pennsylvania, Pittsburgh May 6 (lecture) 7-8 Ln., Rosendale 12472; [email protected]; "WAD Clay Institute's Third Annual Spring Spectacu­ see www.wsworkshop.org; telephone (845) 658-9133; lar," raku workshop with Paul Jay. Fee: lecture, free; or fax (845) 658-9031. $20/day; $30/both days. Contact Gerry Dinnen, 2100 New York, Water Mill May21-22 "Glazes" with Mary St., Pittsburgh 15203; telephone (412) 279-9956. Peter Pinnell at the Celadon Gallery. Fee: $325; mem­ Texas, Dallas April 23-24 "Mayco Ceramics bers, $250; includes materials and firing. Intermedi­ Camp." Fee: $150, includes materials and lunch. All ate/advanced. Contact the Clay Art Guild of the skill Levels. Contact Mayco Colors/Coloramics, LLC: Hamptons, 51 Round Pond Ln., Sag Harbor, NY Karen Shelton [email protected]; see 1 1963; e-mail [email protected]; or telephonel www.maycocolors.com; ortelephone (614) 675-2025. fax (631) 725-4605. May 16-31 "Imaginative Forms," hands-on with New York, White Plains May4 "Cups—Hope You Gina Bobrowski and Lisa Ehrich. Fee: $240; out-of- Can Handle It" with Alison McGowan. Contact county, $150; in-county, $90. Intermediate through Westchester County Center, 196 Central Ave., White professional. Contact Lisa Ehrich, Brookhaven Col­ Plains 10604; or telephone (914) 684-0094. lege, 3939 Valley View, Farmers Branch, TX 75234; North Carolina, Brasstown April 10-16 "Pots— e-mail [email protected]; telephone (972) 860- Functional and Folksy, Too" with Jeanie Daves. April 4733; or fax (972) 860-4385. 17-23 "The Art of Raku" with Lynn Jenkins. April 24- U.S. Virgin Islands, St. John April4-10 "Raku in May 1 "Altered Functional Pottery" with Rebecca the Caribbean." Fee: $600. April 8-10 "Raku Week­ Floyd. Fee: $574. May 1-7 "Nature as Art" with end." Fee: $270. Instructor/session: Steven Branfman. Kaaren Stoner. May 8-14 "Throwing on the Wheel" Contact Maho Bay Clayworks, PO Box 523, St. John with Ray Del Conte. May22-28" Earth, Wheel& Fire— 00831; e-mail [email protected]; see Wheel Basics" with Jan Morris. September 14-20 www.mahobayclayworks.com; ortelephone (340) 776- "Raku: Smoke, Fire & Glowing Pots" with Obie Clark. 6226, x226. Fee (unless noted above): $388. Contact John C. Virginia, Alexandria April 9 "Visiting Artist Cri­ Campbell Folk School, 1 Folk School Rd., Brasstown tique" with Margaret Boozer. Fee: $35. April 7-28, 28902; see www.folkschool.org; telephone (800) 365- Thursdays. "Throwing Bigger and Better" with Andy 5724; or fax (828) 837-8637. Irvine. Fee: $155. April 23-24, 29 "Salt Firing" with North Carolina, Durham May 21-22 "The Plea­ Marianne Cordyack. Fee: $150. Contact Creative Clay sure of Making Pottery" with Terry Gess. Fee $125. Studios, 5704 E. General Washington Dr., Alexandria Contact Julie Olson, White Oak Pottery, 3915 Rivermont 22312; email [email protected]; see Rd., Durham 27712; see www.whiteoakartworks.com; www.creativeclayPottery.com;ortelephone(703)750- or telephone (919) 309-4747. 9480. North Carolina, Little Switzerland October 24- Virginia, Amherst April 2 (loading), 9 (firing), 16 30 "Wildacres Retreat" with Lynn Merhige. Fee: $495- (unloading) "Hikarigama Wood Firing" with Kevin $595, includes some materials, firing, lodging and Crowe atTye River Pottery. Fee: $210. Contact Hood meals. All skill levels. Contact Diane Zorn, Ringling College, Ceramics Program, 401 Rosemont Ave., School of Art & Design, 2700 N.Tamiami Trail, Sarasota, Frederick 21701; see www.hood.edu/academic/art; or FL 34234; e-mail [email protected]; see telephone (301) 696-3456. www.ringling.edu/continuingstudies; telephone (941) 955-8866; or fax (941) 955-8801. International Events North Carolina, Seagrove May 14-15 Workshop with Tom Turner. Fee: $125, includes lunch. Limit of Belgium, Brasschaat September 15-16 "Funcky 30 participants. Contact North Carolina Pottery Cen- Theepots," handbuilding with Richard Godfrey. Fee:

