William Hunt...... Editor Ruth C. Buder ...... Associate Editor Robert L. Creager...... Art Director Kim S. Nagorski...... Assistant Editor Mary Rushley...... Circulation Manager Mary E. Beaver ...... Circulation Assistant Connie Belcher...... Advertising Manager Spencer L. Davis...... Publisher

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Ceramics Monthly (ISSN 0009-0328) is pub­ lished monthly except July and August by Professional Publications, Inc., 1609 North­ west Blvd., Columbus, Ohio 43212. Second Class postage paid at Columbus, Ohio. Subscription Rates: One year $22, two years $40, three years $55. Add $10 per year for subscriptions outside the U.S.A. Change of Address:Please give us four weeks advance notice. Send the magazine address label as well as your new address to: Ceramics Monthly, Circulation Offices, Box 12448, Columbus, Ohio 43212. Contributors: Manuscripts, photographs, color separations, color transparencies (in­ cluding 35mm slides), graphic illustrations, announcements and news releases about ceramics are welcome and will be consid­ ered for publication. Mail submissions to Ceramics Monthly, Box 12448, Columbus, Ohio 43212. We also accept unillustrated materials faxed to (614) 488-4561. Writing and Photographic Guidelines:A booklet describing standards and proce­ dures for submitting materials is available upon request. Indexing: An index of each year’s articles appears in the December issue. Addition­ ally, Ceramics Monthly articles are indexed in the Art Index. Printed, on-line and CD-ROM (computer) indexing is available through Wilsonline, 950 University Ave., Bronx, New York 10452; and from Information Access Co., 362 Lakeside Dr., Forest City, Califor­ nia 94404. These services are available through your local library. A 20-year subject index (1953-1972), covering Ceramics Monthly feature articles, and the Sugges­ tions and Questions columns, is available for $1.50, postpaid, from the Ceramics Monthly Book Department, Box 12448, Co­ lumbus, Ohio 43212. Copies and Reprints: Microfiche, 16mm and 35mm microfilm copies, and xerographic reprints are available to subscribers from University Microfilms, 300 North Zeeb Road, Ann Arbor, Michigan 48106. Back Issues: When available, back issues are $4 each, postpaid. Write for a list. Postmaster:Please send address changes to Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Form 3579 requested. Copyright © 1992 Professional Publications, Inc. All rights reserved

2 Ceramics Monthly March 1992 3 4 Ceramics Monthly VOLUME 40, NUMBER 3 • MAJRCH1992

Feature Articles

London Theme Auctionsby Philip Stanbridge...... 27

Ruth Duckworth ...... 32

Building Experience by Steve Davis-Rosenbaum ...... 36

Artists on Their Own ...... 40

Portfolio: Elizabeth MacDonald ...... 41

Confessions of a Collectorby Oswald Harding...... 49 Building Experience In launching his career as a functional potter, Steve Davis- Rosenbaum tries “not to think too much, Technical letting the pots develop through repeti­ Crystalline Glazes; A Precise Method by Bevan Norkin...... 78 tion and previous experiences,” while per­ mitting surprises and variation in form to keep the work fresh; see page 36.

Crystalline Glazes With consistent ma­ Up Front terials, properly suspended glaze mixtures and a repeatable firing cycle, crystal for­ mation is no longer an elusive effect, but Tiffany Award Winners ...... 10 Cristina Carver ...... 16 you’ll need an accurate temperature-con- trol system to guarantee results; for details, Mugs, Jugs, Rugs & Bugs...... 10 Robin Hopper Workshop see the article beginning on page 78. by David Bradley ...... 16 Bioceramics at Alfred...... 10 London Theme Auctions A marketing William Disbro...... 18 trend toward grouping contemporary Rene Murray...... 10 work by cultural and educational influ­ Redefining Clay ence seems to have had a positive impact Minnesota Fire...... 12 by Jeffrey Hughes ...... 20 on prices. Recent sales showed “an upturn and certainly returning strength in the Erik Gronborg’s Tables On Reflection upper value brackets”; page 27. by Art Grupe ...... 12 by Paula Gustafson...... 22

