November 1990 1 William C. Hunt...... Editor Ruth C. Butler...... Associate Editor Robert L. Creager...... Art Director Kim Schomburg...... Editorial Assistant Shawn R. Hiller...... Staff Assistant Mary Rushley...... Circulation Manager MaryE. Beaver...... Circulation Assistant Connie Belcher...... Advertising Manager Spencer L. Davis...... Publisher

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Ceramics Monthly (ISSN 0009-0328) is pub­ lished monthly except July and August by Professional Publications, Inc., 1609 North­ west Blvd., Columbus, Ohio 43212. Second Class postage paid at Columbus, Ohio. Subscription Rates:One year $20, two years $36, three years $50. Add $8 per year for subscriptions outside the U.S.A. Change of Address: Please give us four weeks advance notice. Send both the maga­ zine address label and your new address to: Ceramics Monthly, Circulation Offices, Box 12448, Columbus, Ohio 43212. Contributors: Manuscripts, photographs, color separations, color transparencies (in­ cluding 35mm slides), graphic illustrations, announcements and news releases about ceramics are welcome and will be consid­ ered for publication. Information may also be submitted on 3.5-inch microdiskettes readable with an Apple Macintosh™ com­ puter system. Mail submissions toCeramics Monthly, Box 12448, Columbus, Ohio 43212 or fax to (614) 488-4561. Writing and Photographic Guidelines:A booklet describing standards and proce­ dures for submitting materials is available upon request. Indexing: An index of each year’s articles appears in the December issue. Addition­ ally, articles in each issue ofCeramics Monthly are indexed in the Art Index; on-line (com­ puter) indexing is available through Wilson- line, 950 University Avenue, Bronx, New York 10452. A 20-year subject index (1953- 1972), coveringCeramics Monthly feature ar­ ticles, and the Suggestions and Questions columns, is available for $1.50, postpaid, from the Ceramics Monthly Book Depart­ ment, Box 12448, Columbus, Ohio 43212. Copies and Reprints: Microfiche, 16mm and 35mm microfilm copies, and xero­ graphic reprints are available to subscribers from University Microfilms, 300 North Zeeb Road, Ann Arbor, Michigan 48106. Back Issues: When available, back issues are $4 each, postpaid. Write for a list. Postmaster:Please send address changes to Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Form 3579 requested. Copyright © 1990 Professional Publications, Inc. All rights reserved

2 Ceramics Monthly November 1990 3 4 Ceramics Monthly VOLUME 38, NUMBER 9 • NOVEMBER 1990

Feature Articles

Tokyo Clay by Derek Jones ...... 26

Striving for Clarityby Nina Borgia-Aberle...... 30

John Chalke: Throwing on the Radio...... 33

Striving for ClarityA visit with Nina Syracuse: The 28th Ceramic National...... 36 Borgia-Aberle at her rural home/studio begins on page 30. Borgia-Aberle was the 14th Fletcher Challenge Award a review by Peter Gibbs...... 39 only artist to have three works juried into the “28th Ceramic National”; page 36. Expressive, Utilitarian Earthenwareby Bruce Cochrane ...... 47 Controlling Glaze PatternPotters often just accept the patterning a glaze gives “as New Decade/New Visions in Clay by Linda Mau...... 51 is.” But Beatrice and Robert Pearson have found that varying the particle size of criti­ Nathan Youngbloodby Bruce Berger...... 52 cal ingredients results in some mastery over glaze patterns; see page 83. Controlling Glaze Pattern by Beatrice and, Robert Pearson...... 83

T okyo ClayAlthough Japan’s avant-garde clay movement was rooted in Kyoto, young ceramic artists are branching out in To­ kyo, endeavoring to “sever ties with craft Departments traditions and enter more fully into the realm of fine art”; page 26. Letters...... 6 Comment: On the Edge by Bob McWilliams...... 24 Where to Show ...... 8 Questions...... 80 New Books ...... 12 Itinerary ...... 16 Classified Advertising...... 86 Suggestions...... 20 Index to Advertisers ...... 88

News 8c Retrospect

San Francisco Teapot Invitational...... 63 Patrick Crabb/Yoshiro Ikeda ...... 72 14th Fletcher Challenge Entries came from 23 other countries, but works by The Navy Needs a Few Good...... 63 Southern Tradition...... 72 Japanese ceramists dominated this edition George Timock...... 63 Rory McNally...... 72 of New Zealand’s international competi­ Clay 10 Plus 10 tion. Shown above is“At the Waterside” Mary Lou Deal...... 74 by Donna Webb ...... 63 approximately 2 feet long, by Kyoko Hori, Hugh Farmer...... 76 Japan. The top prizewinners and other Makoto Yabe...... 64 works selected by juror Elizabeth Fritsch Leslie Hawk...... 76 Sparrow House Pottery...... 64 illustrate the review beginning on page 39. Mary George Kronstadt...... 78 Teapot Interpretations...... 66 Dorothy Feibleman ...... 78 The cover Bruce Cochrane at his studio DickWoppert...... 68 in Mississauga, Ontario, Canada. Through Lead Bill Before Senate...... 78 Vehicles for New Forms/Functions .... 68 his work, Cochrane seeks to combine indi­ Christine Fabre...... 88 vidual expression with utilitarian demands; Eun-Sook Kim see page 47. Photo: Peter Hogan. by Irene Kim ...... 70 Yosei Itaka/Jill Fanshawe Kato...... 88

November 1990 5 Letters ideas from each month’s issue. Just possi­ day are too quick to label new constructs as bly one unique creation may come forth as “visual noise” when they fail to “see” music. a result of the articles and displays pre­ Donna Bruhl sented each month. Roseville, Minn. An example comes to mind: A student here at the local college found a fast way to September Comment Appreciated John Glick Portfolio produce a plate. A slab-rolled piece of clay I particularly appreciate Willem Geb­ Thanks, John Glick, for standing up on is positioned on the wheel head; trimmed ben’s Comment. I would like to add that in health issues [September 1990 portfolio, with a needle tool to a perfect circle; then, the isolation of years working in one’s own continued in October]. You are a good role as the wheel turns, the edge is worked up studio, in a continual search for beautiful model for young potters, and a sign of the with the fingers to the height and depth form, one may produce “pedestal pots,” graying of so many of us. desired for the flange; and, voila, a plate while believing the pots are for daily use. Steve Nutt that is of uniform thickness. I found that So it has been extremely useful for me Staten Island, N.Y. even a novice like myself can do that one. as a professional to attend workshops with The instructor, Ruth Allan of the Wen­ Stephen Hill, Mick and Sheila Casson, Metal Saggar Caution atchee Valley College, 26 years plus in David Shaner and Victor Babu. Through A note of caution in regard to the men­ pottery, learned from the novice. Maybe watching them work, or even better, being tion of firing galvanized metal in kilns the authors of articles in CM will even reply able to have them make comments about [“Clay Baskets and Electric Smoke Firing,” to specific questions, who knows? To all ofone’s own pots in a workshop where par­ September 1990]. Galvanized iron gives off the other inadequate potters, including ticipants get to throw, I have been reas­ zinc fumes when heated. These are toxic yours truly, good luck and have fun. sured that beautiful pots can be useful, and and cause “metal fume fever.” Aside from Cliff Bennett that the idea of making pots for everyday the danger of electrocution, the fumes Wenatchee, Wash. use need not interfere in any way with the could get the unwary down. Why not throw loftiest of aesthetic goals/ideals/consider- saggars or build brick saggars for electric Potter Portraits a Plus ations/aspirations. smoke firings? Use a kiln shelf for a cover Recent letters have been critical of CM David Beumee or a large bowl thrown for that purpose. using the artist’s picture along with work. Lafayette, Colo. Peter Powning [But] I think showing a picture of the artist Sussex, New Brunswick with his/her work is important. Both see­ In the September Comment, Willem Canada ing and reading about the potter “person­ Gebben has expressed with special clarity alizes” the pots. The creative process in­ the emptiness of crafts in America. For Empathy for Inadequate Feelings volves the person. The pots don’t create onmany of us, being a craftsmaker constitutes Regarding “Feelings of Inadequacy” their own. a way of life, and only in a secondary sense (Letters, September 1990): You seem to be Some readers expressed a desire to be is it a business. I find it especially sad to a frustrated artist among “professional” taken seriously by the public and wanting contemplate those who have turned their artists. I am a frustrated artist among non- the public to appreciate the “personal studios entirely over to employees, thus artists, and feelings of inadequacy abound touch” in a pot rather than buying some­ losing touch with the process of making in my life, too. To complicate matters, I thing mass-produced. This is accomplished utilitarian objects—the very definition of a have decided to take a year off from my by the public going to art fairs and meeting craftsperson. Their studios have become “respectable"job in advertising to nurture the person creating the pot. factories, simply sources of money with my more “bohemian” calling. You can When I view some of the pots I’ve boughtwhich to buy boats, airplanes and the like. imagine the utter disbelief and disapproval directly from various potters, I have greaterSurely such people cannot be considered of my non-artist friends and family. appreciation for their work. I recently met craftsmakers any longer; instead, they have The philosophy I am trying diligently to Roddy Reed at an art fair, and I enjoyed become their own sales representatives. follow, and from which I stray more than I rereading his article in CM [June/July/ An even more abhorrent development would like to admit, is this: It doesn’t mat­ August 1990] after this meeting. has been the ascendancy of the investment ter what others do or think as long as you I hope the magazine continues to show “collector,” a person who often seems to are doing what you love. What [we] do is potters with their work. make craft purchases without the slightest important and may not be appreciated Illene Olanoff feeling for the work, only for its monetary now—but, someday, our passion will be Kalamazoo, Mich. value—crafts acquired not for any use or understood. The Golden Rule: Persistence enjoyment but rather for the potential for and belief in oneself. Good luck...I’ll be Too Quick Labels monetary gain, just like stocks and bonds. right beside you! In his commentary, “Pottery: The De­ Surely this perversion of basic values is Jennifer Ridge Kola cline of Craft” [September 1990], Willem something we craftsmakers need not bor­ Conway, Mass. Gebben uses the metaphor of music when row from the world of “fine art.” he states, “If we apply this idea to music— I couldn’t help noticing an ironicjuxta- I appreciate Sandy Wagner’s letter, as I that we have to move beyond the limits ofposition in the layout; Mr. Gebben’s elo­ too was introduced to pottery in junior functionality because it is too restrictive—quent thoughts in the Comment section college. I find that school by itself can only we end up with noise.” facing a full-page ad entitled “Time Is detect whether or not there is talent. If so, Music is the most abstract of the arts and Money,” which featured industrial produc­ then instruction can be beneficial. There as such does not have a function outside oftion machinery. are many here in my hometown who are itself. Framework of structure in music is Jon Ellenbogen very talented and have had no formal not function. Penland, N.C. schooling. Their only instruction has been Is atonality music? Some people would through local classes or seminars to start call it noise, while some people would call Share your thoughts with other readers. All letters out, then lots of hard work. it music. Many critics did not understand must be signed, but names will be withheld on I look forward to receiving CM for the Stravinsky or Hindemith when they moved request. Mail to The Editor, Ceramics Monthly, opposite purpose that Sandy states creates beyond what was understood as proper Box 12448, Columbus, Ohio 43212; or fax to the feeling of inadequacy. I learn and gain musical structure. Some craft artists of to­ (614) 488-4561.

6 CERAMICS MONTHLY November 1990 7 send SASE to Lynn Berkowitz, Luckenbach Mill Missouri. Fee: $15 for up to 3 works. Cash and Where to Show Gallery, 459 Old York Road, Bethlehem 18018; purchase awards. Send SASE to Topeka Compe­ or telephone (215) 691-0603. tition 15, Larry Peters, Topeka Public Library Exhibitions , Fairs, Festivals and SalesFebruary 1, 1991 entry deadline Gallery of Fine Arts, 1515 West Tenth, Topeka LaGrange, Georgia “LaGrange National XVI” 66604; or telephone (913) 233-2040. (April 6-May 1, 1991). Juried from slides; up to February 1, 1991 entry deadline 5 works. Juror: Peter Morrin, Director of Speed Quincy, Illinois “41st Quad States Juried Ex­ Museum, Louisville. Fee: $15 for up to 5 works.hibition” (April 6-28, 1991), open to artists liv­ Awards: $10,000-$20,000, purchase. Contact ing in Illinois, Indiana, Iowa and Missouri. Ju­ National Exhibitions Lamar Dodd Art Center, LaGrange College, 601 ried from 3 slides. Fee: $16; members, $12. Broad Street, La Grange 30240; or telephone Awards: $3000 in cash and purchase, plus a solo November 10 entry deadline (404) 882-2911, extension 211. show. For prospectus, send a business-sizesase Rochester, New York “Sculpture ’91” (June 13- McPherson, Kansas “Aesthetics ’91” (April 8- to Quincy Art Center, 1515Jersey, Quincy 62301; October 25, 1991), competition for moderate- 28, 1991), open to all media. Juried from slides. or telephone (217) 223-5900. to large-scale outdoor sculpture. Juried from 5Jurors: Julie Britton, Kansas Arts Commission; March 1, 1991 entry deadline slides. No entry fee. For further information and Kepka Bolton, National Heritage Fellow­ Baltimore, Maryland “National Museum of contact Beverly Mclnerny, Dawson Gallery, 349 ship Grant recipient. Cash awards. Entry fee: Ceramic Art Regional Juried Ceramics Show” East Avenue, Rochester 14604; or telephone $20. For further information, sendsase to Artists (June 25-September 22, 1991), open to artists (716) 454-6609. League, Box 252, McPherson 67460. residing in Delaware, Washington, D.C., Mary­ December 1 entry deadline February4, 1991 entry deadline land, New Jersey, New York, Pennsylvania and Nashville, Tennessee “Rituals and Primitive Mesa, Arizona “E-I-E-I-O” (March 1-30,1991), Virginia. Juried from slides. Jurors: Bill Daley, Origins” (February 6-March 10, 1991). All me­ competition for works involving barnyard artist; and Michael Monroe, curator of decora­ dia. Juried from slides; up to 5 entries. No fee. themes. Juried from slides. Jurors: Liz Lerma tive arts, Virginia Museum, Richmond. Entry For further information, send SASE to JoEl Bowerman and Larry Yanez. Awards: $1350. fee: $20. Contact Judy Heimann, National Mu­ Logiudice, Sarratt Gallery, 402 Sarratt Center, Contact Galeria Mesa, Box 1466, Mesa 85211; or seum of Ceramic Art, 250 West Pratt, Baltimore Vanderbilt University, Nashville 37240; or tele­ telephone (602) 644-2242. 21201; or telephone (301) 837-2529. phone (615) 322-2471. Bethlehem, Pennsylvania “Tile” (June 22-July December 3 entry deadline 28,1991). Juried from up to 2 slides per work; up Fairs, Festivals and Sales Tempe, Arizona “Just Fired: New Ceramic to 3 works. Jurors: Beth Starbuck and Steven Work” (March 1-April 7, 1991). Juried from Goldner, Pennsylvania tile and architectural November 15 entry deadline slides. Fee: $15. Awards: minimum of $500. For ceramists. Fee: $15. Commission: 25%. Cash West Palm Beach, Florida “Holidayfest ’90” prospectus, send 25£ stamp and self-addressed awards. Send sase to Lynn Berkowitz, Lucken­ (December 7-9). Juried from 3 slides or photos. mailing label to Tempe Arts Center, Box 549, bach Mill Gallery, 459 Old York Road, Bethlehem Booth fee: $75. Contact Holidayfest, Box 3366, Tempe 85280; or telephone (602) 968-0888. 18018; or telephone (215) 691-0603. West Palm Beach 33402; or telephone (407) December 15 entry deadline February 27, 1991 entry deadline 659-8004. Minot, North Dakota “14th Annual National Bethlehem, Pennsylvania “The Dining Experi- January 1, 1991 entry deadline Juried Exhibition” (March 3-28, 1991). Juried ence/A Craft Expression” (August 10-Septem- Worcester, Massachusetts “21st Annual Craft from slides; minimum of 2 works, maximum of ber 22, 1991). Juried from up to 3 slides per Fair” (May 17-19, 1991), retail/wholesale. Ju­ 6. Fee: $7 per slide. Contact the Minot Art work; up to 3 works. Jurors: Harriet Friedberg ried from 5 slides. Entry fee: $20. Booth fee: Association, Box 325, Minot58702; or telephone and Rita Greenfield, co-owners of Gallery 500, $210 for a 10x10-foot in-line booth; $255 for a (701) 838-4445. Elkins Park, Pennsylvania. Cash awards. Send 10x10-foot corner booth. Contact Worcester January 10, 1991 entry deadline SASE for prospectus to Lynn Berkowitz, Lucken­ Center for Crafts, 25 Sagamore Road, Worcester Milwaukee, Wisconsin ‘Wildlife ’91” (March bach Mill Gallery, 459 Old York Road, Bethlehem 01605; or telephone (508) 753-8183. 8-April 20,1991). Juried from 5 slides. Entry fee: 18018; or telephone (215) 691-0603. January 26, 1991 entry deadline $ 10. Send resume and sase to A. Houberbocken, April 1, 1991 entry deadline Milwaukee, Wisconsin “The Lakefront Festival 230 West Wells, Suite 202, Milwaukee 53203; or Milwaukee, Wisconsin “Under the Big Top” of Arts” (June 14-16,1991). Juried from 6 slides. telephone (414) 276-6002. (June 7-July 13,1991). Juried from 5 slides. Fee: Entry fee: $17. Ten $1000 cash prizes. For fur­ January 12, 1991 entry deadline $ 10. Send resume and SASE to A. Houberbocken, ther information contact Milwaukee Art Mu­ Wichita, Kansas “Art Show at the Dog Show” 230 West Wells, Suite 202, Milwaukee 53203; or seum, 750 North Lincoln Memorial Drive, Mil­ (April 5-7, 1991), competition for works involv­ telephone Joan Houlehen (414) 276-6002. waukee 53202. ing dogs as subject. Juried from slides. Jurors: May 1, 1991 entry deadline February 1, 1991 entry deadline Robert Bishop, director of the Museum of Milwaukee, Wisconsin “Vessels” (July 19-Sep- Columbus, Ohio “Columbus Arts Festival” American Folk Art, New York; Linda Budge, tember 7, 1991). Juried from 5 slides. Fee: $10. (June 7-9, 1991). Juried from 4 slides (1 of Longmont, Colorado, 1989 award winner; and Send resume and sase to A. Houberbocken, 230 booth). Entry fee: $10. Booth fee: $275 for a Dorothy Welsh, president of the Dog Museum, West Wells, Suite 202, Milwaukee 53203; or 10x10-foot tented booth; $225 for a 10x10-foot Neillsville, Wisconsin. Awards: first place, $200; telephone Joan Houlehen (414) 276-6002. open booth. Awards: $9500. Contact the Colum­ second, $150; third, $100; fourth, $75. Contact June 30, 1991 entry deadline bus Arts Festival, Attention: Vikki Schultz, 55 Joe Miller, 11301 West 37, North, Wichita 67205; Richmond, Virginia Place setting exhibition East State Street, Columbus 43215; or telephone telephone (316) 722-6181. Or contact Pat Desh- (January 10-February 28,1992).Juriedfrom 10- (614) 224-2606. ler, 4300 North Edgemoor, Wichita 67220; tele­ 20 slides. For further information, send resume March 3, 1991 entry deadline phone (316) 744-0057. and SASE to Place Settings, Hand Workshop, Guilford, Connecticut “34th Annual Crafts January 15, 1991 entry deadline 1812 West Main Street, Richmond 23220; or Exposition” (July 18-20, 1991). Juried from 5 Lafayette, Louisiana “Lafayette Art Associa­ telephone (804) 353-0094. slides. Entry fee: $15. Cash awards. Contact 34th tion Annual NationalJuried Competition” (April Annual Guilford Handicrafts Expo, Box 589, 1-30, 1991). Juried from slides. Fee: $25 for up Regional Exhibitions Guilford 06437; or telephone Fernn Hubbard to 3 entries. Awards: over $3000. Send #10sase or Wendy Renz (203) 453-5947. to Marta Fielding, Lafayette Art Gallery, 700 November 15 entry deadline April 1, 1991 entry deadline Lee, Lafayette 70501. Jackson, Mississippi “Spotlight 91/Southeast Spring Green, Wisconsin “22nd Annual Spring Bethlehem, Pennsylvania “Water/Life” (May 4- Crafts” (March 1-April 14, 1991). Open to resi­ Green Arts and Crafts Fair” (June 29-30, 1991). June 9,1991). Juried from a maximum of 3 slides dents of Alabama, Florida, Georgia, Kentucky, Juried from slides. Entry fee: $60. Awards: $3000 each work; up to 3 works involving water imag­Louisiana, Mississippi, North Carolina, South in cash and $6000 in purchase. Contact John ery. Jurors: Syd Carpenter, ceramic sculptor; Carolina, T ennessee, Virginia and West Virginia. Hess, Co-Chairman, Arts and Crafts Fair, Box and Cynthia Porter, fiber/mixed media. Fee: Juried from slides. Juror: Martha Stamm Connell, 96, Spring Green 53588; or telephone (608) $15. Awards: $1000. For further information, owner of Great American Gallery, Atlanta. Con­ 588-7082. tact Andrew Young, 142 Millsaps Avenue, Jack­ April 17, 1991 entry deadline Send announcements of juried exhibitions, fairs, festi­ son 39202; or telephone (601) 353-2497. Greensburg, Pennsylvania ‘Westmoreland Arts vals and sales at least four months before the event’s January 19, 1991 entry deadline and Heritage Festival” (July 4-7, 1991). Juried entry deadline (please add one month for listings in fuly Topeka, Kansas “Topeka Competition 15” from slides. Entry fee: $10. Booth fee: $125. and two months for those in August) to Where to Show, (March 30-April 28,1991), open to residents of Cash awards. Send legal-sized sase to the West­ Ceramics Monthly, Box 12448, Columbus, Ohio Kansas, Missouri, Nebraska and Oklahoma. Ju­ moreland Arts and Heritage Festival, RD #12, 43212; or telephone (614) 488-8236. Fax announce­ ried from 1 slide per entry .Juror: George Timock, Box 203, Greensburg 15601; or telephone (412) ments to (614) 488-4561. ceramics professor, Kansas City Art Institute, 830-3950.