Ceramics Monthly April 2005 82 Ceramics Monthly April 2005 83 [email protected]; see www.visualartscentre.ca; calendar telephone (514) 488-9558; or fax (514) 488-7075. international events Denmark, Copenhagen May 20-June 25 Barbro Aberg; at Galleri N0rby, Vestergade 8. Denmark, SkaeIskor April2-11 and/or October 1- 10 "Cross Draught Kiln Wood Firing." Fee: Dkr 700 €70 (US$92). September24-25 "Throwing & Altering (US$ 122); must bring bisqueware. April 14-20 "Wood Large Forms" with Randy Carlson. Fee: €100 (US$ 131). Kilns—FastFireand Soda" with Ann-CharlotteOhlsson. October 1-2 "Slip Casting with Bone China" with Fee: Dkr 1600 (US$281); students, Dkr 1100 (US$ 198). Sasha Wardell. Fee: €110 (US$144). Advanced. Con­ April29-30 "Photography—Ceramic Work" with Ole tact Patty Wouters, Atelier Cirkel, Miksebaan 272, Akhoj. Fee: Dkr 1100; members, Dkr 900 (US$162); 2930 Brasschaat; e-mail [email protected]; students, Dkr 700. May 23-24 "Between Image & see www.atelier.cirkel.be; or telephone/fax (32) 36 Form" with Brian Bolden. Fee: Dkr 1200 (US$209); 33 05 89. members, Dkr 1000 (US$262); students, Dkr 700. Belize, Rio Bravo April 21-May 1 "Maya Pottery September 5-9 "Experimental Studio II" with Barbro Workshop" with Clint Swink. Fee: $1500, includes Aberg and Karen Harsbro. Fee: Dkr 1900 (US$331); lodging, meals, transportation, research and tours. members, Dkr 1700 (US$297); students, Dkr 1200. Contact Swink Art, 688 Raven Ridge, Bayfield, CO September 26-30 "Design" with Sam Chung, Pekka 81122; e-mail [email protected]; or telephone (970) Paikkari and Michael Geertsen. Fee: Dkr 1900; 563-4624. members, Dkr 1700; students, Dkr 1200. October24- Canada, British Columbia, Coquitlam May 18- 28 "Experimental Glass & Clay" with Nina Hole. Fee: June 3 "Fraser Valley Potters Guild Show"; at Ever­ Dkr 1900; members, Dkr 1700; students, Dkr 1200. green Cultural Centre, 1205 Pinetree Way. Contact GuldagergSrd, International Ceramic Center, Canada, British Columbia, Port Moody May 5- Heilmannsvej 31 A, 4230 Skaelskor; e-mail 29 "BC in a Box"; at the Blackberry Gallery, 2425 St. [email protected]; see www.ceramic.dk; telephone Johns St. (45) 5819 0016; or fax (45) 5819 0037. Canada, British Columbia, Vancouver April 7- England, Bideford, North Devon April 9-June 5 May 2 Jasna Sokolovic. April 7-June 8 "50 Bowls." "Elemental Insight"; at Burton Art Gallery & Museum, May 5-30 Linda Doherty, "A Tiskit, A Tasket"; at Kingsley Rd. Gallery of BC Ceramics, 1359 Cartwright St., Gran­ England, Bovey Tracey, Devon through April 24 ville Island. "Big Hand, Little Hand." May 7-June 19 "Celebrating May 2-29 "Fire Women"; at Seymour Art Gallery. 50 Years of the Devon Guild of Craftsmen." May 14- 4360 Gallant Ave. June 15 Fran Benatt; at Devon Guild of Craftsmen, May 3-15 "Masked Flame," Capilano College ce­ Riverside Mill. ramics students. May31-June 12 "Torch Light," high- England, Hundon, Suffolk May 28-29 "Firing school show of masks; at Silk Purse Arts Centre, 1570 Workshop" with Jane Perryman. Fee: £170 (US$322), Argyle Ave. includes materials, firing and meals. Contact Jane May 10-29 "Fired," Mas Funo, Tam Irving, Vincent Perryman, Wash Cottage, Clare Rd., Hundon, Suffolk Massey, Sally Michener and Wayne Ngan; at Ferry CO108DH; e-mail [email protected]; see Building Gallery, 1414 Argyle Ave. www.janeperryman.com; or telephone/fax (44) 1440 May 12-June 12 "Island Fire," Sandra Dolph, Jan 786 228. Grove, Gordon Hutchens, Denys James, Lynne Johnson, England, Ipswich, Suffolk April 29-May 2, 27- Glenys Marshall-lnman, Judy Weeden, Jeanette 30, or September 16-18 "Throwing and Related Tech­ Wrenshell, Masoud Zadeh; at CityScape Community niques." Fee: 3 days, £310 (US$587); 2 days, £220 Arts Space, 335 Lonsdale Ave. (US$417); includes materials, firing, lodging and meals. Canada, Ontario, Burlington through May 15 October23-29 Workshop with emphasis on throwing, "Makers' Choice III." through December 19 "Recent handbuilding, glazing and wood-fired raku. Instruc­ Acquisitions 2004"; at Burlington Art Centre, 1333 tor/session: Deborah Baynes. Fee: £425 (US$805), Lakeshore Rd. includes materials, firing, lodging and meals. All skill Canada, Ontario, Haliburton May 7 "Fusion Raku levels. Forfurther information, contact Deborah Baynes in Haliburton," with Wayne and Sylvia Rose. Fee: Pottery Studio, Nether Hall, Shotley, Ipswich, Suffolk Can$35 (US$29), includes materials. Bring bisqueware. 1P9 1PW; e-mail [email protected]; see Contact Fusion, the Gardener's Cottage, Cedar Ridge www.potterycourses.net; tel. (44) 1473 788 300; or Creative Centre, 225 Confederation Dr., Toronto, fax (44) 1473 787 055. Ontario M1G 1B2; [email protected]; see England, London through April 23 Martin Smith. www.dayandglass.on.ca; telephone (416) 438-8946; April 29-June 11 Ken Eastman; at Barrett Marsden or fax (416) 438-0192. Gallery, 17-18 Great Sutton St. Canada, Ontario, Toronto through April20 Kayo through April 24 "Modern Pots: Lucie Rie, Hans O'Young and Diane Nasr; at the Guild Shop, 118 Coper and Their Contemporaries"; at Dulwich Picture Cumberland St. Gallery, Gallery Rd. April 9 "Textural Techniques for Handbuilt Forms" through July 10 "International Arts and Crafts with Pauline Harman. April 16 "Firing with Wood" Exhibition"; at the Victoria and Albert Museum, with Sam Cuttell. April 23 "Figures from Slabs" with Cromwell Rd. Belle Leon .April 30 "Tips and Tools" with Paul Peddle. through July 31 "Circling the Square: Avant-Garde May 7 "Building Flanged Boxes" with Shu-Chen Chang. Porcelain from Revolutionary Russia"; at Hermitage Contact Fusion, the Gardener's Cottage, Cedar Ridge Rooms, South Bldg., Somerset House, Strand. Creative Centre, 225 Confederation Dr., Toronto, April 22-July 4 Richard Slee; at the Crafts Council Ontario M1G 1B2; e-mail [email protected]; see Gallery, 44a Pentonville Rd. www.dayandglass.on.ca; telephone (416) 438-8946; May6-8 "Ceramic Art London 2005"; atthe Royal or fax (416) 438-0192. College of Art, Kensington Gore. Canada, Quebec, Montreal through May 15" Eter­ May 14-31 "London and Paris: A Visual Arts Study nal Egypt: Masterworks of Ancient Art from the British Abroad Program" with Gail Kendall. Fee: $3000, in­ Museum"; atthe Montreal Museum of Fine Arts, 1380 cludes airfare, lodging and tours. Undergraduate rue Sherbrooke W. credit, scholarships and financial aid available. For September 10 "Raku Workshop" with Patrick Bu­ further information, e-mail Gail Kendall, University of reau. Fee: Can$125 (US$102), includes materials and Nebraska-Lincoln: [email protected]; or see firing. Advanced. Instruction in English and French. www.unl.edu/iaffairs. Contact Patrick Bureau, Visual Arts Centre, 350 Victoria England, Tenbury Wells May20-22, May27-30 Ave., Montreal, Quebec H3Z 2N4; e-mail or September 9-12 Weekend sessions on all aspects