Confessions of a CollectorWhen pos­ session becomes an obsession, not even an unpaid hotel bill is allowed to come be­ tween the collector and the object of de­ Departments sire. That is, not when the collector is Jamaican Senator Oswald Harding, who confesses to an addiction for “the search, Letters...... 8 Video...... 76 the tracking, the finding, as well as the selection” of studio ceramics; see page 49. Call for Entries ...... 53 Classified Advertising ...... 84

The cover Connecticut artist Elizabeth Questions ...... 58 Comment: MacDonald; for the past ten years, much North of the 49th Parallel of her time has been spent on handmade Calendar ...... 62 by Tony Clennell...... 86 tile murals (priced by the square foot). See the portfolio beginning on page 41. Suggestions...... 74 Index to Advertisers ...... 88

March 1992 5

Letters by making it shrink more.” It is a common that we can make, and educate the public mistake to confuse shrinkage and thermal to this end. Otherwise, you are letting expansion/contraction. money rule your art, instead of letting Shrinkage is a nonreversible process your mind rule your art and life. that accelerates as the kiln temperature Suki Meyer approaches the maturity point. At this Midlothian, Va. Art World Implosion Imminent point, almost all glazes (particularly clear Labeling is often disabling. “Art” has glazes) are fluid and will accommodate a Passionate, but Grumpy grown into one of those labels that ex­ wide variety of body shrinkage rates. As a biologist and an amateur potter, I plains everything while defining nothing. Problems with body/glaze fit are usu­ find it interesting how “snappy” artists are. Likewise, the label “artist” is as meaning­ ally caused by a difference in the thermal So-and-so is incensed about what so-and-so less to the global village as “liberal” and expansion/contraction rates of the two. said or did in the last issue. Scientists are “conservative.” The art world has grown Stress begins to build up as soon as the exactly the same in their correspondence. increasingly more self-serving. As such, we ware has cooled enough for the glaze to Passion is our common thread. Per­ are in danger of imploding. It is time for solidify, and is aggravated thereafter every haps it is the passion needed for creativity us to learn to see beyond our studio win­ time the piece changes temperature. This that makes us both grumpy. dows and respond. is why shivering often doesn’t occur until Richard Londraville Chuck Lawhon weeks after a piece comes out of the kiln. Costigan, Maine Los Alamitos, Calif. Shivering and crazing are opposite sides of the same problem. They are often Adventures in Reading For a More Vital World solved by adjusting the silica content of I am a nonceramist. (My wife is the Argue, critique, do everything to make the body or the silica and/or lithium potter.) However, I love the continuing the world more vital. That’s what art is content of the glaze. controversy over art versus craft/industry. about. We, as artists, need to be willing to Daniel Heinecke Please continue to combine the contrast­ change. Millsboro, Del. ing articles that generate those letters. Walter Holland They make each issue an adventure to Pecos, Texas Getting Something from Art read. I look forward to them every month. I am basically a functional potter. My Daniel Grimm More on What’s Happening aim is to bring beauty into everyday life. If Wauwatosa, Wis. I don’t much care for the grad school you can eat on beauty, that’s an extra. But froo-froo stuff—writing about what it I enjoy learning about the nonfunctional Working Mom means and all. I like short, biographical/ because it defines the outer limits and I don’t know where I’d be without technical profiles with lots of good, clear gives me ideas. Ceramics Monthly. I have four small chil­ pictures. Looking at a work of art is like reading dren. There’s no time to go back to Sometimes I wish Up Front was more a book—everyone gets something differ­ school to get the training I’d love to have. investigative or self-driven. Too much of it ent out of it and that’s what’s important. CM is very educational for me. Being a looks like press releases from galleries or Barbara Owen mom full time and a potter part time, I self-promoting types. I’d rather see what’s Ellensburg, Wash. feel like my business has been a raging happening and good than what happened success just to break even after the pur­ to float into one mailbox. A Better Place chase of a van (albeit an old one). Carl Baker The pastel-colored stuff is boring. Just when I begin to think I’ve arrived Santa Cruz, Calif. Someone said it best in CM: The purpose as a potter, CM comes. It’s a humbling of art is to take us to a better place, not experience, as well as inspiring. It gives Something for Everyone just a different place. Hamada is the best me the inspiration to strive for the excel­ With all the garbage I read in Letters, place I’ve been yet. lence I see in the work represented. it’s nice to see that CM has something for Bruce Vahjen Monica Linford everyone. If someone cannot find that New Fairfield, Conn. Clearfield, Utah which is meant for her/him, perhaps the eye needs to be adjusted rather than the Strive for the Best Limit Words reading material. I would like to see more emphasis on Please consider limiting the length of Dan Triece good, clean, functional ware. Just the the Letters and Comment columns. The Kannapolis, N.C. surface is not enough for me. I would like rambling, esoteric dissertation seems to see how the bottom looks, how well it is better suited to a composition class. Those Shrinkage Misconception trimmed. So many potters ignore the who love the sound of their own words I am writing concerning what I believe details because it takes time, and time is might consider buying a tape recorder. to be an error in a Questions column money. But the ones who do still feel M. Larson response (September 1991). W.M.’s prob­ every part of the finished pot is important Suttons Bay, Mich. lem is glaze shivering over commercial and take a little extra time to do it right slips. CM’s answer about slip is correct if should be given credit for it. It just cheap­ Share your thoughts with other readers. All letters the problem is in the body/slip fit. ens craft when the feeling is “If the public must be signed, but names will be withheld on However, the response then states: “In doesn’t see or know about it, it doesn’t request. Mail to The Editor, Ceramics Monthly, either case, the glaze is shrinking less than matter.” Box 12448, Columbus, Ohio 43212; or fax to desired, so you can correct this problem We should all strive for the best pots (614) 488-4561.