8 Ceramics Monthly November 1990 9

Khmer. But in 1238, the Khmer were over­ istent. In 1925, though, a Paris exhibition New Books thrown, and the Kingdom of Sukho­ regenerated V & A interest in Danish de­ thai...was founded in central Thailand. sign, as did a 1930 Stockholm exhibition Even though it was short-lived, lasting onlyfor Swedish works. 150 years, the ceramics industry flourished Since then, the Scandinavian collec­ there [and in neighboring kingdoms dur­ tions have continued to grow, “and the ing this period]. relative importance internationally of “Through cultural exchange arrange­ Scandinavian design in these materials and The Anasazi ments with Kublai Khan, the king of the of the scales of production may be gauged byJJ- Brody Yuan dynasty in China, Ram Kamheng, the fairly accurately by Predecessors of the Pueblo Indians, the third king of Sukhothai, invited hundreds the fluctuating pro­ Anasazi culture began about 2000 years of potters of the Tz’u Chou kilns to Thai­portions of examples ago in the southwestern United States. land at the end of from each country Cliff dwellers, they lived mainly in the area the 13th century, over the last century. of what is now known as New Mexico, and thereby contrib­ Thus the Swedish Arizona, Utah and Colorado. Today, we uted greatly to the section is the largest know of them primarily through their sur­ progress of the ce­ overall, while at dif­ viving architecture and pottery. ramics industry. ferent periods Finn­ Women were probably the main pro­ From the Khmer pe­ ish and Danish glass ducers and decorators. ‘Vessels were con­ riod, mainly dark and ceramics have structed by hand, using coil methods, and brown glazed ce­ been the more dominant. The Norwegian then were fired in bonfire kilns, usually ramics had been section is the smallest, but the last five years after all decoration had been applied. If made.... However, are more strongly represented than any vessels were to have painted designs, they the local potters were other period....” were generally smoothed by scraping and not able to master the technique of paint­ Divided by country, the catalog lists then slipped, perhaps polished, and finally ing underglaze. But when the potters of each item in the museum’s collections. painted with a brush made of chewed yuc­ the Tz’u Chou kilns [arrived], the tech­ Along with the name, design date, and ca leaf.” nique of painting with pigment of iron design details of the piece, most entries Decorating pottery was mainly done by black on [slip-covered] coarse clay was include a black-and-white photo or color texturing, but painting increased over time. adopted and became firmly established.” plate. 183 pages, including key to catalog, Around 900 A.D., a northwest/southeast Also figuring prominently in early Thai biographies and factory histories, and in­ division occurred in the tradition of painted production were the celadon-glazed wares dex. 418 black-and-white photos, 32 color pottery. The potters in the northwest from the Sawankhalok kilns (of central plates. $29.95, softcover.Rizzoli Interna­ “placed great emphasis on heavy masses of Thailand) and the green-, brown- and tional Publications, Inc., 300 Park Avenue, carbon-based paint that fired with a soft, celadon-glazed wares of northern Thai South, New York, New York 10010. gray-to-black tone on white, polished sur­ kilns—examples of which are document­ faces”; while in the southeast, “fine lines of ed in 105 color plates and 27 black-and- Tiles iron-based, reddish-black paint were placed white photographs. 132 pages, including A Collector’s Guide on surfaces that tended to be chalky white.” selected bibliography. $29.95. Oxford Uni­ by Hans van I^mmen This history of the Anasazi covers other versity Press, 200 Madison Avenue, New York, aspects of their culture as well, including New York 10157. As buildings from the Victorian era such topics as rituals, lifestyles and neigh­ through the early 20th century are being boring tribes. Illustrating the text are 71 Scandinavia demolished or remodeled in Britain, the decorative tilework that remains intact is color plates (many Ceramics & Glass in the increasingly finding its way into antique spanning 2 pages) Twentieth Century and 112 black-and- shops, auction houses and even flea mar­ by Jennifer Hawkins Opie white photographs, kets. While the collecting world remains along with 41 illus­ Although taking different forms, equally indecisive as to whether these architec­ trations, maps and important to design in Denmark, Finland, tural elements are individual works of art, charts. 239 pages, Norway and Sweden is the “respect for the curios or simply sal­ including notes to natural materials and a concern for their vaged building ma­ the text, bibliogra­ ‘proper’ use by the designer and con­ terials, there’s never phy, lists of color sumer.... Danish designers and artists excel been a better time plates and illustra­ particularly in the use of exotic effects.... for the acquisition of tions, and index. $75. Rizzoli International Finnish designers and artists are especially superior tilework. Publications, Inc., 300 Park Avenue, South, conscious of their own landscape and the This updated and New York, New York 10010. elements which form it.... Artists from all amended version of four countries include in their vocabulary the 1979 edition Thai Ceramics from the symbols related to hunting and fishing and provides the tile col­ the age-old struggle to survive the dark, lector with back­ Sosai Collection frozen northern winters ” ground information about the various by Kenji Itoi This catalog/book documents the manufacturers and the production pro­ Originally published in Japanese as a Victoria and Albert Museum’s collections cesses involved, as well as illustrations of catalog for an exhibition of the author’s of ceramics, glass, enamels and plastics representative designs, dating guidelines collection, this revised English edition in­ from these countries. These specific col­ and tips on restoration. cludes a historical overview of Thai ce­lections center around the traveling exhi­ “Tiles from the Victorian and Edwardian ramic history, focusing on the Sukhothai bitions begun in 1853, but the museum’s period offer the richest field of interest to “kingdom of ceramics ” interest in Scandinavian design was not the collector,” asserts the author. “This is “Present-day Thailand was dominated extensive, and in the late 19th and early due to the enormous expansion in the from the ninth century by the Kingdom of 20th centuries, it became virtually nonex­ industry during the second half of the 19th

12 Ceramics Monthly November 1990 13 New Books been demolished or “modernized,” many residents must add sales tax.) Allworth Press, of these virtually handmade buildings can 10 East 23 Street, New York, New York 10010; still be seen intact today. 144 pages, includ­ or North Light Books, 1507 Dana Avenue, ing an appendix on process, list of princi­ Cincinnati, Ohio 45207. century, when mechanization allowed tiles pal projects, bibliography and index. 17 to be produced in greater quantity and color and 87 black-and-white photographs. Ceramic Traditions of more variety in technique and design than $45. Windgate Press, P. O. Box 1715, Sausalito, South-East Asia ever before. California 94966. by John Guy “There were earlier times during which tiles were used a great deal—particularly The Artist’s Complete Health “The ceramic tradition of a people is often a useful introduction to the culture the Middle Ages—but they do not come on and Safety Guide to the open market. Later on, in pre-mass- of that society, providing evidence of its by Monona Rossol production days, Dutch and English delft- technical skills and stylistic interests and ware tiles became popular, but examples Intended as a resource for artists, influences over an extended period,” notes of these have become very expensive. craftspeople and teachers, this guide iden­ the author of this introduction to the ce­ “Nineteenth-century potteries, enjoying tifies hazardous materials and the prob­ ramic histories of Burma, Cambodia, Thai­ the benefits of new mass-production tech­ lems they may cause, and suggests steps for land and Vietnam. niques, were able to cater to a demand for safe handling and High-fired glazed ceramics were pro­ tiles that led to their being used in all kinds use. The first section duced in all four countries, and “many of places—from town halls to signposts; covers regulations early Southeast Asian ceramics find their from fireplaces to furniture. And the de­ for industrial hy­ most direct sources in the metal vessels of signers responded with such a variety of giene, the control of the tenth century and later.” themes and colors that there is something chemical and physi­ A use common to all four countries was of interest to every modern collector. Styles cal hazards, general for architectural ornamentation. The from the past, such as the renaissance and precautions, ventila­ Ananda Temple, built in 1091 at the city of the Gothic, are found next to designs in­ tion and respiratory Pagan, Burma, has over 1400 ceramic tiles spired by the arts and crafts movement, art protection. Section around its base and terraces, depicting the nouveau, even the Far East.” two provides infor­ story of Buddha. “One tile of particular In addition to the output of British mation (including interest depicts two potters at work, one potteries, the text also includes a chapter the adverse effects modeling the clay, the other shaping a on collectible tiles from the United States. resulting from skin contact or ingestion) vessel with a paddle. The potting tech­ 144 pages, including glossary, bibliogra­ on the five major groups of hazardous artniques, from the end of the 11th century, phy and index. 167 black-and-white illus­ materials: solvents; pigments and dyes; are recorded still being practiced in a pho­ trations. $11.95, softcover.Available from metals and their compounds; minerals, tograph taken in the later nineteenth cen­ International Specialized Book Service, Inc., frits and glass; and plastics. tury, illustrating the conservative nature of 5602 Northeast Hassalo Street, Portland, Or­ The third section is divided by media, the potter’s art in Burma.” egon 97213. with each chapter outlining precautionary The author also discusses the evolution measures to ensure safe production and of kiln technology in each country. In Architectural Terra Cotta of potential use. Glazes should probably be Thailand, north of the city of Sisatchanalai, the potter’s leading concern. Not only is “three generations Gladding, McBean their preparation “one of the most hazard­ of kiln develop­ by Gary F. Kurutz ous tasks potters perform because it in­ ment” have been Lavishly illustrated with contemporary volves weighing and mixing the powdered discovered. “At the photographs and prints from archival glass- ingredients (methods of controlling the lowest levels of exca­ plate negatives, this book documents the dust should be employed),” but if improp­ vation have been heyday (1890-1930) erly formulated or fired, “can leach dan­ found simple cross­ of production at gerous amounts of barium, lithium and draft bank kilns, dug Gladding, McBean & other metals. It is true that the Canadian out from the river Company, the oldest and the United States consumer protec­ bank or on sloping ongoing architec­ tion laws currently only regulate lead and land. A refined ver­ tural terra cotta firm cadmium release from ceramics. However, sion of this was a in the U.S. “Out of in 1989, the United States Food and Drug cross-draft kiln constructed of clay slabs.” the rich deposit of Administration called for data on leaching These kilns mainly produced unglazedjars. clay in the foothills of of other metals from lead-free glazes to Built of pre-fired bricks, the third type the Sierra Nevada Mountains came the investigate their safety. And whether regu­ was an above-ground, cross-draft kiln, which terra cotta that decorated thousands of lated or not, potters are still liable for harm averaged up to 30 feet in length. This type buildings ranging from stately city halls to toxic glazes cause consumers.” of kiln was used to produce glazed archi­ utilitarian warehouses.... Terracotta [was] The guide goes on to suggest that tectural, domestic and export wares. “The the principal medium of ornamentation “potters consider either having reliable kiln has a tapering domed profile with a and cladding because of its extraordinary laboratories periodically test their ware, or recessed firebox, an ascending firing plasticity, durability, variety of color, mod­ use glazes that contain no toxic metal- chamber, and a round chimney. The wares erate price and its ability to complement containing ingredients. These safer glazes were set on tubular firing stands on the marble, granite and brick.” would rely on glaze chemicals containing floor of the kiln to ensure effective firing Working closely with architects, the sodium, potassium, calcium and magne­ and, in their earlier wares, a spurred disc company sculpted a variety of mythologi­ sium fluxes.” was employed to separate them.” 68 pages, cal figures and beasts, scrolls and cartouches A section on classroom hazards and safe including appendix on major museum col­ to fulfill design motifs for buildings prima­ teaching practices concludes the text. 328 lections, and index. 25 color plates, 55 rily on the West Coast, but also throughoutpages, including bibliography and index. black-and-white photos. $29.95. Oxford the U.S. and Canada, and as far away as 14 illustrations. $16.95, softcover; plus $3University Press, 200 Madison Avenue, New Sydney, Australia. Although some have postage and handling. (New York and Ohio York, New York 10157.

14 CERAMICS MONTHLY November 1990 15 California, SacramentoNovember 7-December 1 November 2-January 20, 1991Jun Kaneko; at the Itinerary Lee Kavaljian; at Judith Weintraub Gallery, 1723 Blue Star Art Space, 116 Blue Star. J Street. Virginia, Richmondthrough November 17 Arnold Conferences, Exhibitions Fairs, California, San Anselmothrough November 23 Zimmerman, sculpture; at Hand Workshop/ , Anne Mulder Maurice, wall pieces; at Lidija Virginia Center for Craft Arts, 1812 W. Main St. Workshops and Other Events to Attend Grzac Gallery, 715 Sir Francis Drake Boulevard. Washington, Seattlethrough November 19 Sandy California, San Franciscothrough December 1 Zeiset-Richardson; at Artworks, 155 South Main. Dennis Gallagher, sculpture; at Rena Bransten Washington, TacomaNovember 30-January 27, Gallery, 77 Geary. 1991F. Carlton Ball, 1940-1990 retrospective; at Conferences November 8-December 1 Tony Hepburn; at Dor­ Tacoma Art Museum, 1123 Pacific Avenue. othy Weiss Gallery, 256 Sutter Street. Arizona,Tempe April 3-6,1991 “NCECA 25Years: California, Santa AnaNovember 1-30 Ken Group Ceramics Exhibitions Past-Present-Future” National Council on Horvath, teapots and chalices; at Neeley Library Education for the Ceramic Arts annual meeting. Art Gallery, Rancho Santiago College, 17 and California, LajollaNovember 2 9-January 12,1991 Contact Regina Brown, Executive Secretary, Box Bristol Streets. “Three Generations of English Potters, ” Michael, 1677, Bandon, Oregon 97411. California, West HollywoodNovember 2-24 Gerd Seth and Ara Cardew; at Crafts Center/Grove D.C., WashingtonFebruary 21-23, 1991 “College Knapper; at MOA Art Gallery, 8554 Melrose Ave. Gallery, University of California, San Diego. Art Association Annual Conference” will include D.C., Washingtonthrough December 14 Jane Lar­ California, Los AngelesNovember 3-28 Exhibi­ sessions on such topics as art censorship, East­ son; at American Association for the Advance­ tion with vessels by Anne Hirondelle and Anne ern European art in Western perspective, teach­ ment of Science, First Floor atrium, 1333 H Kraus; at Garth Clark Gallery, 170 S. La Brea. ing strategies, the use of computers, the harmful Street, Northwest. California, San Franciscothrough December 9 “The impact of art materials on the environment, and Florida, DavieNovember30-December 2 IJane Levy; Qing Master Potter”; at the Asian Art Museum of nonfunctional crafts. Contact College Art Asso­ at Broward Community College, A. Hugh Adams San Francisco, Golden Gate Park. ciation, 275 Seventh Avenue, New York, New Central Campus, 3501 Southwest Davie Road. through December 22 “The Art of the Yixing Pot­ York 10001; or telephone (212) 691-1051. Hawaii, HonoluluNovember 13-December 30 ter”; at the Chinese Culture Foundation, 750 Mississippi, Jackson March 14-17, 1991 “Strong Tea: Richard Notkin and the Yixing Kearny Street. “American Crafts Council Southeast Regional Tradition”; at the Honolulu Academy of Arts, throughJanuary 20,1991 “Music and Magic: West Conference” will include seminars, panel dis­ 900 South Beretania Street. Mexican Ceremonial Figures from the Land cussions, slide lectures and demonstrations. Illinois, Chicago November 16-December 29 Collection,” approximately 20 ceramic scenes; Contact Andrew Young, Conference Coordina­ Bennett Bean, sculpture and vessels; at Esther at the M. H. de Young Memorial Museum, tor, 142 Millsaps Avenue, Jackson 39202; or Saks Gallery, 311 West Superior Street. Golden Gate Park. telephone (601) 353-2497. November 30-December 28 Robert Pulley, sculp­ Georgia, Atlantathrough February 24, 1991 North Carolina, Winston-SalemApril 12-14,1991 ture; at Kay Garvey Gallery, 230 W. Superior St. ‘Japanese Porcelain: The Jacobs Collection.” “Color Symposium” will include hands-on or Illinois, Elgin November 9-30 GailJones, raku and November 23-January 6, 1991 “French Ceramics: technical instruction in clay, glass, photogra­ stoneware; at E. Max von Isser Gallery of Art, Masterpieces from Lorraine”; at High Museum phy, fibers and painting; slide lectures; demon­ Elgin Community College. of Art, 1280 Peachtree Street, Northeast. strations; panel discussions and round table Iowa, Cedar FallsNovember 12-December 5Jo Ann Illinois, Chicagothrough January 6, 1991 “Eigh- exchanges. Contact Color Symposium, Sawtooth Schnabel, earthenware with low-fire glazes; at teenth-Century Worcester Porcelain”; at Art In­ Center for Visual Art, 226 N. Marshall St., Win- the Gallery of Art, University of Northern Iowa. stitute of Chicago, Michigan Ave. at Adams St. ston-Salem 27101; or telephone (919) 723-7395. Kansas, Great BendNovember 1 -20 Tinsley Wert, Indiana, Muncie November 11-January 6, 1991 sculpture; at the Fine Arts Building, Barton “American Studio Ceramics”; at Ball State Uni­ International Conferences County Community College. versity Art Gallery, 2000 University Avenue. Massachusetts, Worcesterthrough November 16 Kentucky, Henderson November 1-December 14 Australia, Queensland, BroadwayJuly 1-5, 1991 J. David Broudo, ceramics and watercolors; at “Crosscurrents: Contemporary Approaches to “Arts: Industry Interface—Sixth National Ce­ Worcester Center for Crafts, 25 Sagamore Rd. Clay”; at the Henderson Arts Council, 136 Sec­ ramics Conference” will include seminars, panel Michigan, Detroit through November 10 Docu­ ond Street. discussions, workshops and gallery tours. Loca­ mentation of the making of Michele Oka Doner’s Maryland, DaytonNovember 10-18 Functional tion: Griffith University. Fee (US$ equivalentsinstallation piece, “Radiant Site,” for the New stoneware by Rebecca Moy and David Young; at approximate): Aus$335 (US$251), students York City Herald Square subway station; at Pewa- Greenbridge Pottery and Gardens, 5159 Green- Aus$200 (US$150); on-site Aus$360 (US$270), bic Pottery, 10125 East Jefferson Avenue. bridge Road. students Aus$220 (US$165). Contact the Na­ Minnesota, Minneapolisthrough November 9 Massachusetts, Boston through November 17 tional Ceramics Conference, Box 231, Broad­ Douglas Kenney; at Perspectives Fine Crafts “Findings ’90: A Recognition of Ceramic Excel­ way, Queensland 4006; or telephone (07) 358 Gallery, 81 South Ninth Street, Suite 220. lence”; at the Society of Arts and Crafts, 175 5121 or Phil Greville, Conference Manager (07) Missouri, CantonNovember 4-30 A1 Beck, “A Sea Newbury Street. 553 4419. of Vessels,” clay, paper and glass; at Mabee Art Massachusetts, Ipswich November 4-December 23 New Zealand, Rotorua/i/we14-16,1991 “Clay AZ Gallery, Culver-Stockton College. “Holiday Traditions”; at Ocmulgee Pottery and Art International Conference: Ceramics, Weav­ Missouri, Columbiathrough November 9 Steve Hill; Gallery, 263 High Street. ing, Spinning” will include preconference salt- at Bluestem Missouri Crafts, 13 S. Ninth St. Michigan, Detroitthrough November 1 ONew work glaze firing with Barry Brickell; demonstrations New York, New Yorkthrough November 24 Toby by Dan Anderson, Mary Barringer, Peter Bea- by Brickell, Don Reitz and others; plus lectures Buonagurio, “Sculpturama: Sunken Treasuressecker, Barbara Diduk and David Wright. No­ and tours. In New Zealand, contact Mark Gilded Pleasures”; at Bernice Steinbaum Gal­ vember 17-December 31 “Holiday Invitational”; at Chadwick, 100 Town Point Road, Maketu, RD9, lery, 132 Greene Street. Pewabic Pottery, 10125 East Jefferson Avenue. Te Puke; or telephone 0164 753 2102. Or con­ November 6-December 1 Ruth Duckworth; at Garth Michigan, Grand RapidsNovember 19-December tact Northern Arizona University Art Gallery, Clark Gallery, 24 West 57 Street. 15 “NCECAjuried Members’ Exhibition”; at the Box 6021, Flagstaff, Arizona 86011; or telephone November 10-December 1 David Furman; at OK Art Gallery, Calvin College. Joel Eide (602) 523-3471; Donald Bendel 523- Harris, 383 West Broadway. Michigan, Royal Oakthrough November 17 “Table 2398; or Paula Rice 523-2622. North Carolina, AshevilleNovember 15-January Settings,” by Bill Brouillard and Paul Kotula; at 2, 1991 Jane Peiser; at the Focus Gallery, Folk Swidler Gallery, 308 West Fourth Street. Solo Exhibitions Art Center, Blue Ridge Parkway. Minnesota, BloomingtonNovember 16-December Oklahoma, Normanthrough November 19 Frank 21 “Porcelain by Six,” with works by Martye Allen, California, Half Moon Baythrough November 12 Martin; at Firehouse Art Center, 444 S. Flood. Donna Getsinger,JanelJacobson, ShirleyJohn- Lizzie Zucker-Saltz, sculpture, etchings and Oregon, PortlandNovember 1-December 1 Michael son, Monica Rudquist and Denise Tennen; at drawings; at ART IS T Gallery, 745 Kelly Avenue. Bliven, “El Dia de los Muertos”; at De Nada, 55 Bloomington Art Center,10206 Penn Ave.,S. California, Los Angelesthrough November 24 Brian Southwest Taylor. Minnesota, Saint Paulthrough November 17 “Clay: Ransom, ceramic musical instruments; at Cou­ Pennsylvania, Allentownthrough December 30 Minnesota Collects”; at Northern Clay Center, turier Gallery, 166 North La Brea. Toshiko Takaezu, “Four Decades,” approxi­ 2375 University Avenue, West. California, Palo Altothrough January 20, 1991 mately 150 ceramic, bronze and woven pieces; at Missouri, Kansas Citythrough November 30 Tea­ Richard Shaw, ceramic sculpture; at Palo Alto Allentown Art Museum, Fifth and Court Streets. pots by Chris Gustin and geometric vessels by Cultural Center, 1313 Newell Road. Pennsylvania, Pittsburghthrough November 14 Eva Judith Salomon; at Garth Clark Gallery, 855 Kwong. November 16-December 19 Kirk Mangus; at Rockwell Lane. Send announcements of conferences, exhibitions, ju­ the Clay Place, 5416 Walnut Street. New York, New Yorkthrough December 1 New ried fairs, workshops and other events at least two Tennessee, KnoxvilleNovember 1-December 31 works by David Barthold, Judith Freemantle, months before the month of opening (add one month for Peter Rose; at the Arts Council of Greater Knox­ Caryn Kreitzer and Matt Nolen; at Archon, 525 listings in July and two months for those in August) to ville, Candy Factory, fourth floor lobby gallery. West 49 Street. Itinerary, Ceramics Monthly, Box 12448, Columbus, Texas, San AntonioNovember 2-January 20,1991 November 7-23 “The Spirit of Europe”; at Parsons Ohio 43212; or telephone (614) 488-8236. Fax an­ Jun Kaneko, sculpture; at the Southwest Craft School of Design, 66 Fifth Avenue. nouncements to (614) 488-4561. Center, 300 Augusta. Pennsylvania, PittsburghNovember 23-January 2,