Ceramics Monthly April 2005 84 Ceramics Monthly April 2005 85 Porcelain Pots Thrown and Altered" with Leah Leitson. calendar Fee/session: $2500, includes lodging and materials. international events Contact Lynne Burke, Pottery Abroad, LLC: e-mail [email protected]; see www.potteryabroad.com; telephone (404) 261-0431. May 13-30 One-week hands-on handbuilding of pottery production, with emphasis on throwing, workshop with Denys James; one-week hands-on pulling handles and spouts, trimming, modeling, terra sigillata workshop with Giovanni Cimatti. Fee: handbuilding, slab building, and coil building with US$3625, includes airfare, lodging, lunch, materials Martin Homer. Fee: £243-£362 (US$461-US$686), and tours. Contact Denys James, Discovery Art Travel, includes materials, firing, lodging and meals. Instruc­ 182 Welbury Dr., Salt Spring Island, British Columbia tion in English, with some French and Italian. All skill V8K 2L8 Canada; e-mail [email protected]; levels. For further information, contact Tina Homer, see www.denysjames.com; or telephone (250) 537- Martin Homer Pottery, Lower Aston House, Aston 4906. Bank, Tenbury Wells, Worcestershire, WR15 8LW; Jamaica, Trelawny Apri/22-30 "Jamaica: Making e-mail [email protected]; see Pottery" with Doug Casebeer, Randy Johnston, Jan www.homerpottery.co.uk; or telephone (44) 1584 McKeachie Johnston and David Pinto. Contact Ander­ 781 404. son Ranch Arts Center, PO Box 5598, Snowmass France, Allegre-Les Fumades April 25-30, May Village, CO 81615; see www.andersonranch.org; or 9-14, September 19-24 or October 3-8 throwing telephone (970) 923-3181. only, 24-29 One-week throwing or raku workshops. Japan, Gifu through October 16, 2006 "European Fee: €500-€570 (US$653-$744), includes materials, Noble Wares"; atthe Museum of Modern Ceramic Art, firing, lodging and meals. Instructors: Michel and Julia Gifu, 4-2-5 Higashi-machi, Tajimi-shi. Simonot. Beginning through advanced. Instruction in Japan, Mashiko May 5-13 "Japanese Pottery Work­ English and French. For further information, contact shop," throwing with George Dymesich and guests. Michel Simonot, Mas Cassac, 30500 Allegre-Les Fee: $1200, includes materials and lodging. Instruc­ Fumades; e-mail [email protected]; see tion in English and Japanese. Contact George Dymesich, www.ceramique.com/Mas-Cassac; tel. (33) 4 66 24 85 7475 Oak Ridge Rd., Aptos CA 95003; e-mail 65; or fax (33)4 66 24 80 55. [email protected]; or telephone (831) 475- France, Antibes through May 28 "Picasso and 5614. Ceramics"; at Musee Picasso d'Antibes, Chateau Japan, Osaka through April 12 "Persian Ceramics Grimaldi, Juan-les-Pins. and Bronze from Takada Collection"; at the Museum France, Cordes sur Ciel April 24-30 "Throwing of Oriental Ceramics, Osaka, 1-1-26 Nakanoshima, and Raku." May 1-7 "Throwing and Fire." May 15-21 Kita-ku. "Throwing." May 24-June 2 "Pit Fire, Paper Clay and Netherlands, Amsterdam April 2-30 Les Man­ Raku" with Ottokar Sliva. Fee: €755 (US$1012), in­ ning and Wim Borst; at Gallery Carla Koch, cludes materials and meals. September 4-10 "Throw­ Prinsengracht 510 sous. ing Course." September28-October9 "Pottery with a Netherlands, Deventer April 17-May 74 Vincent Big Smile" with Dan and Laurie Hennig. Fee: €755 Potier. May29-July2 Christine Fabre; at Loes & Reinier (US$1012), includes materials and meals. Fee/session International Ceramics, Korte Assenstraat 15. (unless noted above): €395 (US$530); includes mate­ Netherlands, Swalmen September 5-9 "Throw­ rials and meals. Contact LaC6ramique, La Plaine, Cordes ing Techniques" with Joop Crompvoets. Fee: €270 sur Ciel 81170; or see www.laceramique.com. (US$352), includes materials and firing. Intermediate France, Manosque May 2-29 Pierre and Florence through professional. Instruction in Dutch, English and Scheyvaerts; at Galerie Voghera, 4 rue Tribunal German. Contact Joop Crompvoets, de Walsberg, Germany, Berlin through May 5Two-person exhi­ Heide 57, Swalmen, Limburg, 6071 LG; e-mail bition including ceramics by Gudrun Petzold; at [email protected]; tel. (31)47 550 27 39; or fax (31) KunstRaum Berlin, Lindower Str. 18. 47 550 54 90. through August 1 "Made in Berlin: Ceramics Be­ Scotland, Fife through May 8Three-person exhibi­ fore 1945"; at the Keramik-Museum Berlin, tion including ceramics by Len Whately; at Crawford Schustehrusstr. 13. Arts Centre, 93 North St., St. Andrews. May 1-30 George and Dedda Hohlt; at Galerie South Korea, Icheon April23-June 19 "The Third Theis, Neuferstr. 6. World Ceramic Biennale 2005 Korea"; at Icheon World Italy, Certaldo (Florence) April3-10 "Sculpture Ceramic Center, Gwango-dong San 69-1, Icheon. and Raku" with Joyce Kilbrew. April 17-30 "Earth Switzerland, Genveva May 26-September 26 & Fire" with John Jessiman. September 4-10 "Raku "French Faience at the Time of the Sun King: Collec­ Dolce" with Giovanni Cimatti. September 18-Octo- tions of the Sevres Museum"; at Musee Suisse de la ber 1 "Clay and Chianti" with Josh DeWeese. Fee: Ceramique et du Verre, 10 Ave. de la Paix. $2500, includes materials, firing, lodging and meals. Turkey, Istanbul, Ankara and Cappadocia Sep­ All skill levels. October 16-29 Soda Firing and Raku tember 15-October 6 "Turkey Ceramics Excursion." Dolce" with Terry Davies and Giovanni Cimatti. Con­ First week: hands-on workshop including handbuild­ tact La Meridiana, Loc. Bagnano 135, 50052 Certaldo; ing, colored porcelain and decals with Mehmet Kutlu. see www.pietro.net; or telephone/fax (39) 0571 Second week: hands-on workshop with Erdogan Gulec 660084. and Denys James. Fee: CAN$4450 (US$3650), in­ Italy, Marsciano April 22-25, May 13-15, Sep­ cludes airfare, transportation, lodging, breakfasts, tours tember 1-4, 17-18, 30-0ctober 2 or 15-16 "Stages and studio visits; CAN$2702 (US$2250) without air­ of Raku Ceramics—Arts and Holidays," handbuilding fare. Deposit due: June 15. Contact Denys James, andfiringwith Luca Leandri. Fee:4days€280(US$365); Discovery Art Travel, 182 Welbury Dr., Salt Spring 3 days €230 (US$304); 2 days €180 (US$238); in­ Island, British Columbia V8K 2L8 Canada; e-mail cludes materials and firing. Lodging: €35 (US$46/day. [email protected]; see www.denysjames.com; Meals: €15 (US$20)/meal. Instruction in English and or telephone (250) 537-4906. Italian. Skill requirements vary. For further informa­ tion, contact Elisabetta Corrao and Luca Leandri, la Fratta Art-House, Vocabolo Fratta 157, Marsciano For a free listing, submit announcements at least two months 06055; e-mail [email protected] or [email protected]; before the month of opening. Add one month for listings in July; see www.lafratta.it or www.lucaleandri.it; or tel./fax two months for those in August. Mail to Calendar, Ceramics (39) 758 785 1 11. Monthly, 735 Ceramic PL, Westerville, OH 43081; submit online Italy, Tuscany May 1-14 "Pots/Possibilities" with at www.ceramicsmonthly.org/submissions.asp e-mail Nick Joerling. October 2-15 "Responding to Touch: [email protected] or fax (614) 891-8960

Ceramics Monthly April 2005 86 Ceramics Monthly April 2005 87 ; see ; see ; see ; or ; see Continued Hat ; tel. (888) 886- ; tel. (888) 886- Medicine www.ateliercirkel.be; tel./ ; see [email protected] ; tel. (888) 886-2787; or fax [email protected] [email protected] McArthure; or "Unconventional Clay," "Soda in the Fire" with Gail Nichols; 5); fee: Can$345 (US$280). Intermedi­ "Sculpting a Handbuilt Plate" with paper clay with Trudy Golley (August 1- paper clay with Trudy Golley 5005, Red Deer, Alberta T4N 5H5; Can$1960 (US$1592), includes materi­ Forms" with Rob Froese (July 25-29); For further information, 5005, Red contact Deer, Alberta T4N 5H5; Sculpture: Full-Scale Bust" with Brian http://extension.rdc.ab.ca http://extension.rdc.ab.ca "Stretching the Limits of Functional ate through professional. Contact Eric Wong; or "Thrown and Altered als, firing, lodging and meals. "Ceramic Searle (June 4-8). "Color & Use Line: The of Line in Decoration and Its 2787; or fax (403) 343-4028. e-mail 2787; or fax (403) 343-4028. fee/session: Can$345 termediate (US$280). In­ through professional. e-mail or "Surfacing: Ways of Observing, Wendy Meeres, Red Deer College, Box Canada, Alberta, Canada, Alberta, Red Deer Wendy Meeres, Red Deer College, Box Ways of Interpreting and slips, terra Realizing," sigillata, stains with Joanne Application to Ceramics" with VisGirda; Rimas fee: Can$415 (US$337), cludes in­ materials and firing; or [email protected]