8 CERAMICS MONTHLY

Up Front

Tiffany Award Winners Ceramists Richard Notkin (Myrtle Point, Oregon) and Jeff Perrone (New York City) were among 23 recipients of Louis Comfort Tiffany Foundation Awards. The $20,000 awards are given to artists “whose work shows talent, promise and individual artistic strength, and whose work has not yet received widespread critical or commercial recognition.” Award candidates were nominated by the foundation’s trustees, previous award winners, artists, critics and mu­ Jane Perryman pitchers, to 14 inches in height, handbuilt, sawdust fired. seum professionals throughout the United States. Selec­ tion for the 1991 awards was done by a jury consisting of bly.” So the decision was made to include jugs, “because William Bailey, Chuck Close, William Daley, Susanne everybody needs them,” mugs “because they go with jugs,” Ghez, Martin Puryear, Robert Storr and Diane Waldman. rugs “to warm your toes in winter,” and even bugs “be­ cause...well, why not?” Mugs, Jugs, Rugs & Bugs Functional stoneware and earthenware vessels by ten Bioceramics at Alfred British potters were on view in “Mugs, Jugs, Rugs & Bugs” First there was Arnold Schwarzenegger as the bad Termi­ through February 12 at Oxford Gallery in Oxford, En- nator. Then he became a good Terminator for the movie sequel. What made this rebirth possible was program­ mable ceramic circuitry. Of course, modern medicine is a long way from the cybernetic systems envisioned by Hollywood, but some ceramic repairs in the human body (dental crowns or bone replacements, such as hip joints) are commonplace. And the field is growing. Bioceramic replacements are “highly compatible,” explained Gary Fischman, director of the newly created Bioceramics Institute at the New York State College of Ceramics, Alfred University. “Metals can react (chemi­ cally) in the body. Most ceramics do not.” Because ceramics are inert, they are appropriate for contact with cells, proteins, tissues, organs and bones, said Fischman. Moreover, ceramics are smoother and wear better. “When a ceramic joint, for example, rubs against bone,” he continued, “it should not abrade it the way another material might” In addition to furthering research on bioceramic repairs and replacements, the institute plans to explore several new applications, such as ceramic circuits that may help people “feel” with artificial hands. It may even be possible to implant piezoelectric ceramics (which change Ruthanne Tudball’s sodium-glazed stoneware pitcher, voltage when stress is applied) to assist with diagnosis and 11 inches in height; at Oxford Gallery, Oxford, England. initiate treatment. According to Fischman, these would be similar to the electronic systems hooked up to cars to gland. The exhibition as originally planned was to feature detect mechanical problems. “that most satisfying vessel for both potter and user, the jug” (or pitcher, as it is known in the U.S.). But the gallery Rene Murray “could not resist extending it into an alliterative assem- On view recently at Home Pottery in Brooklyn were approximately 50 vessels and wall forms by Rene Murray. Many of the featured works incorporate figure elements: You are invited to send news and photos about people, places or events of interest. We xvill be pleased to consider them for publication in thisslab-built face frames have arms encircling their mirror column. Mail submissions to Up Front, Ceramics Monthly, Boxbellies; rectangular covered jars have removable hands 12448, Columbus, Ohio 43212. that function as lids. Continued

10 CERAMICS MONTHLY March 1992 11 advantage of “the beauty of indigenous clays and mark­ ings left randomly by the firing.”