16 Ceramics Monthly November 1990 17 Itinerary bara J. Mahl. November 30-December 29 “Holiday Connecticut, MiddletownNovember 24-December Toys for Big Girls and Boys II”; at Sheila 9 “The Wesleyan Potters 35th Annual Exhibit Nussbaum Gallery, 358 Millburn Avenue. and Sale”; at the Wesleyan Potters Craft Center, Newjersey, MontclairthroughJune23,1991 “Signs 350 South Main Street. and Symbols in Native American Art”; at the Connecticut, WestportNovember 17-18 “Westport 1991 “Clay for Collectors—Cups and Bowls”; at Montclair Art Museum, 3 S. Mountain Ave. Creative Arts Festival”; at Staples High School, the Clay Place, 5416 Walnut Street. Newjersey, Oceanvillethrough December 16“ New North Avenue. Virginia, Richmondthrough November 17 “Clay in Jersey Arts Annual”; at the Noyes Museum, Lily Georgia, AtlantaNovember 30-December 2 Pottery the East: Faculty Exhibition”; at Hand Work­ Lake Road. and jewelry sale; at the North Arts Center, 5339 shop/Virginia’s Center for Crafts, 1812 West Newjersey, Red Bankthrough November 10 Five- Chamblee Dunwoody Road. Main Street. person show featuring ceramics by Wendy Wil­ Illinois, Winnetka November 10-11 “Winnetka Washington, TacomaNovember 28-January 27, liams; at Art Forms, 16 Monmouth Street. Modernism Show: Furniture and Decorative Arts 1991 “Ashen Beauty: Wood-Fired Ceramics,” with New Mexico, AlbuquerqueNovember 23-Decem- from 1890-1960”; at Winnetka Community works by Frank Boyden, Peter Callas, Paul ber 31 “Matter,” invitational featuring works by House, 629 Lincoln Street. Chaleff, Chuck Hindes, Karen Karnes, Eric New Mexico artists; at Weyrich Gallery, 2935-D Indiana, IndianapolisNovember 16-18 “Best of Nelson, Jeff Oestreich, Carol Roorbach, David Louisiana Boulevard, Northeast. the Season”; at the Exposition Hall, Indiana Shaner and Jack Troy; at the Tacoma Art Mu­ New York, Buffalothrough November 25 “Craft Art State Fairgrounds. seum, 1123 Pacific Avenue. from Western New York, 1990”; at Burchfield Louisiana, New OrleansNovember 17-18 “15th Art Center, Rockwell Hall, SUNYCollege at Buf­ Annual Holiday Crafts Market”; at the City Park Ceramics in Multimedia Exhibitions falo, 1300 Elmwood Avenue. Botanical Gardens. New York, New YorkNovember 15-January 27, Maryland, GaithersburgNovember 16-18 “Au­ Alabama, HuntsvilleNovember 17-January 13, 1991 “Drinking Vessels 1990: A Holiday Toast”; tumn Crafts Festival”; at the Montgomery County 1991 “Art That Works”; at Huntsville Museum ofat the American Craft Museum, 40 W. 53 St. Fairgrounds. Art, 700 Monroe Street, Southwest. North Carolina, Ashevillethrough November 29 New Jersey, DemarestNovember 30-December 2 Arizona, Scottsdalethrough November 30 ‘Ju- “Then and Now”; at the Folk Art Center and the “16th Annual Pottery Show and Sale”; at Old daica—Second in a Series,” includes ceramics by Southern Highland Handicraft Guild, Blue Church Cultural Center, School of Art, 561 William Bernstein, Susan Garson and Tom Ridge Parkway. Piermont Road. Pakele; at Joanne Rapp Gallery/the Hand and North Carolina, Winston-SalemNovember 21- Newjersey, Woodcliff LakeNovember3-7“ Art of the Spirit, 4222 North Marshall Way. January 4, 1991“STARS,” works by members of Our Times”; at Temple Emanual. California, ClaremontNovember 4-December 2“Art the Aligned Guilds of the Sawtooth Center; at New York, Herkimer November 10-11 “15 th An­ at Scripps: An Inaugural Celebration”; at Lang the R. J. Reynolds Gallery, Sawtooth Center for nual Herkimer County Arts and Crafts Fair”; at Gallery, Claremont College, Bonita and College Visual Art, 226 North Marshall Street. Herkimer County Community College. Avenues. Ohio, ClevelandthroughDecember 9 “Yoruba: Nine New York, New YorkNovember 30-December 2, California, Los Angelesthrough January 6, 1991 Centuries of African Art and Thought.”through December 7-9 and 14-16 “19th Annual WBAI “American Arts and Crafts: Virtue in Design”; at December 30 “Powerful Form and Potent Symbol: Holiday Crafts Fair”; at Columbia University, the Los Angeles County Museum of Art, 5905 The Dragon in Asia.” through January 13, 1991 Ferris Booth Hall, Broadway at 115 Street. Wilshire Boulevard. “Korean Art”; at the Cleveland Museum of Art, North Carolina, AshevilleNovember23-25 “High California, San DiegoNovember 2-21 “Decade 11150 East Boulevard. Country Christmas Art and Craft Show”; at the Five,” Allied Craftsmen Annual Exhibition; at Oklahoma, Tulsathrough November 25 “Treasures North Carolina Civic Center. Calhoun Gallery, 2400 Kettner Boulevard. of American Folk Art from the Abby Aldrich North Carolina, RaleighNovember 23-25 “Caro­ California, Walnut CreekNovember 16-December Rockefeller Folk Art Center”; at Philbrook Mu­ lina Designer Craftsmen’s 21st Annual Crafts 24 “Banaker Presents...A Gift of Art,” including seum of Art, 2727 South Rockford Road. Fair”; at the Scott Pavilion, North Carolina State clay sculpture by Bacia Edelman, Claudia Oregon, Portland November 1-December 31 Fairgrounds. Hollister, Christine Knox and Garry Price; at “Holiday Show”; at the Oregon School of Arts North Carolina, Winston-SalemNovember 29- Banaker Gallery, 1373 Locust Street. and Crafts, 8245 Southwest Barnes Road. December 1 “STARS (Sawtooth’s Triad Artists Re­ Connecticut, New HavenNovember 11-December November 11-December 24 “Holiday Show”; at gional Show) ”; at the Sawtooth Center for Visual 23 “Celebration of American Crafts”; at the Contemporary Crafts Gallery, 3934 Southwest Arts, 226 North Marshall Street. Creative Arts Workshop, 80 Audubon Street. Corbett Avenue. Ohio, BeachwoodNovember 10-12 “Agnon Fine D.C., Washingtonthrough January 11, 1991 “Six Texas, Denton through November 9 “Current/ Art and Craft Exhibition”; at the Agnon School, Sculptors,” including work byjoseph Mannino; RecurrentTrends.” November 20-December 22 “Clay 26500 Shaker Boulevard. at Washington Square, 1050 Connecticut AvenueContainers and Woven Wallpieces”; at Graham Ohio, CincinnatiNovember 23-25 “Crafts Affair”; at L Street. Horstman Gallery, 114 West Congress. at Cincinnati Convention Center, downtown. November 16-February 3, 1991 “Moscow: Trea­ Wisconsin, Milwaukee November 2-January 12, Ohio, ColumbusNovember 29-December 2 “Win- sures and Traditions”; at the Smithsonian Insti­ 1991 “A. Houberbocken Holiday”; at A. terfair”; at the Multipurpose Building, Ohio tution, International Gallery. Houberbocken, 230 West Wells, Suite 202. State Fairgrounds. Florida, Ormond Beachthrough November 18“New Oklahoma, NormanNovember 30-December 2 “A Faces for a New Decade,” with clay by Timothy Fairs, Festivals and Sales Christmas Fair”; at the Firehouse Art Center, Baker, Michael Chomick, Kim Kirchman and 444 South Flood. McKenzie Smith; at Ormond Beach Memorial Alabama, BirminghamNovember 10-11 “Hands Pennsylvania, PhiladelphiaNovember 8-11 “The Art Museum, 78 E. Granada Blvd. at Work,” Alabama Designer/Craftsmen annual 14th Annual Philadelphia Craft Show”; at the Georgia, Atlantathrough November 11 “Hidden craft show; at Birmingham Botanical Gardens. Philadelphia Civic Center, 34 Street and Civic Heritage: Recent Discoveries in Georgia Deco­ California, Beverly HillsNovember 17-18 “Our Center Boulevard. rative Art 1733-1915,” includes 8 ceramic pieces; Fourth Annual Hollywood Premiere,” works by Pennsylvania, WallingfordNovember 30-December at High Museum of Art, 1280 Peachtree St., NE. 13 American Indian artists represented by Gal­ 2 “Potters Guild 26th Annual Holiday Sale”; at Illinois, Chicago through November 27 Three- lery 10; at the Four Seasons Hotel, 300 South Community Art Center, 414 Plush Mill Road. person exhibition with ceramic sculpture by Doheney Drive. Pennsylvania, YorkNovember 10-11 “State Craft Louis Marak and Donald Reitz. November 30- California, San DiegoNovember 9-11 “Contem­ Market”; at Memorial Hall, York Fairgrounds. January 8, 1991 Ceramics by John Glick, Paul porary Crafts Market”; at the San Diego Conven­ Tennessee, Oak Ridge November 9-11 “24th Mathieu and Kris Nelson; at Schneider-Bluhm- tion Center, 111 Harbor Drive. Annual Foothills Craft Guild Fall Show”; at the Loeb Gallery, 230 West Superior Street. November 10-12 “Avenues of the Arts”; along Civic Center, on the Turnpike. Indiana, Indianapolisthrough February 28, 1991 Fifth Avenue, across from San Diego ConventionVirginia, Richmond November 16-18 “Richmond “African Household Arts”; at Indianapolis Mu­ Center. Craft and Design Show”; at the Richmond Cen­ seum of Art, 1200 West 38 Street. California, Santa MonicaNovember 2-4 “Con­ tre for Conventions and Exhibitions, Fifth and Iowa, AmesNovember 11—December 30 “Octagon temporary Crafts Market”; at the Santa Monica Marshall Streets. Annual”; at Octagon Center for the Arts, 427 Civic Center. November 26-December 22 “Holiday Invitational Douglas Avenue. Colorado, BoulderNovember 8-11 “Boulder Gallery Sale”; at the Hand Workshop/Virginia’s Massachusetts, Northamptonthrough November Potters Guild Members’ Fall Sale”; at the Armory Center for Crafts, 1812 West Main Street. 25 “A Tea Party”; at the Ferrin Gallery at Pinch Building, 4750 North Broadway. Wisconsin, Spring Green November 9-December31 Pottery, 179 Main Street. Colorado, PuebloNovember 29-December 2 “Christmas in Wisconsin”; at Jura Silverman Gal­ Michigan, Midland November 3-29“32nd Annual “Holiday Fair”; at the Sangre de Cristo Arts and lery, 143 South Washington. Mid-Michigan Competition”; at the Midland Conference Center, 210 N. Santa Fe Ave. Center for the Arts, 1801 West Saint Andrews. Connecticut, BrookfieldNovember 23-December Workshops Minnesota, Minneapolisthrough December 1 24 “12th Annual Craft Center Holiday Sale”; at “Metal, Fiber and Clay”; at Javier Puig Gallery, Brookfield Craft Center, 286 Whisconier Road. California, La JollaDecember 2 Demonstration, 118 North Fourth Street. Connecticut, Guilford November 3-December 23 lecture and video with Seth Cardew. Fee: $35. New Jersey, Millbumthrough November 10 “An­ “12th Annual Holiday Festival of Crafts and Fine December 3 Slide lecture with Seth Cardew. Fee: niversary Showcase,” featuring ceramics by Bar­ Art”; at Guilford Handcrafts, 411 Church Street. Please turn to page 60

18 Ceramics Monthly November 1990 19 cabinet outside the ceramics studio so they Suggestions could display their work. In talking with the college, we were told that there was no From Readers money available. So the students decided to earn it themselves. This was the birth of the semiannual “Bowl and Chili Sale.” Students donate bowls, a pot of vegetarian Foolproof Packing chili or help sell. Some also display their When packing a fragile ceramic object artwork on tables outside the cafeteria, for shipment, first wrap the piece in plastic and donate 5% of sales. The customer (recycling grocery or dry cleaning bags, purchases a handmade bowl for $3 to $5, bread or magazine wrappers—whatever and gets a fill-up of chili free. Not a bad works). Next, spread Styrofoam peanuts deal! We make $300 to $350 during the (preferably recycled) on a table or the three days (11 A.M. to 1 P.M.) of each sale floor, and squirt liberally with white glue. (the first week of December and May). Over the years, the proceeds have been used to buy the display case, heavy duty extruder, lockers, an electric kiln and a used hydraulic press; they also have been used to fund speakers, workshops and demonstrations.—-John Conrad, San Diego, Calif.

Joint Smoother When attaching handles or sculptural elements to ceramic forms, try using a wedge-shaped eraser on the end of a pencil to smooth those difficult-to-reach areas. You’ll find this small, flexible tip blends Pour these peanuts into the bottom (4 to 6 clay easily.—Ed Anderson, Roy, Utah inches deep) of a plastic-lined box that is at least 4 inches bigger than the piece on all Teapot Shortcut sides. Place the plastic-wrapped piece in To save one throwing step when mak­ the box and fill with the remaining pea­ ing a teapot, first throw a bottle form with nuts, placing a layer of plastic or paper at a long neck. After the neck has been stiff­ each undercut so that the resulting cus- ened with a hair dryer, it can be cut off with tom-fit Styrofoam packing will separate into a needle tool and reserved for use as the easily removed sections.—Spencer Finch, teapot’s spout. Then it’s a simple matter to Brooklyn, N. Y. refine the remaining shape and form a flange to seat the lid.—Richard Kupstis, Almost Free Equipment and Materials Meriden, Conn. Four years ago, a former student at San Diego Mesa College asked how he could Eliminate Pinholing help the art department. During this con­ Sometimes it takes many years to see an versation, the idea developed to start an art obvious solution to a ceramics problem. I materials/equipment procurement com­ used to mend pinholes that appeared on mittee. The members would check at vari­ freshly glazed pots by rubbing them with ous stores, shops, small factories, etc., to my finger. Not only is this time consuming, ask if they had any discarded/discontin­ but it also leaves a dusty surface that does ued materials or surplus equipment that not accept oxide decoration well. Then I they would donate to the art department. discovered that pinholing can be elimi­ Since then, thousands of dollars worth nated by double-dipping the glaze. Just dip of paper, cardboard, matt board centers the pot, hold it aloft for a few seconds until from framing shops, end rolls from print­ the shine goes, then quickly dip again (in ing plants, clay, tools, colored and clear the same or another glaze). You may want glass, and more have been acquired with­ to thin the glaze slightly, although I have out cost. not found this to be necessary with the This year, the procurement committee recipes I am now using.—Carol Hutchinson, drafted a letter to be sent out during the Nelson, British Columbia, Canada fall term, explaining that state funding has decreased in recent years, that many stu­ Dollars for Your Ideas dents attend school on a limited budget, Ceramics Monthly pays $10 for each suggestion and that all donations are tax deductible. published; submissions are welcome individually Accompanying the letter is a “wish list” of or in quantity. Include an illustration or photo needed supplies and equipment. This to accompany your suggestion and we will pay might work for your institution/nonprofit$10 more if we use it. Mail ideas to Suggestions, group too. Ceramics Monthly, Box 12448, Columbus, Ohio Here’s another variation on this idea: 43212; or fax to (614) 488-4561. Sorry, but we Six years ago, several students wanted a can’t acknowledge or return unused items.

20 CERAMICS MONTHLY November 1990 21

Comment On the Edge

by Bob McWilliams

Hard to say when things began to ahead of me and the pots were drying change. It’s so murky now. slowly. Trimming the casseroles and My wife and I had recently moved bowls was surreal torture. The pots were into our new home on Kaena Point, ahard to center; they seemed to be con­ sparsely populated area on Oahu’s stantly changing shape. The ribbons of north shore. I had just finished build­ trimmings wrapped around my legs like ing my new studio when things began jellyfish tentacles. I had to keep kicking to happen that defied logical explana­ them off. Can you imagine? It even tion. seemed that they stung a bit. Without People had warned us. Old Hawai­ thinking, I stopped in the middle of ian legends told how, at Kaena Point, trimming to clean up the growing pile souls of the dead jumped into the of clay tentacles, fearful that they would ocean, to the next world, from a large engulf me. Out of the corner of my white rock—the good to the right, the eye, did they really seem to move by bad to the left. We hadn’t taken the themselves? With a deep breath, I warnings very seriously. Our house wasfinished trimming. to the left of the rock. Cauldrons. Maybe that would break Our new home was a dream-come- the mood. I decided to throw my favor­ true, though, and my wife and I had ite item, large soup tureens I called never been happier. The studio was cauldrons because they were so big I fantastic—built on the edge of a small could imagine a cannibal putting cliff overlooking the ocean. Everythingsomeone inside to slowly simmer. It was just where I wanted it. seemed funny...before. After weeks of construction, the stu­ While wedging the clay, that uneasy dio was finally producing again. I could mood was sustained...and grew. There throw and watch was that vortex the sea’s turbulent again in the wedg­ swells all day. At We hadn’t taken the warnings ing spiral. I had to times I could al­ very seriously. shake my head to most feel myself keep from falling. being drawn into The clay wanted to that deep blue. It was as if vertigo had resist every push—pushing back. taken over and all I could see was a There was a lull in the wind outside. vortex, much like what happens if you The rain was only a drizzle. I was almost stare too long at a pot turning on yourready to sit down at the wheel—to break wheel. this weird feeling—when I noticed that But the pots just weren’t coming outmy 5-gallon water bucket was full of the way I wanted. Casseroles were slip, putrid slip, that was a strange ma­ twisted somehow. Vases were bent. Bowls roon color with a texture like the bulg­ were warped. I chalked it up to not ing skin you see in the horror movies. throwing for a while. Get rid of it! As I reached down to grab One evening, the moon was almost the handle, the slip bulged, expanding full, one of those “Blue Hawaiian in the direction of my arm. This was Moonlight” nights with a crystal clear crazy. I grabbed a tool to probe this sky, warm breezes off the ocean. How thing. Figure it out. Just as I poked, could such a beautiful place be associ­ there was a sharp vacuum sound and I ated with displaced spirits? felt myself being lifted right off my The next day, as can often happen feet—sucked in! in Hawaii, was a complete weather an­ The next thing I knew, I heard my tithesis: cold winds blowing at 15-30 wife at the studio door. My hearing was mph, beating rain, and as dark outside intensely keen, but, visually, things were as a carbon-filled kiln. Behind the very murky. She was calling my name. clouds, the moon was full. “Over here. Check by the wheel, I had a busy half day of trimming darling.” A

24 Ceramics Monthly

Tokyo Clay by Derek Jones

As DAWN BREAKS, a potter sits medi­ fired nonetheless. Ceramic sculptors, sha members, that still powerful group tatively throwing repetitively in adivorced from the customs and limi­ has grown old and conservative, turn­ thatched-roofed, wooden studio over­tations of craft tradition, are at work ing this liberating force into a restrict­ looking a spectacular valley below. throughout Japan. But the special ing hold upon artists. This is the predominant image in conditions of Tokyo make it an un­ As young ceramists continue to the West of the Japanese ceramist. usual environment in which many sever ties with craft traditions and en­ Though it may have once been the push back the physical and concep­ ter more fully into the realm of fine case, and could still be in some in­ tual conventions of their medium. art, they must do so conscious of the stances, it is largely an illusion. In the Tokyo has no major historical kiln critical and analytical demands of the concrete-and-steel jungle that is late sites. It is Japan’s capital of modern contemporary art world. The over­ 20th-century Tokyo, any evidence of art, and it abounds with galleries that whelming criticism of Japanese mod­ the idyllic, natural habitat has long specialize in promoting the work of ern art is that it is consumed in its been erased. young artists. Though the tradition- materials and technique, ignoring Today, one sees garish splatterings steeped city of Kyoto was, ironically, conceptual aspects. Ceramics is no of color, mud-smeared galleries, veri­ where the radical ideals of the avant- exception, as many of the younger table mountains of clay and some garde clay movement were first set artists are infatuated with surface tex­ pieces that contain no clay, but were forth by Kazuo Yagi and other Sodei- ture or glaze quality, but fail to under-

above Takamasa Kuniyasu’s stacked brick and log sculpture is designed to point out important features of the installation site (what one has always “seen” but never managed to “perceive”).

right Untitled sculpture, approximately 5 feet in height, thrown and handbuilt, by Masayuki Inoue.