"Embrace the Aesthetics of Flame," 16-day bishogama Michikawa (August 27-28); fee: €115 (US$150). Ad­ and firing. "Japanese Throwing Techniques" with Syozo Canada, Alberta, Grand Prairie [email protected] fax (32) 36 33 05 89. vanced. For further information, contact Patty Wouters, Atelier Cirkel, Miksebaan 272, 2930 Brasschaat; e-mail firing with Ben Waterman (July 22-August 6); fee: 18-22). "Putting itTogether: Vesselsforthe Kitchen" Dishes," throwing, handbuilding with Cathi Jefferson "Kelowna Clay Festival," demos with Phil Rogers, colored (July 11-15). "Making a Functional Teapot" with Eric Etzkorn (August 1-5). Fee (unless noted above): cesses" with James Watkins; fee: Can$385 (US$313) Skill requirements vary. Contact Wendy Deer Meeres, Red College, Box http://extension.rdc.ab.ca 5005, Red Deer, Alberta porcelain with Mike Haley and Susy Siegele; altering and Wong; or "The Slab Dish" with Robert Froese (July (July 25-29). "A Focus on Surface and Decoration" Can$345 (US$280), includes firing. GST not included. Box 30025, Kelowna, British Columbia V1V 2M4; with Fredi Rahn; or "From Handle to Spout" with Jim (403) 343-4028. sions with Linda Doherty (August 19-20); fee: Can$125 with Meira Mathison; or "Alternative Firing Pro­ Canada, British Columbia, Kelowna trimming with Hank Murrow; or hands-on molding with (US$101); after May 31, Can$145 skill levels. Contact Kelowna (US$118) Clay Festival, Glenmore PO each. All e-mail T4N 5H5; e-mail Trudy Golley and hands-on weaving and altering extru­ www.members.shaw.ca/okpanews/dayfest05.html tel. (250) 762-5837. ; see ; see April 2005 [email protected] 88 ; or tel./fax (715) 774-3707. ; or tel. (715) 277-4224. [email protected] Ceramics Monthly at la Fratta Art-House, Marsciano, Italy. "Ceramics for Sushi," handbuilding with David Caradori Hansen—emphasis on India (July 5); emphasis on Mexico on India (July 5); emphasis Hansen—emphasis (July 12); emphasis (July 12); emphasis 2); empha­ on Mediterranean (August sis on North America (August 9); fee/session: $65, in­ pots" with David Caradori (August includes 18-20); firing. "Flaming fee Fast $235, Fire" with John Hansen cludes materials and dinner. "Mastering the Potters (August 15-17); $235, includes firing. "Ceramic Tea­ Wheel," with Bruce Grimes (August 10-12); fee: $140. requirements vary. (August 22-26); fee: $280. Skill "Weber Wood Fire 2005," handbuilding, throwing and "Fast-Fire/Wood-Fire Workshop" with Joan Slack- "Contemporary American Raku" with Steven Branfman kiln design with Mike Weber (June 12-27); fee: $450, Herbster 54844; e-mail For further information, contact Registrar, Peninsula 54212; e-mail includes materials, firing and camping. All skill levels. Contact Mike Weber, Weber Wood Fire, PO Box 45, DeBrock (June 24-26); fee: $265, includes materials, www.peninsulaartschool.com; tel. (920) fax (920) 868-9965. 868-3455; or Art School, 3900 County F, PO Box 304, Fish Creek International Workshops Wisconsin, Herbster Belgium, Brasschaat (near Antwerp) www.weberwoodfire.com Wisconsin, McNaughton firing, most meals and handouts. Contact Riverrun Cen­ ter for the Arts, PO Box www.riverrunarts.com 95, McNaughton 54543; see (July 1-3); fee: €130 (US$170), includes materials and (August 22-26); fee: €200 (US$260), includes materials firing. "Terra Sigillata + Smoke Firing" with John Nutgens ; Luca Leandri demonstrating the post-fire reduction process during a workshop Luca Leandri demonstrating the post-fire reduction process during ; see ; see ; ortel. (703) 750-9480. ; see ; or tel. [email protected] ; tel. (847) 724-3509 or (847) [email protected] ; tel. (253) 922- ; or tel. (360) ; tel. (703) 754-1307. [email protected] www.creativeclaypottery.com Nan Rothwell, Spruce Creek Gallery, "Pitchers: A Hands-On Throwing Work­ "Pitchers: A Hands-On Throwing "The Big Pot Workshop," Nigerian handbuilding with summer workshops summer page 61 Continued from mediate through professional. Contact ington Dr., Alexandria 22312; e-mail [email protected] ington Dr., Alexandria 22312; materials and firing. Skill requirements vary. Contact Gail materials. All skill levels. Contact Winnie Owens-Hart, ILE 1339, Suquamish 98392; e-mail "Clay Collage," handbuilding and slip materials. Limit of 7 participants. "Salt Firing" (July 30-31); fee: $160, includes materials and firing; participants should bring bisqueware. Limit of 8 participants. Instructor/session: Nan Rothwell. Inter­ Adkisson, Creative Clay Studios, 5704 E. General Wash­ Gainesville [email protected] 20156-0361; e-mail see "China Mending Restoration," ethics and scruples, fixing "Clay on Hands," all aspects including salt and raku 221 Pottery Ln„ Faber, VA 22938; Teapots" with Dave Straney(June 18); fee: $75, includes Virginia, Gainesville shop" (June 25-26); fee: $120, includes Virginia, Nellysford Winnie Owens-Hart (June 25-26); fee: $130, includes 361, AMO Research Center, PO Box $425; 10-day, $675; includes materials, firing and lunch. 598-3688. e-mail Moczygemba (July 8-10); fee: $160. pants/workshop. For further information, contact Diehl, Lockbridge Pottery, 1274 Lockbridge Rd., Meadow Jeff Bridge 25976; e-mail Marin (August 1-5). Contact Joe 5342; or fax (253) 922-5349. [email protected] (434) 263-4023. " Beginning/Continuing Pottery," handbuilding to throw­ Instructor: Jeff Diehl. All skill levels. Limit of 10 partici­ Brecha, Clay Art neer Center, 2636 Way Pio­ E, Tacoma 98404; see Sprague (June 25-26). "Architectural www.sprucecreekgallery.com ClaySpace on Puget Sound, PO Box Washington, Suquamish casting figurative work with Cara materials, lodging and meals. All skill levels. Contact IL 60025; e-mail Ceramics" with Peter King and Xinia West Virginia, Meadow Bridge Washington, Tacoma Workshop with Pat Horsley and Don All skill levels. Contact Brenda Beeley, old repairs, color and design with Gerlinde Kornmesser Gerlinde Kornmesser, 1705 Glenview Rd., Glenview, firings (June 6-11, July 4-9 or August 1-10); fee: 6-day, www.lockbridgepottery.com; or tel./fax (304) 484-7150. Wisconsin, Appleton (July 17-24,24-31 or 31 -August 7); fee: $ 1500, includes www.clayartcenter.net ing with John Hansen (June 16—July $220. "Beauty 14, from Fire: Adventures in Thurs.); Raku" with Brian fee: Fitzgerald (July 18-21); fee: $280. "Form to Reform: www.gkrestoration.com 375-8105; or fax (847) 724-3060. 27); fee: $220. "Festive Foods and Pottery," with John Wisconsin, Fish Creek Thrown Sculpture in Clay" with David Aurelius (July 25-