Erik Gronborg’s Tables by Art Grupe Erik Gronborg (instructor at Mira Costa College in Oceanside, California) has always considered function an essential part of his work. So when it came to creating large, clay, sculptural surfaces, he turned to that very functional of forms, the table. About five years ago, he started making shelves and stands for his daywork, as well as incorporating clay and wood into tables. Gronborg believes that allowing the expressive power of the material to show through, rather Rene Murray’s handbuilt “Face Plaque,” 14 inches in height, than imposing something from the outside, is important porcelain; at Home Pottery in Brooklyn. in both media. With this in mind, he selects local avocado wood purchased from landowners, and ages it several Regularly shown in the New York metropolitan area, years at his studio prior to using it. He finds the natural Murray’s work has also been spotlighted in New York Magazine s “Best Bets” column.

Minnesota Fire Low-tech firing methods were the focus of “Fire,” an exhibition and two-day workshop at the Northern Clay Center in Saint Paul, Minnesota. Shown together with the work of guest artists Dale Bryner-McMillan (Mesa, Ari­ zona), George Kokis (Eugene, Oregon) and Nancy Liedl (Saint Paul) were historical examples of pots from cul-

Erik Gronborg developing table sections in his Solana Beach, California, studio.

curves of this wood add an expressive power that com­ mercially milled wood lacks. “We live in an industrial society, efficient at making uniform objects. But there are also shortcomings to this— no individual touch. Mass production makes the assump­ tion that one size fits all.” Gronborg’s multimedia work is a response to that mass Dale Bryner-McMillan’s “Polychrome: Revisited,” 15 inches production, which he regards as a challenge to make square, handbuilt earthenware plaque, brushed with slips, something personal. sawdust fired, $400; at the Northern Clay Center, Saint Paul. Each piece begins as a slab of commercial Cone 6 stoneware rolled by hand on a piece of heavy canvas. He tures around the world that revealed firing marks from avoids slab-rolling equipment, saying his collection of simple fuels such as grass, wood, charcoal and dung. rolling pins allows more control. He also avoids the mark Digging, processing, forming and firing clay, “using of the hand (such as thumbprints), preferring to work the simple, self-sufficient methods, offers one opportunity to clay with tools to provide clean, crisp lines. reconnect with the primal roots of contemporary clay and “Anything you can poke into clay is a potential tool. find one’s own place in the whole,” remarked Bryner- The initial shape doesn’t matter, though the simple ones McMillan. Her work is “an assimilation of ancient South­ seem to work best to create a pattern.” west pottery methods, a love for the desert and These tables, whether their legs are of clay or wood, appreciation for the clay itself.” The handbuilt forms may are made in sections for ease of transportation. After incorporate slip decoration, but remain unglazed to take bisquing to Cone 06 in an electric kiln, they are brushed

12 CERAMICS MONTHLY March 1992 13 Up Front Lead Base Glaze (Cone 07) Lead Carbonate...... 66.67% Kaolin...... 13.33 with slip of the following recipe given in parts by weight: Flint...... 20.00 100.00% Black Slip (Cone 6) Lead carbonate is soluble and therefore potentially toxic Black Iron (or Cobalt) Oxide...... 25 parts to the potter and user. Manganese Dioxide...... 75 Red Iron Oxide...... 50 Color variations are made with the following additions: Kingman Feldspar...... 100 Blue Barnard Clay...... 500 Cobalt Carbonate...... 0.50% 750 parts Manganese Dioxide...... 0.17% Green That slip is then wiped off the surfaces so what remains Copper Carbonate...... 3.33% accents recessed areas. Next, the pieces are coated with Yellow the following clear gloss glaze: Potassium Bichromate...... 1.50% Also, after a short hiatus, Gronborg has resumed Clear Gloss Glaze (Cone 6) Barium Carbonate...... 5.82% making photo-collage ceramic decals using powdered Colemanite...... 19.65 enamel and a decal medium sold by L. Reusche & Com­ Whiting...... 1.57 pany, 2-6 Lister Avenue, Newark, New Jersey 07105. He Zinc Oxide...... 2.83 Kingman Feldspar...... 39.31 says their selection of “15 different blacks and hundreds Kaolin...... 8.81 of different colors” is good and highly consistent. Flint...... 22.01 First, the color and decal medium are ground together 100.00% in a ratio of 3 parts color to 1 part medium; more me­ After a Cone 6 firing, Gronborg may then add color in dium may be added to achieve the right consistency for the form of a lead glaze that matures at Cone 07 (but he silk screening. After the image has been allowed to dry on avoids and cautions against its use on the inside of any the decal paper for two to three hours, a clear cover coat vessels that might be used for food storage): is applied through a blank, coarse silk screen. Continued