26 CERAMICS MONTHLY above Untitled sculpture, porcelain with foliage, by Hiromi Itabashi, in collaboration with ikebana artist Kudoh Ami. right Basing his work more on the process of firing than materials, Yohei Nishimura subjects everyday items to the heat of the kiln, as with this glazed porcelain cup and saucer topped by an unidentified “burned thing,” to approximately6 inches in height.

November 1990 27 Untitled triptych, translucent porcelain and steel, lit from inside, by Hiromi Itabashi.

stand a piece as anything more than sabi, usually considered untranslatable ikebana (flower arrangement) artist the sum of its material parts. aesthetic terms, refer to the elegance Kudoh Ami in an installation com­ Ceramic education is another of humble simplicity and the beauty prising several pairs of entwined por­ unique feature of Tokyo. Among theof a patina that develops with use overcelain forms arranged in a circle three major art universities, only one time, respectively.) beneath a canopy of foliage dangling treats clay as a medium for modern Using facsimiles of nature’s stones from the ceiling. As the porcelain ele­ sculpture. Tokyo University of Fineand branches, symbols of Japan’s as­ ments simultaneously merged and Art is notoriously conservative, stress­tringent aesthetic, he renders them separated, huddled in fear and frol­ ing functional ware almost exclusive­in festive color combinations reminis­ icked in play, they set forth a variety of ly, and Musashino University of Art’s cent of kimono patterns, ukiyo-e prints contradictions, engaging the viewer ceramic studio is part of the design or the ostentation of Kabuki theater— in a visual dialogue about discerning department. Tama University of Art is products of popular culture and per­ the real and the illusory. the only school at which one can study haps more typical of people’s taste Most visible of the younger genera­ contemporary daywork, but ceramics than the more formal and reserved tion of Tokyo ceramists is Masayuki is, oddly, a subdivision of the oil paint­ arts revolving around Zen aesthetics.Inoue, who has distinguished himself ing department. Consequently, those Through juxtaposition, Nakamura by breaking through rigid ranks of studying ceramics spend at least two parodies each aesthetic with the other, seniority and participating in shows years painting, thus bringing with but ultimately shows his own tendency with older, more established artists. them experience in a range of non- toward the flamboyant extreme Though still derivative of his teacher, ceramic materials and fresh ideas to through his visible delight in decora­ Nakamura, Inoue works with vitality, be worked out in a new medium. tion. “I enjoy pouring on various andbuilding large assemblages of thrown The senior member among Tokyo’s sundry decorations just to fill up and handbuilt forms. Though matur­ modern ceramists is Kimpei Naka­ space,” explains Nakamura. ing with each exhibition and showing mura, a professor of ceramics at Tama Hiromi Itabashi also concerns great promise, his works lack a con­ University of Art. He is prolific, inter­ himself with cultural issues, though cept and, thus, become his private in­ nationally recognized and an eloquent less specifically Japanese than Naka­ dulgence in the tactility and physical spokesman for his ideas and works— mura. Itabashi presents vaguely iden­ immediacy of clay—by itself, a hack­ something quite rare in Japan. His tifiable curvaceous forms that functionneyed theme. recent works are chaotic assemblages much like Zen koans—one instant the Today’s Japanese ceramists are ex­ of stones and branches cast in clay, piece is an abstract form of clay; the perimenting with, sometimes even wheel-thrown elements and slab-built next, personal and cultural experience reinterpreting, ceramics as a medium forms that have been obsessively incline the viewer to project concrete with more vigor than ever before. Ta- decorated with garish colors and diz­ imagery on the object and identify it kamasa Kuniyasu’s indoor and out­ zying patterns of dots. “I’d like to re­ as such. Like a meditative exercise, door installations comprising tens of think traditional Japanese aesthetic Itabashi’s work asks what is real and thousands of stacked bricks and logs concepts such as the elegance ofwabi what is illusion. challenge the conventional bounda­ and sabiwrites Nakamura. (Wabi and In 1988, Itabashi collaborated with ries of clay and are successful in every

28 CERAMICS MONTHLY aspect that Western criticism finds Literally interpreting yakimono (com­ Expanding Nishimura’s analogy, Japanese modern art lacking. More monly translated as ceramics) as the words and pictures are akin to than anyone, Kuniyasu can be cred­ “burned things,” Nishimura bases his disappearing tradition, but there is ited with bridging the rift between work more upon the process of kiln the indestructible, seemingly heredi­ ceramics and fine arts. firing than the actual materials he uses. tary, sensitivity to clay still alive in Kuniyasu intimates that his work is In an effort to liberate properties la­ today’s contemporary ceramists. The about a kind of Japanese collective tent within objects—properties that current generation is the first that has unconscious. Through the repetitionexist as a kind of potential energy— not necessarily been trained in tradi­ of making and then piling a myriad of Nishimura subjects everyday articles tional methods like wheel throwing. bricks, he attempts to escape the ana­ to the corroding heat of the kiln, Thus, they do not share the biases of lytical mind-set and work automat­ thereby unleashing this energy that, their predecessors and can approach ically, letting a universal Japanese in turn, drastically alters the appear­ clay with a new sense of freedom and psyche surface and direct the compo­ ance of the form in which it existed. experimentation. sition. His mammoth stacks empha­ By presenting commonplace objects In the past, progressive ceramics size their environment—accentuating in a mysteriously altered state, he was inward looking, concerned with a tree, a window or one’s own pres­ builds upon a long tradition of art breaking away from traditional values ence by the way they engulf objects or that re-examines the everyday world. and attempting to validate itself as an you. His works spotlight important Recently, Nishimura has been firing artistic medium. Now, this is largely features of the site and point out what rolled newspapers that are smeared taken for granted. And some ceram­ one has always “seen” but never man­ with clay, adding a new conceptual ists have taken the bold but necessary aged to “perceive.” Nobuo Mitsunashi’s bent to his work. These works com­ step forward, using their medium to cones of stacked clay patties evolve ment upon paper’s identity as a pur­ express issues beyond personal matters from a similar conceptual framework veyor of information and the founda­ or concerns specific to clay. but more rigidly follow a predisposed tion of mass media culture. Nishimura plan. They are less site specific, tend­ explains that newspaper—a chronicle The authorA ceramic artist and free­ ing to create landscapes instead of of events—combusts: “the words and lance critic, Derek Jones studied and worked responding to surroundings. photographs disappear but a fossil of in Japan for several years; he is currently Somewhat of an anomaly among the paper remains...symbolic of the in the graduate architecture program at Tokyo ceramists is Yohei Nishimura. fate of mankind.” Princeton University.

Masayuki Inoue Hiromi Itabashi Takamasa Kuniyasu

Nobuo Mitsunashi Kimpei Nakamura Yohei Nishimura

November 1990 29 Striving for Clarity by Nina Borgia-Aberle

SOMETIMES I am startled, taken by room was my studio. For the first few display them in, so I began making surprise, by a very clear image of my­ months I didn’t make anything—I had vases. It was then that I first felt my self. It usually happens when I’m do­ just earned an undergraduate degree work connected to my life. It was the ing something quite ordinary, and and simply didn’t know where to be­ beginning of an effort to develop a only lasts a moment. The last time gin. Nor was I particularly happy about more personal language. As I reflect this feeling of autognosis overtook meliving in a city, especially one as cold upon that series of vases made 11 years I was walking toward my house, hold­ as Syracuse. I couldn’t get used to the ago and work I am doing now, all the ing a recendy emptied ash bucket. As noise, lights and people. So in re­ turning points make sense. an outdoor light delineated my sponse, I decided to plant a flower My first studio was small, with no shadow holding the bucket, I saw my­ and vegetable garden in the tiny plot sink, so I had to use the one in the self more clearly than if I had been of land behind the building. All the kitchen. I didn’t want a kitchen full of looking in a mirror. That’s the same kids in the neighborhood came by to glaze chemicals, and decided simply sort of clarity I strive for in the studio. see the vegetables. Many of them had to buy some white slip and add Mason It’s a reflection of past and future re­ never actually seen vegetables grow­ stains for color. Because I was paint­ vealed by seeing all the factors affect­ ing, especially not ones in the shape ing directly on the wet clay, surface ing my life at the present. of brussels sprouts or acorn squash.was now something I was thinking of I once lived in an apartment above They perceived them as mysterious as the piece was built, instead of an Italian restaurant in Syracuse, New objects. It’s amusing to think about something I dealt with after firing. York. I had an ideal landlady who this because my daywork now often As my involvement with surfaces never complained. She gave me food evokes that same sort of curiosity. increased, the forms became simpler, from the restaurant and let me put a When the garden’s flowers started less dimensional. A sculptor asked why kiln in the basement. The laundry to bloom, I realized I had nothing to I was painting on clay and not on

This new studio replaced a granary on Nina Borgia-Aberle’s farm ubought by accident” near Johnstown, Ohio.

30 CERAMICS MONTHLY Renovating the old farmhouse, completing 66 those necessary daily tasks gave a sense of continuity to my activities as an artist.” canvas—which made me reevaluate bly why I make sculpture in general, the works’ intentions. Was I just a con­ and objects in particular. fused painter? Eventually, I realized My physical sources are many and that I had just not yet figured out how varied. I am interested in objects of to speak through the forms. everyday function (tools of labor, The next several years were spent utensils, toys), and am inspired by experimenting with ways of working forms in nature (the flora and fauna with clay, and it was in a first year of of land and sea, male and female graduate school that I began using anatomy, internal organs). These of­ coils and pinched pieces, which per­ ten act as catalysts for ideas, a place to mitted more freedom of form. This begin. I find myself drawing a lot, relationship between process and sometimes just to remember some­ form is central to my work. Yet the thing I have seen. Often it is a way to surfaces remain an integral part of work out combinations of forms. I am the idea; they enhance the forms or intrigued when a piece can be simul­ bring attention to a certain part of taneously elegant and awkward, or the work through contrast. equally familiar and mysterious. But I I now live in an old house, bought am not concerned that viewers make by accident, near Johnstown, Ohio. the same connections I do. These The previous owner was in financial pieces have many references; it is not trouble, and had to sell his small farm my intention to be specific. I hope, during a time when farms were con- however, that they are approachable, standy going out of business. I made a something others want to look at. very low offer on the house, barns Untitled sculpture, 38 inches in height, Some time ago, I drove down a and 5 acres, never believing he would handhuilt earthenware, with slips and highway in Maine. On the side of the accept, but I soon found myself the Cone 03 glaze. road in front of a gift shop was a 10- owner of a leaking roof and sinking foot pile of brightly colored wooden kitchen. In having to tackle repairs ered that those necessary daily tasks buoys. I have never been a collector that once would have intimidated me, give my activities as an artist more of aof things, but I had to turn the car I have developed a great respect for sense of continuity. around and search through the pile tools and a more acute understand­ I acknowledge the importance of for several to take back with me. They ing for the principles of common harmony between the physical, spiri­ were so beautiful I could not stand sense. At first I was overwhelmed by tual, mental and emotional aspects of the thought of not being able to look the attention and energy required for life. It is the physical that is the easiest at them again. That’s the feeling I’d everyday existence. I have now discov- for me to understand. That is proba­ like my work to have.A

November 1990 31 Nina Borgia-Aberle with an array of earthenware sculpture inspired A solar room addition to the house by “objects of everyday function and forms in nature ” in her studio. Her was floored with various sizes of works are exhibited individually or more often as a wall arrangement. pressed earthenware tiles.

left and above Tiles that Borgia-Aberle designed and pressed were laid along with tile fragments in what used to be “a sinking kitchen. In having to tackle repairs that once would have intimidated me ,” says this artist, “I’ve developed a great respect for tools and a more acute understanding for the principles of common sense.”

32 CERAMICS MONTHLY John Chalke: Throwing on the Radio

IMAGINE a potter trying to teach here with...it looks like an accelerator ing with been “treated” as such? someone to throw at the wheel by on it. I just floor it and it spins. Chalke: My memory doesn’t go back giving instruction over the tele­Chalke: I’ m going to be organic and that far. This clay is about three or phone—on a party line tapped into you’re going to be mechanical. four months old, but it feels very good. by thousands. That’s pretty much what Gzowski:But that’s awhile before we I’ve got a piece about the size of a happened last spring when Peter get to the wheel, I take it? large loaf of bread. In fact it’s not Gzowski, a household name in Cana­ Chalke: Yes, it is. I’m going to open quite big enough. I’m going to get dian radio, asked studio potter John up a bag of clay, first of all. some more. I’m going to cut it up Chalke to teach him to throw during Gzowski:Well, I have a bag in front of with a wire. Do you have a cutting his “Morningside” talk show. The me, too. wire there? tricky part was that Gzowski would Chalke: Great. Okay, my clay is going Gzowski: Yeah, I think so. The thing work at a potter’s wheel in Toronto as to be different than yours because I with two handles—like you would cut Chalke talked him through the steps cheese with? from his studio in Calgary. Gzowski Chalke: That’s exactly it. didn’t want to be able to see anything Gzowski: How big a piece do I want? his listeners couldn’t. Chalke: Well, how about two loaves of Chalke thought the idea of “the bread? ’umble potter’s wheel in the hands of Gzowski:Well, mine’s about two loaves a gracious and brave show host quite of bread now. I might trim a little bit acceptable to gain a trusting foothold off the edge...ooohhh is that ever inside a listening country’s door,” and good—I just cut a little bit. so agreed to try it. The local Cana­ Chalke: It was an enjoyable experi­ dian Broadcasting Corporation station ence, was it? Good. Now, we have to sent over a couple of people to set get to know this clay a little bit before things up. They unrolled coils of cable, we can use it on the wheel; we have to tapped into the mouthpiece of the do a thing called wedging. studio phone, and gave Chalke a large Gzowski: Okay. And we use the wire pair of earphones and a mike (“like a for this? sports commentator”) to wear while Chalke: We do. You’ve got your ball of they taped the show. clay more or less a shapeless mass? What follows is an edited transcrip­ Gzowski:Yup. tion of the on-air lesson: Chalke: Two loaves of clay banged to­ Gzowski: Making pots at a wheel looks gether? simple when you see the potters do Gzowski:Yeah. it—shape a lump of clay into an ex­ Chalke: Right. Put your hands on top quisite bowl. Is it? I’m about to find of it, and just give it a rocking motion out. I’m about to take my first pottery two or three times. lesson. I have a wheel set up here in Calgary potter John Chalke donned Gzowski: I’m starting to get into this— the studio in Toronto, but my teacher headphones to talk Canadian radio I’m kneading it, though. is in his studio in Calgary. John Chalke personality Peter Gzowski through Chalke: You aren’t. You’re gonna is a potter. He teaches design at the an on-the-air throwing lesson. wedge it. Kneading is different. Now, Alberta College of Art, and this morn­ your piece of clay should be sort of ing John is going to try to teach me made mine, and part of it comes from rocked on both sides by this time. long-distance. Hi, John. Saskatchewan, a little place called Gzowski: I don’t know what you mean Chalke: Hi, Peter. Raven’s Crag. by rocked. Gzowski: What’s hanging up in your Gzowski:Should I be unwrapping Chalke: All right. Put your clay to­ studio? I’ve just got the regular stuffmine at this time? gether again as a mass. here, all spread out. I’ve got the wheel Chalke: Yup. Now, I’m smelling mine. Gzowski: It’s in one big piece like a and some clay. What’s it look like It’s a bit like wine or cheese, I sup­ giant loaf of bread. where you are? You’re at home? pose. The older the clay—the more Chalke: Wonderful. Put your hands Chalke: My studio is about 10 feet mature it is—you almost welcome the on top, and just push down and rock from the house. I’ve got a little signsmell. I don’t know if you knew this, it backward and forward slightly so that says “Wild Rose Country, Calgary, but potters used to pee into their clay the end on the table is rounded like a Alberta.” I see rows of brushes hang­ to mature it when they couldn’t af­ rocker. ing up, lots of pots around, kilns and ford vinegar or old wine, which I think Gzowski:Oh, okay. one kick wheel. I’m going to use a does the job just as well. But the ritual Chalke: Not too much, though. Now kick wheel and you’re going to use, I of midnight peeing (if I may be dis­ pick it up by the sides. Turn it over, so think, an electric wheel. creet) carries on. It does age the clay the rocked part is up. Put your hands Gzowski: Well, I haven’t had a chance considerably well. on that and rock the other end. to play with it, but I do have a wheel Gzowski: Has the stuff you’re work­ Gzowski:Okay.

