William C. Hunt...... Editor Barbara Tipton ...... Associate Editor Robert L. Creager...... Art Director Ruth C. Butler ...... Copy Editor Valentina Rojo ...... Editorial Assistant Mary Rushley...... Circulation Manager Connie Belcher .... Advertising Manager Spencer L. Davis...... Publisher

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

Ceramics Monthly (ISSN 0009-0329) is published monthly except July and August by Professional Publications, Inc.—S. L. Davis, Pres.; P. S. Emery, Sec.: 1609 North­ west Blvd., Columbus, Ohio 43212. Second class postage paid at Columbus, Ohio. Subscription Rates:One year SI6, two years $30, three years $40. Add $5 per year for subscriptions outside the U.S.A. Change of Address:Please give us four weeks advance notice. Send both the magazine wrapper label and your new address to Ceramics Monthly, Circulation Office, Box 12448, Columbus, Ohio 43212. Contributors: Manuscripts, photographs, color separations, color transparencies (in­ cluding 35mm slides), graphic illustrations, texts and news releases dealing with ceramic art are welcome and will be considered for publication. A booklet describing procedures for the preparation and submission of a man­ uscript is available upon request. Send man­ uscripts and correspondence about them to The Editor, Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Indexing:Articles in each issue of Ceramics Monthly are indexed in the Art Index. A 20-year subject index (1953-1972) covering Ceramics Monthly feature articles, Sugges­ tions and Questions columns is available for $1.50, postpaid from the Ceramics Monthly Book Department, Box 12448, Columbus, Ohio 43212. Additionally, each year’s arti­ cles are indexed in the December issue. Copies and Reprints:Microfiche, 16mm and 35mm microfilm copies, and xerographic re­ prints are available to subscribers from Uni­ versity Microfilms, 300 N. Zeeb Road, Ann Arbor, Michigan 48106. Copies in micro­ fiche are also available from Bell & Howell, Micro Photo Division, Old Mansfield Road, Wooster, Ohio 44691. Back Issues: Back issues, when available, are $3 each, postpaid. Write for a list. Postmaster:Please send address changes to Ceramics Monthly, Box 12448, Columbus, Ohio 43212.

Copyright © 1984 Professional Publications, Inc. All rights reserved October 1984 3 4 Ceramics Monthly Ceramics Monthly Volume 32, Number 8 October 1984

Feature Articles The Marer Collection...... 21 Contrast, Not Conflict...... 27 The Cola-Cola Man by Karen Rychlewski...... 32 Don Reitz: New Directions by Daniel Dahlquist...... 34 Hideyuki Hayashi by Hiroshi Matsubara...... 40 Depression Era Ceramics...... 43 Chris Staley...... 46 Creighton Clay Invitational...... 48 Hobart Cowles Tan and Brown Glazes by Lili Krakowski...... 50

Departments Letters...... 7 Itinerary 9 Suggestions...... 13 Where to Show...... 15 Questions 17 Comment: Why That Glaze Doesn’t Work by Lili Krakowski...... 19 News & Retrospect...... 59 New Books...... 77 Classified Advertising 78 Index to Advertisers 80

The Cover Porcelain covered jar, 30 inches in height, wheel thrown, altered, incised through thick porcelain slip, soda va­ por glazed, by Chris Staley. Additional work by this Providence, Rhode Island, potter is featured in the article on pages 46 and 47. October 1984 5 6 Ceramics Monthly Letters

May Cover I can’t remember when I’ve enjoyed an cause I needed the contact with advertisers. I’m sending the cover of the May 1984 article more than “How to Sell Your Pots Two years’ worth of issues sit collecting dust issue back to you. It grieves my heart to seeProfitably” by Ross Murphy (June/July/in my workroom barely touched. Lately, such a demonic-looking piece receiving August issue). It was the most informative however, there has been an improvement in publicity. Woe unto those who make such article and a delight to read. I must have the content of CM. Especially interesting have things. read it four times already. Let’s see more of been the articles on foreign potteries using Linda Falin this in CM. primitive techniques. My whole family was Monrovia, Ind. Susan Bastinell interested in the fired buildings in Iran and Portsmouth, Va. the refugee potters from Afghanistan. Issues Selling Controversy Continues from the last few months have been read until I read with great interest the letter re­ Ross Murphy must make great-looking “dog-eared.” I am hoping this new tone con­ sponses to Ross Murphy’s article (June/July/ pots if people still buy them after those sales tinues. August CM). At my last show I used some pitches he recommends. People have to take Judy Boyce of the points he made and found they worked into account their own personalities and what Canaan, N.H. very well indeed. they would be comfortable saying to cus­ When people came into my booth, I gave tomers. I tend to let my pots speak for them­ Please devote more time/space to earth­ them a few moments to look around and then selves. enware (not low-fire whiteware). I work with smiled, made eye contact and introduced my­ Barbara Larkin red clay bodies—some local, some Redart self as the potter whose work was being shown. Hot Springs, Ark. based, fired to Cone 04-02. There is little If they seemed interested in a particular piece relevant information available on lead-free or group of work, I in some way led the glazes in this range. discussion in that direction. I mentioned the Hand Care Sietze Praamsma glaze or form or perhaps function of the piece. In response to Kathryn Baxa (June/July/ Clayton, Ont. Although I didn’t bring up extra sisters or August Letters) and probably others who need brothers, aunts or uncles; I didn’t give away information on skin problems relating to ce­ The strength of a magazine is reflected in kittens, puppies or guppies or twist their arm ramics, this is available through the Center its Letters column. The debates and contro­ in any offensive way; my sales noticeably im­for Occupational Hazards, 5 Beekman Street, versies that highlight CM’s Letters are among proved. New York, New York 10038. They publish the most educational and entertaining parts There were five other potters at this show; Art Hazard News, and can provide a booklet of the magazine. all of the work was good functional ware, on ceramic health hazards. Carolyn Gibbs comparably priced, all of it attractive. When Many ceramic materials are hazardous, North Augusta, Ont. we compared notes after the show, I found and some can also be allergens. The best cure that I sold almost twice as much as any other is avoidance. Realizing that the problem is I started reading the funk vs. functional potter. in the studio is the first step. Then find out letters in some back issues given to me by a I agree with letter writer Rick Berman what it is and remove it. Until then, use a friend. I ran out of old issues and now can’t that sometimes working with your hands is protective hand cream. live without those great attack/counterattack almost holy but I find nothing unholy about Suzanna Van Schoonhoven running battles. Regardless, I think we all using your head to sell that work to feed, Perkasie, Pa. hope clay’s here to stay. clothe and shelter your family. Perhaps that Chris Perry is the most holy and most basic thing of all. CM Critiques N.S.W., Australia Shirley Ingram I wish to thank you for CM’s superb sum­ Smiths Station, Ala. mer coverage of the Kaneko project at the International Exhibition Omaha Brick Works, the Alternative Work The “Next to Last Ersatz International” Site. However, there are two additional cred­ at the Forgotten Works Pottery, Owasso, I always walk rapidly away from anyoneits. First of all, the cover photos on the front Michigan (February 29-30), is open to all practicing these sales techniques. and at the beginning of the article were done artists or those who think they are. The pur­ H.R. Creedon by Dirk Bakker from the Detroit Institute pose of the competition is to find the most San Diego of Art who came and worked with us on this ersatzian ceramics (please consult your dic­ challenging project. Secondly, Jody Baral was tionary for clarification). Entry deadline: Upon reading “How to Sell Your Pots Prof­ co-author of my article. February 10, 1985. Juror: Ersatz Soubri­ itably” by Ross Murphy, I find myself dis­ The Kaneko sculptures will be at the Lau- quet. All prizes will be awarded, though no mayed and outraged that a magazine of CM’s meier Sculpture Garden in St. Louis during prizes have value or occupy space. No entry caliber would publish an article better rel­ the 1985 NCECA conference there, giving fee. No work or other materials will be re­ egated to the classified section of some sleazy the members attending the opportunity to see turned; winners will not be notified. Since supermarket tabloid. The practices suggested them. there is no other information available, please in this article, especially “Bait and Switch,” Ree Schonlau send your entries to: “The Free Gift” and “Let’s Just Be Friends” Omaha, Neb. Ersatz Soubriquet are outright exploitation and betrayal of ba­ 670 Hagadorn sic human trust. I’ve met people in parking I first saw CM at the studio where I took Mason, Michigan 48854 lots, watches up to their armpits, that have classes—most issues from the late ’50s and more scruples than to practice such decep­ early ’60s. Those issues were full of great Share your thoughts with other readers. All tion. Little fish indeed. Maybe a shark pot­ tips for improving techniques or trying new letters must be signed, but names will be ter’s mark would be more appropriate. ones. I ordered CM, expecting to find the withheld on request. Address: The Editor, Jack Holmes same and was disappointed in finding so much Ceramics Monthly, Box 12448, Columbus, Fairmont, W.Va. funk and junk. I continued to subscribe be­ Ohio 43212. October 1984 7 8 Ceramics Monthly Itinerary conferences, exhibitions, workshops, fairs and other events to attend

Send announcements of conferences, exhibitions, cotta works by Pablo Picasso; at the Los Angeles Shatz, vessels; at Farmington Valley Art Center, workshops, juried fairs and other events at least County Museum of Art, 5909 Wilshire Blvd. Avon Park. two months before the month of opening to: The California, San Franciscothrough October 27 Illinois, ChicagoOctober 13-November 10 Stan Editor, Ceramics Monthly, Box 12448, Columbus, Jamie Walker, ceramic work and installation; at Welsh, low-fired terra cotta; at Esther Saks Gal­ Ohio 43212; or call: (614) 488-8236. Add one Dorothy Weiss Gallery, 256 Sutter St. lery, 311 W. Superior St. month for listings in July and two months for those Colorado, BoulderOctober 19-November 3 Illinois, Highland Park through October 25 in August. Kathy Andrews, low-fired works; at Lodestone Warren MacKenzie; at Schneider-Emerson Gal­ Gallery, 1237 Pearl St. lery, 2055 Green Bay Rd. Colorado, Goldenthrough October 14 Douglas Kentucky, Highland Heightsthrough October International Conferences Fey, pottery; at the Foothills Art Center, 809 Fif­ 16 Norm Schulman; at Northern Kentucky Uni­ England, Suffolk, AldeburghOctober 15-28 teenth St. versity, Fine Arts Building, main gallery. “Pots and Potters Festival,” at the Aldeburgh Cin­ Connecticut, Avon through October Jayne 21 Continued ema Gallery, will feature a film series on pottery; lectures, including American speakers Karen Karnes and Betty Woodman; exhibitions of works by 36 international potters and by Suffolk Craft Society members; and social events. Contact: Festival Or­ ganizer, The House on the Green, Walberswick, Suffolk. Yugoslavia, ZagrebOctober 15-18 “Clay As Possibility of Visual Expression,” an international ceramics symposium in conjunction with the “First World Triennial of Small Ceramics” juried com­ petition, will include lectures, slide shows and films, workshops, exhibitions, tours to the brick factory in Zagreb, the “Biennial of Industrial Design” at Lubljana, museums and galleries, plus social events. Contact: ULUPUH, Starcevicev trg 6, 41000 Za­ greb; or call: (38-41) 440-639. Conferences California, Los AngelesFebruary 14-16, 1985 The 73rd annual meeting of the College Art Association of America. Contact: CAA, 149 Madison Ave., New York, New York 10016; or call: (212) 889-2113. Iowa, Des MoinesOctober 19-21 “Slippery When Wet,” a ceramics symposium at Drake Uni­ versity, will focus on traditional through contem­ porary, “new age” pottery. Activities will include demonstrations and lectures by Warren Mac- Kenzie, Kirk Mangus, Judy Onofrio and Peter Vandenberge; unloading an anagama kiln built and operated by Shirley Koehler and Jim Jansma; plus exhibitions. Registration fee: $30, $20 for students. Contact: Slippery When Wet, Art Department, College of Fine Arts, Drake University, Des Moines 50311; or call: (515) 271-2863. Ohio, ClevelandOctober 24-26 The “48th Annual Conference of the Mid-America College Art Association” at Stouffer’s Inn on the Square will include topics: “How Should Artists be Ed­ ucated?” by Kay L. Larson; “Power, Glory, and Arrogance” by Geno Rodriguez; “Arts and Poli­ tics” by Leon Golub; “The Provinces and the Shaping of Taste” by John Link; plus lectures, studio workshops, and social and cultural events. Contact: Ursula Korneitchouk, Cleveland Insti­ tute of Art, 11141 East Blvd., Cleveland 44106. Texas, DallasOctober 30-November 2 “The Politics of Art” conference, at the Fairmont Hotel, will include sessions on “Artists as Agents of Social Change,” “The Politics of Public Sculpture,” “The Political Realities of Building a New Museum,” “Creating Dynamic Organizational Cultures in Museums,” “Strategic Long-Range Planning,” “Fundraising” and “Computer Applications.” Contact: Davida A. Egherman, Art Museum As­ sociation of America, 270 Sutter St., San Fran­ cisco, California 94108; or call: (415) 392-9222. Solo Exhibitions Arizona, Flagstaffthrough October 14 Gail Kristensen, wall reliefs, sculpture and functional works; at Northern Arizona University. California, Los AngelesOctober 11-January 6, 1985 “Wolper’s Picassos,” sculptures and terra­ October 1984 9 10 C eramics Monthly ceramics and baskets from the collection of Ru­ Itinerary dolph Schaeffer; and “American Art Pottery, 1890-1945”; at the San Francisco Crafts and Folk Michigan, Detroitthrough October 27 Carrie Art Museum, 626 Balboa. Anne Parks, “Installation in the Sculpture Gar­ Colorado, Denverthrough October 28 “Pottery den”; at Pewabic Pottery, 10125 E. Jefferson. of the Southwest,” examples of Native American Missouri, Kansas CityOctober 5-27 Jun Ka- prehistoric through contemporary works; at the neko, ceramics, paintings and drawings; at Mor­ Denver Art Museum, 100 W. 14 Ave. Pkwy. gan Gallery, 1616 Westport Rd. Colorado, GoldenOctober 21 -December New Jersey, TrentonOctober 19-November 25 24 “Holiday Art Market,” juried exhibition of Sy Shames, “Statements in Slab: Sculptural Works”; works by area artists; at the Foothills Art Center, at the New Jersey State Museum, 205 W. State. 809 Fifteenth St. New York, BrooklynOctober 6-November 18 Connecticut, GreenwichOctober 16-November “Eva Zeisel: Designer for Industry,” 100 ceramic 10 A two-person exhibition with Gerry New­ objects; at the Brooklyn Museum, Eastern Pkwy. comb; at the Elements, 14 Liberty Way. New York, BuffaloOctober 27-November 28 Connecticut, GuilfordOctober 7-27 “Of Wind, Graham Marks, sculpture; at Nina Freudenheim Rain and Sun,” juried multimedia exhibition of Gallery, the Carriage House, 560 Franklin St. weather vanes, sundials, wind chimes and rain New York, New Yorkthrough October 6 Rich­ catchers; at Guilford Handcrafts, Route 77. ard Rudich, reliefs; at O.K. Harris, 383 W. Broad­ October 7-November 3 “Night Lights,” multi- way. media lamp show; at Evergreen Gallery, 1310 Bos­ through November 3 “Rudy Autio Retrospec­ ton Post Rd. tive”; at the American Craft Museum II, Inter­ D.C., Washington through November 30 national Paper Plaza, 77 W. 45 St. “Treasures from the Shanghai Museum: 6000 Years October 2-25 Catherine Magel, polychrome of Chinese Art”; at the Smithsonian Museum of sculpture. October 20-November 20 Christo­ Natural History/Museum of Man, Tenth and pher Berti, figurative sculpture and decorated ves­ Constitution, NW. sels; at Greenwich House Pottery, 16 Jones St. October 21-November 9 “Bowl Show” invita­ New York, UticaOctober 3-19 Richard Zakin, tional; at the American Hand, 2906 M St., NW. pottery; at Munson-Williams-Proctor Institute, 310 Florida, BelleairOctober 27-November 25 The Genesee St. “34th Annual Florida Craftsmen Exhibition”; at North Carolina, High Pointthrough October the Florida Gulf Coast Art Center, 222 Ponce de 13 Catharine Brown, clay masks and pots; at the Leon Blvd. Theatre Galleries, 220 E. Commerce St. Florida, Coconut GroveOctober 19-November Ohio, Cincinnati through October 13 Ted 11 “Mask Media. . .Faces of ’84”; at Netsky Randall; at the Private Collection, 21 E. Fifth St. Gallery, 3107 Grand Ave. Pennsylvania, La PlumeOctober 28-December Florida, Orlandothrough October 5 “Florida 9 David Shaner; at Linder Gallery, Keystone Fellows,” works by state art grants recipients, in­ Junior College. cluding Christine Federighi and Dan Gunderson; Pennsylvania, PhiladelphiaOctober 5-28 at the East Campus Gallery, 701 Econlockhatchee Richard Schneider; at the Clay Studio Gallery, 49 Trail. October 1-November 9 “Vision of Our­ N. Second St. selves,” national juried competition of work by Pennsylvania, PittsburghOctober 8-November women artists; at the West Campus Gallery, 1800 1 Donn Hedman, sculpture; at the Clay Place, S. Kirkman Rd., Valencia Community College. 5600 Walnut St. Georgia, Atlantathrough August 15, 1985 “Tan­ October 20-November 11 Jerry Caplan, sculp­ gible Traditions: Folk Crafts of Georgia and ture; at Associated Artists Gallery, Pittsburgh Center Neighboring States”; at the Atlanta Historical So­ for the Arts, Fifth and Shady Avenues. ciety, 3101 Andrew Dr., NW. Texas, ArlingtonOctober 2-28 Nicholas Wood, October 12-November 17 “Demons and Angels,” sculpture and drawings; at the University Art Gal­ juried exhibition; at Center for Puppetry Arts, 1404 lery, University of Texas. Spring St., NW. Texas, Dallasthrough October 13 James S. Illinois, Chicagothrough October 9 “Platters Jordan, slip-cast earthenware; at Conduit Gallery, and Related Forms”; at Esther Saks Gallery, 311 2814 Elm St. W. Superior St. Texas, Houstonthrough October 13 Jo Zider, through October 14 Rebecca Brenner and Bruce “Kabuki Themes and Shifting Sands”; at Archway Kresnoff, clay and mixed-media construc­ Gallery, 2517 University. tions. October 19-November 27 Chris Gustin, Texas, San AntonioOctober 2-November 4 Ric Hirsch and Arnie Zimmerman; at Objects Mabel Enkoji, “Between the Shadow and the Sub­ Gallery, 341 W. Superior. stance,” functional work and sculpture; at the San through November 2 “Clay Concepts,” invita­ Antonio Museum of Art, 200 W. Jones Ave. tional exhibition; at Mindscape Collection, 300 W. Superior St. October 12-November 21 “Chicago Vicinity Clay Group Exhibitions 4,” regional juried exhibition; at Lill Street Gal­ Arizona, PhoenixOctober 13-January 6, lery, 1021 W. Lill St. 1985 “Greek Ceramics,” approximately 35 forms October 13-November 9 Katherine Ross and Bill dating from the fifth to third centuries B.C. from Farrell, clay sculpture; at the A. Montgomery Ward Athens, Corinth and Greek colonies in southern Gallery, University of Illinois, Chicago Circle Italy; at the Phoenix Art Museum, 733 W. Center. McDowell Rd. Illinois, Highland ParkOctober 27-November Arizona, Tempethrough October 28 “Flagstaff 21 Sandra Byers, porcelain vessels, and Ron Dale, to Helsinki and Back 1980-1983: Ceramic Works wood/clay sculpture; at Schneider-Emerson Gal­ by Rudy Autio, Jim Leedy and Peter Voulkos”;lery, 2055 Green Bay Rd. at the Arizona State University Art Collections, Iowa, West Des MoinesOctober 19-November Matthews Center. 3 Warren MacKenzie, Kirk Mangus, Judy On- Arizona, Tucson October 12-December 5 ofrio, Peter Vandenberge, “Four Ceramic View­ “Arizona Biennial ’84”; at the Tucson Museum of points”; at Olson Larsen Galleries, 203 Fifth St. Art, 140 N. Main Ave. Maryland, Glen Echo ParkOctober 5-31 California, Los AngelesOctober 7-27 “Issie, Chris Oberlin, functional stoneware jars; and Britt Nisei, Sansei,” multimedia works by three gen­ Reeves, porcelain bowls and vases; at Glen Echo erations of Japanese Americans; at Freehand, 8413 Pottery Gallery. W. Third St. Massachusetts, Bostonthrough October 22 A California, San Franciscothrough October multimedia exhibition including ceramics by To- 13 A group exhibition with James Lovera; at shio Ohi; at the Boston University Program in Elaine Potter Gallery, 336 Hayes St. Artisanry Gallery, 775 Commonwealth Ave. through October 28 “Form and Color,” Oriental Please Turn to Page 57 October 1984 11 12 Ceramics Monthly Suggestions from our readers Low-Energy Water Heater A crock pot works well as a small studio water heater, providing warm water for throwing and later washing up. —Angie Horsley, Portland, Ore.