summer workshops 2005

; see ; see ; tel. (613) ; tel. (250) www.sl.on.ca ; tel. (705) 457-1680; April 2005 www.missa.ca ; see 90 ; see [email protected] ; tel. (705) 474-7600 x5600; or fax [email protected] ; ortel. (519) 542-7751 x3559. Ceramics Monthly [email protected] "Aesthetics of Ceramic Form" Les Manning with (June 3- 10); fee: Can$450 (US$364). "Sculptural to Functional summer workshops summer "Sculpting the Human Head" with Heather Spears; "Fire or Smoke—Raku" with Steven Forbes deSoule (July 11-15). Fee (unless noted above): 1 week, Can$345 Firing" with Gordon Hutchens (June "Plaster Pots" 6-10). Robin Hopper; or "Making Dishes" with Suze Lindsay Hill (July 9). "Handbuilt Masks" with Bob Kingsmill (July "Pottery Wheel Throwing" with Christina McCarthy (July 11-15). "Smoke Firing & Terra Sigillata" with Lyse Fleury Canada, British Columbia, Victoria Canada, British Clay" with Patrick Crabb (July 4-8). "Master Glaze" with "Pottery—Beginners," throwing with Barbara Joy Peel with Katrina Chaytor; or "Understanding Ceramic Glazes" with Katrina Chaytor; or "Understanding (July 4-15). "Rims, Feet, Spouts, Handles" with Steven 9-10). "Creating Creatures" with Randy Brodnax; or meals available. Contact Meira International Mathison, School of Metchosin Art, 650 Pearson College Dr., [email protected] with Peter Pinnell; or "Zoomorphic Fantasies—Mixed (US$281); 2 weeks, Can$650 (US$529). Lodging and 391-2420; or fax (250) 391-2412. Canada, Nova Scotia, Brockville 5X3; e-mail "Decorative Porcelain" with Bill Reddick "Handbuilding Clay Sculpture" with (July Tim Storey (July 18- 12-16). (July 18-23). "Pottery Decoration" with Darlene Keffer Skill requirements vary. Contact Faye Peters, St. Lawrence College, 2288 Parkedale Ave., Brockville, Ontario K6V 345-0660 x3503; or fax (613) 345-0124. majolica with Matthias Ostermann (July 18-22); fee: (August 8-12). Fee/session: fee: Can$221.40 (US$180). Can$324.06 (US$263), includes materials. "Sculpture," handbuilding with Steve Hudak (July 25-29). "Pottery— Form & Process" with Les Manning (July 25-29); fee: "Aesthetics of Ceramic Form" with Les Manning (August 15-19); fee: Can$250 (US$203), includes materials and Victoria, British Columbia V9C 4H7; e-mail Canada, Ontario, Haliburton (July 4-9). "Pottery II," throwing with Barbara Joy (July Peel 11-16). "Clay Tiles—Decoration & Illustration," Can$252.27(US$205). "Handbuilding—Garden Pottery" Sculpture" with Can$244.27 Paul (US$198)."Raku—Advanced" with Portelli Michael Sheba (August 8-12); fee: Can$304.06 (US$246)." Raku— (August 8-12); Basics" fee: with Michael Sheba (August 15-20); ments fee: vary. For further information, contact Shelley "Decorative Ceramics," throwing and glazing with Eva Can$304.06 (US$246) Can$284.06 (US$230), Fee includes materials. Skill require­ (unless noted above): Schell, Haliburton School of the Arts, 297 College Dr., Box 839, Haliburton, Ontario K0M 1S0; see ments vary. For further information, contact Artsperience, P1B 8G2; e-mail with Thom Lambert (August 1-5). "Handbuilding Clay or fax (705) 457-2255. Canada, Ontario, North Bay 22). "Pottery Decoration" with Carol-Ann Michealson Canadore College, 100 College Dr., North Bay, Ontario Lapka (July 4-27, Mon. and Wed.). "Sculptural and Canada, Ontario, Sarnia Lambton College, 1457 London N7S Rd., Sarnia, Ontario 6K4; e-mail www.haliburtonschoolofthearts.ca (July 25-29). Fee/session: Can$220(US$179). Skill require­ www.canadorec.on.ca (705) 472-6189. Canada, Quebec, Montreal firing. All skill levels. Contact Kathleen Geelen-Cervi, www.lambton.on.ca

summer workshops 2005 Ceramics Monthly April 2005 91 ; ; see raku ; see ; see 8i ; see ; tel. (45) 5819 ; tel. (33) 4 66 24 85 www.dohertyporcelain.com www.ceramic.dk ; or tel. (44) 1584 781 404. [email protected] ; or tel./fax (44) 1440 786 228. ; tel. (44) 1473 788 300; or fax [email protected] ; see ; see [email protected] [email protected] "Handbuilding/SmokeFiring" (July25—29). "Firing Work­ "Handbuilding/SmokeFiring" "Cross-Draught Kiln" (June 4-13); fee:"Cross-Draught 700 (US$ 123), DKr England, Hundon 1200 (US$210). Contact Ann Linneman, GuldagergSrd, Instructor: Jane Perryman. Fee/session: £340 (US$644), includes materials, firing, lodging and levels. meals. For All further information, skill contact Jane Perryman, England, Ipswich Baynes Pottery Studio, Nether Hall, Shotley, Ipswich, England, Ross-on-Wye information, contact Jack Doherty, Hook's Cottage, Lea Bailey, Ross-on-Wye, Herefordshire HR9 5TY; e-mail glazing and wood-fired raku with Deborah Baynes (July 3-9, 10-16, 24-30, 31-August 6, or 16-20); fee: £425 shop," smoke, saggars, pit and more (August 8-12). Suffolk 1P9 1PW; e-mail England, Tenbury Wells production, with emphasis on throwing, handles and spouts, trimming, modeling, and handbuild­ plus pulling 8DH; e-mail (US$805), includes materials, firing, lodging and meals. glazing with Jack Doherty (July 4-9,25-30 or August 15- Denmark, Skaelskor Heilmannsvej 31 A, Skaelskor 4230; e-mail Wash Cottage, Clare Rd., Hundon, Suffolk C010 (44) 1473 787 055. 20); fee: US$650, includes materials, firing, meals and an excursion. Intermediate through professional. Forfurther "Pit Fire, Paper Clay and Raku" with Ottokar Sliva (May participants must bring bisqueware. "Vitrified Print II— www.janeperryman.com Workshop with emphasis on throwing, handbuilding, All skill levels. For further information, contact Deborah www.potterycourses.net Silk-Screen" with Paul Scott (June 13-17); fee: DKr 1900 0016; or fax (45) 5819 0037. Throwing and altering porcelain, and once-fired soda tel./fax (44) 1989 750 644. Weekend and week sessions on all aspects of pottery (US$332); members, DKr 1700 (US$298); students, Dkr [email protected] Italian. All skill levels. For further information, contact ing with Martin Homer (two-day weekend July 1-3; meals. "Throwing and Modeling" (June 12-23). "Clay in Motion—Throwing and Modeling" with Eva Koj (July 3- Michel and Julia Simonot. Beginning through advanced. Instruction in English and French. Forfurther information, [email protected] France, Allegre-Les Fumades One-week throwing or raku workshops (June 13-18 or France, Cordes sur Ciel Fumades; e-mail 8LW; e-mail (US$461/US$1024), includes materials, firing, and meals. Instruction in lodging English, with some French and 65; or fax (33)4 66 24 80 55. 24-June 2); fee: €755 (US$983), includes materials and 9); fee: €435 (US$566). "Landscapes and Pottery" with workshops (July or 8-20). Fee/session: €500-€570 4-16,11-23,18-30,25-August6,1-13 cludes (US$653-$744), materials, firing, in­ lodging and meals. Instructors: contact Michel Simonot, Mas Cassac, 30500 Allegre-Les Aston Bank, Tenbury Wells, Worcestershire WR15 July 4-August 20, Sat.). Two-week throwing three-day weekend August 26-29; one-week July sessions 10-16,17-23,31- August 6,7-13); fee: £243/f 540 www.homerpottery.co.uk www.ceramique.com/Mas-Cassac Tina Homer, Martin Homer Pottery, Lower Aston House, Thomas Konig (July 10-16); fee: €435 (US$566). "Tradi- ; ; see ; see