November 1990 33 Chalke: Okay? So now the piece of Chalke: Just get it centered, first of all. clay has been rocked on both sides? It should be about 1½ inches high Gzowski:Yes. maybe? Chalke: Now pick it up by its sides and Gzowski:Oh, it’s about 3 inches high. give it a quarter turn. Lift it off the I’ve really got it pressed down now. table a couple of inches and slap one Chalke: No hole in the middle yet? end down sharply at a 45° angle, so Gzowski:No. the clay is pointing up to your midriff Chalke: Just press down—the right somewhere. Take your wire. Slide the hand on the side to stop it from splay­ wire under the clay, but halfway in ing out, the left hand pushing down and cut it at 90° to that angle. to keep it from rising up. Gzowski:Cut it right across? Gzowski:That’s hard work. But it’s Chalke: Right. So you are cutting the coming. I’ve got a flat top now. piece of clay in two. Chalke: Did you do that with the heel Gzowski: Yeah, I’ve got two pieces. of your left hand? Chalke: That’s what you should have. Gzowski:Yes. Pick them up and turn them over so Chalke: That’s wonderful. And it’s not that both cut faces are toward you. moving around too much? Now slam the one piece on top of the Gzowski: Well, now I’m pressing hard other one—quite hard. Okay? with my right hand and it’s squirming Gzowski: Yeah, I slammed them to­ a bit. Oh, but it’s turning into some­ gether. thing, John. Chalke: Okay, now put your hands on Chalke tells Gzowski to open the Chalke: Oh, what’s it turning into? it just like before, and rock it again. centered clay with the right thumb. Gzowski:It’s turning into a vase with­ Now I’m going to speed this up a little out a hole in the middle. bit; I’m going to show you how it might head as damp, no, as dry as a damp Chalke: A solid vase? sound when I’m in a rhythm. You sponge will get it. Does that make any Gzowski:Yeah. can—like a good dance number—join sense? Chalke: Well, that’s pretty advanced in whenever you like. I’m cutting Gzowski:Yeah. Peter—for this stage. through with a wire, picking it up, Chalke: This is to make a surface that Gzowski: This is a tranquil, emotional slamming it down, rocking one side, the clay will adhere to, without slip­ experience. It’s pretty close to cen­ rocking the other, cutting with a wire, ping off. Pick up a ball of clay in your tered. slamming it again... master hand (in my case, my right Chalke: Okay, that’s good enough. My Gzowski:Oh, you really go fast! hand) and hold it about 3 or 4 inches own wheel head isn’t actually cen­ Chalke: Well, I was going slowly be­ above the wheel head, then smack it tered. It’s off slightly, about Vie inch; fore, but we have pots to make. down on the wheel head. I’ve accepted that for years. Now, I Gzowski:Okay. I got it! Gzowski:Hit it right on the center? want you to make an opening in that Chalke: And all the time, the clay’s Chalke: Nah, we’ll center it. solid vase with your thumb. becoming more homogenous. Here I Gzowski:While the wheel is going? Gzowski:Right in the center? am. I’m just about done. Chalke: No, it doesn’t have to be. Chalke: Yes, that’s right. Okay, this is Gzowski:Are we moving to the wheel Gzowski:Okay. Shall I try to do that going to be done with the right hand now? now? thumb. I want you to push down and Chalke: We just about are. I’m just Chalke: How do you feel? Do you feel stop, not quite at the bottom. You’re making mine into balls of clay about confident? going to have to guess that. And don’t the size of a small grapefruit. I’ve got Gzowski:Yes. pull out toward you yet, no matter about five or six here. Chalke: Go ahead. how tempting it might be. Gzowski:Well, I’ve just got one. Gzowski:I got it! Gzowski: Yes. I’ve got a round hole. Chalke: Could you make more than Chalke: Hey, wonderful. Chalke: Good. I’m going to try and that? Gzowski:Right in the center. get you to make a bowl. So, I want you Gzowski:I don’t know why I need Chalke: Was it really? to drag that thumb of yours outward, more than one. Gzowski:I think so. somewhat parallel with the wheel Chalke: Because you’re going to make Chalke: Oh, I don’t know. This is ra­ head, then slowly come up. You can a mistake. dio. How do we really know? Okay, almost do this with one hand. Gzowski:Oh no! there’s water in a bowl in front of you. Gzowski:Pressing outward? Chalke: Oh yes! Okay, get your sponge. And the water is going to act as lubri­ Chalke: Outward and upward. Your wheel is on? cant. Just get your hand wet. Take the Gzowski:Well, I’m going faster and Gzowski:Yes. wetness and put it on the ball of clay. faster. I am going very fast. And it’s Chalke: I want you to press down on Gzowski: Oh, okay. Should I spin the wobbling a bit. That’s a bad sign. that foot control, just to see how fastwheel now? Chalke: \feah, I wouldn’t have it going it can go. Chalke: You can—not too fast. And nearly as fast as that. Gzowski:Oh, it really goes! you can also wet your left hand, too, ifGzowski: Well, it got very exciting for Chalke: Well, you won’t need half of you like. me. that power. Gzowski: I’ve got them both done. Chalke: Let’s make another one of Gzowski:Okay. And I’m pressing on the ball. Should those things. Chalke: Now try to make the wheel I do that? Gzowski: Okay. Can I put my thumb

34 CERAMICS MONTHLY in the center again? I like that part. Chalke: I ’ve made three bowls. I’m out and somewhat up, but don’t go Should I leave my thumb in? going through the same motions as nearly as fast! In fact, the further out Chalke: You can leave your thumb inyou are there. you come, the slower the wheel should and start pulling it sideways and slowly Gzowski:You should see my mess. go. I didn’t say that before, but I didn’t upwards—gripping the clay so it runs Chalke: It’s probably great. know what stage you’d reached. between your thumb and your fingers. Gzowski:Actually, it is. In fact, I could Gzowski: This one’s coming. It’s not a Gzowski:I see. Oh, I’m making a bowl. quite learn to love doing this. Now,bowl we’ll be sending to the Gardiner Whoa. I’m going to try my thumb in the top Museum in Toronto. Chalke: Slow down. again. Chalke: No? But you are going to sign Gzowski:Too late. A litde break ap­ Chalke: Good. I’m going to do that this bowl, aren’t you? peared in the edge of my bowl. too. Gzowski: If I could ever get the damn Chalke: Does it worry you, this litde Gzowski: Whoa. I went too fast. I see thing off the wheel! break? what you mean. I got out of control. Chalke: Have you reached a stage Gzowski: No, it’s sort of nice. If this Chalke: You know, it’s kind of like where it looks bowl-like? bowl became an ashtray, I could put a being put on a horse. You don’t know Gzowski:It looks like a very clumsy, cigarette right in that place. how it is. handleless coffee cup for big guys. Chalke: You could. Now the wheel Gzowski:That’s right. Chalke: Terrific! What else could we should be going slowly. Slowly pull up Chalke: I know this horse quite well, wish for? Get the wire. the clay toward you. Chances are it’ll the one I’m on. Gzowski: I don’t want to give you the start to flare out at the top. Gzowski: I’ve got a thoroughbred impression that this is better than it is. Gzowski: Yes it is, and the littie flaw at here. But—you know—it’s got a—you could the top is disappearing. It’s becoming Chalke: Have you? There’s a parallel put stuff in it. an hors d’oeuvre bowl! I’m intrigued. between being a cowboy and being a Chalke: Has it got presence? I have the walls pinched between my potter. Gzowski:Oh, has it got presence! thumb and my... Whhhooooaah, it all Gzowski:Is there? Chalke: Okay. Now when you... shattered! Chalke: Yeah, you don’t make money Gzowski:What shall I do with the wire? Chalke: Shattered? at either, but I wouldn’t change for Don’t mess up my pot! Gzowski: Ipulled the top off. anything. Chalke: No. No. No. Have you finished Chalke: That just shows excitement Gzowski: I’m getting the hole in the shaping for now? and exuberance. center right this time. Gzowski:Yes, it’s very crude. Gzowski: Well, I had something there, Chalke: See, when you concentrate at Chalke: I want you to cut off the pot by for a moment. first, you get uptight about it, you getpulling the wire toward you—flat on Chalke: Well, we’re going to do it kind of neurotic about little things, the wheel head, with your thumbs on again. Pick up that old pot and just but they’ll all slip away after a while. it, pressing it down and slowly pulling it place it to one side. Must be like broadcasting. toward you. Gzowski: I’ve got a mess here. Okay, Gzowski: It is exacdy like that. When I Gzowski:Could I make one little I’m going to do another one now. I first started, I was awfully scared of groove around my pot with this tool? wonder if I threw it down hard making a mistake. As a result, I proba­ Chalke: Why don’t you make the tool enough? bly made more then. Now, I don’t go up and down very slighdy. You’ll get Chalke: Can you easily remove it? Is it really care if I make a mistake or not. a wavy effect. Try that. wet yet? Chalke: And is it centered better? Gzowski: Well, I’m making grooves Gzowski:Yes. Gzowski:I’m just working my way into around it. Chalke: Too late then. Just try to cen­ a nice bowl-like bowl. Chalke: Is that good? Do you like it? ter it again. Pressure from your right Chalke: Okay, now slide that thumb Gzowski:I love it. hand. Counter with Chalke: Good. And is pressure down from this last one better above. Mine’s cen­ than the first? tered. I’ll bet yours is Gzowski: Oh, yes! I too. have progressed faster Gzowski: What have in the few minutes that you been doing? you’ve graced us with You’ve probably just this lesson than hu­ made something re­ manity did in its first ally beautiful while 12,000 years of pot- I’m making a mess in ting. the studio. Chalke: All this on ra­ Chalke: Yes. I made dio, too. about 15 vases here Gzowski: Absolutely. while I was talking to John, thank you. you. That’sJohn Chalke in Gzowski: Did you re­ his studio in Calgary. ally? I’m in my studio in Chalke: Just kidding. Toronto. Mozart’s Gzowski: What did “There’s a parallel between being a cowboy and being a potter______You symphony in C major, you make really? don’t make money at either , but I wouldn’t change for anything while I clean up....A

November 1990 35 Syracuse: The 28th Ceramic National

THE “28th Ceramic National: Clay, Despite size limitations, Ferguson sion of an additional ten objects. Color, Content,” sponsored by the thought the jury chose a good show. “During the 1980s, ceramic tours Everson Museum of Art in Syracuse,(“I wish we could have selected more de force were achieved and the ‘su­ New York, features 74 contemporary work; we rejected many fine pieces.”) per beautiful’ became a predominant works—55 selected from over 2400 But “during and after the jurying pro­ focus,” Manhart continued. “I was ex­ entries by 826 (established as well as cess, I wondered how young artists tremely pleased that very few objects emerging) artists; and 19 invited by find a place to show their work. It within this Ceramic National possess the museum staff “to honor artists whomust be discouraging, to say the least.” the characteristics associated with that have consistently produced work of Jacobs thought the selection pro­ type of work—characteristics that had exceptional quality and vitality,” plus cess was “difficult and at times a little been rejected in the late 1950s during others “who have more recently disillusioning—I felt much of the work the clay revolution. In fact, the works emerged as significant figures on the submitted was either too derivative or presented here convey other prin­ American ceramic scene.” underdeveloped.” ciples associated with this earlier era: The slide entries were reviewed Nevertheless, he described the final experimentation and the exploration during two trips to Syracuse by four selection as “indicative of the excite­ of ideas. judges—Ken Ferguson, artist-teacher ment and diversity inherent in Ameri­ “The most stimulating objects at Kansas City Art Institute; Daniel can ceramic art today. It runs a very within this exhibition are those that Jacobs, New York collector; Matthew full gamut, from the contemplative toexplore figurative and narrative sub­ Kangas, Seattle critic; and Marcia the gutsy ” jects. They bring contemplative mes­ Manhart, director of the Philbrook Manhart noted that “the process sages to the viewer that go beyond the Museum of Art, Tulsa, Oklahoma. of elimination insured a provocativematerial. They are often appropria­ Ferguson found “bold and refresh­ and stimulating critical debate. We tions of our past and present, and ing ideas emerging,” but he said he looked for consistency within a body convey powerful meanings. The ob­ missed “the wheel-thrown pots. I also of work submitted by each artist (they jects selected for this exhibition, more miss the gestural or ‘loose’ pots; but could present up to three objects with often than not, raise questions rather I’ve taught for 26 years, and I should two views of each). Those submitting than please with their beauty.” be prepared for anything. When I was only one work were usually dismissed. Having opened at the Everson last younger, I was not so open. It is good In the final round of our critical spring, the 28th Ceramic National will to see the figurative work, the use ofanalysis, only 7% of the artists sur­ tour the United States through 1991. molds, artists walking away from tradi­ vived. After hours of constructiveIts next scheduled presentation will tion, and work that does not owe much criticism concerning the cohesive bal­ be at the Center for the Arts in Vero to the past—work that comes from ance of the work in the exhibition, Beach, Florida, January 25 through talent and skill.” another review resulted in the inclu- March 17,1991. ▲

Juried Participants Ann Agee, New York City Alice Federico, New York City Michael Morgan, Philadelphia David Alban, Cleveland David Furman, LaVeme, Calif. John Neely, Logan, Utah Joseph Bennion, Spring City, Utah Michael Gross, Mount Horeb, Wis. Janet Nesteruk, Newington, Conn. Nina Borgia-Aberle, Johnstown, Ohio Lauren Grossman, Seattle Jeff Oestreich, Taylors Falls, Minn. Susan Bourque, Belchertown, Mass. Anne Hirondelle, Port Townsend, Wash. Kimiko Ogasawara-Tazuma, Renton, Wash. Joseph Brown, Saint Paul, Minn. Eileen Homer, Seattle David Regan, Alfred Station, N. Y. Mark Campbell, Los Angeles Patrick Horsley, Portland, Ore. Joellyn Rock, Seattle Roy Cartwright, Cincinnati Yoshiro Ikeda, Manhattan, Kansas Virginia Scotchie, Bloomington, Ind. Michelle Coakes, Belleair, Fla. Jeff Irwin, San Diego Mary Kelton Seyfarth, Highland Park, III. Patrick Crabb, Tustin, Calif. Leona Schmidt Janke, Schoolcraft, Mich. David Shaner, Bigfork, Mont. Roseline Delisle, Santa Monica, Calif. Gail Kendall, Lincoln, Neb. Kathryn Sharbaugh, Holly, Mich. Harris Deller, Carbondale, III. Yumi Kiyose, Los Angeles Elizabeth Solomon, Leeds, Mass. Richard DeVore, Fort Collins, Colo. Paul Kotula, Huntington Woods, Mich. James Tanner, Janesville, Minn. Kim Dickey, Danville, Ky. Anthony Kukich, Indianapolis Dennis Tobin, Oxford, Ohio Thomas Dimig, Columbia, S.C. Yih-Wen Kuo, Philadelphia Christopher Weaver, Omaha, Neb. Steven Donegan, Philadelphia fim Leedy, Kansas City, Mo. Kurt Weiser, Tempe, Ariz. Ed Eberle, Pittsburgh Paul Mathieu, Santa Monica, Calif Martha Winston, Brooklyn Steven Montgomery, New York City

Invited Participants

Ralph Bacerra, Los Angeles Ruth Duckworth, Chicago Judy Moonelis, New York City Robert Brady, Berkeley Ken Ferguson, Kansas City, Mo. Richard Nothin, Myrtle Point, Ore. Toby Buonagurio, New York City John Gill, Alfred, N.Y. Elsa Rady, Venice, Calif. Mark Bums, Philadelphia Arthur Gonzalez, Oakland Susanne Stephenson, Ann Arbor, Mich. Paul Chaleff Pine Plains, N. Y. Phillip Maberry, Highland, N. Y. Beatrice Wood, Ojai, Calif. Val Cushing, Alfred, N. Y. Warren MacKenzie, Stillwater, Minn. Arnold Zimmerman, New York City Graham Marks, Bloomfield Hills, Mich.

36C eramics Monthly “Niche,” 15 inches in height, handbuilt “Regenesis,” earthenware, 12 inches in “Teapotfor Contemplation #15,”stoneware, earthenware, 1988, by Martha Winston. height, 1989, by Steven Montgomery. IOV2 inches high, 1989, by Leona S.Janke.

Untitled stoneware form, 31 inches in Untitled vessel, 7 inches in height, slab- “T-Pot” 24 inches in length, glazed diameter, 1988, by Yumi Kiyose. built porcelain, 1988, by Eileen Homer. stoneware, 1989, by Patrick Horsley.

“In the final round of [the jurors ’] critical analysis, only 7% of the artists survived.”

Tureen, 16 inches long, earthenware, with Glazed stoneware plate, 11 inches in low-fire glazes, 1989, by Gail Kendall. length, 1988, by Paul Kotula.

“The Shape I’m In ” stoneware, 14 inches Untitled stoneware and porcelain form, “To the Center” 14 inches high, handbuilt wide, 1987-88, by Mark Campbell. 23 inches in length, 1989, by Jim Leedy. earthenware, 1989, by Janet Nesteruk.

“Stacked Salad Bowl Set/Pepper Shaker” Glazed whiteware vessel, 15 inches high, “Eternal Home,” 23 inches long, glazed 10 inches high, 1988, by Kim Dickey. thrown/handbuilt, 1989, by Alice Federico. porcelain, 1989, by Yih-Wen Kuo.

November 1990 37 “Red Light Red Light ”33'A inches “Feast and Famine ” 28 inches “Fruit Offering,” 16 inches high, “Diver,” 17 inches in height, in height, 1988, by James Tanner. high, by Lauren Grossman. 1988, by Elizabeth Solomon. earthenware, 1989, by Jeff Irwin.

“Facet” earthenware, 32 inches “Oval Vase,” 14’A inches high, “Mentori Vase” IOV2 inches high, “Attempting to Listen,” 7 inches high, 1989, by Virginia Scotchie. 1989, by Joseph Bennion. by Kimiko Ogasawara-Tazuma. high, 1989, by Ed Eberle.

“Tripod Vase ,” 15 inches high, “Tango #2,” 20 indies high, “Pot Belly Stove Teapot” “Urn for a Forest”23 inches 1988, by Thomas Dimig. porcelain, by Kurt Weiser. 12 inches high, by David Regan. high, 1989, by Joellyn Rock.

Untitled, 22 inches high, “Corp. Jester,” 31 inches high, “Quadruple 7,” 20'/2 inches “Toy,” stoneware, 15 inches earthenware, by David Alban. 1989, by Anthony Kukich. high, 1989, by Roseline Delisle. high, 1988, by Joseph Brown.

38 Ceramics Monthly Japanese potters dominated the 1990 “Fletcher Jurying was from actual works—one piece or Challenge Ceramics Award” international group from each entrant. The judge of this competition held in Auckland, New Zealand. 14th annual competition, Elizabeth Fritsch of This year’s entries rose by about 30% to 400, England, was faced with reducing the entries to the overseas component more than doubling a manageable show (100-120 was the norm to contribute 175 pieces from 23 countries. from previous years), then choosing pieces for

November 1990 39 the premier award of NZ$10,000 (about US$5800), five cash awards of NZ$1000 (about US$580) and a small number of merit awards. But the juror felt she could not reduce the number of acceptable works below 200, so began to group them, taking into account those works that complemented others, leaving out some pieces that could only stand alone. The resulting display, in which Fritsch collaborated with exhibition designer John Parker, caused plenty of controversy. Rather than the indi­ vidual setting of each piece, as in the past, groups of pots were huddled to­ gether. This allowed a much greater range and variety of work to be dis­ played than in other years, but upset potters who saw their work as being used as stage props to show off more impressive neighbors. The final show contained 179 works, the largest Fletcher Challenge yet. Fritsch continued to have prob­ lems separating out the winning pieces. In her address at the opening, she said that Britain had no ceramics event like this. “I can only compare the Fletcher Challenge show with an international European show called ‘Europe des Ceramistes,’ which opened last year in France and is traveling to several dif­ ferent European countries. There are indeed a handful of wonderful pieces in that show, but on the whole the standard is higher in this exhibition, where there are at least 30 pieces that are particularly good.” It was from among those 30 pieces that she could not decide a winner. In the end, the sponsors supported her in awarding not one, but two premier awards, both to Japanese potters. Eiichi Kawano’s “Red and Silver” and Seiji Kobayashi’s “Illusion from April Clouds” illustrate the judge’s concern

with the quality of surface treatment. from top Merit certificate winners: “Tropical Delft Dish ” Kobayashi was an ebullient winner, 14 inches in length, $55, by Connie Hoedt, Australia; “African Sunset ” 11 inches in height , $530, by Julie Brooke, bounding up to the platform and U.S.A.; “Water Rhythms ” 9 inches in height, $165, by waving his hands overhead like an Loretta Braganza, England.

40 CERAMICS MONTHLY November 1990 41 Olympic champion as he took the prize money. Kawano was not able to make the trip from Japan, so his award was received by a much more re­ strained representative from the Japa­ nese Consulate. The five NZ$1000 awards were extended to seven. All went to en­ closed vessel forms, with the excep­ tion of the salt-glazed serving dish by English potter Jane Hamlyn. The others—three from Japan, two from New Zealand and one from En­ gland—ran the gamut of surfaces from the low-temperature, pit- and raku-fired work of New Zealanders James Robb and Charles Newton Broad, to the ash-glazed vase of Yasuhiko Ohsuga and the large Bizenware jar of Yasushi Mori. Finally, 13 merit awards were selected, with works representing Australia, England, Japan, New Zealand and the U.S.A. A country of only 3 million people, New Zealand has a proportionately high number of craftspeople, particu­ larly potters. The Leach tradition was strong there, but the lack of univer­ sity-level ceramics courses until very recently has meant that potters have clung longer to some aspects of that tradition—in particular, more of a re­ liance on the production of functional ware than might be the case in other countries. Overseas influences have therefore had a strong part to play in the devel­ opment of new techniques and ideas. Inveterate subscribers to magazines and readers of books for information and inspiration, New Zealanders have had only the Fletcher Challenge exhi­ bition to show them actual works from elsewhere, while at the same time al­ top “Teahouse” IOV2 inches high, porcelain, $30, by Ilsa Posmyk, New Zealand. lowing comparison of their own work. above “Net-Pattern Jar—Bizenware” 22 inches high, $1992, This show thus has provided a refer­ by Yasushi Mori, Japan, $580 merit award winner. ence and an annual gauge of growth right (clockwise from top) “Vessel,” 13*A inches high, $160, or change. by Peter Beard, England, $580 merit award winner; “Coiled Because of the tightly knit nature Platter with Two Cod,” MV 2 inches wide, $299, by Anna of the pottery community in New Lambert, England, merit certificate winner; “Gold Craquel Bowl,” 11 inches wide, $135, by Bemd Stuber, Germany; Zealand, it has been the custom for “Tetsuyuusaitubo,” 153A inches high, $2655, by Morihiko the Fletcher judge to come from out- Fukumori, Japan, $580 merit award winner.

42 CERAMICS MONTHLY November 1990 43 side this country. In the history of the show, judges have come from Austra­ lia, England, Japan, Poland and the U.S.A. New Zealanders see the work of their top 100 or so potters repeat­ edly in major group shows over the years. Unless individuals are undergo­ ing rapid change, their work loses its power to impress when compared with the excitement of the new and unex­ pected. For the overseas judge, this won’t happen. All the entries will be new territory, the judge will have a detachment, which a local person could not bring to the job. Of course, as the event becomes increasingly in­ ternational, this anonymity cannot al­ ways be total. In the meantime, we are able to see the work of our leading people through eyes that are perhaps not as jaundiced as our own. Over the past 14 years, the Fletcher Challenge competition has grown in stature. From an important national show to a minor international event, then increasingly to its position as one of the leading clay exhibitions in the world—if not in reputation, then at least in terms of prize money. This year, the sponsorship deal is under renegotiation. The Fletcher Challenge group moves increasingly in in­ ternational markets. Were they im­ pressed and will they see their generous sponsorship of this show as an extension of their corporate im­ age? Only the next few months will tell whether the exhibition will go on to challenge the few genuinely inter­ national exhibitions in ceramics.

top “Jar with Inlaid Linear Design,” I8V2 inches in height, $3720, by Gen Onodera, Japan, merit certificate winner.

above “Black and White Raku Form,” 14 inches in height, $140, by Charles Newton-Broad, New Zealand, $580 merit award winner.

right (clockwise from top) “Reliquary”9 V2 inches high, A potter residing in The author $165, by Gary Bish, Australia, merit certificate winner; “Jug Brightwater, New Zealand, Peter Gibbs is (Nonfunctional),” approximately 5 inches in length, $185, by also a crafts correspondent for the weekly David Girvan, England; “Flattened Urn,” 13 inches in magazine NZ Listener and editor of the diameter, $95, by Jonathan Trott, Spain; “She: gestation,” bimonthly New Zealand Society of approximately 13 inches wide, $900, by Gladys Martinez- Potters News. Nosi glia, Peru.