Brush Source Most fishing and hunting stores sell all kinds of animal tails— deer, moose, squirrel, etc.—for people who make their own fishing flies. Packaged sometimes three or more to a bag, they are inex­ pensive and make wonderful brushes. Save the bamboo protectors from Oriental brushes, cut a tail to fit and epoxy it into the bamboo and then onto two chopsticks, which will serve as a long handle. The result: long-lasting, very personal brushes which can make a variety of graceful, almost calligraphic brushstrokes. —Suzanne R. Goldsmith, Croton-on-Hudson, N.Y.

Drape Molds Nerf balls make excellent forms to drape slabs for handbuilding. Because of their porous texture, clay does not stick to the surface, and both sides of the slab dry evenly. The balls come in assorted sizes to provide a variety of curved surfaces. —Janet Seely, Ipswich, Mass.

Extruder Caps A plastic shower cap serves as a convenient cover for the business end of an extruder. Its low cost will pay for itself the first time it prevents the clay inside from drying out. —Luke Haatz, Bozeman, Mont.

Padded Wedging Used or scrap carpet makes an excellent wedging surface when placed upside down on the work table. The pile of the carpet keeps air circulation under the burlap and allows it to dry rapidly. —Irene Robertson, Costa Mesa, Calif.

Scoring Device Buy a serrated, triangular-shaped cake frosting decorator from a decorating supply house. This tool is inexpensive (I paid 60^ for mine), and excellent for scoring slabs prior to joining. It is also effective when scoring and flattening a clay pad to hold bats to the wheel head. Wet the pad after scoring and firmly press the bat onto it for a quick vacuum. —Rosalyn Heimberg, Kensington, Calif.

Handle Strength For stronger pulled handles (on mugs, casseroles, etc.), take a chunk of well-wedged clay and throw it sharply against a canvas- covered wedging board. Repeat 12 to 15 times, gradually elongating the chunk. Throw more gently on the final few “whaps” to round the cylinder and then pull the desired handles. —Mary Jane Johnston, Los Altos, Calif.

Bisqueware Cleaner To remove bits of trimmings, and little pieces of jagged clay that sometimes appear on bisqueware, try using an old hacksaw blade as a scraper. It is quick, not as messy as sandpaper, and leaves a nice smooth surface to glaze. —R. Chance, Greenville, S.C.

Dollars for Your Ideas Ceramics Monthly pays $10 for each suggestion published; submis­ sions are welcome individually or in quantity. Include an illustration or photo to accompany your suggestion and we will pay$10 more if we use it. Send your ideas to CM, Box 12448, Columbus, Ohio 43212. Sorry, but we can’t acknowledge or return unused items. October 1984 13

Where to Show exhibitions, fairs, festivals and sales

Send announcements of juried exhibitions, fairs, January 9, 1985 entry deadlline November 1 entry deadline festivals and sales at least four months before the San Angelo, Texas “Ceramic Competition ’85” Dubuque, Iowa “Dubuque Art Association’s entry deadline to: The Editor, Ceramics Monthly, (February 18-March 13, 1985) is open to resi­ 12th Annual Sale” (November 25) is juried from Box 12448, Columbus, Ohio 43212; or call: (614) dents of Arkansas, Kansas, Louisiana, New Mex­ slides or photos. Fee: $25. For further information 488-8236. Add one month for listings in July and ico, Oklahoma and Texas. Juried from slides. Fee: contact: Old Jail Gallery, Box 1134, Dubuque two months for those in August. $10 for up to 3 works. For further information 52001; or call (319) 557-1851. contact: Martha Wittstruck, Art and Music De­ November 19 entry deadline partment, Angelo State University, San Angelo Peoria, Illinois “Christmas Art & Craft Sale” National Exhibitions 76909; or call: (915) 942-2223.^ (November 23-25) is juried from 4 slides or pho­ October 6 entry deadline January 13, 1985 entry deadline tos. Fee: $125 for a 12x8-foot space. Contact: Bill Mesa, Arizona “Flat & Sassy” (December 19- Wichita Falls, Texas “Works in Clay IV” bien­ Riggins, 215 Florence, Peoria 61604; or call: (309) January 12, 1985) is open to artists making func­ nial exhibition (March 3-28, 1985) is open to res­ 688-2104. tional or decorative tiles. Juried from slides or work. idents of Louisiana, Oklahoma and Texas. Juried November 20 entry deadline Contact: Galeria Mesa, Box 1466, Mesa 85201; from slides of up to 3 entries; fee: $7 each. Juror: Deerfield Beach, Florida “Annual Festival of or call: (602) 834-2056. Susanne Stephenson. Awards. Contact: Ann Hunter, the Arts” (January 26-27, 1985) is juried from 3 October 15 entry deadline 1612 Buchanan, Wichita Falls 76309; or call: (817) slides, 1 of display. Awards. Entry fee: $5. Booth San Diego, California “Tea Sets, Animal or 723-5147. fee: $65 for a 12x 12-foot space. Contact: Diana Dinosaur” (March 15—April 15, 1985) is juried Christiansen, Deerfield Festival of the Arts, Box from 3 to 5 slides. Commission: 40%. Send self- 127, Deerfield Beach 33441. addressed, stamped envelope to: Museum Show, Fairs, Festivals and Sales November 23 entry deadline Fire Works Gallery, 210 First Ave., S., Seattle, October 15 entry deadline Boca Raton, Florida Fifth annual “Fiesta of Washington 98104; or call: (206) 682-8707. San Francisco, California Tenth annual “ACC Arts & Crafts” (February 2-3, 1985) is juried from November 1 entry deadline Craftfair San Francisco” (May 15-19, 1985) is 4 slides. Awards. Entry fee: $5. Exhibition fee: Gainesville, Georgia “Pieceworks” (March 19, juried from 5 slides. Entry fee: $15. Booth fees: $75. Send self-addressed, stamped envelope to: Boca 1985-February 1, 1986) is juried from 3 slides of $290-$650. Send self-addressed label to: Ameri­ Raton Community Center, 201 Palmetto Park Rd., work inspired by quilts. Awards. Jurors: Lloyd E. can Craft Enterprises, Box 10, New Paltz, New Boca Raton 33432; or call: (305) 393-7806. Herman and Andy Nasisse. Fee: $10. Contact: York 12561; or call: (914) 255-0039 November 30 entry deadline Pieceworks, Box 1061, Gainesville 30502; or call: DeLand, Florida “Art and Craft Show” (Oc­ Tampa, Florida “Gasparilla Sidewalk Art (404) 534-6080. tober 27-28) is juried from 3 slides. Cash awards. Festival Show” (March 2—3, 1985) is juried from November 10 entry deadline Send self-addressed, stamped envelope to: DeLand 3 slides. $17,500 in awards. Fee: $60. Contact: Mesa, Arizona “Altered States” (January 23- Museum, 449 E. New York Ave., DeLand 32724. Admissions, Box 10591, Tampa 33679. February 16, 1985) is juried from slides or works Sioux City, Iowa “Christmas Fair” (November December 15 entry deadline created with man-altered materials. Limited to 3 24-25) is juried from slides or photos. Fees: $25—$35. Hinsdale, Illinois “12th Annual Spring Pre­ entries. Fee: $6 each. Contact: Galeria Mesa, Box Send self-addressed, stamped envelope to: Peg Ju­ view Craft Show” (March 24, 1985) is juried from 1466, Mesa 85201; or call: (602) 834-2056. lius, Box 304, Boulevard Station, Sioux City 51109;slides or photos. Fee: $22. For further information December 15 entry deadline or call: (712) 258-7539. contact: Arts Plus Associates, 18W118 Seventy- Los Angeles, California “ArtQuest ’85” (March West Springfield, Massachusetts “ACC Craft- third Place, Westmont, Illinois 60559; or call: (312) 2-16, 1985) is juried from 3 to 10 slides. $5400 fair West Springfield” (June 17-23,1985) is juried 964-9062 or 985-2552. in cash and purchase awards. Winners will be from 5 slides. Entry fee: $15. Booth fees: $290-$650. Harrisburg, Pennsylvania The “3rd Annual published in color catalog and a slide exhibition Send self-addressed label: American Craft Enter­ Pennsylvania National Arts and Crafts Show” (May will travel throughout 1985. For further infor­ prises, Box 10, New Paltz, New York 12561; or 3-5, 1985) is juried from 3 slides. Entry fee: $5. mation contact: ArtQuest ’85, 2265 Westwood Blvd., call: (914) 255-0039. Booth fee: $100. Send self-addressed, stamped en­ Suite 1241B, Los Angeles 90064; or call: (213) New York, New York “Annual Holiday Crafts velope to: Kay Kishbaugh, PA National Arts & 399-9305. Festival” (November 23-25 and December 1-2) is Crafts Show, Box 11469, Harrisburg 17108; or December 31 entry deadline juried from 5 slides. Fees: $160-$200. For further call: (717) 697-3834. Winston-Salem, North Carolina “After Her information contact: Simon Gaon, 425 Riverside January 1, 1985 entry deadline Own Image: Woman’s Work 1985” (February 22- Dr., Apt. ID, New York 10025; or call: (212) 595- Princeton, New Jersey “Spring Crafts at March 29, 1985) is open to women artists. Juried 8357 or 866-2239. Princeton” (March 30-31, 1985) is juried from 5 from 5 slides of 4 works, 1 of detail. Awards. Entry New York, New York “Annual Thanksgiving slides. Fee: $130. Send self-addressed, stamped en­ fee: $15. Contact: After Her Own Image, Box Weekend Crafts Festival” (November 23-25) is velope to: Rose Squared Productions, 12 Galaxy 10819, Winston-Salem 27108. juried from 5 slides. Fees: $200-$300. For further Court, Belle Mead, New Jersey 08502; or call: February 1, 1985 entry deadline information contact: Simon Gaon, 425 Riverside (201) 874-5247. Erie, Pennsylvania “Clay National” (June Dr., Apt ID, New York 10025; or call: (212) 595- January 11, 1985 entry deadline 22-August 20, 1985) is juried from slides. Jurors: 8357 or 866-2239. New York, New York “2nd Annual WBAI Rudy Autio and Andrea Gill. $5000 in awards. Asheville, North Carolina “High Country Spring Crafts Fair” (May 17-19 and May 31-June Fee: $15 for 3 entries. Contact: Clay National, Christmas Art and Craft Show” (November 23-25) 2, 1985) is juried from 5 slides. Entry fee: $12. Erie Art Museum, 411 State St., Erie 16501; or is juried from slides or photos. Fee: $85. Send self- Booth fee: $325. Send self-addressed, stamped en­ call: (814) 459-5477. addressed, stamped, business envelope to: Betty velope to: Matthew Alperin, WBAI Spring Crafts Kdan, 40 Hyannis Dr., Asheville 28804; or call: Fair, Box 889, Times Square Station, New York (704) 253-6893. 10108; or call: (212) 279-0707. Regional Exhibitions October 26 entry deadline January 20, 1985 deadline October 12 entry deadline New Smyrna Beach, Florida Ninth annual Aurora, Illinois “10th Annual Fox Valley Rock Island, Illinois “Patterns, Multiples, “Images—A Festival of the Arts” (February 23-24, Center Craft Fair” (April 11-14, 1985) is juried Narratives: Fiber and Clay ’84” (November 27- 1985) is juried from 3 slides. Cash and purchase from slides or photos. Awards. Fee: $85. Send self- January 11, 1985) is open to residents of Illinois, awards. Entry fee: $5. Booth fee: $50. For further addressed, stamped envelope to: Art Plus Associ­ Indiana, Iowa, Kansas, Michigan, Minnesota, information contact: Images ’85, 1414 Art Center ates, 18W118 Seventy-third Place, Westmont, Il­ Missouri, Ohio and Wisconsin. Juried from slides. Avenue, New Smyrna Beach 32069; or call: (904) linois 60559; or call: (312) 964-9062 or 985-2552. Jurors: Diane Itter and Warren MacKenzie. Fee: 423-4733. February 15, 1985 entry deadline $12 for 2 works. Contact: Centennial Hall Gal­ October 30 entry deadline Boynton Beach, Florida “Boynton’s G.A.L.A. lery, Augustana College, Rock Island 61201. Hartford, Connecticut “Holiday Bazaar” (No­ (Great American Love Affair)” (March 1-3, 1985) November 10 entry deadline vember 24-25) is juried from slides, photos or bro­ is juried from 3 slides, 1 of display. $5000 in awards. Albuquerque, New Mexico “The Contempo­ chure. Fee: $100 for a 5 X 10-foot space. Send self- Fee: $50. Contact: Eleanor Wollenweber, Box 232 rary Crafts Exhibition 84” (November 18-De- addressed, stamped envelope to: Denise Morris Boynton Beach 33425; or call: (305) 734-8120, cember 7) is open to current and former residents Curt, 41 Green St., Milford, Connecticut 06460. ext. 432. of New Mexico. Juried from works, up to 3 en­ New York, New York “Lincoln Center Area Indianapolis, Indiana “Talbot Street Art Fair” tries. Awards. Fee: $10. Send self-addressed, Christmas Crafts Festival” (December 8-9) is ju­ (June 8-9, 1985) is juried from slides. Fee: $50; stamped envelope to: Dana McDaniel, Albuquer­ ried from 5 slides. Fee: $175. Contact: Simon Gaon, $30 for members of Indiana Artist-Craftsmen. que Designer Craftsmen, Box 2040, Corrales, New 425 Riverside Dr., Apt ID, New York 10025; or Contact: Talbot Street Fair Committee, Box 479, Mexico 87048; or call: (505) 897-1098. call: (212) 595-8357 or 866-2239. Danville, Indiana 46122. October 1984 15 16 Ceramics Monthly Questions Answered by the CM Technical Staff Q In CM’s April 1983 issue, an article about Beatrice Wood men­ is fired in a fuel-burning kiln and consists of alum, mercuric sulfide, tions use of a “smoking stick” for reduction firing in an electric kiln.red iron oxide and silver sulfide mixed with vinegar. To illustrate Can you explain more fully ? I would be most interested in a generic the breadth of the technique, compare this composition with Beatrice version rather than her technique specifically. Does this smoke firing Wood’s recipes published in the article you mention. In any case, harm the electric kiln? Does it affect future firings?—M.D. when the smoked surfaces are removed from the kiln, they typically Beatrice Wood uses a variation of the traditional Arabian luster require abrasive polishing to reveal the resulting sheen. technique, wherein a combustible material is introduced into the Finally, it should be noted that reduced luster firings can be tricky, firing chamber at some point after reaching peak temperature (with and do not always succeed. For this reason, commercial luster glazes the electricity shut off), and continuing until the last color of radiant which can be fired in oxidation provide a more reliable although energy inside the firing chamber disappears. Either charcoal or wood considerably more expensive alternative. is commonly used in sufficient quantities to produce sooty black smoke inside (and emanating from) the kiln. The combustible ma­ What’s the right way to permanently install a tile mural on terial is simply pushed through one of the lower peepholes into a exterior masonry? Can I do it myself? —G.M. temporary firebox or bisqued bowl placed on the kiln floor to protect Of course you can install your own tile mural if you have the it from wood ash deposits. Reduction lusters which are created by appropriate masonry skills. Perhaps the following summary of prop­ this process have a unique sheen caused by starving oxygen fromer tile installation will help you decide whether to do it yourself or the glaze’s metallic oxides. While no special wood is required, sticks hire a professional. of dry resinous pine work especially well. An oxidation firing fol­ Method 1 (see page 74) is recommended over masonry or concrete lowing each smoke firing is recommended to reestablish the pro­ on exterior walls. Requirements: Flashing and membrane necessary tective oxide layer on the kiln’s electric elements. Nevertheless, there to exclude moisture from mortar bed. Apply membrane, metal lath is evidence that element life may be shortened somewhat by luster (self-furring lath preferred) and scratch coat. Expansion joints man­ glaze firings (although to the best of our knowledge, no definitive datory. Cut lath at all expansion joints. Scratch coat must be plumb studies exist on element life and severe carbonization). While all if thickness of mortar bed would exceed ¾ inch. Materials: Mem­ electric kilns ought to have adequate ventilation, reduced luster re­ brane—15 lb. roofing felt or 4-mil polyethylene film. Metal lath— quires extensive ventilation, since carbon dioxide and carbon mon­ galvanized expanded metal lath 3.4 lbs./sq. yd. Portland cement— oxide may result. ASTM (American Society for Testing and Materials, 1916 Race A truly generic, traditional (and poisonous) Arabian luster glaze Please Turn to Page 74