www.petielement.hr April 2005 ; see [email protected] 92 [email protected] ; tel. (514) 488-9558; or fax (514) ; or tel./fax (416) 695-3607. Ceramics Monthly [email protected] "Painting in Ceramics," handbuilding, slip casting, un­ summer workshops summer Borovic (June 5-11, 19-25, July 3-9, 17-23, 24-30, 31- "Brush Making & Decoration" with He Hua Li and Jackson Decorative Forms in Ceramics," handbuilding with Patrick in Ceramics," handbuilding Decorative Forms in English and French. ning through advanced. Instruction Li (June 5-10); $300, includes materials, firing, lodging meals. Skill requirements vary. Instruction in Chinese Bureau (July 5-28, Tues. and Thurs. eves.). Fee/session: Can$230 (US$187), includes materials and firing. Begin­ For further information, contact Patrick Bureau, Visual includes materials, firing, lodging and meals. levels. Contact Vendi All Borovic, Tajne Zanata skill Association Croatia, Split derglaze and oxides with Silviana Drazovic and Vendi and English. Contact Jiansheng Li, Jingdezhen Sanbao Ceramic Art Institute, International Office, 14 Court- e-mail jingdezhen August 6, 7-13, 14-20 or 21-27); fee: US$699-$799, of Artists, Fra Luje Maruna e-mail 3, Split, Dalmatia 21000; wright Rd., Etobicoke, Ontario M9C www.chinadayart.com 4B4 Canada; Perryman Workshops, Hundon, Suffolk, England. H3Z 2N4; e-mail and meals. "Passion and firing with with Jackson Tradition," Li August and 6); $400, handbuilding Wang includes materials, firing, Shifu lodging and (July 28- Arts Centre, 350 Victoria Ave., Montreal, Quebec Arts Centre, 350 Victoria Ave., Saggars being prepared during a workshop at Jane China, Jingdezhen 488-7075. tel. (385) 98 66 77 28; or fax (385) 21 38 01 01. www.visualartscentre.ca

summer workshops 2005 Ceramics Monthly April 2005 93 ; ; or ; see ; see ; or tel. ; see ; tel./fax (49) www.skopart.org www.souslarange.nl ; see April 2005 ; see www.studioyria.com 94 [email protected] [email protected] ; tel. (404) 261-0431. ; or tel. (30) 69386 80877. ; or tel. (33) 5 63 53 72 97. [email protected] ; see [email protected] [email protected] Ceramics Monthly [email protected] summer workshops summer "Form Studies," handbuilding with Angelique Otten (July "Form Studies," handbuilding "Four Days of Mammoth Jar Deomonstrations" with Paul "Four Days of Mammoth Jar Deomonstrations" with Paul Kiln Firing" (July 31-August 6). "Throwing and Modeling Bright Colored Glazes (August 21-27). Fee (unless noted includes materials and meals. Beginning through ad­ France, Preporche English or French. Contact Angelique Otten, Le " Pottery Making in Turkey," pottery-making of traditions "Clay Monotypes," print making on clay with Mitch (July 17-23); fee: €435 (US$566). "Throwing and Paper Boulangerie, Sous la Range, Villapourgon 58370 Nievre; Manuela Casselmann, Biebricher Allee 138, Wiesbaden e-mail D-65187; Frank Theunissen, LaCeramique, La Plaine, Cordes sur "The Life of the Fire," wood fire with Marcus O'Mahoney tional Throwing Course" with Katrin Konig and Frank English and Greek. Contact Moniques Mailloux, Studio [email protected] above): 6 days, €395 (US$514); 10 days, €715 (US$931); Ciel 81170; e-mail 31-August 5); fee: €150 (US$196), includes firing. Lodg­ ing: €175 (US$228). All skill levels. Instruction in Dutch, Germany, Wiesbaden noted above): €150 (US$196), includes materials, elec­ Instructors/session: Manuela and Silvia Casselmann. In­ "From the Surface to the Volume" with Emidio Galassi e-mail 611 843 650. Greece, Cyclades Chaleff, Nicolas Kafgalakis, loannis Lembessy and Julian Stair (June 24-27); fee: €80 (US$106). Instruction in with terre vernissage" (August 7-13). "Throwing and vanced. Instruction in English and French. Contact 23); fee: €4/working hr. (US$5/working hr.). Fee (unless building, different firing techniques, earthenware and Lyons (July 30-August 13); fee: US$ 1400, includes mate­ Evia; e-mail www.laceramique.com tel. (33) 386 78 62 44. American Indian pottery (July 1-3). "Traditions in Mexi­ can Pottery," emphasis on Oaxaca, southern Mexico and struction in English and German. All skill levels. Contact Greece, Limni, Island of Evia One- and two-week courses, including throwing, hand­ rials, breakfast and 1 dinner. "Water-Based Screen Print­ ing and Ceramic Transfer" with Dave Fortune (August Foundation for the Arts, PO Box 56, Skopelos Island Corrie and Alan Bain, Limni Art Centre, 340-05 Limni, Turkey (June 17-19). "Pueblo Indian Pottery," handbuild the Highlands (July 8-10). "Week of Projects" (July 18- tric firing and 2 meals. Extra fee for firing in mud kiln. (30) 22840 29007. Greece, Skopolos 22-26); fee: US$588, includes materials, breakfast and 1 dinner. All skill levels. Contact Gloria Carr, the Skopelos 37003; e-mail ing and meals. All Pottery Abroad, skill LLC, 302 levels. Broadland Contact Rd., NW, Lynn Atlanta, Burke, and some meals. Beginning through advanced. FContact Ireland, Lismore, Co. Waterford Yria, Paros Island, Cyclades 84400; e-mail stoneware with Corrie and Alan Bain (June-August); GA 30342; e-mail Italy, Alzano Lombardo fee: $650-$750/week, includes materials, firing, lodging or tel./fax (30) 24240 24143. (June 24-26 and July 1-3). "Glazes at Low Temperature, www.limnicourses.com (July 19-29); fee: $2000, includes materials, firing, lodg­ www.potteryabroad.com