44 CERAMICS MONTHLY November 1990 45 right “Saltmarsh Bottle” 23½ inches in height, wood fired in an anagama, $840, by Chester Nealie, New Zealand. PHOTOS: HARU SAMESHIMA

far right “Pair of Plates,” salt glazed in a wood-burning kiln, each 9 inches in diameter, $70, by Sandra Johnstone, U.S.A.

below “Salt-Glazed Bench Jar, ” 11 inches in height, $45, by Chloe King, New Zealand.

46 CERAMICS MONTHLY Covered serving dish, 12 inches long, thrown and altered earthenware, with terra sigillata surfacing, Cone 04 reduction fired.

COMBINING individual expression and 19th-century Europe. In contrast to ing an aesthetic role when idle, cur­ utilitarian demands is the focus of my the folk aesthetic, this work was often rently defines my interest in tableware. work. Making an object that can have excessive and exotic in nature, and Earthenware should be both fun and an intimate connection with others was designed to service the formal elegant in its utilitarian role. The bal­ through usage is a privilege, and a occasion. ance of form, handles and lids can distinct and special part of being a The idea of the pot helping to make confront the user and force a con­ craftsperson. an occasion special, while maintain- scious interaction. Walter Ostrom, professor at Nova These pots originate on the wheel, Scotia College of Art and Design, was and a sense of the throwing process is a catalyst in the development of my still important to the final form; how­ appreciation of historical ceramics. ever, 90% of the shaping, cutting and And, over the years, I have amassed a reassembling occurs off wheel. While personally influential collection of my earlier stoneware pots required early North American redware and quantity, repetition and minimal han­ salt-glazed pottery, as well as contem­ dling to express vitality, these pieces porary Chinese folk pots. It is easy to rely on attention to detail and com­ be attracted to the robust and ener­ plex construction techniques. For ex­ getic forms of such traditions derived ample, a butter dish may take four from everyday specific functional hours from start to finish. needs. My earlier stoneware pots at­ I do very little designing outside tempted to emulate and reinterpret the studio. During the slow process of these qualities to suit a more contem­ producing a pot, I have the chance to porary situation. discover possibilities for other pieces More recently, I have become Canadian potter Bruce Cochrane with with entirely different functions. As a interested in the porcelain and faience an assortment of his ware outside his result, I find myself being more in­ (tin-glazed earthenware) of 18th- and studio in Mississauga, Ontario. ventive with form, relying less on his-

November 1990 47 torical examples; however, those ref­ erences are still important. With controlled drying, the follow­ ing body lends itself well to an exces­ sive amount of manipulation: Earthenware Body (Cone 06-04) Ball Clay...... 10.00% Cedar Heights Redart Clay ...... 70.00 Plainsman Redstone Clay...... 20.00 100.00% Add: Frit 3124 (Ferro) ...... 3.00% Red Iron Oxide ...... 0.25% The addition of 0.25% iron gives a richer color and, along with frit, en­ sures fired strength and density. Some of my ware is coated with terra sigillata, then fired to Cone 04 in a gas kiln, which is lightly reduced with wood toward the end of firing. This produces a range of color from a warm oxidized terra cotta to a dark metallic sheen. Terra Sigillata (Cone 06-02) Dry Clay...... 30.0% Water...... 70.0 100.0% Add: Calgon ...... 0.5% The materials are blunged for a half hour, then ball-milled for eight hours. After 24 hours in a glass jar, the ball- milled mixture settles into layers and the middle section (approximately one-third of the total volume) is si­ phoned off. This terra sigillata is sprayed onto bone-dry clay. I use one of a variety of red clays (including local deposits) in this mixture and, occasionally, will spray a thin coating of white terra sigillata under the red to lighten the fired surface. Akin to the way clothing can alter one’s exterior character, terra sigillata and majolica offer two contrasting ways of treating the same form. While the terra sigillata retains the fresh plastic clay quality, the majolica tends to soften and fatten the form. Over a majolica base (see recipe, page 50), I use strong solutions of copper and cobalt oxide. The copper sinks into the glaze and the cobalt floats on the top Butter dish, 6 inches in length, earthenware with terra sigillata, fired to surface. Through application with Cone 04 in a gas kiln, lightly reduced with wood toward the end of the firing. sponges, in an overlapping pattern, these oxide combinations create a rich middle Covered serving dish, 18 inches in length, earthenware, with cohalt and copper brushwork on majolica base glaze, fired to Cone 05. and penetrating surface. Lips, feet and handles are left unglazed, as linear above Reduction-fired earthenware serving dish on raised foot, 24 inches long, details, following and supporting the wheel thrown, shaped, cut, assembled, sprayed with terra sigillata. texture of the form.

48 CERAMICS MONTHLY above and left Two views of a red earthenware butter dish on raised foot, wheel thrown, shaped, cut and assembled, rutile-tinted majolica glaze, 8 inches in length. top Fruit basket, 10 inches in height, thrown and altered earthenware, with terra sigillata, fired to Cone 04 with gas and wood.

November 1990 49 Matthias’s Majolica Glaze (Cone 05) Frit 3124 (Ferro)...... 83.34% Ball Clay...... 8.33 PHOTOS: PETER HOGAN Edgar Plastic Kaolin...... 8.33 100.00% Add: Rutile ...... 1.11% Zircopax...... 11.11% Since graduating from Alfred Uni­ versity in 1978,1 have taught ceramics at Sheridan College, School of Craft and Design, in Oakville, Ontario, just outside of Toronto. Here it is satisfy­ ing to be involved in helping students reach their potential. Fortunately, I am also able to maintain an active role as a practicing potter. Without this opportunity, my teaching would be shallow and meaningless. It is a matter of being able to relate to the students’ needs through my own ex­ periences. Students keep you on your toes; the research and dialogue that

go on at school force questions aboutabove Elevated entree dish, 8 inches in below Majolica-glazed bowl, 12 inches my studio work, keeping it alive and height, earthenware with sponged long, thrown and altered earthenware, evolving. ▲ cobalt and copper on majolica glaze. fired to Cone 05, by Bruce Cochrane.

50 CERAMICS MONTHLY New Decade/New Visions in Clay by Linda Mau

WHEN the Association of California Ceramic Artists (ACCA) proposed mounting a major exhibition at the Rosicrucian Egyptian Museum Art Gallery in San Jose, no one could have guessed that there would be a 7.1 earthquake 10 miles from the site. Some members’ studios were de­ stroyed, and many had to remake work PHOTOS: ROBERT AUDE AND RICHARD SARGENT for the show. But, against all odds, “New Decade/New Visions in Clay” opened on time, showing the world that Bay Area ceramics is alive, well, and energetic. The jurors, Dale Jordan, museum curator; Susan Wageman, assistant curator; and Bea Wax, artist, selected over 80 pieces by 65 entrants. When asked to comment on the show, Su­ san Wageman said, “Each artist’s work displays a technical mastery of a par­ ticular style. Works range from the simple forms of a salt-glazed bottle or a raku pot, to the exquisitely intricate patterns of woven clay vessels.” Hundreds of people visited the museum to see what Dale Jordan called “one of the most successful ex­ hibits the gallery has ever hosted, both educationally and aesthetically. It pre­ sents a cohesive and dynamic view of what artists are doing with this me­ dium in this area today.” At the entrance to the exhibition, large posters explaining the various techniques used to create ceramic art were paired with selected pieces. To further the educational value of the exhibit, each piece was identified with detailed information on its construc­ tion and decoration. Through such exhibitions as “New Decade/New Visions in Clay” the public is learning what potters already know—that clay is a medium for seri­ ous artistic expression. ▲

above right “Water Basin” (shown with wooden scoop, flower), buff stoneware and semimatt black glaze, Cone 10 oxidation, $280, by Barbara Brown, Sunnyvale, California. right Stoneware bowl, approximately 10 inches in diameter, wheel thrown, with resisted glaze decoration, $35, by Ross Spangler, Berkeley.

November 1990 Nathan Youngblood by Bruce Berger PHOTOS: MURRAY HAYNES, ANN YOUNGBLOOD, COURTESY OF GALLERY 10

“MAY I KEEP one of the shards?” “Anything you like, but don’t burn your hands.” I went back outside to where Nathan Youngblood had just attempted to fire a red plate in his mother’s back­ yard. A gray heap of shards remained near the smolder­ ing fire. I touched a piece gingerly; the December twilight had turned it as cold as the ground. Sifting among the fragments, I found one slightly larger than the rest. It was like rough sandstone on one side; on the other, a glossy

above Coil-built earthenware bowl with carved swirled melon design, approximately 6 inches in height, brushed with slip, burnished, fired inside a wire milk crate surrounded with cedar kindling and pine slabs.

left Wood-fired pot, approximately 8 inches in height, coil built, carved and burnished, reduced by smothering the fire with horse manure, by Nathan Youngblood, 1990.

52 Ceramics Monthly brick red bearing a cup-shaped im­ bottles, bicycle baskets, oven racks and pression with three flecks like apos­ refrigerator shelves. Iron grills over trophes across the top—one of four the back windows seem to continue bear-paw designs that had been the motif. placed like compass points around Nathan lifted a protective tarp off the perimeter. A plate representing the firepit, but a bit of the water it hours of work was gone, but I was held slipped back into the hole. He pleased with my remnant. asked me to remove the tin wall next This routine disaster occurred at to the boiler, then scooped off the Santa Clara Pueblo between Christ­ Nathan Youngblood, Santa Clara top layer of ashes in the pit with a mas and New Year’s, an inauspicious Pueblo/Santa Fe, New Mexico. shovel and heaved them through the time. Firing out in the elements opening. The ground was charred rather than in an enclosed, refractory kiln is always pre­ for some distance beyond the firepit. carious, because the least bit of wind can fan the flame, “The base of this pit is adobe clay we brought here. It’s heating one side of the pot more than another, setting it less permeable than the ground, dries out quicker, and off like a mousetrap. Even on a still summer day, a sudden makes a good base for the fire.” Nathan split a few pieces breeze can destroy a pot. But galleries now demand work of wood with a hatchet and tossed them into the firepit. all year round, contracts must be met, so traditional pot­ “Cedar,” he said, “splits easily, starts fast and burns hot.” He tery is fired at nontraditional times. squirted some starter. “Traditional kerosene—though When I arrived in northern New Mexico to watch this usually we rub two sticks together,” he joked. “It’s cold. Let’s last stage of pottery making, the weather was uncoopera­ go inside.” tive. “Do you really think you can fire now?” I asked Mela Youngblood’s small living room was decorated Nathan Youngblood. for Christmas, with a tree in one corner and garlands of “It’s supposed to clear tomorrow. Today I’ll build a fire tinsel looped around Indian baskets that formed a kind in the pit and dry out the ground. There’s been rain, of frieze near the ceiling. But what distinguished the then snow, and everything is soaked.” room was its profusion of black pottery. Two large storage “What difference would wet ground make, if the fire is jars were filled with poinsettias, and two more had been hot enough?” made into lamps whose shades featured Indian motifs in “Wet ground causes steam to rise through the fire and needlepoint. Most impressive was a display case of works cloud the finish on the pots. Fire that produces shiny by members of the extended family—small bowls; tiny work has to be dry.” wedding jars; animal figures that included bears, dogs, A tall and muscular man in his thirties, whose studi­ even a penguin. A friendly and candid woman in her ous, serious features belie his sense of humor, Nathan fifties, Mela explained what periods the various pieces Youngblood lives just outside Santa Fe. He drives 20 miles represented. “But if you really want to see pottery,” she said, north to the Santa Clara Pueblo, on the outskirts of “follow me.” Espanola, to fire pottery in his mother’s backyard. This We proceeded to a room off the hall in which jars of all part of the pueblo seems like a scrawny suburbia of one- sizes loomed out of the darkness. There were storage jars story adobes and wood-framed buildings, arranged loosely by her mother, Margaret Tafoya, and jars by Margaret’s with open fields in between. Here and there stand the mother, Serafina. On the floor, looking as if it concealed conical shapes of kilns—for firing bread, not pottery. a body, was a bulging tarp. “This is where I keep my clay,” Mela Youngblood’s yard may look equally undistinguished said Mela, poking it with her foot, “though I refuse to do from a distance, but its contents are curious. An old any more work until after the holidays.” Here, then, was turquoise boiler sprawls at an odd angle. Projecting from pottery stretching back four generations, andclay waiting one end of the boiler are four large rectangles of corru­ to be made into new pots—the Santa Clara tradition in gated tin in wooden frames, angled so that walls and transit. boiler form a small corral with a depression in the middle: Santa Clara pottery has, in a sense, two traditions: The the firepit. A roof on wooden posts, projecting from the older is the slow evolution of fired vessels that can be house, shelters piles of wood and a row of metal garbage traced back to the first agricultural settlements in the Rio cans containing various clays. All about, in cubes and Grande Valley, around A.D. 500. This pottery consists of rectangles, lies metal gridwork—from crates for milk assorted storage and cooking jars, and pieces whose use

November 1990 53 “One of the first things you get from Grandma is a lecture... on having respect for the clay.... It’s not just there to take—you ’re allowed to use it. ”

was strictly ceremonial. Incoming Spaniards found this before the heat of the coals was steady enough to fire the ware useful and actually expanded its production. But the plate, as well as a larger jar with six indentations around arrival ofAnglos in the last century brought machine-made its base. Meanwhile, in addition to football and conversa­ products from the eastern United States and Europe— tion, there was work to be done. Nathan sat at the kitchen metal pots, chinaware—eliminating the need to make table sanding a bowl over a cardboard box. “In the old utilitarian pieces in the old way. Thereafter, the Pueblo days they used wet corncobs to smooth,” he said, “but this tradition of ceramics sputtered without quite dying until stuff does a much better job.” Soon he handed the bowl the coming of the railroads, tourism, and the advent of and sandpaper to his mother, and brought out two coffee collectors who looked at pottery as a new branch of aes­ cans filled with slips. He painted the face of the plate thetics—a new market and a new tradition, a new style rapidly with a 1-inch brush, while Mela painted the jar with rooLsin the old. with a rust-colored slip used for blackware. The central figure in the resurgence of Santa Clara Satisfied with the application, Nathan brought out a pottery is Margaret Tafoya, still potting in her early eight­ small box of polishing stones, mentioning that some had ies. It was she who perfected the large storage jar she had been passed down for generations, and others had been learned to make from her mother. Carved with deep bought for 25# at a rock shop. There were petrified reliefs by her husband, Alcario, Tafoya jars have become wood, “Apache tears,” anonymous riverstones—every the Santa Clara trademark. Later in her career, Margaret potter has some odd favorites. But Nathan doesn’t care specialized in a more delicate redware. For Mela, and for this stage; Mela hates shaping yet loves polishing, then for Nathan and his sister Nancy, Margaret was the while Nathan hates polishing yet loves shaping. He licked decisive influence, teacher of a tradition and its embodi­ the stone and rubbed it on the plate, producing shiny ment. lines that coalesced into a glossy surface, licking and Surrounded by black pots, we settled in Mela’s living rubbing until his chin was red, as if he’d been eating room, where Nathan kept track of some football on TV, pizza. “Any danger from licking that stuff?” I asked. slipped out during the breaks to toss more cedar on the “As a matter of fact, yes; it can’t be good for you. We’ve fire, and explained how he became involved in pottery. tried dipping it in a glass of water instead, but that takes With a father in the military, Nathan and Nancy had lived extra time and we just don’t do it. There are hazards at all all over the United States and Europe by the time Nathan stages,” Nathan said. “The place where we get the clay is was 14. After high school in Santa Cruz and college at the full of rattlesnakes. We go in October when there are University of New Mexico, Nathan wound up working in a fewest, and no one has been bitten, yet. We have to be restaurant in Santa Fe. When the restaurant closed and he careful. When we dig the volcanic ash for the temper, and lost his job, Nathan’s parents and Nancy, who had been when we sift it, the stuff rises like powder and gets in your potting for a couple of years, encouraged him to try the eyes and nose. A lot of potters develop back problems family trade. lifting heavy things from the fire, which they have to do It was a difficult apprenticeship, but the best possible, fast. And my doctor has told me I should take salt tablets for Nathan wound up living for nearly two years with his before firing because I sweat so much. That’s the least of grandmother. Margaret teaches by example rather than it with firing. Even wearing gloves, you can burn your direct instruction, and for Nathan it was largely a time hands when you pick up the grill. You’re dealing with when the work came out flawed or broken, full of days something that’s 1500°F, and you can smell the leather when he got disgusted with pottery and quit to fire up burning. Actually, you can tell when someone fires tradi­ some food. It was only gradually, as he turned out the first tionally because of the battle scars—singed hair and eye­ successes, that he began to enjoy the process. brows, burns on their arms. But the worst is what you With Margaret, there were to be no shortcuts. “One of breathe. A firing turns your mucous black. You’ll blow the first things you get from Grandma is a lecture on your nose, and black stuff still comes out a week later” responsibility, on having respect for the clay. It’s like the “Can’t you wear a mask?” reverence a lot of potters have for the land. It’s not just “We’ve tried wearing bandanas during the sanding, there to take—you’re allowed to use it.” As Nathan talked but they’re hard to get used to. And we’ve tried wearing and the fire smoldered in the backyard, the clouds slowly masks during firing, but we sweat so much they just slide lifted, and by the end of the day the Sangre de Cristo off. They should make them with industrial strength rub­ Mountains glimmered in the east like a sea of whitecaps. ber bands ” He paused, shrugged, “But then we could get When I got to Mela’s the next morning, clouds and nuked any minute ” patches of snow were still shrinking, and Nathan had a Nathan checked the surface of the plate for “hoo-ha’s,” new fire started in the pit. It would be mid-afternoon painted a circle of plain water in the middle of the

54 CERAMICS MONTHLY 1. Clay and sand are dug in 2. Dried and pounded into 3. The sand is also thoroughly 4. Clay to sand proportions the foothills near the pottery. chunks ½ inch in diameter or dried, then pulverized and sifted are determined by the amount of Each runs in narrow veins smaller, the clay is soaked to twice through wire mesh. water in the clay and by use — approximately 8 inches wide. form a slurry, then sieved twice less sand for small forms, more Much of the work involves to remove roots, shales and 7. Laid onto the outer edge, the for larger. clearing away dirt and rock other impurities. After two coil and base are joined by that cover the deposits. weeks, excess water will be pinching. 8. After two coils have been drawn off and the clay mixed added to the pot, a puki (a 5. Each pot, whether a 11. A nail inserted in a shallow dish lined with wet with sand on a tarp. wooden handle, a file-sharpened miniature or a large storage jar, newspaper or cloth) is prepared screwdriver, and other tools are is begun with a base pinched 6. Beaten clay is then rolled as a support. The newspaper/ used for carving. The first cuts from a chunk of clay that has into a coil and flattened to cloth prevents the pot from been beaten to make it uniform thickness. are at the edges to prevent sticking to the dish, and acts as chipping. homogenous. a wick to dry the bottom. 10. If the pot is to be carved, it 9. Placed in the puki, the pot is is first rough sanded, then a 12. After initial (shallow) gently stretched and checked for design is penciled on its surface. channels have been excised, the air pockets, before more coils Unsatisfactory designs can design is deepened by scraping are added to complete the form. simply be sanded off, and out additional clay. The surface drawing begun again. is then sanded and dusted off.

November 1990 55 13. Once the pot is completely 14. Each pot is burnished three 15. Most of the pots are fired 16. The slabs are cut to size so dry, layers of slip (for a times—twice with slip, and one at a time in a wind- that there is no waste. grainless surface) are brushed finally with lard. The lard protected area of the yard. on the areas to be burnished burnishing helps develop a high Thinly split cedar is used as 20. When the soot has burned with a stone. gloss. Stone marks are not kindling, while slabs collected off and the pot’s color is correct, desirable, but sometimes from nearby sawmills are used the fuel and ashes are removed. 17. Placed in an old wire milk unavoidable. to fuel the sides and top of the crate covered by a sheet of tin 24. After the sides have been open fire. and raised above the ground on 18. To build the fire, more stabilized with supports, the metal cans, the pot is slowly cedar is placed underneath and 19. It’s important to shield the top is covered. Usually the heated. pine slabs are placed around the fire so that one side does not smothered fire is then left alone crate. burn hotter than another. for 30 minutes, but if the wind 21. The newly fired pot is then picks up, it may be two hours placed in an area where it can 22. Blackware is fired in the 23. Shoveled around the before the pot is removed. cool slowly; rapid cooling will same manner as the redware, burning wood, the manure cuts cause the pot to crack. but rather than removing the off the oxygen to the fire and the fuel once temperature is pot. reached, Youngblood covers the fire with pulverized manure, preferably horse manure.