October 1984 17 18 Ceramics Monthly Comment Why That Glaze Doesn’t Workby Lili Krakowski

The most common lament among incorporated under one name, as with potters is: “Something is wrong with this Cornwall Stone of which there are four glaze.” Next comes the conjecture that kinds, although it is generally sold in a the source of the recipe altered it before blend. Some “name” feldspars, more­ handing it out. The accusation, like all over, are blends sold by name to allow accusations, hits a raw nerve of possi­ their properties (rather than their exact bility. As such, it is doubly reprehensible analyses) to be identified. Even “syn­ because, while no doubt there are wicked thesized” materials can vary. potters, the vast majority are unselfish, The changeability of glaze materials generous and helpful. creates a number of problems. I have I recently thought a lot about this as been testing a series of Albany slip glaz­ I was editing the glazes of the late Ho­ es for which I have sample tiles. My bart Cowles, a ceramics professor at the results are very close, but not identical, Rochester Institute of Technology School to these samples. In all probability the for American Craftsmen. It has been a latter were made from a batch of Albany constant worry that someone might ac­ slip mined between the two I have: a cuse Hobart of a malevolence of which very weathered one bought in 1963, and he was incapable. a new batch purchased a year ago. For The fact is that when a glaze does not consistency the potter is tempted to lay work as expected, the last thing to sus­ in a ten-year supply of materials and pect is the recipe. Instead, there are sev­ relax, but this may leave the potter in a eral probable causes for these unpleas­ real bind ten years from now. It’s prob­ ant surprises. ably easier to buy small amounts of sup­ Glaze technology is simple, and the plies and keep glaze recipes adjusted to function of glaze materials is amply ex­ their change. plained in books, but observations such Thank goodness for the molecular as “calcium is a flux” are as useful/use-formula to minimize the dilemma of the less as “ice cream is fattening.” vanishing constituent. For, when a pot­ Because potters work in relative iso­ ter moves or changes suppliers or fa­ lation, the information each of us “owns” miliar materials disappear from the is often very limited. Books, articles, market, out come the calculator and conversations have taught me, over many charts. Yet molecular formulas are of years of potting, that small but impor­ limited use and can breed additional tant details—like titanium, often dismissed confusion. To show this to students, I as “trace” or “tr.” in analyses and omit­ mixed the two additional recipes possi­ ted from formulas, can have a giant ef­ ble for one of my standard glazes. The fect on color. At the back of my mind I first variation was shinier, brighter than carry stacks of such information, but quickthe original; the second was more matt peeks into standard references do not and pinholed. Variation 1, however, necessarily reveal it. I have picked it up worked on a body on which the original here and there. The point is that unless failed to mature. it applied to our work at the time, I’d Over the years recipes drift out of be unlikely to pass the information on. schools like a breed of Cheshire cats, and Why is the whole truth so hard to are adapted to materials at hand. Mean­ come by? I think it’s a combination of while, some people are fanatic about factors: the inconsistency of our mate­ transcribing 27.83 grams, and others rials; the lack of fixed vocabulary and round off to 28 grams, leaving those who methodology; the few contacts potters recalculate the recipe into a formula at have; and the gemutlich sloppiness that the top of another roller coaster. With is a potter’s happiness. this in mind, it is wise to compare for­ Starting with materials: Glaze ingre­ mulas of new glazes with those one has dients are mined. Not only do mines be­ and to discard the very similar ones. come exhausted, but mine runs vary. Colorants can create further difficul- Sometimes quite different products are Please Turn to Page 54 October 1984 19

The Marer Collection

“Earth AND Fire: The Fred Marer as peers, seven days a week, well into work place to a studio on Glendale Bou­ Collection of Contemporary Ceramics,” the night. Equipment was adequate and levard. Thus came to an end the close featuring approximately 175 works bybasic. It remained so even when they and constant working relationship be­ 109 artists, was shown recently at Po­ moved into a new ceramics building. tween Voulkos and students; what fol­ mona College in Claremont, California. Soldner made pots as tight and con­ lowed was the schedule of a conventional The collection is particularly strong in trolled as his work is now free and spon­ school program. ceramics of the 1950s and ’60s by Cal­ taneous. His final series at Otis consisted “Attempts have been made to identify ifornia artists such as Robert Arneson, of pots so tall that he had to build a new the work at Otis with abstract expres­ John Mason, Ken Price, Jerry Roth- kiln. Compared to what has been done sionism. It has always been my feeling man, Paul Soldner and Peter Voulkos. since, they were modest in size. that although, surely, abstract expres­ Also included are works by such pi­ “The second wave at Otis included sionism affected these artists, it did so oneers as Laura Andreson, Shoji Ha- Henry Takemoto, Jerry Rothman, Billylargely by freeing them to experiment, mada, Otto and Vivika Heino, Mar­ A1 Bengston, Ken Price, Janice Roose­ to break new ground. It helped liberate guerite Wildenhain and Beatrice Wood, velt and Michael Frimkess. It is re­ them from old prejudices, restrictions and as well as by artists of the ’70s and ’80s. markable that so talented a group should taboos. But there was too much variety Fred Marer recalls the collection’s be­ have clayed their way through Otis dur­in the work of each individual, too much ginnings: “About a year after Voulkos ing the same five years, 1954-59, no two variation in the work of members of the arrived at his basement quarters at Otis alike in disposition or in work. None Otis group, for any one label to describe Art Institute, I attended a faculty show, imitated teacher or fellow student. It was them and their art. saw a small pot no more than 4 inches a place to work, an atmosphere, an en­ “What did I contribute to all of this? high and liked it enough to send him a vironment for release of potential. Voul­ Coffee. I would buy 3-pound tins, al­ note asking whether I could buy it. kos would keep his students informed ways at sales, which they would brew Voulkos replied on the reverse, ‘Sure— about shows, would advise them about in an empty can, hobo style. Ken Price come over any time.’ When I did, the the importance of correct packing and has enlarged this into the recollection pot had been stolen. I bought two others of including a piece that was salable, at that I supplied food, but that is im­ at comparable prices, we talked a little, the same time saying that he would wor­ probable because of my financial state and I was invited to return, which I did ry if he were popular. at the time. often over many years. “In 1957, difficulties with the Otis ad­ “Meanwhile, at Otis, things were get­ “At that time Voulkos was 31, his stu­ ministration and maintenance staff, re­ ting tougher. The administration there, dents Paul Soldner, 34; John Mason, 28; sulting from Voulkos’s seven-day week which deserves the credit for having rec­ and Malcolm (McClain) McCloud, 22. and never-closed studio policy, caused ognized Voulkos’s talent and for having There was little formality. They worked Voulkos and Mason to move their own brought him to Los Angeles, nonetheless

Left Glazed stoneware bottle with tree pattern, 8 inches in height, thrown and handbuilt, by Bernard Leach, St. Ives, Cornwall, England. Right Glazed stoneware bowl, thrown, 9 inches in diameter, by Laura Andreson, Los Angeles, 1954. October 1984 21 “Walking Man ,” 17 inches in height, handbuilt stoneware, with Lidded jar, 13 inches in height, thrown porcelain, by Patti low-fire over glazes, by Peter Voulkos, Berkeley, 1956. Warashina, Seattle, 1968.

Stoneware sculptural form, IV62 inches in length, with carved surface and polychrome glaze, by Hiroshi Seto, Mashiko, Japan, 1972. 22 CERAMICS MONTHLY Glazed earthenware urn, 12 inches in height, thrown, with 3 pulled handles, by Michael Car dew, St. Breward, Cornwall, England, 1960s.

had views quite different from his on midyear. A few months later he re­ “And I filled our apartment with ce­ academic freedom for art teachers and ceived an offer from the University of ramics until it became an obstacle course, students. At first it was thought that California, Berkeley. He packed his be­ and then the garage until, even after Jun Voulkos’s removal to a studio of his own longings and left Los Angeles. Mason Kaneko built shelving, it could hold no would ease the situation, but conflict fol­ continued at the studio, living in a house more. And now they are filling up lowed conflict. Finally, during 1958-59, next door. He later taught sculpture at Scripps.” an agreement was made: Voulkos would Pomona College, went on to the Uni­ Numbering over 800 works and still be paid until the end of that academic versity of California, Irvine, to Hunter growing, the collection was donated in year but would terminate his teaching College and to New York City. 1978 to Scripps College in Claremont. October 1984 23 of the day, so we would spiral wedge his clay again before finishing our own work. In those days, his fourth son, Yoshio, was still a little boy. After supper, Hamada would take a bath, then go to bed with Yoshio. At mid­ night he would get up to work alone in the studio. The next morning we would find many teacups on the ware boards. Shimaoka would often watch Hamada throwing at night, the dif­ ferent shapes appearing one after the other, as if Hamada had forgotten to go home. After breakfast, Hamada would frequently talk with the carpenter who was working on the Vendai house. At that time the boards were just being laid on the building’s wide passage­ way. Now the house contains the Ma­ shiko Reference Collection. There was always a fire burning on the hearth at the center of the workshop, so that it was warm, even in winter. Before going to bed in the Glazed stoneware bottle, 9 inches in height, thrown, by Shoji Hamada, winter, we closed the sliding outer Mashiko, Japan, from the Marer collection. doors and scattered sawdust over the fire so it would burn slowly all night and keep the pots from freezing. In the morning haze, we came into a smoke-filled studio to quickly start Remembrance of Shoji Hamada the fire up again and soon heat water by Makoto Tashiro (drawn from the well) in an iron ket­ tle. We would often chat with one I CANNOT HELP FEELING that I Can with a mound of new and used clay another then, but in the workshop it see Shoji Hamada, my master, when­ about 2 yards in diameter. The two was quiet and calm. ever I return to Mashiko. I was an were mixed by trodding on the mound, When loading the glaze kiln, we apprentice at his pottery from the end adding layers of new and old clay al­ all did our work after supper. Shi­ of 1946 to the spring of 1950. To be­ ternately, until our heads reached the nozaki and Toyoda glazed ware, while gin with I lived in the room of Ha- ceiling. These towers of clay were built Shimaoka and I cleaned (with straw mada’s third son, Atsuya; later in again and again. scrubbers and water) the bases and Vendai house near the studio. As I could wedge a little, one of feet of pots. Then we helped Kamiya Shinozaki, Takita, Shimaoka and my jobs was to take clay from the stack saggars to load the kiln. Toyoda were also apprentices in the tower, put it on a board, mix in some After firing and unstacking, Toy­ workshop. Shinozaki received direc­ sand from the climbing kiln, and press oda and I would set a ladder against tions from Hamada and then relayed wedge then spiral wedge it. These the attic of the gatehouse and take out them to the other apprentices. But in lumps of wedged clay were placed near bundles of rice straw to deliver to the the beginning I didn’t know what to where Hamada sat. He would come man and woman who were respon­ do at all. From senior apprentices, I into the workshop from its central en­ sible for packing the pots. Big vases learned to make round dishes in a trance at about 9 A.M., saying good and large plates were wrapped in bisque mold, and small articles (like morning to all. bunches of straw. Some articles, such ashtrays) in plaster molds. He threw at his hand-powered as cups, small bowls and plates, were The clay was brought by carriage wheel, using water boiled on the put in rice straw bags. Then we from Kita-Goya, north of Mashiko. hearth. We did our assigned tasks, transported the ware in a large cart In the morning Hamada would often and could seldom watch him work. to Mashiko station, walking in straw pick up chunks that had been scat­ However, when he made flower vases, sandals in a city which at that time tered from the carriage, and bring them I could watch his fingers moving while only had a few stores. into the workshop. turning his wheel with my hand. There was storage space for the On mornings when Hamada was The author Studio potter Makoto clay just behind Hamada’s wheel. We interrupted by visitors, he would not Tashiro resides in Uji City (near prepared it for everyone, beginning come into the workshop for the rest Kyoto) Japan.

24 CERAMICS MONTHLY Stoneware bottle, 8V2 inches in height, press molded, glazed, with brush decoration, by Kanjiro Kawai, Kyoto, Japan.

Far left Thrown stoneware teapot, 9 inches in height (including handle), by Warren MacKenzie, Stillwater, Minnesota Left Cup, 4 inches in height, glazed porcelain, by Ann Holian. October 1984 25 Glazed porcelain cup, 3 inches in height, by Jim Melchert, Rome, 1973, from the Marer collection.

Top left Plate, I8V2 inches in diameter, porcelain, with overglaze decoration, by Taffy Besley, Laguna Beach, California, 1979. Top Glazed porcelain teapot, 10 inches in height, thrown and handbuilt, by Kit- Yin Snyder, 1971. Left “A Juan-derful Piece,” 23 inches in height, polychrome slip on glazed wall plaque, by Rudy Martinez, Salinas, California, 1976.

26 Ceramics Monthly Glazed stoneware vase, approximately 8 inches in height, oxidation fired, by Colin Pearson. Snake Dish ” 14 inches in diameter; thrown stoneware, with slips, salt glazed in a wood- burning kiln, by Mick Casson.

The following observations are ex­ know what Gordon would call himself. Janice said something like, “No, we are cerpted from a discussion by ceramists Baldwin: It depends to whom I’m talk­ doing our own work.” And Walter added, Gordon Baldwin and Mick Casson on ing. “I see myself as a traditional potter, with opening night of the recent exhibition Casson:That’s not conflict you see; it’s all the constraints and the worries that “Eight Ceramists” at the British Crafts persuasion! So if we look across the spec­ the functional potter has: how do things Centre in London.—Ed. trum, we see great contrast. We look at work, how do they fire? It has nothing one side, someone making flowerpots; to do with being against anybody; it’s Casson:A few weeks ago, Gordon and we look at the other, someone making just the work I’m doing.” I were talking about “Eight Ceramists” some kind of sculpture, though words Now, where am I in the spectrum of and came up with the title “Contrast, are inadequate. And we know there is work? For 25 years I have been making Not Conflict.” I like that because the a contrast. But what about the conflict? pots that are functional; but for the last “not conflict” means persuasion to me, I think, if there has been conflict (and ten, function hasn’t been the main con­ and I like persuasion. Even if persuasion there has), it is because we don’t talk sideration. What I am doing now has to fails, you can still say you’ve got con­enough, we don’t discuss things enough do with ceremony, ritual combined with trast. You can’t lose, really. So I’m mak­ among ourselves, and we don’t have function. I have tried to restrict my work ing a plea for this title because I think enough meetings where one can get one’s to just making jugs, bowls, jars and pots it is something we should consider to be point of view across. I recall when Wal­ with lids, aspiring to a sort of presence. most important. ter Keeler and Janice Tchalenko were Still functional, yes. Not the hurly-burly If you look across the spectrum of talking to someone who was saying, “Oh, of everyday use, but for occasional use. people working with clay today, some I see. You do this kind of work. Oh. . .it’s A vessel you like to look at and some­ would call themselves potters. I don’t against Bernard Leach.” Both Walter and times like to use.