summer workshops 2005 Ceramics Monthly April 2005 95 ; ; or ; see ; see ; see ; see ; see ; see Continued ; tel./fax (39) 758 [email protected] [email protected]; or ; tel. (31) 13 530 09 60. [email protected] www.saci-florence.org ; tel./fax(31) 51 65882 38. ; tel. (31) 11 468 24 67; or [email protected] or ; tel. (301) 587-7848; orfax(301) [email protected] [email protected] [email protected] www.lucaleandri.it or [email protected] "The Italian Experience," raku with Luigi Belli and Cinzia "Contemporary Expression in Italian Terra Cotta," throw­ "Contemporary Expression "Throwing on the Potters Wheel," five-day workshops 15-19); fee: €190 (US$248), includes lunch. All skill "Throwing Techniques" with JoopCrompvoets (July 4-8, 11-15, August 15-19 or 22-26); fee: €270 (US$352), "Majolica Glaze Painting" with "Drinking and Robert Pouring: J. The Craft Devers; of the or Vessel" with "Stoneware and Porcelain" (June 27—July 1, 25-29 or English and Italian. Beginning through advanced. Con­ Elisabetta Corrao and Luca Leandri, la Fratta Art-House, "Five-Day Throwing Course," includes different firing University, Box 70708, Dept, of Art and Design, Johnson Kees Hoogendam. Workshop includes clay preparation, Italy, Senigallia 1635—$ 1795, includes mate­ Cingolani (July 6-14); fee: $ rials, firing, lodging, meals and excursions. Instruction in St., San Diego, CA 92105; e-mail [email protected] Italy, Tuscany ing and handbuilding with Don Centers International (June 30—July 30). Beginning through Davis at Studio Art City, TN 37614; e-mail 587-6189. Netherlands, Goirle levels. Instruction in Dutch, English, French and German. For further information, PottenbakkeropdeGrens,Turnhoutsebaan21,5051 contact Hans DZ; Meeuwsen, Netherlands, Oosterwolde (Fochteloo) handbuilding, throwing, kilnbuilding, firings and excur­ Hoogendam, de Knolle 3A, 8431 RJ Oosterwolde Netherlands, Swalmen Italy, Vietri sul Mare includes firing, lodging, meals, lab fee and 4 field trips. All includes firing, lodging, meals, lab fee and 4 field trips. 785 111. tact Marina Bezzati-Bothwell, Travel Art, Inc., 3319 Spa tel./fax (619) 287-8590. advanced. Contact Don Davis, East Tennessee State includes materials and firing. Intermediate through pro­ skill levels. Contact Leslie Hyde, Amalfi Coast Music and Arts Festival, 724 Chesapeake Ave., Takoma Park, 20910; MD e-mail Netherlands, Walsoorden Dutch, English and German. For further information, www.lafratta.it or Vocabolo Fratta 157, Marsciano 06055; e-mail e-mail (Fochteloo); e-mail tel./fax (423) 439-7864. Contact Joop Crompvoets, de Swalmen, Limburg, 6071 LG; e-mail Walsberg, Heide 57, www.pottenbakkeropdegrens.nl August 15-19). "Raku" (July 11-15). Instructor/session: sions. Fee/session: €340 (US$444), includes materials, www.home.zonnet.nl/warveen www.dondavispottry.com www.amalfi-festival.org with Hans Meeuwsen (July 4-8, 18-22, August 1-5 or Tamara Laird (June 30—July 12). Fee/session: US$2980, firing, meals and lodging. All skill levels. Contact Kees fessional. Instruction in Dutch, English and German. tel. (31) 47 550 27 47 550 54 90. 39; or fax (31) techniques with Jan Keve (June August 11-15, July 1-5); 25-29 fee: or €225 firing, lodging and one meal. All skill levels. Instruction in (US$293), includes materials, contact Ingrid Heiszler, camping Perpolder, Zeedijk 9, www.campingperkpolder.nl 4588 RG; e-mail fax (31) 11 468 21 81. ; ; or tel./

www.pietro.net ; see April 2005 96 [email protected] ; tel. (39) 035 516 560. [email protected] Ceramics Monthly "Awakening Creativity" with Chaz Glover and Giuliana "Sculpture in Arghilla," stoneware with Emidio Galassi Mulino Vecchio 10, Alzano Lombardo (BG) 24022; e-mail Mulino Vecchio 10, Alzano summer workshops summer Rodolfi (May 29-June 4). "The Italian Table—Food and Rodolfi (May 29-June 4). "The "Stages of Raku Ceramics—Arts and Holidays," hand­ Italy, Certaldo (Florence) Billy Ray Mangham handbuillding a figure during niques" with Terry Davies and Anna Metcalfe (June 26- Clay in Nature" with Toni Soriano (August 29-September with Toni Soriano (August Clay in Nature" 2). Contact Vanni Gritti Ceramiche, Via di Gritti Gianluigi, Italy, Faenza a workshop at Metchosin International School of Art, Functional Porcelain" with Isabella Granatelli (June 12-25); Fazzo fee: €1600 (US$2092), and includes Silvie materials, firing, lodging and some meals. "Raku Tech­ 6). "Maiolica: Then & Now" with Walter Ostrom (August 7-20); fee: €1600 (US$2092), includes materials, firing, lodging and some meals. "Raku Dolce" with Giovanni meals. Instruction in English and Italian. Contact Pietro Maddalena, La Meridiana, Bagnano 135, 50052 Certaldo English and Italian. Skill requirements vary. Contact Victoria, British Columbia, Canada. and Paolo Panoretto (July 10-23). "Advanced Throwing" Cimatti (August 21-27). "Soda Firing" with Terry Davies noted above): 1 week, €800 (US$1046); 2 week, €1300 Italy, Marsciano building with Luca Leandri (June 2-5 or July 29-31); fee: [email protected] and Anna Metcalfe (August 28-September 3). Fee (unless (Florence); e-mail or tel./fax (39) 571 660 084. (June 20-25 or July 4-9). Advanced/professional. Instruc­ tion in English, Italian and Spanish. Contact Emidio Galassi, Arte Aperto, Via Sin. Canale Inferiore N. 155, Bagnacavallo (RA) 48012 Italy; e-mail July 9). "Throwing for Beginners" with Pietro Maddalena with Terry Davies and Pietro Maddalena (July 24-August (US$1699), includes materials, firing, lodging and some €280 (US$365), includes materials and firing. Lodging: €35 (US$46/day. Meals:€15 (US$20)/meal. Instruction in fax (54) 66 80 398.

summer workshops 2005 Ceramics Monthly April 2005 97 ; ; see From the .

; tel. (34) 95 644

; tel./fax (351) 26 April 2005 [email protected] 98 www.hannekekannekes.com www.ceramicsmonthly.org ; see [email protected] Ceramics Monthly Netherlands, Winschoten Netherlands, "Ceramic Workshop," handbuilding, throwing, glazing, summer workshops summer "Handbuilding for Kids," ages 4-15 with Ida Gutierrez 11149; e-mail Many workshop venues have helpful information available on British Columbia, Canada. Five-day workshops Five-day workshops on handbuilding, throwing and slab Hanneke Drouen, Keramisch English and German. Contact e-mail 55, Groningen 9712 GE Netherlands; Portugal, Caldas da Rainha Puerto Rico, Guaynabo at Metchosin International School of Art, Victoria, homepage, click on “Expanded Content.” building with Hanneke Drouen (June 13-16, 20-24 or Rua Antonio da Rainha Silva 2500-278; e e-mail Sousa 13 C, Caldas da Student carving a vessel during a workshop [email protected] Portuguese. Contact Karolien van Eck, Quinta do Caneiro, ing and firing with Jose Luis Aragon (June 15-August 30); levels. Instruction in English, French and Spanish. Contact 5912; or fax (34) 95 644 5686. http://quintacaneiro.planetaclix.pt Guaynabo 00969; tel./fax (787) 789-3443. 2834076. Creativo, Ave. Esmeralda P2 #60, Urb. Ponce de Leon, Spain, Cadiz the “Summer and Workshops web 2005” links, go listing to online, with live e-mail July 4-8); fee: €450 (US$587), Instruction in Dutch, firing. Beginning through advanced. includes materials and Atelier Hannekes Kannekes, Oude Boteringestraat tel. (31) 59 743 63 98; or fax (31) 59 743 67 06. (US$274), includes materials and firing. Beginning through advanced. Instruction in Dutch, English, French and (June/July weekdays). Beginning. Instruction in English and Spanish. Contact Ida Gutierrez, Manos Felices, Taller their websites to help you plan your summer activities. To access firing with Kees Agterberg (July 17-29); fee: €210 Two-week workshops on handbuilding, throwing, glaz­ fee: €750 (US$991), includes materials and firing. All skill Jose Luis Aragon, La Tacita, Barrio Nueva, Conil (Cadiz)

summer workshops 2005 Ceramics Monthly April 2005 99 Ceramics Monthly April 2005 100 Ceramics Monthly April 2005 101 COTYlTYlCflt I Hayland and Penstack by Jack Troy