Wooden table with grouted ceramic elements by Erik Gronborg.

14 CERAMICS MONTHLY March 1992 15 Up Front Studio fellowship, which provides one year of free work space and a monthly stipend. Her large-scale sculpture reflects “a long-term fascina­ tion, even obsession, with organic forms, especially their interior structures.” She compares her approach to time- lapse photography, which shows an entire action in one frame. “In my work I make use of this idea of historical development and motion in a single frame—capturing time as an object for the viewer.”

Table with polychrome legs and inset tile by California Robin Hopper Workshop ceramist Erik Gronborg. by David Bradley Canadian potter/author/educator Robin Hopper gave a When transferring the decal onto ware, it is important two-day workshop recently at Phoenix College. While to make sure all moisture is removed. If any moisture throwing, trimming, assembling and decorating a variety remains after application, pinholes can develop during of forms, Hopper discussed his life as a production potter firing. L. Reusche recommends slow firing from room in England and Canada. temperature to 750°F to prevent blistering. A short soak­ Hopper’s beginning in clay was as a teenager attending ing period once temperature is reached (Cone 019-018) art school in England. He discovered a production pot­ is suggested as well. tery one day and, interested, asked for a summer job. He Gold, silver and platinum lusters may also be applied got one, but without pay. So Hopper began his career by (with a brush) at the same time as decals. wedging clay ten hours a day, six days a week—for free. Once the decoration/firing stage is complete, tile As he talked during the workshop, Hopper swiftly sections are attached to wood with commercial tile adhe­ threw bowls, plates, bottles, a casserole, a 3-gallon pitcher sive (from any hardware store), then gaps are grouted. and parts to be assembled into a teapot. He feels that “in Priced at $4000 to $8000, Gronborg’s tables were England and North America, the best one-of-a-kind featured in recent exhibitions at MPIA Gallery in Solana pieces are made by production potters,” due to the com­ Beach, California; the Gallery of Functional Art in Santa plexity of throwing pieces on the wheel. “It takes 15 years Monica; and Glendeven Gallery in Mendocino. to be a potter—seven or eight to learn how to do it,” he Cristina Carver states, “and seven or eight more to learn why to do it. “Throwing pots is like playing a musical instrument—it “Metamorphose,” an exhibition of works by Cristina should be instinctive, which comes only from dedicated Carver, was presented recently at the Clay Studio in effort toward mastering the basics.” Philadelphia. Selected from approximately 75 applicants Some basics Hopper feels are important: adjust the from across the country, Carver is a recipient of a Clay seat to the same height as the wheel head; center by pressing downward with the right hand, which spreads clay against the left palm; open with the right palm; do subsequent movements requiring more sensitivity on the right side of wheel (as clay turns away from you). Hopper threw a number of pieces from colored clay laminated with white clay for a “marbled” or striated look. This technique, like many others, was inspired by the study of geologic specimens in museums when he was young. These studies continue today, and he cites influ­ ences from nature as well as Mimbres pottery, ancient armor, clothing and furniture in his work. Hopper spends much of his nonpotting time tending the 4-acre garden surrounding his home in Victoria, British Columbia. From the garden comes inspiration as well. Seeing it as environmental sculpture, Hopper sets up structures within the garden to study mass, line and color. Beginning the second day of the workshop with a video on Canadian ceramics (including a glazing demon­ stration by Hopper at his studio), he continued with a demonstration of several methods for faceting and fluting marbled clay pots. The faceting was done with a Surform tool, which shaved the surface neatly. Knobs, handles and feet were turned, pulled and thrown respectively.