“Game ,” 14V2 inches square, handbuilt porcelain, by Eileen Nisbet. 28 CERAMICS MONTHLY Salt-glazed stoneware teapot, 8 inches in height, thrown and altered, by Walter Keeler. “Object,” 12 inches in length, porcelain dipped in fiber glass, with granite and nichrome wire, by Gillian Lowndes.

October 1984 29 Baldwin: I began making things with printed page, are like blunt instruments. how. I can only initiate things and then clay in a rather haphazard and chancy They hit you and you say, “Ah, this discover is them through the process, sort of way, but I do feel a strange in­ terribly important.” But they are not the through taking action. I often have great terest (not kinship) in things made from whole story. Picasso also said the tech­ difficulty in starting work. I have the clay over those thousands of years. One nique is subservient; it serves the idea time, I have the studio and I have to find of my great pleasures is putting things and the “why” not the “how.” The more ways of initiating things. together. The agony starts when I feel I go into it (I ask potters, as well as Casson:Yes, well obviously we are going compelled (as I always do) to work fur­ myself, “How do we actually work?”), to agree here. I am really delighted to ther on the surface. the more I think such statements do not hear you say that you don’t know how Another thing, which I think has joined stand up as they are. They are not wrong; it is going to come out. A few weeks ago Mick and myself since the late sixties, they’re unconvincing. I must declare Eileen Nisbet told the graduate students is the idea of the vessel or container. Now myself as the sort of potter who works at Cardiff that one can’t tell what one I’m not quite sure how it was that I with the how and the why together. At is going to do until one has done it— became deeply involved with the idea of times the how is paramount; at another which is really what you have been say­ the vessel. I had been working with wood, time the idea is dominant. I feel mate­ ing. And they are still talking about that metal, painting and drawing, but I had rials (in our case, clay) and processes (in because they hadn’t been thinking in that of course had training as a potter. My my case, a particular kind of firing) can way. They had only been thinking about vessel is ambiguous; it spreads outside spark ideas. As Stravinsky said, “Don’t planning. So, Gordon, I would agree with of itself as the work proceeds, and makes despise the fingers. They can influence you there. contacts with other parts of my life and the subconscious and lead to creative Where I am going to diverge (but even other parts of my experience. ideas.” then it is a matter of degree) is on this At one time I was making vessels that At other times the idea can be dom­ business of technique. It simply boils were invariably black and shiny—no, inant, and you search for your theme, down to the fact that some of us have not totally black, but dark. They had the expressive ways of doing things. I more chancy, risky techniques. Some­ their own built-in ambiguity which in­ am that sort of potter who works with times they are physically more difficult, terested me. Such a highly reflective sur­ materials and processes and ideas all to­ physically more active. I mean my damn face partially breaks down the feeling of gether as a front that moves forward as kiln nearly kills me sometimes. You may the form itself. I think too, with hind­ a whole. say, “Oh, romantics again.” But if I could sight, that the choice of working in black Baldwin: I am too. The process is one get some of the effects I want by an eas­ was about internal space. If you think of the most important tools that I’ve got ier route, I would take it. At the moment of your own internal space, I don’t know at my disposal. The meaning comes so the effects I want can only be had by a what you would come up with. You mayoften from the process of putting a form physically arduous process. visualize color. I come up with a sense together. But the work is not explained Now we come to personalities. I ac­ of darkness. And I wonder at the dark­ by understanding how it was put to­ tually, especially in my younger days, ness inside a pebble or a seed. I think gether. You don’t gain an understanding reveled in the physically arduous pro­ the reason was the obsession I had with of a painting by learning how the paint cess. So it is only a matter of degree, not my own internal space. Subsequently Iwas applied. Somewhere, embodied in of kind, in which I diverge from you. It became more interested in the space out­ the way the paint was put on, is the is almost as if we have a scale, a balance; side myself. painting. The two can’t be dissociated. some people come down more on the side Then I started making white things. The process, for me, is one of intui­ of what you were talking about, the idea White was beginning to be important, tion, playing it by ear, watching what of space; and some come down more on together with a certain lurching, awk­ happens, partially initiating events (but my side, physical activity. Again, not ward perching of the forms. Some were only partially), putting great stress on conflict, but contrast. related to strange little sounds like those what happens while doing the thing as It is more important for me to look in the music of Bartok—just certain opposed to struggling to find the way to at the materials and processes I am us­ sounds which never seem to complete get to the end quickly. I frankly nevering, especially over these last ten years themselves and become comfortable. know what the end is. Some people do where I am still beholden to function. So we both have the vessel as our theme. search for a way of describing and stat­ But I am trying to get something which Casson:Well, that immediately leads ing things. I am not one of those potters, has a different presence. When I used me back to the idea of contrast, because though I would still underline why things to make hundreds of little general pur­ at the moment I would find that way of are done is more interesting than how. pose bowls or teapots, it was a different working totally foreign to the way I work. The how is easy. sort of end product. In a wood-burning I can only start on this theme by quoting Casson:The how is easy? kiln five out of ten pots will be totally two potters who have said things which Baldwin: Yes, I think the technique is obliterated by some chance happening at the time I took as the only way one the least of one’s problems, which is not in that particular firing, and the other can work: Bernard Leach said, “The idea to say that I’m an amazing technician. four or five will be so-what pots. Maybe first, then the method. The technique I have problems too. The major problem one will be sifted out because possibly will serve the idea.” And Hans Coper is on the level of what is happening in­ it has the presence I am after. It’s in­ said, “Why, before how.” I am sure they side of one while the work is taking place. credibly difficult to achieve the sort of are not wrong, and yet now I don’t agree Getting up this morning I had the hor­ standards, the sort of quality I want. So with those statements as they stand. The rors—you know, feeling absolutely what do I do? Do I say I must reorient trouble is those cryptic statements, that physically sick about my work. That’smy way of working to embody more ideas sound so good or look so good on the when one asks “Why?” and needs to know or something like that, or do I do what 30 CERAMICS MONTHLY Photos: Tim Hill and courtesy of the British Crafts Centre

“Picasso Variation I,” handbuilt, 9 inches in height, with incising, slips and stains, multifired, by Gordon Baldwin.

I have to do? And I think we come down don’t you use acrylics or something?” I Another question that is sometimes to our own personalities. I’m sure Gor­ have restored things with acrylics and asked me is, “Do you just make the forms don would agree with that, and with managed to get the right colors in the so that you can paint on them?” The Michael Cardew that the pot is the per­ right places. So why don’t I? Well, for answer is no. While in some respects I son. one thing it presupposes that I know find it easier, psychologically easier, to Baldwin: I was just thinking as Mick where I’m going, that I can use whatever deal with the form, I still agonize and was talking, relishing something about fast means I can find to get to the finish struggle until those forms start to say the struggle between trying to make things in a more economical manner. But I don’t something to me, until they begin in a happen and things going wrong. I sus­ know where the finish is, so it doesn’t way to resonate. I know I’m going to pect too that you enjoy that. Well, I sup­ work from that argument. I suspect that make marks on them, but until some sort pose we are both looking for some sort the struggle to get that pink or red, which of magic happens around the form, I of identity. “The pot is the person.” Well, you could get so much more easily withhave nothing to work on. So it’s not just that sounds very suspect. But certainlyacrylics, is just necessary for me. The a case of making a form so that I can what these things describe is a little bit passage of time obviously is an impor­ get scratching and scraping and rubbing of our lives, of my life, even if it is taken tant factor. It gives time for events to and smudging over the surfaces. Once on the terms that it was X number of take place. Shorten that time and less the form is alive, the struggle with color, minutes or hours. could happen. I’m putting forward the line and surface begins. And the struggle Now to come to the struggle aspect. I idea that work is a sort of exploratory in the kiln is absolutely fundamental. have been working with slips and en- process, and if you are exploring, youProbably the reason why I hung up my gobes, and firing six to eight times. If might do it better from a rowboat than palette one day—the grand gesture—and you paint, there are times when you mustfrom a fast power boat. You’ve got to never took it off the nail again is that I let the canvas dry before you can do take time to notice things which are hap­ couldn’t bear that the struggle with the something else. For me, firing is like a pening, because things can take such di­ white canvas was made so quickly and drying process. Some people say, “Whyverse directions. easily. I had to have some other way. October 1984 31 The Cola-Cola Man byK aren Rychlewski

ROOSTERS, snails, turtles and creatures dallions. The animals’ legs and anten­ from a medieval bestiary; small pots of nae, and the loops on the pendant pieces tempera color from pastel to primary; are steel wires, inserted into the wet clay brushes of reed and boar bristle; a white before the bisque firing in a wood-burn­ lab coat flecked with bright dots of paint— ing kiln located in the castle cellar. Af­ the studio of the “cola-cola” man awaits terward the whistles are painted white; his return. Vincenzo Loglisci doesn’t have this serves as a background for the flam­ far to go to greet his menagerie; he sleeps boyant decoration: pink birds with in the next room in this 800-year-old aquamarine beaks sit alongside lavender castle that clutches the edge of a deep snails and orange turtles. The most com­ ravine in the southern Italian town of mon creature is the rooster, which has Gravina. Earthquakes have left a trac­ a certain sexual symbolism underlying ery of cracks in the walls and smiling its more obvious iconic strength and stone putti fondle human skulls on the watchfulness. church facade next door. It is not un­ Originally the cola-cola whistles were common to see long-haired girls ride black children’s toys, sold in the street market stallions through the silent piazza out­ at festival time; some types were also side the studio doorway. religious tokens for pilgrims and be­ Vincenzo and his brother Beniamino trothed couples. Today, however, the are the last folk potters in Italy actively children prefer plastic cars, the pilgrims producing the large, elaborate clay whis­ no longer trudge to nearby shrines, and tle known locally as a cola-cola. The dis­ The Loglisci studio in Gravina, Italy. the Loglisci whistles are being “discov­ tinctive name is derived from the two- ered” as folk art by galleries and mu­ note sound it makes when blown. The cessed by the Loglisci brothers, the whis­ seums just as they are losing their affin­ form is a direct descendant of the clay tles are basically pinch pots. The more ity to the rural folk culture. toys made in the area since prehistoric ornate forms are constructed from many times, a part of southern Italy’s ancient individual units representing real and The authorKaren Rychlewski is an folk pottery tradition. imaginary animals, and embellished with art professor at West Liberty State Col­ Made from local clay dug and pro- clay flowers, dangling beads and me­ lege in West Virginia.

A small cola-cola is assembled from three pinched cones; the name Adjusting the mouthpiece opening of the cola-cola will make it is derived from the two notes it sounds when blown. sound best. 32 Ceramics Monthly Vincenzo Loglisci, the cola-cola man with his flock of rooster whistles; originally made as children’s toys and religious objects, they are being “rediscovered” by galleries and museums as the last of a dying folk art. October 1984 33 Don Reitz: New Directions byD aniel D ahlquist

It was over a year AGO that Wiscon­ earn a living and an increasingly pres­ sin ceramist Don Reitz took a turnoff sured teaching regimen. More and more on the Cincinnati freeway in the rain he found himself in revolt against those and smashed his pickup truck into a light who would use artists as marketing tools, pole. Pinned in the wreckage, he knew often turning them into slick, hyped, he was in trouble. There were no gas packaged versions of themselves—sale­ fumes, so the truck seemed unlikely to able and empty. Even the educational burn. But, as a former member of an system in which he participated acted as ambulance corps, he knew his left leg accomplice to the critics-in-power and and pelvis were in bad shape. Nor could the salespeople of “official” art. This he open his eyes, for they were filled channeling of style and technique at the with broken glass. expense of concept and idea, the stress­ His hip and left leg were each broken ing of promotion before commitment to in three places. His shoulder was also the process itself, results in the destruc­ broken, and bone protruded from his left tion of the artist and the individual spir­ arm at the elbow. The main thing was it. Don’s choices were narrowing. In ret­ to keep from going into shock. It would Wisconsin ceramist Don Reitz rospect, he is convinced that rather than be the better part of an hour before help return to his teaching position in the fall, would arrive. the imagination. He saw, for instance, a he simply elected to crack up his truck. On the long trip home from North 10-foot carrot hovering in midair. He Rather than break his pots, he literally Carolina and a friend’s wedding, Don concentrated on every aspect of that car­ broke himself. had been playing a tape about the men­ rot, down to the minutest detail, then In the reassemblage of the self, a new tal visualization of pain (to treat bursitis slowly allowed it to become a bicycle. As aesthetic is born. The new work began in one shoulder), and how with proper one image dissolved, another grew. The at home. Don returned to his own point discipline one may “move” pain from one bicycle was the old balloon-tired Amer­ of departure in art: painting. Shying away part of the body to another. He could ican Flyer, complete with foxtail, he had from the inviolate white sheet of paper, not have known that hours later he would ridden as a boy. Once tapped, the stream he rolled sheets of clay as animal skins, be using this technique for a greater of imagery was unending. for to him clay is synonymous with force purpose. So he gave the pain a color, a “Anything that doesn’t kill me makes and energy. He began by developing a mass, a name, an emotion. He mentally me stronger,” observed German philos­ palette, conducting 200 tests of vitreous turned into water and said to himself, opher Friedrich Nietzsche. What Don engobes. He formulated a new clay body. “Run smooth; run smooth.” The tech­ brought back from the wordless expe­ He reclaimed part of that territory which, nique worked. And it kept on working rience of chronic pain is an affirmation prior to the accident, he had relin­ during recovery in the hospital. of life. One role of the artist is to make quished to the kiln. He knew what fire Always intensely physical (the life ofsomething of physical and psychological will do. He knew trial by fire. Now his the body is evident in all his work), Don wreckage. The art lies in transcendence. imagination, if rich and vital enough, had never previously experienced this Don’s new work would retain the stark will grant his created world and the degree of pain. Before the experience and other-worldly quality inherent in creatures who live there permanent sta­ would end, he would be made supremely the experience of pain, and the raw colors tus. All he asks of the electric kiln is conscious of the body as meat, as mass of his new palette would be commen­ enough heat to make the clay hard. Per­ and matter. He would know firsthand surate with its extremes. manence is still of paramount impor­ the fact of blood and flesh. For one who The result of this turning point in tance, and he accepts fully the respon­ studies the body without preconceived Don’s life and career is joy. It is a happy sibility for firing an object that will be attitudes, there is the possibility of occasion to share company with Don found, along with teeth and bones, when learning from severe physical pain; there Reitz these days because he is so happy. this civilization passes. is the possibility for a new awareness of He has begun the most personal and The paintings were successful. Com­ the beautiful. heartfelt work of his life, and he is ab­ missioned by the Amway Corporation to As surgeon and author Richard Selzer solutely sure he is on the right track. produce a clay mural for the 40-foot foy­ once remarked, “Pain invents its own His art has always been autobiograph­ er of a new $80 million hotel in Grand language.” For Don Reitz this new lan­ ical, but never before has it taken greater Rapids, Michigan, and given only eight guage came in a life-saving variation on imaginative leaps, or involved greater weeks to do it, Don went to work. In a an activity he had practiced continually personal engagement and risk. 20-foot studio, assisted by three gradu­ since boyhood: pretending. Lying in a Prior to this time, Don had reached ate students, he turned 3 tons of clay into Cincinnati hospital bed, the artist in­ a high level of achievement in the salt- two 36-foot sculptures—formed, fired stinctively recognized and seized a new glazing tradition. Yet for a variety of and installed in only seven weeks. opportunity, allowing whatever mental reasons, his work had become predict­ Trusting his intuition and judgment, image came along to surface, to be truly able to him. The original impulse, the he would never again abandon himself seen—then to transform itself, as all im­ sense of play which first led him to clay, to the decisions of others. Don had re­ ages do naturally, if given free rein by had become obscured by the necessity to alized the full measure of a message giv-

34 Ceramics Monthly Photos: Dean Nagel and Elaine Comer Shay Left “IsItYesor slip, incising. height, thrown,with slip paintingson No” (reverseside). with earthenware Refrigerator Man Don Above Far left vitreous engobes. diameter in both sides. Cometh ”8inchesin r o 2 inches 24 No” or October 1984 s platters have “Is ItYes “The ;

thrown 35

“The Journey” wheel-thrown platter, 24 inches in diameter, with vitreous engobes, sgraffito. Don’s imagery has turned from the fluid lines of slip brushwork seen on his previous salt-glazed pots. Instead, he now seems compelled to write intensely personal comments; macabre, childlike or cartoonesque drawings which relate directly to his own recent experiences. Among these are the long­ term illness of his young niece (which has affected him profoundly), plus the experience of overcoming pain during his own ordeal and recovery from a truck accident.

