Ceramics Monthly Nov90 Cei11

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 Editorial, Advertising and Circulation Offices 1609 Northwest Boulevard Box 12448, Columbus, Ohio 43212 (614) 488-8236 FAX (614) 488-4561 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

Load more