Every now and then someone asks me, The last official contact with workshop “Which do you like better, Penland or Hay­ participants for Chuck Hindes, my teaching stack?” My answer is always the same: “Yes.” partner, and me, had been that morning, when And when they give me the identical bewil­ about half our group of 22 signed up for one- dered look, I don’t blame them a bit. on-one talks to summarize whatever seemed If you’ve attended workshops at these re­ most important to them, such as ceramic markable institutions—unique to the world; anatomy and dermatology concerns: “Does deserving their own genre of patriotism— this handle look as if it belongs on Aaron’s you may know what it is to ogle one of pot?” “Any suggestions about lid options for North Carolina’s most cherished Blue Ridge my jars?” “How come this glaze looks so lus­ views from a picnic table in front of The cious and ghastly on the same little bowl?” Pines and imagine a Maine island just be­ “I’m not sure about the relationship of this yond the mixed hardwoods enclosing Cynthia brush’s width and vocabulary-potential to the Bringle’s studio, or maybe you’ve gazed off a scale of my bottles. What do you think?” deck overlooking Penobscot Bay and con­ And squishier issues: “Can you recom­ jured up a spot on the southeast horizon mend any grad programs I might look into?” where an imagined mountain-gash represents “I wonder what of Penland these pieces will the geological C-section where our soda feld­ retain when they inhabit my life away from spar originates, near Spruce Pine. Something here.” “I can’t do wood firing at home, so we breathe at both places induces the same this has been a little like having an affair, sensation that made Emily Dickinson an “in­ without the interpersonal hassles.” ebriate of air.” Penland’s llamas graze across Unloading three kilns the day before was a from what might be the little harbor-bay smorgasbord challenging Mae West’s observa­ whose curving shore mimics the last turn on tion: “Too much of a good thing is simply Conley Ridge Road; bamboo and rhododen­ delightful.” The noborigama itself had four dron thickets thrive where vaguely spooky zones: the firebox, where we’d stacked two moss and springy duff might clothe spruce- tiers of shelves; the first chamber, primarily roots. Is that a predawn train or lobster-boat for glazed work; the salt chamber; and the guttering out early? How can rain on the low-firing boxy one in front of the chimney. kiln-shed’s roof mimic a high tide shredding Then there was the soda kiln, and a small salt itself on granite, just below your cabin? What kiln that took so long to fire it may have been measly proportion of these irresistible break­ designed by the propane distributor. During fast calories will I really need to make a couple the first day we had loaded Norm Schulman’s dozen cups and show a tray of teabowl slides “Babygama” with bisqueware brought from before lunch? (Logo on a t-shirt fetching $65 home for a 3½ day firing. Our group scored at a recent auction: “Penland, Where Veg­ high on the cooperation-IQ index, a real cata­ etarians Eat Bacon.”) lyst in appreciating one another’s work. Because the view from Penland’s outdoor These cornucopias of freshly fired pieces picnic tables is becalming enough to be an so typical of workshops inevitably occur just eating meditation, I ate most meals there before the session’s end, and embody a mael­ and, during the last supper of my recent strom of information. Each pot, sculpture, session, enjoyed watching the llamas rolling or imaginative construction poses its own in their dust pit, when a nighthawk—a bird query: “Hey, buddy, ever seen a faceted cup I’d never seen at Penland—swooped over the like me, made from Phoenix clay wearing pasture, catching insects. Soon it was joined Malcolm’s shino over Roe’s white slip, stacked by at least 100 others, soaring and cavorting behind an Oribe-glazed teapot on the middle for an hour or more above the knoll and of the third shelf up from the floor of the pasture-pond, gliding, then crumpling as if first chamber, close to the bagwall, fired with shot or having a seizure as they changed course poplar and red oak slats, and soaked at cone abruptly, opening their huge mouths, eating 10 for 4 hours during a falling barometer by on the wing at this migration stopover, head­ 22 stokers between the ages of 19 and 73 ing for their winter range in South America. who came here from 10 states?” Multiply

Ceramics Monthly April 2005 102 Ceramics Monthly April 2005 103 comment that scenario by 800+ pots made from eight two tones: the first happy note in its lifetime even. No telephones interrupt gull or crow; clays; try to give every piece the look-see it of well-being; the second we hope we’ll never the only TVs are occasional turkey vultures deserves, while stiff-arming sensory overload. hear: a clattering shriek on a hard surface, passsing overhead. Empty ware boards thirst Somehow each member of such a family falling from a height it couldn’t survive. for damp circles of fresh pots, studio mates of work owes something to every other one, “So how do you judge the success of a create work to animate and define the shop’s because strongly directional atmospheric fir­ workshop?” someone will ask, and I say, “If identity for a couple of weeks, and all the ing makes siblings of each piece in ways no the learning and teaching interface so you while dedicated cooks slay the fatted egg­ other process can claim: gutsy bottles run can’t tell one from the other, it sure feels like plant, muscle up the cookie dough, and wrest interference for shy bowls, a tall vase im­ success.” Privately, though, I’m thinking of feta from its brine. Like nighthawks feasting prints its shadow on the sculpture behind it, the young woman who once confided that on the wing, we arrive by the same migra- a timid pitcher hovers in the lee of a bolder the session she was taking with me at Hay­ tional urge that brought so many hundreds one, and a covered jar is a saggar for an stack had been an anniversary gift from her of others flocking to the studios we inhabit exquisite carbon-trapped Shino. parents, who had met there nearly 30 years and vacate for those who follow. How does a person lasso such an unruly before. Then I realize how comparatively glib Is it any wonder you reach Haystack on herd of aesthetic sensibilities, or corral this my response seems; how some workshop par­ Sunshine Road, or that a sign behind group of objects we created together, sepa­ ticipants must come away embodying a suc­ Penland’s clay studio lets you know you’re rately? What to make of the whole befud­ cess they couldn’t really define. headed for Road to Heavens Above? dling, yet cohesive anarchy they present? Hayland and Penstack overlap in what Often, it happens later. Miles and states away they offer and provide: to work daily among the author Jack Troy is the author of Salt- from the workshop, the first sip from a new committed studio mates from many genera­ Glazed Ceramics, Wood-Fired Stoneware and cup engages us the way a bite of apple evokes tions in safe settings, free from the distrac­ Porcelain, and numerous magazine articles. He the orchard where we picked it. The bowl tions to which we accommodate “in real life” is an associate professor of art at Juniata College whose rim we flick musically says one of its is, in fact, life made more real; privileged, in Huntingdon, Pennsylvania.

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