“The Journey,” (reverse side), by Don Reitz. 36 CERAMICS MONTHLY “Tiger, Tiger Burning Bright, Take a Walk with a Catfish Tonight,” 24 inches in diameter, earthenware, with vitreous engobes, sgraffito. en him years ago by an Algonquin In­ As Marvin Bell would say, Don was the same time, Don found himself oc­ dian friend: “The eyes are the windows becoming “less and less embarrassed about casionally “writing” on the pots. Such of the soul. The vision comes in through more and more.” Laughing and crying verbal outbursts, arising naturally and the eyes, travels down to your belly, upaloud in the solitude of his studio, build­ spontaneously, signal a new and urgent to your heart and out through youring, layering, applying and peeling slip, need for specificity—the one quality hands.” Don trusts that the vision is going scratching back through in an almost ar- language possesses above all other arts. to be there, in the hands. chaeologic technique, Don felt like a child Words, phrases, conspiratorial jokes, swift Returning home, he made a set of again. And more than a child, he no interrogations, all joined the new im­ dishes from this same clay for his daugh­ longer disguised the female in him. agery in a dramatic impulse toward the ter which, for utilitarian reasons, re­ Pouring milk from a pitcher, he was his concrete. The words are part of the ac­ quired glazing. A whole new palette mother standing in a kitchen in New tion, not merely a command or mode of emerged from the response of the clay Jersey, far away in time. He looked at reference. An animal in pain can only and engobes to the transparent coating. his hand; it was his father’s hand. cry out. The creatures of this world are He discovered different intensities, value Through all, he felt a force holding him learning to talk. changes and an unbelievable brightness. (who is “us”) together. Whatever the participant cares to make The new platters and covered jars ra­ His forms became “dumpy,” some­ of such “messages,” one thing is certain: diate these vibrant, contrasting colors, what clumsy. Acquired values began toDon is having more fun than at any time and introduce “juicy” glasslike sur­ fall away. He gave himself to basic colors, since he began working with clay. He faces—while retaining the rough, ges­ basic forms, stripping away education wants us to share—if we can only sum­ tural command of clay. and preoccupation with the possible. At mon our own emotional openness, sen- October 1984 37 Above "Way Down in the Diving Bell ,” 24 inches in diameter, thrown platter with vitreous engobes, fired to Cone 03. Right “Vm OK, Your [sic] OK,” 24 inches in diameter, thrown platter, with slips, sgraffito. Far right “I’m OK, Your OK” (reverse side), by Don Reitz, Madison, Wisconsin.

38 CERAMICS MONTHLY sitivity and a little daring—the joy he Don insists on himself, and as evi­ felt in creating these objects. dence much of his new work bears a What is Don Reitz really up to? He special signature. Like those early artists has forgotten how to make pots; he has who left their handprints on cave walls, undertaken a deliberate process of un­ Don presses his hand to the clay as an learning. When he sits down at the wheel, ultimate personal signature. The hand­ he knows he is going to make a pot or print allows him to say, “I am here. I a platter, etc., but that is about all. The am—now I am witness.” identity (Which identity? Which self? It has been said that art’s most ancient The artist, who lives by the imagination, ambition is the search for joy. At 54 years contains multitudes.) is in a state of flux. of age, a near-fatal accident behind him, And Don has rediscovered what he it is most natural for this intense man treasured most as a child: the ability to to renew his search with more open- pretend. The created self of the clay ob­ heartedness and vulnerability than ever ject can and does lead him anywhere and before. Picasso was right; it takes a long everywhere. Trains jackknife in midair, time to become young. If he exudes a spilling children like rag dolls to the new confidence, if his joy is more con­ riotous applause of a crowd of specta­ tagious than ever, it is because Don has tors. Creatures of the unconscious, in­ Thrown covered jar, 18 inches in height, learned to use clay as a vehicle for what­ cluding mermaids and lumberjacks; with vitreous engobes, clear glaze, fired at ever occurs to him. Whatever occurs, it Tarzan and firemen; octopi chased by Cone 06 in oxidation. is all to his purpose. He seems to be Keystone Kops; prehistoric horses; tigers saying to us, “If your life bores you, risk of the night (burning bright!), some it. Change your life.” playful, but more often ferocious, cavort producing deep delight in the willing Of course the truth is that nobody can through a Sargasso Sea of color. The zoo participant, transforming the potentially change quickly or easily. Don has been doors are wide open; the circus is in town. dangerous situation with his funny an­ working for this moment for a long time. It is Don’s world, for the province of the tics, in similar fashion to the rodeo clown. To try to effect actual change in life in work of art is the artist’s—and in it he The Refrigerator Man acts as a persona, order to alter one’s art is not the way. is like God. freeing the artist from the literal truth. Life is more than enough for any artist, We know (Don knows) that this is a The whole of Don’s real or imagined under whatever circumstances. A con­ fiction, a fabrication. He hasn’t forgot­ past becomes available to the storytell­ version experience is possible, however, ten all the tricks that have worked for er—and there is a story line to every pot. and happens to the artist—has to hap­ him in the past. On the contrary, a life­ Don Reitz is at that stage of the game pen to the artist. It is true that to change time in clay is paying off. He is learning (not for the first time, but perhaps for one’s art is to change one’s life. But it “how not to make pots.” No, he has not the most personally satisfying time) when is not a matter of will. really forgotten, but he must more or he is capable of saying things he had no Don Reitz has had the courage to less blindly feel his way into the always idea he had it in him to say. He brings change his life, in precisely this way. The new world of clay, line, color and form, a lifetime of experience to bear on each change was natural, if not inevitable. the world of perpetual possibility. form. To rework a famous line by W. Anyone who knows Don personally or Enter the Refrigerator Man, or as Don H. Auden, Don is declaring, “How do is acquainted with his work should not would say, “The Refrigerator Man com- I know what I have to say until I (as be surprised to find he has a secret life, eth.” He began as a brushstroke of white the Refrigerator Man) say it?” He has or that he is capable of heroic stature. slip. Then came eyes, a nose, a mouth. become the Refrigerator Man in order The artist—who, through creations such The benign and benevolent Refrigerator to say the funny, irreverent, outrageous,as the Refrigerator Man, pretends he is Man, “the watcher who pretends to en­ perhaps even the profound things we are a cowboy, baseball player, deep-sea diver tertain,” who reigns over chaos, who ac­ not allowed to say as adults and are nev­ or predator—really is a hero for having cepts whatever comes with a smile and er allowed to say on pots. He has been the courage to pretend and believe. He a wink. The Refrigerator Man, accord­ at recess all his life, and he knows that believes the play he writes, and casts ing to Don, “appears all over every­ “playing in the mud” is not an “adult” himself in the leading role. Not only must thing” in this phantasmagoria and out profession. the fool pursue his folly, Don Reitz would of it at the same time. He evokes the It is a risk. “Kids say the darndest have us explore the heroic in ourselves. joyful and the dreadful, the terrible and things” and so, on occasion, might the And like the Refrigerator Man, he seems the sublime, the childhood fears we car­ Refrigerator Man. It all depends on the to say, “Come on in; the water’s fine. ry for a lifetime. He is a boy conductor depth and breadth of the artist who opens I’ve tried it myself. What are you afraid in a baseball cap, orchestrator of his own himself to such risk, and to the faith he of?” daffy universe. He evokes this world, but is willing to invest in his created self— Some of us will say, “If he can do it, by his very presence helps prevent it from whatever the permutation. This self can so can I.” being confused with either “child” or be a more vitally connected I, alternately “primitive” art. He helps make Don’s wiser, sharper, cruder, funnier or klut- The authorA previous contributor to clay objects (which without him would zier than the artist himself. He knows Ceramics Monthly, Daniel Dahlquist is be forced to take their own madness and something Don Reitz does not. That is a poet at the University of South Caro­ violence far more seriously), capable of why Don is wise to trust him. lina, Columbia. October 1984 39 Hideyuki Hayashi byH iroshi Matsubara

Flower vase, 9 inches in height, thrown, altered, impressed, celadon glaze. CONTEMPORARY ceramist Hideyuki ditions established by local pottery fam­ Hayashi is the fourth generation of a ilies. Young artists of this movement set­ traditional pottery family in Gojozaka, tled in the countryside so they could live Kyoto, Japan. He studied with Kazuo and work together—the building of wood- Yagi, leader of the Sodeisha movement, firing kilns was prohibited in Kyoto be­ and by 1964 had officially joined this cause of concerns about fire hazards and avant-garde, sculpturally oriented group. additional pollution. Their new abstract But the typical utilitarian porcelains sculpture was satirically called “obje” by made in the Gojozaka district are called people who felt only functional ceramics Kiyomizuyaki, and continue a style es­ should be revered. tablished when Kyoto was the capital Hayashi’s work reflects the varied di­ and cultural center of Japan. They are rections of his background. In it one can considered some of the most elegant Jap­ easily identify a sense of tradition and anese ceramics produced for the tea cer­ responsibility as a member of an estab­ emony of the aristocracy, and contrast lished pottery family contrasted with the markedly with rural wares from folk nonfunctional, abstract sculpture con­ kilns. cerns of the Sodeisha movement. The postwar experimental use of clay as a sculpture medium by the Sodeisha Translated from the Japanese by Junko group was a drastic break from the tra­ Iwabuchi and Kevin Anderson. Fourth-generation Japanese potter Hideyuki Hayashi oj Kyoto. Below Translucent, glazed porcelain soy pot, 3 inches in height.

October 1984 41 Above Stoneware flower vase, approximately 12 inches in height, thrown, altered, with celadon glaze. Far left Soy sauce server, approximately 3 inches in height, thrown, altered, glazed porcelain, by Hideyuki Hayashi. Left Soy sauce server, approximately 5 inches in height, glazed porcelain, fired to Cone 10. 42 CERAMICS MONTHLY Depression Era Ceramics

October 1984 43

Above “The Fountain of the Atom” (the largest modern ceramic sculpture when installed at the 1939 World’s Fair), Everson Museum of Art, Syracuse, New York; and a Left “Harlequin Dance,” 17 inches in Above “Beautiful Isle of Somewhere,” detail titled “Water,” 6 feet in height, height, earthenware, glaze and lusters, by 13V2 inches in height, handbuilt, glazed by Waylande Gregory. Edris Eckhardt, 1949. earthenware, by Walter Sinz, 1940. October 1984 45 Chris Staley

fired. Chris wants his pots “to speak of Staley’s Red to Green Glaze strength through form, vitality through (Cone 7-10, oxidation or reduction) surface and richness through the fire’s Dolomite ...... 2% manipulation of color.” Whiting...... 15 When the ware is leather hard, a thick Custer Feldspar...... 50 porcelain slip is applied, slightly defloc- Edgar Plastic Kaolin ...... 13 culated with 2 tablespoons of Calgon per Flint...... 20 10,000 grams of dry slip. Though he employs only two or three glazes, Chris 100% achieves a range of colors and surfaces Add: Bentonite...... 2% by varying temperature and atmosphere Copper Carbonate ...... 8% of the kiln. Recipes follow: Red Iron Oxide ...... 1% Porcelain Clay Body Special Ash Glaze (Cone 7-10, oxidation or reduction) (Cone 7-10, oxidation or reduction) Chris Staley Kona F-4 Feldspar...... 20 parts Mixed Hardwood Ash ...... 50% Kona F-4 Feldspar ...... 25 Concerned with “atmospheric spatial Georgia Kaolin (6Tile) .... 25 illusion,” platters, vases, jars and teapots Grolleg Kaolin ...... 25 Tennessee Ball Clay (5) ...... 25 by Chris Staley, Providence, Rhode Is­ Pyrotrol...... 12 100% land, were featured in a recent solo ex­ Flint...... 13 Add: Cobalt Carbonate ...... 1% hibition at the Elements Gallery in New 95 parts Rutile...... 5% York City. The thrown porcelain forms Add: Bentonite ...... 2 parts This glaze is lightly ball-milled to evenly were loosely faceted or incised, then soda Molochite...... 6 parts disperse color.

Teapot, 12 inches in height, wheel-thrown porcelain, soda fired bySoda-fired covered jar, 30 inches in height, thrown and faceted Chris Staley. porcelain.

46 Ceramics Monthly Porcelain platter, 25 inches in diameter, soda fired “to speak of vitality through surface and richness through the fire's manipulation of color.”

October 1984 47 Creighton Clay Invitational Photos: W. Montgomery 48 CERAMICS MONTHLY A SPRING INVITATIONAL at Creighton Johnson (Excelsior, Minnesota); deco­ University, Omaha, featured vessel-ori- rated with glaze drips and splashes or ented works by six ceramists: Tim Crane thick slips in rhythmical designs by Bill (Brownsville, Minnesota) presented Kremer (Notre Dame, Indiana); or vertical handbuilt stoneware forms with brushed with figurative imagery by Ron light salt flashing; while Eric Jensen Meyers (Athens, Georgia). And Nancy (Chicago) exhibited thinly handbuilt Monsebroten (Grand Forks, North Da­ platters with soft gray glazes ranging from kota) displayed flung-slab porcelain ves­ nearly white to almost black. Also shown sels inspired by her environment—“the were thrown functional objects, pat­ open fields and broad horizons, the terned with resisted glazes by Shirley swirling snow and endless drifts.” Left Thrown and handbuilt porcelain Below Wheel-thrown earthenware Above Dish, 12 inches in diameter, vessel, 6 inches in height, opalescent glaze, platter, 18 inches in diameter, with brushed thrown from red earthenware, decorated by Nancy Monsebroten. slip, sgraffito decoration, by Ron Meyers. with slips, by Ron Meyers.

October 1984 49 Hobart Cowles Tan and Brown GlazesbyL ili Krakowski

The following tan and brown glazes Creamy Caramel Glaze Metallic Charcoal Gray Glaze were among the Cone 5 recipes devel­ (Cone 5) (Cone 5) oped by the late Hobart Cowles at the Clinchfield Feldspar ...... 8.57% Dolomite ...... 20% Rochester Institute of Technology in New Frit 3134 (Ferro) ...... 18.57 Barnard Clay...... 20 York. All were tested on a buff clay body. Kaolin ...... 10.00 Frit 3124 (Ferro)...... 20 Creamy Tan Glaze Spodumene ...... 34.29 Petalite...... 20 (Cone 5) Flint ...... 28.57 Flint...... 20 Albany Slip...... 59.09% 100.00% 100% Frit 3134 (Ferro) ...... 31.82 Mustard Yellow Glaze Add: Cobalt Oxide...... 3% Flint ...... 9.09 (Cone 5) Copper Carbonate ...... 5% 100.00% Gerstley Borate...... 15.65% Nice brown where thin. Semitransparent where thin, this recipe Lithium Carbonate...... 6.96 Tobacco Brown Glaze yields the creamy color of a Siamese cat. Clinchfield Feldspar ...... 42.61 (Cone 5) Kaolin ...... 13.04 Opaque Creamy Tan Glaze Flint ...... 21.74 Dolomite...... 8.39% (Cone 5) Frit 626 (Pemco)...... 51.75 100.00% Petalite ...... 29.37 Albany Slip...... 76.09% Add: Zinc Oxide ...... 20.89% Kaolin ...... 10.49 Frit 3134 (Ferro) ...... 23.91 Nickel Carbonate .... 2.60% 100.00% 100.00% Add: Granular Rutile...... 6.52% Chocolate Glaze Add: Tin Oxide...... 7.00% Bentonite ...... 2.00% (Cone 5) Copper Carbonate.... 3.50% Gerstley Borate...... 17.39% Rutile...... 2.10% Transparent Butterscotch Glaze Lithium Carbonate...... 4.35 For a glossy cream with rust where thick (Cone 5) Albany Slip...... 69.57 or thin, add 5.6% tin oxide and 4.2% red Barium Oxide...... 24.49% Flint ...... 8.69 iron oxide to the base recipe. Gerstley Borate...... 0.75 100.00% Glossy Milk Chocolate Glaze Strontium Carbonate ...... 18.40 Add: Red Iron Oxide...... 4.35% Whiting...... 12.30 (Cone 5) Frit 25 (Pemco) ...... 9.79 Somewhat runny; rust colored where Gerstley Borate...... 16.0% Frit 3134 (Ferro) ...... 11.53 thick. Albany Slip...... 72.0 Kaolin...... 17.40 Mottled Caramel Brown Glaze Spodumene...... 12.0 Flint ...... 5.34 (Cone 5) 100.0% 100.00% Albany Slip...... 73.68% Add: Tin Oxide...... 1.6% Add: Zinc Oxide ...... 10.07% Frit 3134 (Ferro) ...... 26.32 Red Iron Oxide...... 0.8% Straw Glaze 100.00% Unusual “pinkness.” (Cone 5) Add: Tin Oxide...... 4.21% Rich Milk Chocolate Glaze Dolomite...... 13.05% Nickel Oxide...... 2.10% (Cone 5) Lithium Carbonate...... 3.26 Granular Rutile...... 7.37% Cryolite...... 20.0% Whiting...... 3.91 Mottled Mustard Glaze Barnard Clay...... 20.0 Frit 3134 (Ferro) ...... 27.60 (Cone 5) Frit 626 (Pemco)...... 20.0 Kaolin ...... 22.18 Albany Slip...... 77.78% Spodumene...... 20.0 Flint ...... 30.00 Frit 3134 (Ferro) ...... 22.22 Flint ...... 20.0 100.00% 100.00% 100.0% Add: Copper Carbonate. . . . 2.50% Add: Red Iron Oxide ...... 8.89% Add: Manganese Dioxide . . . 2.5% Red Iron Oxide...... 2.00% Rutile...... 6.67% Vanadium Pentoxide . . . 4.0% This handsome glaze gives good results A glossy mustard mottled with some blue; Yields ocher without colorants; slightly with a number of colorants. plum where thin. immature. 50 Ceramics Monthly Semimatt Brown-Gray Glaze (Cone 5) Cryolite...... 4.28% Frit 626 (Pemco)...... 38.57 Spodumene ...... 34.29 Flint ...... 22.86 100.00% Add: Zinc Oxide ...... 5.71% Copper Carbonate.... 3.57% Some gold where thin. Dull Matt Black Glaze (Cone 5) Gerstley Borate...... 15.79% Volcanic Ash...... 42.10 Spodumene ...... 42.11 100.00% Add: Tin Oxide...... 4.21% Copper Carbonate. . . . 4.21% Seal Brown Glaze (Cone 5) Dolomite...... 18.18% Barnard Clay...... 18.18 Frit 3124 (Ferro) ...... 13.64 Spodumene...... 18.18 Kaolin...... 18.18 Flint ...... 13.64 100.00% Add: Copper Carbonate.... 6.82% Some metallic tones. Straw Brown Glaze (Cone 5) Gerstley Borate...... 19.23% Albany Slip...... 69.23 Flint ...... 11.54 100.00% Add: Red Iron Oxide...... 1.54% Opaque brown where thick, golden straw where thin. The authorA studio ceramist in Con- stableville, New York, Lili Krakow ski has written previous articles on Hobart Cowles glazes; see other Cone 5 oxidation reci­ pes in the March, May and June 1984 issues. October 1984 51