56 Ceramics Monthly unpainted back, and signed his name in pencil in the wet The plate was four weeks old, which should have been spot—the last touch before firing. enough to dry it, but who knows in this weather? The jar In the backyard, coals emitted a steady glow, filling the is newer, so there’s no use blowing that one up, too.” air with a scent like smoky turpentine. Nathan turned the That meant Nathan wouldn’t be performing the extra pieces of wood over to make sure all moisture was out,step that turns the pottery black—the shoveling of dried since that too could dull the finish, and decided to let horse and cow manure onto the fire, thus reducing the them burn a little longer. “What are the odds?” I asked. temperature and raising a thick smoke that draws oxygen “Last year I fired 20 pieces for the Indian Market, and from the clay, replaces it with carbon and creates a lus­ only two came out. Most blew up. Sometimes they all trous black finish. We wouldn’t smell what Nathan’s sister come out, and sometimes none of them do. The amount refers to as “Corral No. 5.” After two days of preparation of oxygen is important. If the wind’s blowing, you overfire for the firing, and many preceding days on Nathan’s part one side. That’s why we pick windless days whenever to bring the red plate to the final stage, this was it. possible.” As we walked back to the house, the implications of As soon as the overturned coals were burning evenly, this misfiring began to dawn on me. Nathan Youngblood Nathan placed four charred tin cans in a square, and set a has become one of the emerging figures in Pueblo pot­ wire milk bottle basket on top. He set a smaller grill on tery, a link in the ongoing tradition. He has won many edge inside so that it rested against two sides of the awards and commands top prices in galleries. Many of basket, then stood the plate on its rim, leaning against the those who buy his work know, in a general way, the grill. He then set several thin pieces of tin across the top, painstaking process that produced it. Yet who will know forming a solid roof. The plate looked like a caged animal. of a short winter day when a red plate blew up? Behind “Do you always fire one at a time?” each piece that garners admiration in markets, galleries, “Almost always, except for miniatures, because if one museums and homes, how many fragments, lavished with piece blows up it wrecks all the rest. We used to build the same care, lie quietly in the dust? contraptions where there’d be a bottom grill and sepa­ Other thoughts were of the tradition itself. Much of rate grills on each side leaning in, and sometimes they’d the hazard might be removed from the process by firing collapse and scratch the pot. Now we’re buying up all the in a modern kiln. Yet even this firing in Mela’s backyard milk carriers and old-time heavy bicycle baskets we can had its innovations. Milk bottle carriers, bicycle baskets find. When firing a big piece, I have to create a box from and oven racks were hardly Native American inventions— the racks of refrigerators and stoves, and wire them into not to mention sandpaper, paintbrushes, kerosene and one big cage. If you consider the time that goes into a lumberyard cuttings. Margaret Tafoya still sifts clay with large piece, and the price it will sell for, it’s silly not to take her hands, but most younger potters run theirs through the time to get everything exactly right.” wire mesh. An earlier generation fired pottery on rocks Nathan placed fresh cedar sticks and newspapers un­ instead of grills, but thought of placing bedsprings be­ der the wire basket, crouched and blew on the coals, tween the pots to prevent the accumulation of soot. Be­ raising the flame. Next, he set ponderosa pine bark around fore the arrival of the Anglos, innovation arose from all sides of the cage and on top, encasing it in wood. trading between tribes, then with the Spaniards. Adapta­ Ponderosa is less knotty than other woods, doesn’t pop, tion, and the discovery of new uses for old castoffs, is as and burns evenly. He is able to get it as scrap from a local Indian as it is Anglo. (Where are all the revolving piano lumber mill every November. He then poured kerosene stools? In duck blinds, where hunters turn and shoot. around the bark, and flames engulfed the construction, a Where are the wire milk carriers? Getting charred in toy house on fire. Indian backyards.) What does tradition measure? Most The air seemed windless. We stared at the flames with precisely, the degree of change. the glazed look induced by all hearths and campfires. I showed Nathan the bear-paw fragment I’d fished “How much longer will you leave it in?” I asked. from the wreckage. “Look how you have the surface of There was a crack, as if a firecracker had gone off, and the plate,” he said, “but the underside is all rough because the ponderosa on my side blew out, sending bark toward the back is gone. That shows there was water in the my feet and opening a full view of the flames inside. “Not middle, which expanded and blew the plate up.” much longer,” said Nathan. If this was failure, it was the sort of useful failure one We stared, Nathan impassively and myself incredulous­ learns from, one that leads to great work. Failure or not, I ly, at the remains. “Probably the clay wasn’t dry enough. felt lucky to have the shard in my pocket. ▲

Adaptation, and the discovery of new uses for old castoffs, is as Indian as it is Anglo. (... Where are the wire milk carriers ? Getting charred in Indian backyards.) What does tradition measure? Most precisely, the degree of change.

November 1990 57 58 Ceramics Monthly November 1990 59 Itinerary “Swiss Paper Kilnbuilding and Firing Workshop” 1, 1991 “Christmas Fair”; at the Centre des Arts Continued frontpage 18 with Penelope Fleming. Fee: $82.50; members, Visuels, 350, Avenue Victoria. $75; materials, $10. Contact Chester Springs Ecuador, QuitoNovember 22-December 14 Solo Studio, Box 329,1668 Art School Road, Chester exhibition by Joe Molinaro; at Artes del Fuego $5. Contact the University of California, San Springs 19425; or telephone (215) 827-7277. Galeria, Av. 12 de Octubre 1821 y Cordero. Diego Crafts Center, La Jolla 92093; or tele­ Pennsylvania, PhiladelphiaNovember 16 Ken England, Londonthrough November 16 Solo ex­ phone (619) 534-2021. Ferguson lecture.December 14Christine Federighi hibition by Vladimir Tsivin; at Galerie Besson, Florida, Coral GablesNovember 9-10 A session lecture. Location: Philadelphia Museum of Art. 15 Royal Arcade, 28 Old Bond Street. with Bill Daley. Fee: $50 (exceptfor University of Contact Clay Studio, 139 N. Second St., Phila­ through December 30 “The Decorative Beast,” in­ Miami students). Contact Christine Federighi delphia 19106; or telephone (215) 925-3453. cludes ceramics by Jill Crowley, Michael Flynn, or Ron Fondaw, University of Miami, Box 248106, Pennsylvania, PittsburghNovember 19 and 21 JeremyJames and William Newland; at the Crafts Coral Gables 33124; or telephone (305) 284- “Smokeless Raku” with Jerry Caplan. Fee: $44; Council Gallery, 12 Waterloo Place. 5470 or 284-2542. members, $24. Contact Pittsburgh Center for November 6-December 2 Solo exhibition by Jon New York, HempsteadDecember 13 “History and the Arts, Mellon Park, 6300 Fifth Avenue, Pitts­ Middlemiss; at Andrew Usiskin Contemporary Background of Raku,” lecture with Donald Booth, burgh 15232; or telephone (412) 361-0873. Fine Art, Flask Walk, Hampstead. chairman of the Department of Fine Arts, Art Virginia, Arlington November 12 “Language of November 27-December 23 “New Work for Christ­ History and Humanities, Hofstra University. Form Pottery Workshop” with Seth Cardew. Fee: mas”; at Crafts Council Shop, Victoria and Albert Contact the Hofstra Cultural Center, Hofstra $30. For further information contact Lee Arts Museum, South Kensington. University, Hempstead 11550; or telephone Center, 5722 Lee Highway, Arlington 22207; or France, Mulhousethrough December 24 Works by (516) 560-5669. telephone (703) 358-5256. 20 international ceramists; at Maison de la New York, New YorkDecember 7-8 “ Trials by Fire: Ceramique, 25, rue Josue Hofer. Ceramic Art and the Space Between ” with Wavne International Events Netherlands, Amsterdam through November 8 Higby. Fee: slide lecture, $7; workshop, $25. Helly Oestreicher, ceramic/glass sculptures. Contact the Center for the Arts, West Side YMCA, Canada, Ontario, North YorkNovember 15- November 10-December 12 Solo exhibition by 5 West 63 Street, New York 10023; or telephone January 2, 1991 “20/20 Hindsight,” a Harlan Martin Smith; at Galerie de Witte Voet, Annemie (212) 787-6557. House retrospective; at the Koffler Gallery, 4588 Boissevain, Kerkstraat 149. New York, West NyackDecember 9 Raku work­ Bathurst Street. Netherlands, Deventerthrough November 11 Ce­ shop. Fee: $55. Contact Rockland Center for the Canada, Ontario, TorontothroughJanuary 6,1991 ramics by Pierre Bayle/Vincent Potier; at Kunst Arts, 27 Greenbush Road, West Nyack 10994; or “Impact of the Bauhaus: Ceramics of the Weimar and Keramiek, Korte Assenstraat 15, Secretariaat. telephone (914) 358-0877. Republic 1919-1933,” 109 commercially pro­ Netherlands, ’s-Hertogenbosch November 19- North Carolina, BrasstownNovember 4-10 duced objects, through March 31, 1991 “Chinese January 6, 1991 George Ohr, “The Mad Potter of ‘Wheel/Slab Techniques” with Gwen Heffner. Treasures of the ROM: 4000 B.C.-A.D. 907.” Biloxi.” November 19-January 6, 1991 Rudolf December 2-8 “Advanced Wheel Work” with through May 26, 1991 “Art Nouveau-Art Deco: Staffel, “Transparency in Clay”; at Het Kruithuis, Bonnie Staffel. Contact John C. Campbell Folk Selections from the Bernard and Sylvia Ostry Museum for Contemporary Art, Citadellaan 7. School, Route 1, Box 14^A, Brasstown 28902; or Collection”; at the Royal Ontario Museum, 100 Netherlands, Tjerkwerd through December 1 “Acht telephone (800) 562-2440. Queen’s Park. op Keramiek 1990,” with clay by Riet Bakker, Oregon, PortlandNovember 3 and 17 “Ceramic November 6-1 7Solo exhibition by Angelo Di Petta; I ies Cosijn, BeaJaffray, Tineke Meyer, Henriette Jewelry Techniques” with Jim Koudelka. Fee: at Prime Canadian Crafts, 229 Queen St., W. Ngako, Fokje Schilstra, Ada Stel and Gerard van $62. Contact the Oregon School of Arts and November 30-December 2 “Eighth Annual Christ­ Dam; at Galerie ArtiSjok, Kerkstraat 19. Crafts, 8245 Southwest Barnes Road, Portland mas Show and Sale”; at Woodlawn Pottery Stu­ Spain, Esplugues through November 19 “Ceramics 97225; or telephone (503) 297-5544. dio, 80 Woodlawn Avenue, East. Prize ‘Vila d’Esplugues,’” exhibition of works by Pennsylvania, Chester SpringsNovember 17-18 Canada, Quebec, MontrealNovember 23-January 19 Spanish ceramists; at Can Ramoneda.

60 Ceramics Monthly November 1990 61 62 Ceramics Monthly News & Retrospect ship’s minesweeping gear. (We’re as con­ fused as you are about that one.) But calculating a direct sale at full retail price (a generous $20 for materials and firing costs, $50 for professionally packing and shipping, $10 for paperwork), you could earn $70 an hour handbuilding one San Francisco Teapot Invitational of these whiteware masterpieces every eight A teapot invitational exhibition featuring hours. That might even leave time for works by 16 artists from across the country decoration if they’d like an improvement was presented at Dorothy Weiss Gallery in over the Crane model. At five days a week, San Francisco through September 1. Each that’s $140,000 a year (allow yourself two

“Vessel #276,” 19V2 inches in height, raku, $4500; a solid clay form was cast, press molded and assembled to make this piece

ter form. The double-walled interior can be established in like manner—the inte­ rior shape being placed inside the exterior. Then, articulating interior and exterior edges and connections begins. “Glaze applications and electric kiln firings (1922°F) are repeated as necessary. It is not uncommon for each vessel to be glazed and fired (oxidation) 8-12 times prior to the postfiring raku process. “Sandblasting aids in subtle surface variations. This etching process is used throughout building and glazing as the need arises to soften edges, penetrate glass surfaces to expose contrasting hues or new planes and cavities within the vessel’s skin. “Finally, each vessel is fired to tempera­ ture (1922°F) in an electric kiln. Removed by hand, it is placed into a container of straw, sawdust or oil, depending on the desired results. The reduction atmosphere “Double Water Tower Teapot ” 9 inches in height, wood-fired stoneware, by Daniel Anderson, is neutralized with water from a garden Edwardsville, Illinois hose within one to two minutes.”

maker approached the teapot form as art weeks off for a much-needed vacation). Clay 10 Plus 10 to be interpreted within her/his own style. Potters searching for that high-profit by Donna Webb The result was a diverse show ranging from item bound to make a million dollars (ev­ Reviewing the “Clay 10 Plus 10” exhibi­ whimsical representation to geometrical ery 7.14 years) may want to try their hand tion at the Emery Center in Cincinnati last abstraction. at this or some other item in the lucrative field of government contracts. Hey Navy— “Requiem,” approximately 16 inches in The Navy Needs a Few Good... eliminate the middlemen. Buy direct. Ex­ height, glazed earthenware, by Clay 10- A recent story, widely publicized in perience the thrill of handmade! member Susan Crowell newspapers and magazines across the U.S., tells another in a continuing series of tales George Timock of contractors charging the economically Raku vessels exhibited recently at Esther defenseless Navy too much—$641.25 for a Saks Gallery in Chicago by George Timock ceramic urinal that was made and sold for (Kansas City Art Institute faculty artist) re­ $150 by Crane Company of Crane, Indi­ flect his continuing interest in creating ana. The price was defended because of forms that “embrace an uneasy balance of the layers of middlemen between Crane volume and evoke tension of parts. My lan­ and the Navy, and because the urinal had guage and visual concerns are rooted in to be nonmagnetic so as not to confuse a formal abstractions within the anatomy of the vessel, within the context of descriptive You are invited to send news and photos line, texture variations, edge, juxtaposition about people, places or events of interest.of We mass and volume, color variations, etc.” will be pleased to consider them for publica­Each series begins with “solid clay masses tion in this column. Mail submissions to whereby the majority of the exterior shape News & Retrospect, Ceramics Monthly, Boxis established in profile. A mold is then 12448, Columbus, Ohio 43212. cast, ensuring an accurate exterior image. Slabs of clay are then pressed into the plas-

November 1990 63 News & Retrospect

spring, I was reminded again of the barrier to communication we face in ceramics—a barrier caused by lack of strong curatorial direction. As I searched for meaning in the 80 plus works by 20 artists, I felt frustrated. The statement of purpose of the Michi- gan-based Clay 10 group was somewhat helpful. It says in part: “The most basic and far-reaching of our goals is to make high- quality ceramic work and to make it opti­ mally visible. We believe it has a great deal to offer as a presence not only in private art collections but in public spaces, in industry and in architecture.” Was this germ of a “reason for being” reflected in the work? The exhibition space at the Emery Cen­ ter covered about 3000 square feet. In it were clay pieces ranging in size from a 7- foot “totem” to a 4-inch bowl by the Clay 10 members and 10 invited artists. In spite of my pleasure in seeing the work, I have a strong reservation about Clay Untitled vessel, 39 inches in height, thrown and coil-built stoneware; glaze sgraffito 10’s purpose. Despite obvious benefit of decoration likened to tattoos sharing the burden of promoting work and establishing fit places for exhibitions, their visual and philosophical statement dilutes Massachusetts. Yabe came to the United the power of individual pieces, yet fails to States in 1977 from Japan, where he studied make a whole greater than the sum of its traditional throwing and shaping tech­ parts. This group could make a greater niques at the Kyoto Prefectural Ceramic impact by drawing attention to the rela­ School and apprenticed with studio potter tionship between ceramics and architec­ Sango Uno. A departure from this traditional ture, and to the place of ceramic objects in training, his current work blends utilitarian public places. The scale of the work and form with sculptural ideas. the reference to architecture in many of The vessels are thrown and coil built the pieces make this an obvious focus. from stoneware, then surfaced with gloss Ceramic vessels and sculpture in the glazes. Sgraffito markings through glaze world’s great collections were thoughtfully create patterns, which he likens to tattoos. made and most often had multiple mean­ ings. These meanings rendered the objects Sparrow House Pottery nondisposable and therefore assured them Woodhull Gallery in New York City re­ a place in society. This place was often an cently featured porcelain pots by Lois architecturally defined space, a special Atherton as part of an exhibition benefiting niche, pediment, shelf or cupboard. the Richard Sparrow House of Plymouth, In many parts of the world, pottery mak­ ing began at the time when nomadic people began to settle down and establish perma­ Thrown porcelain bottle, approximately 8 inches in height, by Lois Atherton nent dwellings. Later, when modem archi­ tecture was stripped of its traditional association with the figure, vessel and orna­ ment, the impulse to make art about those things seemed to make less sense. Today, however, the coldness of modem architecture makes us aware of the need for the warmth and vitality of ceramic ves­ sels, tiles and figures. Defining a relation­ ship between architecture and ceramics is an exciting venture, and one in which Clay 10 could become more thoroughly com­ mitted simply by calling attention to what is already an important element in the work.

Makoto Yabe Sculptural vessels from the “Deko Boko (Convex/Concave)” series byMakoto Yabe were featured recendy in a solo exhibition at the DeCordova Museum in Lincoln,

64 Ceramics Monthly November 1990 65 News & Retrospect

Massachusetts. Celebrating its 350th year, the Sparrow House is thought to be Plym­ outh’s oldest existing home. Richard Sparrow moved his family to Plymouth from England in 1630. By 1640, they had acquired land on the banks of Town Brook and built this two-story house, where they lived for 15 years. Although the rooms were small, it was a luxury in the 17th century to own a two-story home. Now on the National Register of His­ toric Places, the house has been furnished with period pieces and is open to the pub­ lic. Since 1936 it has also been home to a pottery/school, where Atherton produces Stoneware teapot with thrown additions, functional porcelain with shapes and glazes 12 inches in height, by Robert Parrot, Madison, Connecticut inspired by Oriental traditions.

Teapot Interpretations for painterly expression. Others, interested In a recent exhibition at the Elements in the challenge of inventing new forms, Gallery, Greenwich, Connecticut, 31 altered traditional volume and planes, while American ceramists offered interpretations retaining the idea of utility. Still others, of the teapot. Included was a range of func­ such as Washington ceramist Joellyn Rock, tional or sculptural, minimal or decorative,produced forms that hold narrative rather witty or message-laden works. than liquid content, silhouettes that serve Some of the featured ceramists adapted as ground for naturalistically decorative or the teapot’s traditional shape as a canvas abstract ideas. Continued

“Traveler’s Tea,” 20 inches high, nonfunctional, flattened form, sgraffito drawing, by Joellyn Rock

66 CERAMICS MONTHLY November 1990 67 News & Retrospect shapes. Once they firm up a bit, I can re­ move them from the molds and assemble the parts. These forms are a departure from Because the teapot has proven to be a my wheel-thrown pots in that they are highly collectible item, it is a frequent theme asymmetric and draw into play many of the for gallery exhibitions (see page 63 for an­ spontaneous facets of clay not utilized in other teapot show at Dorothy Weiss Gal­ wheel work, such as cutting, tearing and lery). Yet the purchase of such forms for stamping. I then apply ash glazes made the actual steeping/serving of tea is rare to from oak, cherry, hickory or elm ashes col­ unlikely, due to the current taste for many lected from my wood-burning furnace.” other beverages over lowly tea. Rather, the teapot seems to speak to Vehicles for New Forms/Functions collectors on a different level: it has the “From Here to There: Vehicles for New potential for immediate comparison of one Forms/New Functions,” a national exhibi­ artist’s work to another’s (whether a studio tion competition sponsored by Arrowmont potter or a sculptor); it is currently an af­ School of Arts and Crafts in Gatlinburg, fordable form compared to other offerings Tennessee, was juried by Michael Monroe, in the art market; and it is an infinitely curator-in-charge of the Smithsonian’s variable example of potters’/ceramists’ Renwick Gallery. Featured were 73 two- and craft/art, challenging makers with difficult proportional relationships, without signifi­ cant limitations on style, imagination or taste. Photo: Paul Liu.

Dick Woppert “Clay Contrasts: New Work by Dick Woppert” was exhibited recently at Wis­ consin Artisan Gallery in Belleville. A studio potter in rural southwestern Wisconsin, Woppert says he has made his living “work­ ing with clay for the last 14 years. Currently, I work with high-fire, Cone 12 porcelain in two distinct ways: thrown functional pottery and handbuilt sculpture. “My pottery forms are subtle, based on pure function, and surfaced with high gloss zinc-copper glazes. I also utilize under- and overglazes to achieve a rich palette of blues, purples, pinks, reds and browns. I enjoy the discipline of ‘form follows function,’ even though it can be very limiting. “In contrast, my handbuilt forms break from those conventions and speak more of the raw material itself. I start by draping thin porcelain slabs over various Styrofoam Juror’s Award of Recognition winner “Soft Serene,” 28 inches in height, glazed Drape-molded vessel, 2 feet in height, ash earthenware, by Gary Schlappal, glazed, fired to Cone 10 in reduction Milwaukee

three-dimensional “vehicles” that were se­ lected because they “transport us into new realms of seeing, thinking and feeling. I was thinking of the word in terms of how artists use materials as a vehicle to express their ideas,” Monroe explained. “My preference is for works that are not vague or imprecise, but rather that assert a dynamic and oftentimes compelling objec­ tive. The pieces that I included here have strong visual qualities combined with the technical skills necessary to the realization of those creative ideas. “For me the best art of each generation simultaneouslyjoins tradition and overturns it. This notion is particularly evident in those pieces that have received the Juror’s Award of Recognition. These artists have been in­ fluenced by the existing rich and deep tra-

68 CERAMICS MONTHLY November 1990 69 News & Retrospect

dition in their respective media. More im­ portantly, they have made a conscious at­ tempt at pushing those traditions in exciting and new dimensions.” Photo: John E. May.