Comment Continued from Page 19 ties. Many colorants are fluxes; others are refractory. Glazes often are finalized around the colorant, and when the glaze is used plain it is too stiff/too fluid. It must be understood that if the colorant is left out of Maggie’s Green Glaze and that colorant is copper, the glaze may be too stiff; if the colorant is chrome, the glaze may be too fluid. As a rule of thumb if the color is included in the glaze name, the glaze was adjusted around it; if co­ lorant variations are listed after the rec­ ipe, appearance and texture descriptions are for the colorless glaze and may be modified by the colorants. Changes in water also can affect glaze results, though only one book I’ve read mentions this often-talked-about fact. If results, particularly colors, are not as ex­ pected, retesting with distilled water (or clean melted snow) is worth a try. As to isolation and communication: We work in circumscribed environments and what we report is extremely paro­ chial. We have a wealth of unshared ex­ perience which needs illumination. We clobber each other with contradictions the paranoid take personally. Many years ago an elderly British potter told me iron is refractory in ox­ idation and an active flux in reduction. A recent book speaks of iron as passive in oxidation, but a flux in reduction. The English potter had worked with wood- burning kilns fired at approximately 2370°F (1300°C), and now that I have fired with wood I know oxidation is an illusion in a wood-fueled kiln. The book did not discuss kilns, but the context sug­ gested oxidation meant electric firing, and reduction was done in a very con­ trollable modern gas kiln. The book’s body-under-discussion was a Cone 9 stoneware. My own limited experience makes me think iron in bodies always fluxes at Cone 4 and above, but in glazes there must be a lot of it before it becomes a “mover.” My opinion may fit with another writer’s belief that black iron oxide al­ ways fluxes; red may or may not, ac­ cording to circumstance. I doubt we all are mistaken. I know none of us lies. I think each one “owns” a partial truth. Isolation creates a freedom that leads to actual problems of communication. Years ago everyone calcined colemanite, but that was assumed, never written 54 CERAMICS MONTHLY down. Then Gerstley borate came along coyly, into Asian terminology? Endless ing kilns, coated by fumes from years of and I began using it. My older glaze confusion has been created by transcrip­ firings, may affect glaze maturity. Firing cards still read “colemanite” without a tion from dictation of kaki (Japanese for cycles, soaking, when and how much re­ word about calcination, without mention persimmon), an orange-rust color, and duction is used—all can influence glaze that I now use Gerstley borate. A new khaki (Persian for dust), the familiar drab results. I am convinced, moreover, that book tells me that when Gerstley borate color of military uniforms. glazes do best when fired in a kiln full is substituted for colemanite, one should Overlooking that temmoku apparent­ of themselves. Some glazes are very com­ use about 25% more. I assume the peo­ ly refers to different tones in different patible; others generate fumes (chrome ple who say so are right in their circum­ parts of Asia, what does it mean to us? is the most famous but not the only ex­ stances—raku. Under my circumstances I know what hare’s fur looks like be­ ample) that modify adjacent glazes. I re­ that would be ruined shelves. cause my cat brings me gifts of baby cently tested a glaze containing 2% cop­ We talk with great clarity to our­ rabbits. What about urban potters? per carbonate; its vapors gave nearby selves, not necessarily to others. We write Would it not be more useful to describe white pots a faint graying and left a haze “clay” on recipe cards and do not specify a glaze as looking like coffee ice cream on the kiln wash. whether we use kaolin, ball clay or or cinnamon or broccoli? Even to say Glaze materials, application, clay body, screened fireclay. In studio use this is that a glaze looks “like a stream of ter- firing—all these matter. Even the tem­ okay. In published material it is not. bakker juice when you bin workin’ the perature at which the ware is bisqued More about language: For several years same wad all day” is clearer than “tea- plays a role in glaze fit. I bisque as low I angrily puttered with a glaze called dust.” as possible because I am convinced that Plum. It always came out a rich garnet Also people who report on glazes reduces crazing. People who use glaze tone, never the blue Italian freestone plum should describe the clay body used. Tre­ tongs must fire a much hotter bisque to I expected. Looking through a fruit tree mendous differences can occur when the get pots hard enough to withstand the catalog one day I realized the glaze was same batch of glaze is tested on an iron- less-forgiving handling. This influences not misnamed; there are plums just that or manganese-rich body, a stoneware with glazing—as I can use a much more fluid color, but I had been horticulturally ig­ low-iron content or porcelain. glaze than they. norant. What applies to clay bodies applies as These are just some considerations to And a pet peeve: Why do those lucky well to kilns and firing cycles. Electric help determine why a certain glaze rec­ enough to have studied in Japan impose kilns will give varied results even when ipe doesn’t work. No doubt a lot of var­ their superiority on us by lapsing, oh so fired to the same reading. Old fuel-burn­ iables I no longer notice were left out.

October 1984 55 56 Ceramics Monthly “Contemporary Australian Ceramics”; at the Ev­ Itinerary erson Museum of Art, 401 Harrison St. Continued from Page 11 Ohio, Toledothrough November 18 “Con­ suming Passions: The Art of Food and Drink”; at through October 27 A three-person exhibition the Toledo Museum of Art, 2445 Monroe St. with Russell Kagan, raku; at the Society of Arts Rhode Island, ProvidenceOctober 19- and Crafts, 175 Newbury St. November 25 Faculty work; at the Rhode Island October 31-January 6, 1985 “The Frits and Rita School of Design, Museum of Art. Markus Collection of European Ceramics and Tennessee, Gatlinburg October 12-December 8 Enamels,” 110 objects dating from 1660 to 1785; “The Garden: New Form, New Function,” na­ at the Torf Gallery, Museum of Fine Arts, 465 tional juried exhibition; at the Arrowmont School Huntington Ave. of Arts and Crafts. Massachusetts, LexingtonOctober 5-27 Tennessee, Smithville through October 31 “Tenth Annual Exhibit in Clay”; at Parsons Gal­ “From within the Highland Rim,” work by rural lery, Lexington Arts and Crafts Society, 130 Wal­ craftspeople of middle Tennessee; at the Appala­ tham St. chian Center for Crafts Gallery, Hwy. 56 on Cen­ Michigan, Birmingham through October A 13 ter Hill Lake. dual exhibition with Chris Berti; at Robert L. Texas, Austin through October 15 Jeff Hei­ Kidd Associates/Galleries, 107 Townsend St. berg, Mel Landers, Billy Ray Mangham and Wes­ Michigan, Detroitthrough October 15 “Salt- ley Smith; at the Pottery at the End of the Uni­ Fired Clay: Robert Diebboll, Tim Greenland, verse, Arts Warehouse, 300 San Antonio St. Robert Winokur.” October 19-November Texas, GalvestonOctober 5-28 “Texas De­ 12 “Lucy Lewis and Daughters from the Acoma signer/Craftsmen’s Membership Exhibition”; at Pueblo”; at Pewabic Pottery, 10125 E. Jefferson. Galveston Arts Center Gallery, Strand St. Nebraska, Lincoln October 21 -November Washington, Seattlethrough October 7 Carolyn 14 “Nebraska Crafts Council Exhibit”; at the Olbum and Mayer Shacter; at Francine Seders Elder Gallery, Wesleyan University. Gallery, 6701 Greenwood Ave., N. New Hampshire, Manchester October 20- October 4-November 13 “Fired with Wood,” November 25 “League of New Hampshire porcelain and stoneware by Mike Jensen, Rosa Craftsmen: 1984 Annual Juried Exhibit,” includes Kennedy, John Leach, Mary Roehm and David Jane Kaufmann, sculpture, and Gerry Williams, Shaner; at Fire Works Gallery, Grand Central Ar­ pottery; at Currier Gallery of Art, 192 Orange St. cade, 210 First Ave., S. New Jersey, Morristownthrough November 4 “Soup Soup Beautiful Soup,” tureens; at the Morris Museum of Arts and Sciences, Normandy Fairs, Festivals and Sales Heights Rd. Arkansas, Heber SpringsOctober 12-14 The October 12-January 5, 1985 An exhibition of “19th Annual Ozark Frontier Train Festival Craft works by the cooperative’s members; at the Crafts Show”; 2 blocks south of Cleburne County Court­ Connection, Epstein’s on the Green. house Square. New Jersey, Newark through January 31, California, San DiegoOctober 13-14 “Ceramic 1985 “American Art Pottery,” approximately 200 Artists of San Diego Corn Roast and Fine Crafts objects made between 1880 and 1940; at the New­ Fair”; at El Cajon, 1880 E. Chase Ave. ark Museum, 49 Washington St. Florida, DeLandOctober 27-28 “Art and Craft New Mexico, Albuquerquethrough October Show”; at DeLand Museum, 449 E. New York Ave. 7 A three-person exhibition including James Illinois, Berlin October 20-21 “Southern Il­ Franklin, raku vessels and sculpture; at Weyrich linois Ceramic Business Association New Berlin Gallery, 2935-B Louisiana, NE. Show”; at the Sangaman County Fairgrounds. New Mexico, Los AlamosOctober 26-November Maryland, GaithersburgOctober 19-21 Ninth 18 “Men at Work”; at Fuller Lodge Art Center, annual “National Craft Fair”; at Montgomery Cultural Center, 2132 Central Ave. County Fairgrounds. New Mexico, Santa Fethrough October Maryland, JeffersonOctober 27-28 “Clay for 14 Amber Archer and Sara Mist; at the Artists’ Homes,” tableware, lamps, ceramic art; at Catoc- Gallery, 228 Galisteo. tin Pottery, Lewis Mill, off Old Middletown Rd. through October 31 “Art of the Americas,” in­ Nevada, Las VegasOctober 27-28 “KNPR cludes pre-Columbian ceramics from Mexico and Craftworks Market”; at 5151 Boulder Hwy. Peru; at Bellas Artes, 301 Garcia St. New Jersey, Westfield October 26-28 New Mexico, Taosthrough October 6 A dual “Westfield Craft Mart”; at the New Jersey State exhibition with Ginger Mongiello, porcelain. Armory, 500 Rahway Ave. October 13-November 10 A two-person show with New York, New YorkOctober 17 “Art for the Robert Shay, vessels; at Clay and Fiber, N. Pueblo Table,” dinner, exhibition and auction featuring Road. one-of-a-kind and limited edition dinnerware and New York, IthacaOctober 12-November 17 A related crafts; at the American Craft Museum II, two-person exhibition with Laura Burch, hand- International Paper Plaza, 77 W. 45 St. built and thrown porcelain; at the Gallery at 15 New York, Sugar LoafOctober 6-8 “Sugar Steps, 407 W. Seneca. Loaf Fall Festival”; at Sugar Loaf Crafts Village. New York, New Yorkthrough October 6 A North Carolina, Scaley MountainOctober 12-14 two-person exhibition with Lois Hennessey, large- “High Country Art and Craft Show”; at Mountain scale narrative sculpture. October 11-November Hillbilly Crafts. 3 A dual show with David Crane, sculptural bowls Pennsylvania, TylerOctober 5-7 “State Craft interpreting Southwest landscapes; at Elements Festival”; at Tyler State Park, Route 332. Gallery, 90 Hudson St. Tennessee, Bell Buckle October 20-21 “Art through November 3 “Raku and Smoke North & Craft Festival”; at Webb School. America”; at the American Craft Museum, Inter­ Tennessee, Nashville November 2-4 Seventh national Paper Plaza, 77 W. 45 St. annual “Tennessee Fall Crafts Fair”; at the Ten­ through November 9 “House/Work,” an exhi­ nessee State Fairgrounds. bition featuring women artists, includes Minkie Quinson, sculpture, and Eva Zeisel, fountains and room dividers; at the First Women’s Bank, 111 E. Workshops 57 St. Connecticut, BrookfieldOctober 13 “Craft October 16-November 17 Kaete Brittin-Shaw, Show Booth Construction and Marketing Tech­ Stephen Fabrico, Jane Heaven and Susanne Ste­ niques,” a workshop with Bruce Baker. October phenson, porcelain work; at Convergence, 484 13-14 “Artist and His/Her Technology” with Broome Street. Regis Brodie. October 20-21 “Color with Clay” New York, Scarsdalethrough October 27 “Clay with Peter Durst. October 27-28 “Marketing Spectrum 2”; at Craftsman’s Gallery, 16 ChaseRd. and Promotion” with Walter Yovaish. November New York, Syracusethrough October 15 Please Turn to Page 60 October 1984 57 jo CERAMICS iVlONTHLY News & Retrospect NEA Heritage Fellowships past few years. (This summer the California something sells. In addition, it is important Appalachian potter Burlon Craig and Santa State Assembly passed two bills designed to to me to get acceptance from museums and Clara Pueblo potter Margaret Tafoya are address the problem.) Primarily, current galleries and writers of books. This repre­ among the 17 traditional artists recently se­ proposals concentrate on adequate labeling sents recognition from a broader and highly lected as 1984 National Heritage Fellowship to warn of possible health hazards associated critical audience—people who judge my work winners by the National Endowment for the with various ingredients and instructions for in the context of the history of design and Arts. Nominated by peers for this award, the safer use. not just what happens to be next to it on the Fellows each received a certificate in honor Further complicating the issues is the lack shelf of a shop.” of her/his achievement and $5000 at a Sep­ of a national standard for chronic adverse Her “New York” series of oval vases with tember 7 ceremony in Washington, D.C. effects from ceramics materials. However, some squared ends was the first design she did for “We are proud to honor these very special manufacturers are now voluntarily submit­ Rosenthal after arriving in Selb. The series Americans who are some of our nation’s liv­ ting their products for review under a stan­ includes four patterned vases ranging in height ing cultural treasures,” said Frank Hodsoll, dard developed by the American Society for from 5½ inches to 9½ inches, and in price chairman of the endowment. “They repre­ Testing and Measuring (Philadelphia). Fol­ from $79 to $150. The design “comes from sent both our many roots and the kaleido­ lowing this guideline, toxicologists at the Art scope of cultures that have evolved since this and Craft Materials Institute in Boston ex­ country’s beginnings. amine formulas and determine which prod­ “This is the third year of the National ucts should have warning labels. Materials Heritage Fellowships, and our goal is to fo­ bearing the AP (approved product) or CP cus attention on the important contribution (certified product) seal of the institute are these artists have made to the culture of our nontoxic, even if ingested. Those with the country through a lifetime of practicing and CL (certified labeling) conformance state­ preserving the traditional arts.” ment are labeled for any known health risks Burlon Craig was born in 1914 in the Ca­ as well as providing information on proper tawba River Valley in North Carolina where use. he still lives and works. He became involved in the local pottery tradition at an early age, Rosenthal Commission his first job being to chop wood for a neigh­ New York ceramist Dorothy Hafner re­ bor’s kiln. By the age of 14 he had made his cently designed three vases for mass produc­ first successful pot. A half century later he tion by Rosenthal Studio-Linie. “We recog­ is still throwing stoneware pitchers, churns, nize that through the centuries the things flowerpots and face jugs (for which he is best people value the most and that hold their known) at his treadle wheel. The clay dug value always express the spirit of their times,” from bottom land along the South Fork of comments Philip Rosenthal, president of the the Catawba River is trucked home where it West German firm. “What we set out to do is ground in a mill. His alkaline glazes are in the early 1950s was to produce a truly mixed from local materials, usually crushedoriginal line that would reflect the many aes­ glass bottles, wood ash and clay. Finally, the thetic currents of our time.” ware is “burned” in a groundhog kiln, fired Since then, approximately 100 indepen­ Porcelain vases from the “New York ” series with wood for approximately ten hours. dent artists from Europe and the United States work I have done about travel,” Dorothy ex­ Santa Clara Pueblo is in the Rio Grande (among them Walter Gropius, Henry Moore plained. “Everyone drives everywhere in cars Valley of New Mexico. Here Margaret Ta­ and Salvador Dali) have designed items for and sees the world through the windows of foya’s family have been potters for genera­ Rosenthal. Current production includes ta­ cars. If you live in the city you see the world tions, their earliest identified pot having been bleware in porcelain, stoneware and earth­ through the window of an office or apartment made by her great-grandmother. Margaret’s enware, plus limited edition art objects and building. When you travel, you see it through mother, Sara Fina Gutierrez Tafoya, was her wall reliefs in porcelain. the airplane window. Many of the images I primary aesthetic influence. Both are known Dorothy noted that the relationship with see, the textures and configurations, are bor­ for their unusually large pots, 30 inches or Rosenthal will enable her to see more of her dered on four sides, and I see only snatches more in height. Margaret coil builds these ideas produced. “There are only so many ob­ of things. Living in the city, I never see a vessels with clay dug on Santa Clara land, jects anyone can make by hand. Having new panoramic view unless I go to the top of the and insists that her descendants do likewise. ideas and making them happen are more im­ World Trade Center. If you are looking at a She also requires them to finish their ware portant to me than investing everything in control panel on a computer, at a television by burnishing the surfaces with a smooth just a few ideas. I want to be free to have set, everything is conveyed through a screen. stone, and firing it with natural fuels in an new visions. That is what is represented by the series of open kiln. Margaret does not paint designs “I also need to have a continuing dialogue panels on these vases. The little X’s and dots, on her pots, but often carves a “bear paw” with the consumer. This happens when the distilled version of a graph or the buttons mark on the neck of a vessel. “It is a good that might be below a windshield wiper were luck symbol,” she says. “The bear always You are invited to send news and photo­ certainly in my head, but it does not matter knows where water is.” graphs about people, places or events of to me if someone sees that or a blank TV interest. We will be pleased to consider screen or just a big patch of color with a Hazardous Materials Labeling them for publication in this column. Mail squiggle under it.” Concern for school children exposed to un­ submissions to: News and Retrospect, The “Manhattan” oval vase (made in 4½- recognized hazards from the use of art and Ceramics Monthly, P.O. Box 12448, inch, 8-inch and 9-inch versions, priced re­ craft materials has prompted the introduc­ Columbus, Ohio 43212. spectively at $49, $79 and $110) is about tion of legislation in several states during the Continued October 1984 59 erator Deborah Birnbaum; “The Vessel As Symbol demonstration as part of the series “Narrative Im­ Itinerary in Contemporary Art,” with Dennis Adrian, Josh­ agery Today.” Contact Leslye Faithfull, Green­ Continued from Page 57 ua Kind and Christopher English; and “Dialogue wich House Pottery, 16 Jones St., New York 10014; and Monologue on Contemporary Ceramics,” with or call: (212) 242-4106. 3 “Mason Stains and Ceramic Colors” with A.J. Alan G. Artner. Fee: $2; students free. Contact: Pennsylvania, La PlumeOctober 29 A ses­ Gitter. Contact: J. Russell, Brookfield Craft Cen­ Lili Street Gallery, 1021 W. Lili St., Chicago 60614; sion with David Shaner. Fee: $30; students $15. ter, Box 122, Brookfield 06804; or call: (203) 775- or call: (312) 248-4414. Contact: Art Department, Keystone Junior Col­ 4526. Michigan, DetroitOctober 19-20 “Lucy Lewis lege, La Plume 18440; or call: (717) 945-5141, Idaho, Bogus BasinOctober 4-6 A session with and Daughters from the Acoma Pueblo.” Contact: ext. 286. Paul Soldner at the Idaho Art Association. Fee: Pewabic Pottery, 10125 E. Jefferson, Detroit 48214; Texas, DallasOctober 10 A lecture by Daphne $40. Contact: Randy Ekanger, 2810 S. Ohio, or call: (313) 822-0954. and Gary Hatcher. October 18 Lecture by Vi­ Caldwell, Idaho 83605; or call: (208) 454-1016. New York, New YorkOctober 13 Tom Lollai’, ola Frey. November 8 Lecture by Patterson Illinois, ChicagoOctober 22, 29 and November “Slab Building Workshop.” Fee: $30, $20 for Sims. Contact: Craft Guild of Dallas, 7131 Mid- 5 “Contemporary American Ceramics: Three members. Contact: The Craft Students League of bury Rd., Dallas 75230. Dialogues” seminar will cover: “The Business of the YWCA, 610 Lexington Ave., New York 10022; Texas, San AntonioOctober 11-13 “Low-Fire Art,” with panelists Albert K. Pounian, Terri Lon- or call: (212) 755-4500. Salt” with Paul Soldner. Fee: $150 plus $15 for ier, Chicke Alter, Joan E. Robertson and mod­ November 10 Ken Ferguson, slide lecture and materials. October 26-28 “Porcelain” with Victor Babu. Fee: $150 plus $15 for mate­ rials. November 3-4 “Ceramics of Serenity” with Toshiko Takaezu. Fee: $125. December 3-7 “Pottery” with Cynthia Bringle. Fee: $175 plus $40 for materials. Contact: Southwest Craft Center, 300 Augusta St., San Antonio 78205; or call: (512) 224-1848. Washington, College NovemberPlace 3-4 Frank Boyden, slide lecture and demonstration. Fee: $10. Contact: Thomas Emmerson, Art De­ partment, Walla Walla College, College Place 99324; or call: (509) 527-2600 or 527-2913. International Events Canada, Ontario, BrantfordOctober 5-28 “Form, Function and Fantasy,” work by the Brant­ ford Potters Guild and Brant Heddle Hummer; at Glenhyrst Art Centre, 20 Ava Rd. Canada, Ontario, BurlingtonOctober 13-20 “Two on the Wall—Mural Workshop” with Rich­ ard Gill and Angelo Dipetta. Fee: $40, $35 for members. Contact: Claudette Marko, Burlington Cultural Centre, 425 Brock Ave., Burlington L7S 1M8; or call: (416) 632-7796. Canada, Ontario, Torontothrough October 14 Leta and Don Cormier, pottery exhibition; at the Amsterdam Cafe, York Quay Centre, 235 Queens Quay W. October 12-November 3 “Large Vessel Form” exhibition; at the Pottery Shop, 140 Yorkville Ave. October 16-27 Bruce Cochrane, large-scale, thrown earthenware. October 30-November 10 Steve Heineman, sculpture; at Prime Canadian Crafts, 229 Queen St., W. Canada, Quebec, Montrealthrough November 3 A dual exhibition with Gregory Keith; at Centre des Arts Visuels, 350 Victoria Ave. England, Londonthrough October 20 “Art within Reach,’’.original art and documentary ma­ terial for public commissions; at Air Gallery, 6 and 8 Rosebery Ave. through October 31 “Wedgwood in London,” the 225-year celebration of the pottery’s founding; at Wedgwood House, 32-34 Wigmore St. October 16-27 “People and Other Animals,” works by Maggie Angus Berkowitz, Audrey Blackman, Barbara Colls, Tessa Fuchs, Alan Heaps, Neil Ions, Eric James Mellon, Stanislas Reychan and Rosemary Wren; at the Craftsmen Potters Shop, William Blake House, Marshall St. October 17-23 “Chelsea Craftsmen Exhibition 1984”; at Chelsea Old Town Hall, Kings Rd. October 17-November 7 Ian Byers, Jennifer Lee and Jane Perry; at Anatol Orient Gallery, 28 Shel­ ton St., Covent Garden. England, Suffolk, AldeburghOctober 15-28 “Works by 36 International Potters”; at the Alde­ burgh Cinema, and “Shop Work of Suffolk Craft Society”; at Gallery 44 and Reade’s Gallery. England, Surrey, Ockleythrough October 25 “Sculpture in a Wild Garden”; at Black and White Cottage, Standon Lane. Wales, Chester through October 13 “Buckley Potters,” an exhibition of works from the 1300s to 1940; at Grosvenor Museum. Yugoslavia, ZagrebOctober 7-November 17 “First World Triennial Exhibition of Small Ceramics”; at the City Assembly of Zagreb. 60 CERAMICS MONTHLY News & Retrospect Dorothy’s “delight in being a decorator. It is just being playful with brush strokes and seeing what different kinds of rhythms are possible, how you can take something as simple as a 4-inch brush stroke, move the brush, high­ light it, outline it, accent it and give each one a totally different character. I like to see the stroke waver and quiver and hiccup. That’s what I like about painting. It’s like a little

Dorothy Hafner’s “Broadway”and “Manhattan” designs journey every time you paint a line. I don’t want pinstripes or bulletin board stripes. I want each to have its own character. “The ‘Broadway’ square vase [produced in the same sizes, at the same prices as the ‘Manhattan’ series] was inspired by fore­ shortened brickwork. When you live in an urban environment, you think everything is at right angles, but, in point of fact, when you are walking down the street and look at a high-rise building, you see parallelograms rather than right angles, squares and grids. The vase shows a different view on each side. Thus, you can put several together in the same way you would a puzzle. This element of playfulness is very important to me. “The palette is the same one I have been working with for years, modified slightly be­ cause the Rosenthal porcelain is whiter than the creamier porcelain we produce in my stu­ dio [see “Tableware” in the Summer 1982 issue of Ceramics Monthly], and this called for more subdued colors. In addition, I want­ ed to use gold as a color. There are many traditions for painting porcelain, and I want­ ed to relate to the decorative artists who might have made palace ware—objects for rarefied use. The colors go back and forth from a strong sky blue to plain gold and pink. It seemed to me a good idea to concentrate on different graphic looks in this first collection for Rosenthal. It makes more of a statement to have several pieces in the same palette. “I am particularly interested in developing new ideas in table- and giftware—in deco­ rating as opposed to painting, designing as Continued October 1984 61 News & Retrospect opposed to sculpting. I do not consider myself a painter. I consider myself a decorator be­ cause of my iconography and context. It in­ terests me to develop decoration that is of my time,” Dorothy stated. Kenji Kato Marking his 30th year of working with clay, a solo exhibition of thrown and slab- built ware by Japanese potter Kenji Kato was featured recently at the Maruei De­ partment Store in Nagoya. Some of the forms

Flower vase with blue glaze were patterned with overglaze enamels, but the majority of works were glazed blue, as on the Persian (turquoise) blue vase shown above. Bob MeNeely Large covered jars, platters and cup/sau- cer sets by faculty artistBob MeNeely were exhibited recently at Saint Louis Community College in Missouri. The surfaces of his pots reveal Bob’s dual interest in abstraction and playful imagery. An abstract pattern, often in the shape of a grid, is very loosely applied

23-inch stoneware vessel, with poured glaze to the surface, usually tilted or asymmetri­ cally balanced. A first coat of glaze is poured 62 CERAMICS MONTHLY over the pot, then a wax-resist pattern is brushed onto the dry surface and the same glaze is poured overall again. Bob wants his work to look as if it were easy to make: “loose, functional, easily but well made.” His desire to have the pots look as if the “vitality is not refined out of them” results in a thick and ponderous visual effect. The result is intended to reflect himself and in that sense he seems to be an expressionist. “Fm trying to unite my personality and my work by presenting an identifiable image.” He hopes that “if someone were to see me after seeing my work, they would recognize me by the work.”Text: Polly Willard;photo: Tom Barkman. In Miami The Ceramic League of Miami’s “34th Annual Members Exhibition” was presented recently at the Barbara Gillman Gallery in Miami. Juror Dave Shaner, Bigfork, Mon­ tana, selected 34 works from the 150 sculp­ tures and functional objects submitted. Shown

Marsha Silverman's oxidation-fired bottle from the exhibition is a thrown porcelain bottle, 6 inches in height, with carved design, fired to Cone 10 in an electric kiln, by Mar­ sha Silverman. Japan Exchange Fellowships Established ceramists considering working in Japan may be interested in knowing about an ongoing program of fellowships available through the US/Japan Exchange Program, sponsored jointly by the National Endow­ ment for the Arts (NEA), the Japan-United States Friendship Commission and the Jap­ anese Agency for Cultural Affairs. Each year five fellowships of six to nine months dura­ tion (a few are extended to one year) are awarded to mid-career American artists, with a similar number of qualified Japanese art­ ists receiving grants for work in the United States. Artists who have lived or worked in Japan are not eligible; however, those who have visited (or perhaps attended a short Continued October 1984 63 64 CERAMICS MONTHLY News & Retrospect colors byJean Pierre Hsu, Berkeley Springs, West Virginia; plus majolica serving pieces workshop) for a few weeks are not excluded. and wall sculpture by Victoria MacKenzie The American fellowship artists will re­ Childs and low-fire vessels with figurative or ceive monthly stipends of approximately abstract images byRichard MacKenzie Childs, $2000, plus round trip transportation and Kings Point, New York. other allowances in Japan to cover expenses for language training and/or interpreters, lo­ Roseline Delisle cal travel, dependents, etc. Black and white, angular porcelain vessels Application for an exchange fellowship is by Canadian ceramist Roseline Delisle, Que­ made through the NEA International Office. bec, were presented recently at Dorothy Weiss Deadlines vary according to the various dis­ Gallery (formerly Meyer Breier Weiss Gal­ ciplines within the endowment. Those ce­ lery) in San Francisco. Forms such as this ramists who apply for Visual Arts fellow­ ships are automatically considered, but nomination by the review panel is essential to being recommended to the International Office. Recommended artists are then con­ tacted to determine their interest before the final selection is made by the exchange pro­ gram panel. According to Kathleen Bannon of the NEA International Office, it helps if artists indicate interest in the exchange pro­ gram on the original Visual Arts application. The next Visual Arts fellowships deadline is March 15, 1986; exchange fellowships will be announced during autumn 1986. Another program category through which Thrown porcelain vase, 4 inches in height potters may be considered for exchange fel­ lowships is Folk Arts; upcoming deadlines 4-inch vase are “conceived in profile, as con­ are January 9, 1985 and April 1, 1985. For structions of triangular elements.” All the the appropriate application and eligibility process stages—throwing, trimming and ap- requirements, contact the International Pro­ gram Office, National Endowment for the Arts, Washington, D.C. 20506; or call (202) 682-5562. Couples in Crafts America House in Tenafly, New Jersey, recently presented an exhibition of works by seven couples who work in crafts, either in­ dividually or in collaboration. Among the clay objects shown were airbrushed porcelain ves­ 4-inch-diameter thrown bowls by Roseline Delisle sels by Jerry Berta and handbuilt colored plying black slip to the white porcelain—are done at the wheel. When the vessels are dry, Roseline slowly fires them to Cone 10. Guggenheim Recipients Among the 280 artists, scholars and sci­ entists selected from the 3544 applications for the 1984 Guggenheim Fellowships were ceramists Joyce Kohl , Los Angeles, and Peter Voulkos, Berkeley. The John Simon Gug­ genheim Memorial Foundation annually awards approximately $5.5 million in grants to residents of the United States and Canada. Individual fellowship amounts vary and are not disclosed by the foundation; however, the average figure is over $19,500 each. Everson Reaffirms Commitment John Perreault, the new curator of con­ temporary art at the Everson Museum of Art in Syracuse, New York, says plans are un­ 13-inch lamp, fabric shade, by Madeline Kaczmarczyk derway to “reaffirm the museum’s commit­ whiteware teapots, cups, plates and lamps ment to American ceramics.” On the agenda byMadeline Kaczmarczyk, Rockford, Mich­ are plans to revive the “Ceramic National” igan; geometric functional ware in primary Continued October 1984 65 66 CERAMICS MONTHLY News & Retrospect (the annual juried competition held from 1932 to 1972) by 1987; to begin an exhibition se­ ries for experimental work; as well as to con­ tinue featuring individual and group ce­ ramics shows. With its 600-plus collection of contem­ porary works as the core, the Everson is also organizing a center for the study of American ceramics. Besides making the collection ac­ cessible to artists and scholars, the center will maintain reference files and accumulate in­ formation about contemporary ceramists. Vallauris International First place in the ninth “Biennale Inter­ nationale de Ceramique d’Art” in Vallauris, France, was awarded to American artist Su­ san Eisen (Upper Saddle River, New Jersey) and British artist Sutton Taylor (Aberford near Leads, Yorkshire). Inspired by desert landscapes, Susan’s “Navigation Series I,” 18 inches in length, was slab and coil built from

“Navigation Series I” by Susan Eisen stoneware, colored with inlaid slips and ox­ ide washes, then fired in reduction. As a re­ cipient of the $3150 prize, her work will re­ main on permanent display at the Vallauris International Museum of Ceramics and will be featured in a solo exhibition at the next biennale. Also among the 418 objects by 271 cera­ mists from 32 countries on view in Vallauris through September 15 were these bottles,

Prizewinning bottles by Jean-Paul Azais “Aryballe Piriforme,” left, 10 inches in height, and “Aryballe Globulaire,” byJean-Paul Continued October 1984 67 68 CERAMICS MONTHLY News & Retrospect Azais, Llauro, France, who received the 18- carat gold Prix de l’Email medal. Photo: Otto E. Nelson. Jenny Floch Thrown stoneware vessels by Jenny Floch were exhibited recently at Gallery 200 in Columbus, Ohio. Among the works shown, this 24-inch-high vase was decorated with

24-inch vase with hare's fur glaze applied clay and colored slips, glazed with a red-brown hare’s fur recipe and fired at Cone 6 in oxidation. Kuent zel/Massaro A dual exhibition featuring ceramistsPete Kuentzel, Homestead, Florida; and Karen Massaro, Santa Cruz, California; was pre­ sented at Rocklands Gallery in Monterey, California, through August 4. Karen’s work included porcelain asymmetrical cups, bowls and plates fired to Cone 10 in oxidation or

3V2-inch “Off-Center Cups” by Karen Massaro reduction. Cups such as these are displaced ½ to 1 inch from the center axis during throwing “to make forms which appear to lean and slide,” she explained. “I am inter­ ested in asymmetrical qualities gained dur­ ing throwing, so the pieces have a slightly animated quality appropriate for cups. A Cone 10 crystalline semimatt glaze serves as a Continued October 1984 69 /U C^KAIVllUS IVIUIN IflLY News & Retrospect background for drawings that float freely or anchor visually to an aspect of the form. The pattern of varied line, color and texture is inlaid with a brush on the carved glaze sur­ face.” Characteristic of Pete Kuentzel’s work in the exhibition, this slab-built form, 20 inches in length, has a pink-salmon-gray surface, the result of salting at low temperature. Pete