Eun-Sook Kim by Irene Kim Korean-born ceramist Eun-Sook Kim calls her career “ironic,” explaining that she learned the value and depth of Asian ce­ ramics only after emigrating, in 1963, to the United States. “I got interested in pot­ tery here and learned my technique from Americans,” she says. “As I learned more Eun-Sook Kim with low-fired “Books” about ceramics, I learned that the history of Korean ceramics is very deep—and the information and inspiration I am able to tween opposites depicted in several of her draw from it mean so much to me, now” works: old and new, East and West, life and Also ironic is the chronology of her ca­ death. Always intrigued by opposites, Kim reer: having majored in English as an un­ placed a dozen pots, each bearing one of dergraduate at Ewha Woman’s University the suits, on one pedestal: these represented (Seoul, South Korea), Kim did not begin her career in pottery. On another platform, her M.FA. degree program at the Univer­ books and brushes made of clay symbolized sity of Tennessee until 1987, at the age of her penchant for the academic study of art. 50, and then only after establishing herself The two pedestals represented the conflict as a local potter. “The school [U.T.] was between the two loves she has for art: the rather reluctant to admit me, at my age,” she potter’s desire to create, and the scholar’s confesses. “At first, there was some dis­ thirst for knowledge through study. agreement about whether I should be ac­ When asked about influences, Kim cepted as a graduate student.” But finally shakes her head. “There are just too many they accepted Kim on the basis of her work. to name,” she says, laughing. She does cite Out of her campus studio came pieces Bojin Chen, a staff member of the Shanghai reflecting traditions old and new, familiar Museum, China, for teaching her much and foreign. Kim centered her work around about traditional Chinese painting. Former an old Korean card game, Hwa-to, in which chair of the Ewha Woman’s University ce­ 12 suits taken from nature represent the 12 ramics department Chung-Hyun Cho was also months. In a thesis statement, she said that instrumental in Kim’s return to Korean- her use of this game is as a metaphor for inspired works: “I learned everything about life. The players take their chances on the my inlay technique from Professor Cho,” she luck of the draw and, at the end of the says. game, reckon up their relative success or Perhaps the strongest single influence, failure. All of her thesis exhibition pieces however, were the Ong-gi potters of the shown at U.T.’s Ewing Gallery used the South Korean countryside, who make game’s flowers, plants and animals as deco­ gigantic pots, 3-5 feet in height, primarily rative or structural themes. for food storage and preparation. Kim, who Various suits from the Hwa-to motif alsovisited South Korea in 1985 and again in adorned a tiled, 7-foot-tall gateway that 1986 to study the Ong-gi tradition, found symbolized the conflict and balance be- that fewer than 200 potters of this type still

“Waiting for the Autumn,” 55 inches in length, salt-glazed tiles in wood frame

70 Ceramics Monthly November 1990 71 News & Retrospect

exist. One of the reasons for their gradual disappearance is South Korea’s recent eco­ nomic progress. As people have become more affluent, refrigerators have usurped the place of many food-storage pots. The capabilities of today’s dedicated Ong-gi potters, threatened with impending obliv­ ion, “are astounding,” says Kim. “It boggles one’s mind to realize the intricate motor skills needed to produce one 3-foot-tall jar every ten minutes. “Ever since I studied the Ong-gi potters, my pots have been getting bigger.” As a re­ sult, Kim’s studio (a small basement room at her home) is becoming increasingly cramped. And having now graduated, Kim can no longer use the larger, campus studio. Thrown, alkaline-glazed stoneware jar, stamped “Trapp Chandler,” with trailed So she may convert her carport into a glaze decoration, circa 1850, Edgefield, workshop. Where will the cars go? “We’ll South Carolina—a wealthy plantation have to figure that out later,” she says. community in the early 1800s

Patrick Crabb/Yoshiro Ikeda potteries of Edgefield, South Carolina, “Clay: A Convergence of Two,” an exhi­ opened at the University of South Carolina’s bition featuring new work by artists-teach- McKissick Museum in Columbia. Natural ers Patrick Shia Crabb (Rancho Santiago resources for the production of stoneware College, Santa Ana, California) and Yoshiro vessels and a ready market drew potters to Ikeda (Kansas State University, Manhattan), Edgefield, a wealthy plantation community was presented recently at Contemporary in western South Carolina, in the early 19th Images in Sherman Oaks, California. While century. Crabb typically draws inspiration from his­ Initially, Edgefield ware was based on torical cultures, Ikeda pulls “ideas from my European pottery forms/technology, but soon aspects of Oriental and African tradi­ tions were also incorporated.Abner Lan­ drum, founder of the Pottersville Stoneware Manufactury, had been experimenting with local materials to try to reproduce Oriental glazes he had read about in books, when he came up with what was to become an identifying feature of Southern pottery in general—alkaline glaze—circa 1810. Relatives of Edgefield potters and itin­ erant potters soon spread the use of alka­ line glaze to other areas of South Carolina, western North Carolina, northern Geor­ gia, Alabama, Mississippi and Texas. During its heyday, about 1840, there were at least 12 “manufactories” in the area employing hundreds of workers (includ­ ing many African-American slaves and freed laborers). “A competitive spirit may have encouraged the introduction of decorated “Ikebana Basket,” approximately 30 inches wares,” noted Catherine Home, McKissick in height, coil-built stoneware, ash glazed, chief curator. “Decorated alkaline-glazed reduction fired, by Yoshiro Ikeda stoneware is unique to Edgefield wares and was probably used to identify particular fac­ surroundings and experiences. Dance and tories and potters.” its fluid movement also inspire the asym­ Edgefield production remained strong metrical aspect” of such forms as Ikeda’s through 1860, but only small potteries coil-built “Ikebana Basket,” with rough ash continued after the Civil War, and the state’s glaze, high fired in reduction. last fully traditional pottery “ceased opera­ tion about 1940,” according to Horne. Southern Tradition “Crossroads of Clay: The Southern Al­ Rory McNally kaline-Glazed Stoneware Tradition,” a A columnar sculpture by British ceram­ touring exhibition featuring approximately ist Rory McNally was installed recently as part 80 examples of 19th-century ware from the of a public art project commissioned by

72 CERAMICS MONTHLY November 1990 73 News & Retrospect

“Nesting House on Columnhigh-fired tiles, plaster and concrete

Birmingham City Council. Composed of high-fired tiles with white glaze and brushed stain decoration, the sculpture was designed to complement a surrounding 700-square- meter mural.

Mary Lou Deal “Animal Revival,” a dual exhibition fea­ turing raku vessels byMary Lou Deal (Ash­ land, Virginia), was presented recently at Peninsula Fine Arts Center in Newport News, Virginia. Deal’s vessels are coil built, then patterned with slab appliques of fish, birds, leaves, flowers, etc. Bisqued in an electric kiln, they are then glazed with bright

“A Pink Romance in Ravenna,” 16 inches in height, coil built, with slab cutout applications, raku fired, $700

74C eramics Monthly November 1990 75 News & Retrospect

colors; wax and latex resist keep the colors separate during glazing. A subsequent raku firing (removing the vessel from the kiln at about 1700°F and placing it in a sawdust- filled container) softens colors by blacken­ ing exposed clay and glaze crackles. Hugh Fanner Low-fire vessels with geometric shapes and grid patterns (representative of his ur­ ban environment) were recendy exhibited by Hugh Farmer at the Pentagon Gallery in Cleveland, Ohio. The terra-cotta and white earthenware vessels were assembled from thrown forms, then decorated with stained slips and clear glaze over masked designs. Farmer shrugs off the idea of “hidden meaning” in the resulting patterns with characteristic humor: “I am not perfectiy attuned with nature, the cosmic forces of the universe or anything else exceptionally deep and profound. However, I do find

Terra-cotta vases, to 18 inches in height, wheel thrown, with masked slips, clear glaze overall

myself strongly drawn to Shirley MacLaine movies.” Farmer continues that it’s much more likely “the arrangement of the grids on the surface has something to do with using a Slinky as a youngster ”

Leslie Hawk Both human and animal figures by Leslie Hawk (Marine on Saint Croix, Minnesota) were exhibited at M.C. Gallery in Minneap­ olis through August 31. Hawk’s current work focuses on status in society: “Man and animal share the struggle for status and the curious phenomenon of dis­ playing it. In the animal kingdom, the struggle for status or dominance direcdy relates to the perpetuation of the species. In man, the reason has changed as his ac­ quiring or status results in self-gratification and identity. Continued

76 Ceramics Monthly November 1990 77 News & Retrospect then dipped in opaque white glaze. Floral and geometric images brushed onto the raw glaze prior to firing yielded a water- color effect.

Dorothy Feibleman A solo exhibition of handbuilt colored porcelain vessels and jewelry by Dorothy Feibleman, an American who moved to En­ gland to set up a studio in 1973, was fea­ tured at the Indianapolis Museum of Art Alliance Shop through October 31. Before settling in England, Feibleman earned a B.F.A. at the Rochester Institute of Tech­ nology, School for American Craftsmen, where she studied with Hobart Cowles and

“Cat,” 48 inches in height, handmade polychrome tile shards on concrete-covered metal armature, by Leslie Hawk

“Display of status in animals is instinc­ tive and serves as commonly understood communication. Human display of status has become increasingly self-conscious and Nerikomi bowl, approximately 3 inches in height, handbuilt from stained porcelain communicates conflicting information,” says Hawk. “For animals, the rules concerning status are straightforward, the results pre­ Franz Wildenhain. Since 1970 she has been dictable. For man, acquiring and display­ working primarily with inlaid and laminated ing status has become a time-consuming porcelain, often surfaced with a clear game of deception. The rules change too nepheline syenite glaze fired to Cone 8. fast in a society so complex that no one individual can fully understand.” Lead Bill Before Senate An amendment to the Toxic Substances Mary George Kronstadt Control Act, called the Lead Exposure Re­ Functional earthenware with majolica duction Act of 1990, is expected to come decoration by Washington potter Mary before the Senate soon, though no date George Kronstadt was exhibited recently at had been scheduled as of press time. The all three Jackie Chalkley Gallery locations purpose of the bill is to minimize the re­ in Washington, D.C. On view were mugs, lease of lead into the environment and to bowls, platters and serving dishes that had further restrict its use in specific products, been wheel thrown and handbuilt from including ceramics. red earthenware, bisqued in an electric kiln, If the bill is enacted as it is currently written, glazes, enamels and frits will be limited to less than 0.06% lead (by dry Majolica casserole, thrown and handbuilt weight). That would place ceramics among red earthenware with onglaze brushwork the most severely restricted products. Lead may be found in a variety of sub­ stances and products (including some that could have a direct effect on food and bev­ erages) in common use. For example, pes­ ticides and fertilizers are limited to 0.1%, while plumbing fittings may have a lead content of 2.0%. Yet lead in ceramics will be restricted to a lower permissible percen­ tage under this legislation. While the majority of studio ceramists Please turn to page 88

78C eramics Monthly November 1990 79 Questions Answered by the CM Technical Staff

Q I’m firing this glaze over a white clay body: Majolica White Glaze (Cone 04) Frit 3124 (Ferro)...... 59.8% Nepheline Syenite...... 16.5 Ball Clay...... 2.5 Bentonite ...... 2.5 Edgar Plastic Kaolin...... 2.5 Flint...... 6.2 Zirconium Silicate...... 10.0 100.0% But white spots (pinhead size and larger) are appearing over my stain decoration (50% Ma­ son stain, 50% Ferro Frit 3124). I’ve tried correcting for pinholing (by adding flux, soak- ing, firing the bisque higher, washing the pots and finger-wiping the dry glaze surface), but nothing seems to help. The appearance from one piece to another is so inconsistent—sometimes the spots seem more profuse when the glaze is thick. Fve asked other potters and no one seems to know what’s going on. Do you have an answer?—L.S. While your problem could be resulting from a variety of causes, the most likely one is that zirconium silicate (also known as zircon) does form white specks in glaze if it is not well-dispersed. Some tests will help you zero in on this or another cause: First, determine that your glaze is com­ pletely mixed—were all ingredients thor­ oughly blended before adding water to the glaze? As a test, dry mix a small batch, and then ball mill the batch for 30 minutes. If, after firing, this test glaze still shows white spots, consider kiln ventilation. If you’re using a vent system that draws air from inside the kiln, then ignore this po­ tential cause; if not, be sure you leave the top peephole plug out when glaze firing, and leave the top cracked ¾ inch until you’re about half an hour into a “high” setting on the kiln, or until you see slight color in the kiln atmosphere—whichever comes first. A carbonaceous atmosphere caused by burnout materials, glaze decom­ position, etc., can be responsible for spots; and this is eliminated by good ventilation. Finally, if neither of these solutions works, look to the opacifier itself. Try the commercial opacifiers Superpax or Opax, or ask your supplier for coated zircon, which disperses better than zircon. If all else fails, substitute tin oxide (al­ though it’s more expensive) for the zircon.

Subscribers ’ questions are welcome and those of general interest -will be answered in this column. Due to volume, letters may not be answered per­ sonally. Address the Technical Staff Ceramics Monthly, Box 12448, Columbus, Ohio 43212.

80 CERAMICS MONTHLY November 1990 81 82 Ceramics Monthly Controlling Glaze Pattern by Beatrice and Robert Pearson

SOME KILN OPENINGS reveal pleasant tests were prepared using lithium car­ surprises. We had been working with bonate held on the 40-, 60-, 80-, 100- local-reduction copper glazes (fired and 200-mesh sieves, plus the lithium in oxidation) and anticipating changes carbonate passing through the 200- in each kiln load, but we observed mesh sieve. As we anticipated, the unexpected results in one particular glaze sample using +40-mesh lithium recipe. A turquoise gloss glaze showed carbonate showed a prominent blue a distinct blue patterning. This obser­ patterning. The blue color splashes vation and the changes in the local- became smaller and less numerous as reduction glazes caused us to speculate the particle size of the lithium car­ on the possibility of controlling pat­ bonate decreased. At the opposite end terning by changing the particle size of the sample set, the glaze test using of selected ingredients. 200-mesh lithium carbonate was an We began trials with the following even turquoise color with almost no recipe: blue specks. Blue-Green Patterned Glaze Because we had been working with local reduction glazes in an effort to (Cone 04) produce copper reds in an electric Barium Carbonate...... 4.4% kiln (carefully noting the color and Lithium Carbonate...... 4.4 surface texture of the glaze trials), we Gerstley Borate...... 30.8 also experimented with four copper Custer Feldspar...... 24.2 recipes as patterned glazes. Each had Kaolin...... 5.4 to be applied evenly; uneven applica­ Flint...... 30.8 tion resulted in areas where no color 100.0% developed and these white spots pro­ Add: Tin Oxide ...... 6.5 % duced a visual interruption of the Black Copper Oxide ...... 3.5 % pattern. The recipes for the four cho­ Because the glaze had a turquoise sen glazes were as follows: background with blue patterned ar­ Blue-Purple Streaked Glaze eas, lithium carbonate seemed to be (Cone 04) the obvious choice for testing. We found that the particle size of lithium Gerstley Borate ...... 40% carbonate did vary; more than half of Zinc Oxide ...... 5 our sample was retained on an 80- Custer Feldspar...... 50 mesh sieve, and almost a third was Frit 3419 (Ferro)...... 5 retained on a 60-mesh sieve. 100% So the lithium carbonate was Add: Color Mixture*...... 3 % screened through a set of sieves rang­ Ferro Frit 3419 is a lead frit. ing from 20 mesh to 200 mesh. All of The Blue-Purple Streaked Glaze is the material passed through the 20- similar in composition to the follow­ mesh sieve, but some was retained on ing local reduction glazes; however, it each of the remaining sieves. Glaze Continued

November 1990 83 Controlling Glaze Pattern The flint was used as a diluent to make weighing easier. Five samples of color mixture were prepared using a different particle size is very different in appearance. It is a of silicon carbide for each. Silicon smooth gloss with a pattern reminis­ carbide particle size is not listed as a cent of a Chinese hare’s fur, but the sieve mesh size but as grit size. The color is a subdued blue. The lower coarsest silicon carbide we used, 220 edges of the curtainlike streaks break grit, always caused unpleasant pinhol­ to a light pink-purple edged with a ing. The next finer particle size, 320 dark blue line. grit (also listed as 3F or FFF), worked The actual lead content of the well. The 400 grit worked well but finished glaze is about 2%-3% of the gave a different pattern than the 320 total glaze; however, those potters whogrit. The finest particle sizes (600 grit want to avoid lead may wish to avoid and 1000 grit) were more expensive this glaze. and had no color advantage. The 1000 The remaining three glazes were grit gave a very uniform color with similar in color to each other, but not less spotting. Silicon carbide of the like the Blue-Purple Streaked Glaze. same grit size obtained from different Pink-Purple Spotted Glaze 1 suppliers produced different results (Cone 04) in some of the tests; some gave more Gersdey Borate ...... 50% pink than others. Lapidary supply Zinc Oxide ...... 5 Custer Feldspar...... 30 Flint...... 15 100% Silicon carbide of the Add: Color Mixture*...... 3% same grit size obtained from An orange-peel-textured semimatt. different suppliers produced Pink-Purple Spotted Glaze 2 (Cone 04) different results Gersdey Borate...... 50% Zinc Oxide ...... 5 Custer Feldspar...... 40 houses offered more grit sizes than Flint...... 5 % most ceramic suppliers. 100 When the color mixture addition Add: Color Mixture*...... 3% was increased to 3.3% the three Pink- A smooth semigloss. Purple Spotted Glazes were too purple Pink-Purple Spotted Glaze 3 with more nearly complete color cov­ (Cone 04) erage and less patterning. Gersdey Borate...... 45% Small amounts (about 0.1%) of a Zinc Oxide ...... 5 granular copper compound gave Custer Feldspar...... 45 green spots that contrasted nicely with Flint...... 5 the pink-purple color in the three 100% Pink-Purple Spotted Glazes. On some Add: Color Mixture*...... 3% of the glazed bowl tests, green spots were surrounded by an irregular cir­ A smooth gloss. cular line of dark pink-purple, sugges­ *The materials used to produce the tive of an abstract flower design. The color in the four glazes were com­ overlaid pattern contained a larger bined into a color mixture that could number of spots that tended to be be weighed as one ingredient for each more evenly distributed on Pink-Pur­ glaze. Many variations of the amountsple Spotted Glaze 1. Glaze 2 had a of tin oxide, silicon carbide and cop­ tendency to form large flowerlike per carbonate were tested, but the spots in the overlaid pattern. On Glaze combination that produced the best 3, the color formed a granular back­ results had the following composition: ground overlaid with an irregular ar­ Color Mixture rangement of darker colored spots Tin Oxide ...... 50.0% surrounded by a pale halo. Copper Carbonate...... 7.5 Flint...... 22.5 The authors Beatrice and Robert Pearson Silicon Carbide ...... 20.0 teach art and chemistry, respectively, at the 100.0% University of Arkansas at Monticello.

84 CERAMICS MONTHLY November 1990 85 86 Ceramics Monthly November 1990 87 News & Retrospect Continued from page 78 will be unaffected by this bill, those who do use lead, including leaded frits, may want to reformulate for lower lead release or substitute calcium/boron frits, Gerstley bo­ rate or colemanite for safety.

Christine Fabre A summer exhibition at Galerie Capazza- Grenier de Villatre, in Nangay, France, fea­ tured raku clay furniture (chairs, desks, tables, etc.) by French ceramist Christine Fabre, Provence. Undaunted by the scale of her work in a medium usually considered fragile, Fabre considers raku as “beyond all technical considerations, a state of mind; it consists of causing more or less controlled

Slab-built chair, 4 3A feet in height, raku

Full-size raku desk, stool and chair by French ceramist Christine Fabre

accidents. Each piece involves anagree- Itaka works in traditional Bizen style in ment or refusal regarding this accident.” which pots are colored by flashing and ash And control is the primary requirement in deposits of a long wood firing. Fanshawe making these works stable enough for use. Kato’s work is inspired by nature and trav- “In this sense,” says Fabre, “raku is ex- els in Brazil and Asia. Photo: Setsuo Kato. acting, as it makes us confront ourselves without complacency. It requires rigor and fantasy, skill as well as improvisation, sen- “WaJer fir,d Vases{ 18i™hes in if# 1'- with polychrome glaze imagery, fired to .... „ s tleness and violence. Con /9 /„ reducti on> byJi uFaJhawe Kat0 Yosei Itaka/Jill Fanshawe Kato Unglazed, wood-fired pots by Japanese potter Yosei Itaka and vessels decorated with brushed glaze imagery by British potter Jill Fanshawe Kato were exhibited recently at Matsuya Department Store in Tokyo. The two met when Fanshawe Kato began study­ ing at Itaka’s school in 1973.

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88 CERAMICS MONTHLY