Low-fire salt “Boat” by Pete Kuentzel noted: “It seems I’ve always been messing about with boats. Like the river rat in The Wind in the Willows, I know that there is nothing finer. To embark to a New World, to dream, to begin a journey . . . that is what these vessels are about.” Photos: Michael Kirkpatrick. Chip Gorrell “Living on a heavily timbered island [Or- cas Island, Washington] with access to rocky beaches has provided me opportunity to ex­ periment with natural materials for glazes and decorative accents,” commented Charles (Chip) Gorrell, whose “Pottery Reflecting Puget Sound” was featured at the Lakeshore

16-inch bottle with deposits from seaweed Gallery in Kirkland, Washington, through July 13. Seaweed, shells and saltwater are often applied over and under fir, alder, apple, willow and cedar ash glazes to decorate his stoneware and porcelain forms, which are then fired in reduction to Cone 10. Photo: Charmelle Pool. David and Nicolas Morris Coinciding with the 30-year anniversary of the La Paz Pottery, an exhibition of stoneware and porcelain by David and Nic- Continued October 1984 71 72 CERAMICS MONTHLY News & Retrospect olas Morris was presented at Artisans in Mill Valley, California, through August 11. David began working with clay at the In­ stitute of Contemporary Art in Washington, D. C., where Bernard Leach, as a guest lec­ turer, influenced his interest in high-fire techniques and Oriental aesthetics. Next David studied at the University of Guada­ lajara in Mexico, writing a thesis for his M.F.A. on the local pottery of Jalisco. In the early 1950s he moved to California and set up the La Paz Pottery in Mill Valley; then relocated to the Sausalito waterfront in 1955, where the studio flourished until gut­ ted by fire in 1960. Benefits held by the com­ munity and other artists helped raise money to build the present Morris home and studio in the Larkspur hills. Nicolas officially joined his father in the pottery three years ago and has now taken over production orders to free David to make one-of-a-kind objects. The Morris pots show a strong Oriental influence in form, with Middle Eastern and Mexican references. Thrown from either porcelain or a light red-brown stoneware, their

7 7 -inch stoneware plate by Nicolas Morris ware is intended for practical use. Bowls and plates, such as Nicolas’s celadon-glazed, carved fish plate, above, have strong rims. Full, spherical vases, such as this 10-inch-high form

David Morris’s vase with “black luster” glaze by David, have clay attachments which em­ phasize proportion. Apart from occasional Continued October 1984 73 Questions Continued from Page 17 Street, Philadelphia, PA 19103) C-150 Type 1. Lime—ASTM C- 206 Type S or ASTM C-207 Type S. Sand—ASTM C-144. Water— potable. Scratch coat for use where thickness of mortar bed exceeds ¾ inch—1 part portland cement, ½ part lime, and 4 parts dry sand or 5 parts damp sand; or 1 part portland cement, 3 parts dry sand or 4 parts damp sand. Mortar bed—1 part portland cement, ½ part lime and 5 parts damp sand, up to 1 part portland cement, 1 part lime and 7 parts damp sand, by volume. Bond coat—portland ce­ ment paste. Dry-Set or latex-portland cement mortar permissible.

Expansion joints (vertical and horizontal)—minimum ¾ inch for joints 12 feet on center, minimum ½ inch for joints 16 feet on center. Minimum widths must be increased V\(> inch for each 15°F of the actual temperature range greater than 100°F between summer high and winter low. Joints through tile and mortar directly over any structural joints in the backing must never be narrower than the structural joint. Expansion joints are required where tile abuts other materials. Grout—available in many forms to meet the requirements of the different kinds of tile and types of exposure. Portland cement is the base for most grouts and is modified to provide specific qual­ ities such as whiteness, mildew resistance, uniformity, hardness, flexibility and water retentivity. See ANSI (American National Standards Institute, 1430 Broadway, New York, New York, 10018) specifications for grouting details and follow grout manufacturer’s instructions. Method 2, above, shows tile installation recommended over clean, sound, dimensionally stable masonry or concrete. It cannot be used over cracked or coated surfaces as can the previously described meth­ od 1. Materials for this form of tile setting are: (1) Dry-Set mortar— conform with ANSI All8.1. (2) Latex-portland cement mortar— conform with ANSI A118.4. (3) Grout is the same as in the previous method of installation. The surface must be free of coatings, oil, wax, and all concrete should be brush-hammered or heavily sand­ blasted before starting the installation. The maximum variation in the masonry surface should not exceed ½ inch in 8 feet from the required plane. Expansion joints are the same as with the previous method. For both these techniques, all specifications for ceramic tile in­ stallation must, of course, conform to local building codes, ordi­ nances, trade practices and climatic conditions. American National Standards Institute standards should be utilized for developing ac­ tual specifications. Subscribers’ inquiries are welcome and those of general interest will be answered in this column. Due to volume, letters may not be answered personally. Send questions to: Technical Staff, Ceramics Monthly, Box 12448, Columbus, Ohio 43212. 74 CERAMICS MONTHLY News & Retrospect sis that reflects international contemporary concerns with clay, the works themselves re- sgraffito decoration or brushwork, most of the surface effects are achieved by glazing. Sometimes a white porcelain slip or black engobe may be applied before the glaze. Rims may be double-dipped in a contrasting color, or free swirling splashes of a second glaze may be applied over the base glaze. Many of the recipes in the Morris’s palette of browns, oranges, blues and celadons yield their own color compositions, which emerge in reduc­ tion firing as broken textures, subtle gra­ dations and color changes. Text: Daphne Ah- lenius; photos: Robin Collier. Willy Scholten Slab-built sculpture and wall reliefs by Willy Scholten, Lubbock, Texas, were shown at Los Llanos Gallery in Santa Fe through August 4. Most of these clay on welded steel

Imre SchrammeVs 5-inch form with bullet hole fleet cultural values and environmental in­ fluences of the countries from which the art­ ists originate. Starting as a symposium to explore the theme “Earth” (see CM, May 1981), the group first came together in 1980 at the Interna­ tional Studio for Experimental Ceramics in the small Hungarian town from which it took its name. Participants were selected from more than 80 applications, with the purpose of bringing together professional ceramists to explore materials, exchange ideas, and be­ come familiar with Hungary and the Kec­ skemet studio. What was remarkable at that first en­ counter was the high degree of support and cooperation within this group. Of the 13 par­ ticipants, many had attended other symposia, and all were struck by the sense of non-com- Salt-fired clay on welded steel sculpture petition at Kecskemet. Later, officially adopt- forms depict male postures, “a macho image with spread legs and broad shoulders,” the artist explains. Averaging 2-3 feet in height, the works were low fire salted, high fire salt glazed or reduction fired in a gas kiln. Kecskemet Group in Oslo Most of the 120 ceramic objects in a recent exhibition at the Kunstnerforbundet Gallery in Oslo were fired with little or no glaze by members of the Kecskemet Group—13 ce­ ramists from both sides of the Atlantic: Kari Christensen, Norway; Eija Karivirta, Fin­ land; Klaus Lehman, Robert Sturm, Fritz and Vera Vehring, West Germany; Janos Probstner, Imre Schrammel, Hungary; Lou Schmidt , Switzerland; Jack Sures, Yvette Mintzberg, Canada; Ulla Viotti, Sweden; and Maria Voyatzoglou, Greece. A common belief among the group mem­ 7-inch stoneware pyramids by Eija Karivirta bers is the dominance of “pure” clay as a ing the name Kecskemet Group, they decided vehicle of expression in their work. It is cu­ to stay together and hold periodic exhibitions rious that where their techniques and aes­ in various countries. thetic orientations have a strong common ba­ Please Turn to Page 79 October 1984 75 76 Ceramics Monthly New Books

Raised in Clay family recalled: “ T was just out of high school, called T material from which the majority The Southern Pottery Tradition and they put me to making balls for Uncle of his independent work was made thereafter. Jay (Javan), 25- to 30-pound balls. Now, “No ceramic tradition lay round about him by Nancy Sweezy Uncle Jay was a little man, 5 feet, 4 inches to affect his development,” the author ex­ tall, weighed about 100 pounds, and wore a plains. According to Hans, he worked “in Of interest to collectors, students and profes­ shirt and tie to turn in all day long. He was reaction” to Lucie Rie’s pottery. More in­ sional potters, this book is based on recent 72 or something, and my whole train of terested in contemporary sculpture, “he was interviews with Southern folk potters from thought was, “I’m 17 and I’m going to work uninfluenced and unmoved by any other North Carolina to Texas. Their pottery tra­ him to death.” By dinnertime I thought they modern potter’s work. In conceiving his pots, dition “is a singular and anomalous extension were going to have to carry me out. He killed he was very much concerned with the space of craft that was once an integral part of the me. There’s no way a man could have made between and around them. He often drew American agricultural economy, continuing balls and kept up with him. He had to wait outlines of pots temporarily on wet clay slabs, after its products had been supplanted in oth­ on me. I put sticks and rocks in them to slow and it was no accident that shapes overlapped er regions of the country by manufactured him down, and then he’d have to stop and on these low reliefs. Hans was also interested objects. pick them out of the ball. That’d give me 30 in the negative spatial shapes created when “The earliest potters settled in the small maybe 40 seconds. He could make all day pots interacted, so that each pot has its place but burgeoning villages of the southern long. Sometimes he’d make 700 and some­ in a very complex pattern.” Through various American colonies, where the king’s gover­ thing gallons in a day and play two games teaching positions in the 1960s and ’70s, he nors imposed restrictions on—among other of ball that afternoon. And he did that on a influenced a generation of English ceramics things—the making of pottery. It was crown kick wheel.’ ” students. Potter Elizabeth Fritsch wrote: “His policy that the development of the new col­ Most of these potters dug their own clay, teaching had the same integrity and strength onies be fostered according to established em­ built their own labor-saving equipment and as had his pots—graceful, direct, precisely pire patterns, wherein a colony supplied raw wood-burning kilns (illustrated by line and sensitively tuned.” By the mid ’70s he materials for industries in the homeland and drawings in a chapter on process and equip­ was diagnosed as having a motor neuron dis­ then purchased back the imported manufac­ ment). According to Georgia potter Lanier ease which caused slowly developing paral­ tured goods, including pots. Production of Meaders, “ ‘What makes the best potter is ysis. In 1979 he made his last pots. 208 pages some utilitarian ware, however, was permit­ somebody that’s hungry. He’s got to be hun­ including portfolio of works, technical notes, ted in America. The colonists resisted policies gry and in debt and about to be foreclosed. chronology and bibliography. 40 color plates; limiting their independent growth, and re­ If he’s like that, he’s got to make a good 225 black-and-white illustrations. $37.50. stricted products were often made with the product. But, if he’s got plenty of money, Harper & Row, 10 East 53 Street, New York knowledge of the governing English officials. always had a silver spoon in his mouth . . . City 10022; or from the Ceramics Monthly Highly skilled potters in several colonies were Lord, what difference does it make?’ ” Book Department, Box 12448, Columbus, Ohio producing both earthen- and stoneware. The Today’s remaining southern folk potters 43212. degree and competency of production was retain close ties to early production methods, understated in reports to England by Vir­ but many also incorporate modern equip­ ginia’s royal governor, William Gooch, who ment into the studio to help compete in the referred to one shop owner, William Rogers current marketplace. 280 pages including The Law (in Plain English) (active 1720-45), as the ‘poor potter’ of York- bibliography. 8 color plates; 200 black-and- for Craftspeople town. white photographs. $39.95 hardcover; $19.95 “The priority of settlers—including pot­ paperback. Smithsonian Institution Press, Of­ by Leonard D. DuBoff ters and other craftsmen—was, of necessity, fice of Folklife Programs, Washington, D.C. with Michael Scott farming. A frontier society is isolated and 20560; or (in hardcover only) from the Ce­ must be nearly self-sufficient; thus, obtaining ramics Monthly Book Department, Box “Laws should be like clothes,” said Clarence food and shelter are its primary survival ac­ 12448, Columbus, Ohio 43212. Darrow. “They should be made to fit the tivities. Once grown, however, food must be people they are meant to serve.” However, prepared and preserved, and potters were many craftspeople are stymied by the three- needed to supply appropriate vessels. Charles Hans Coper legged pants of current legislation affecting Craven’s remembrances of his childhood in by Tony Birks the sale of their work and the operation of the early twentieth century on a farm pottery their businesses. The legalese and unfamiliar may also be descriptive of early southern pot­ Although his work is often described as bookkeeping principles involved often make tery work patterns: ‘The best time of the year sculptural, Hans Coper “was determined that it necessary to hire outside help. This hand­ for making pottery was from when we got it should remain pottery, not sculpture, by book, written by an attorney with case his­ through with the crops until it got too cold. ensuring that everything he produced was a tories from Michael Scott, editor of the Crafts In early spring, it’d get warm enough to work container and by submitting always to the Report, focuses on the primary business con­ before we ever start farming. And, between discipline of the wheel as his starting point cerns of craftspeople. Interpreted are specific time, there was a streak in there before har­ for the development of the shape,” observes laws covering the type of business organi­ vest where we had right much time to work. the author of this illustrated biography. Hav­ zation, trademarks, contracts, consignment, We didn’t figure we ever had no time to rest ing left Nazi Germany as a teenager, Hans working at home, keeping taxes low, copy­ at all—no matter what the situation.’ ” eventually found employment at Lucie Rie’sright, insurance, product liability, labor re­ At the (approximately 35) potteries prac­ London studio. Here he made ceramic but­ lations and payment for work. Also discussed ticing traditional production in 1982, knowl­ tons at first, but then learned to throw at a are when and how to hire a lawyer and other edge of materials, skills and diligence have local art school. While helping with the pro­ professionals. 139 pages. $7.95 (plus $1 post­ been passed down from earlier generations. duction of the studio’s domestic ware, he ex­ age). Madrona Publishers, Inc., Box 22667, Charles Brown of a North Carolina potting perimented with the new grainy white clay Seattle, Washington 98122. October 1984 77 78 Ceramics Monthly News & Retrospect tabbies and tigers often appear as part of her Continued from Page 75 underglaze imagery. The ware is fired to Cone 10 in a 40-cubic-foot downdraft kiln. Re­ Meeting for the first time in three years, duction firing mutes the typically bright colors in Norway, they made plans to work along­ of the commercial underglazes. Photo: Mark side one another again, for it was while Segal. Ilena Grayson Featured in an exhibition at the 1984 Lubbock Arts Festival (Texas), smoked earthenware pots by Ilena Grayson (Albu­ querque) are influenced by the subtle colors and expansive horizons of the Southwest, to­ gether with diverse cultural styles ranging from Native American to African. Formed

Fritz Vehring’s 14-inch stoneware helmet with manganese 14-inch burnished and smoked earthenware vessel working together that the most significant from coils and slabs of red clay and bur­ exchanges took place. “As we work,” said nished, the pots are bisqued, then smoked in Imre Schrammel, “we get to know each other various combustible materials such as better. Each person’s work is like his or her leaves, sawdust, paper and dung. own handwriting within the group; but “Simplicity of process and form has been through the individual efforts of each mem­ my primary concern,” commented Ilena. “I ber, we go beyond the object to see human have developed an approach to clay that en­ qualities.”Text: Yvette Mintzberg and Jack ables me to put all my creative energy into Sures. the actual construction of the pot. Once the form is built, the kiln transforms it into a Solveig Cox permanent entity; the smoking ‘paints’ the A solo exhibition of porcelain plates, bowls, surface.” vases and mugs decorated with cats in var­ ious postures bySolveig Cox , Alexandria, Jo Kirschenbaum Virginia, was presented recently at Jackie Influenced by the ancient arts of Persia and the Orient, thrown porcelain vessels by Cleveland ceramist Jo Kirschenbaum were featured in a one-person show at the Akron

19V2-inch bowl with black on turquoise glaze Art Museum through June 10. Part of the 13-inch porcelain plate, with reduced underglazes forms in the exhibition were glazed with high- Chalkley Gallery in Washington, D.C. In­ fire crystalline or oil-spot recipes, while oth­ terested in pattern on pattern, Solveig began ers (such as the thrown and altered bowl working with the cat motif in drawings done from the “Persian Series,” above) were dec- as a student nearly 40 years ago; now these Continued October 1984 79 News & Retrospect Piedmont Craftsmen recently announced the appointment of Jan Detter as executive orated with black brushwork on a low-fire director. Formerly the director of the non­ turquoise glaze. profit Hand Workshop in Richmond, Vir­ ginia, she will be in charge of organizing Piedmont Craftsmen marketing events for guild members and Four North Carolina potters (Geff Reed , structuring educational programs designed to Burnsville; Will Ruggles, Douglass Rankin raise awareness of traditional and contem­ and Kenneth B. Sedberry, Bakersville) were porary crafts.Photo: Smith/Weiler. among the 21 craftspeople recently accepted as new exhibiting members of Piedmont Steven Glass Craftsmen, Inc. Headquartered in Winston- Large thrown vessels, teapots and table­ Salem, the 20-year-old guild now represents ware bySteven Glass were exhibited recently 235 artisans from 12 southeastern states. at Visions Gallery in Richmond. Currently Characteristic of the collaborative work by resident potter at the Virginia Museum of

Ruggles and Rankin1 /2-inch12 covered jar “Qui Peut Dire,” 22 inches in height Will Ruggles and Douglass Rankin, this Fine Arts in Richmond, Steven works with thrown stoneware jar was decorated with Cone 7 porcelain and a palette of brightly white and black slip, and wood fired. colored slips.

80 CERAMICS MONTHLY