Cristina Carver’s “Mycalactay,” white earthenware, 26 inches Of interest to all was the assembly of a tall bottle and its in height; at the Clay Studio in Philadelphia. foot. A slender ovoid with a small neck had been thrown

16 CERAMICS MONTHLY March 1992 17 Up Front pigment/vinegar solution will react with the slip to create a delicate tracing of treelike patterns.

William Disbro “Priority Facade,” a clay and mixed-media wall sculpture revealing a personal view of contemporary culture by William Disbro (Jamestown, New York), was exhibited recently at International House in New York City. “The overall form of the piece is adapted from the Gothic cathedral, definitely a value statement for those builders,” Disbro explained. “In ‘Priority Facade,’ symbolism underlies the forms and the relationships of the forms. The higher up the facade, the more important the form. This is a hierarchi­ cal statement of values. “The absence of blatant religious forms is significant. The Catholic cathedral represented almost the entire medieval population in all ways: social, economic, reli­ gious, intellectual. In this piece, the cathedral is used to Slip-decorated forms made by Canadian potter Robin Hopper show relationships without the religious significance of during a Phoenix College workshop. form, just as in our culture the form is present without significance. without a bottom, then pressed onto an oval slab. A short, “The highest openings or windows are reserved for inverted, closed funnel shape had been thrown as well. our most valuable, treasured concerns—our military. The funnel was turned over (open end up); upon this the Also, in this highest regard are the symbols of our federal oval body was placed, slipped and attached. The excess republic—the eagle in front of the stars and stripes. Close clay was trimmed away and planed smooth. observation of the eagle reveals a bird form that also As a teapot was assembled, Hopper amused the audi­ might remind one of a buzzard, that scavenger for suste­ ence with his habit of playing a tune on each teapot that nance. he makes. ‘Just beneath the highest level, we find the ‘wheel’ or He concluded the workshop with a demonstration of ‘rose’ window surrounded with values of equal impor­ decorative techniques using slips and overglaze stains, tance. The center of the wheel is self, our most important focusing on five traditional English slipware methods: concern. Directly behind is a large house. Our homes are combing thick colored slip on bone-dry ware with fingers sites that dominate nature rather than coexist. or tools to achieve subtle variations under a clear glaze; “To the left of the wheel window, we find two openings dotting slip in a pattern onto a wet slip of contrasting having to do with our immediate concerns: clothes and color; trailing slip across the wet surface of a slip of con­ cars. The far left opening is filled with clothes, but the TV trasting color, then drawing a quill perpendicularly across monitor at the top shows an empty hanger, telling us that them both to create a feathered pattern; trailing one slip we can never have enough proper clothes. The next in an irregular pattern onto another slip in a different opening deals with cars and how they become feminine color, then shaking to create marbling. objects for masculine manipulation. The negative space The fifth technique, mocha diffusion, is based on the between the cars becomes the figure of a woman with the dendritic growth patterns in nature. A dark slip is first top tires becoming breasts. applied to a leather-hard form, then a mixture of pigment “To the right of the wheel window, we find two open­ and cider vinegar is brushed on the surface. A line of ings whose subjects are also very dear to us: law and contrasting slip is then applied, and the surface is tilted commerce. The opening with the complacent judge vertically to allow the slips to slide across the form. The shows two lawyers shaking hands, each with one hand behind him holding a bag of tribute to help smooth the way for progress. These bags of tribute remind one of the medieval bag of silver always placed near Judas. Only lawyers have the ability to shake hands with a left and a right hand, all beneath a TV monitor showing unequal justice. The opening to the right reminds us that sex can sell anything to anybody, and that will make us happy— both the sellers and the buyers. “Immediately beneath the wheel window is a horizon­ tal division marked by a space bordered by four gargoyles. The medieval gargoyle had utility in that it projected Robin Hopper assembling parts of a tall parabolic bottle from rainwater away from the side of the cathedral, the water wheel-thrown parts. actually running through the mouth of these monstrosi-

18 CERAMICS MONTHLY March 1992 19 homeless who have gathered together to sleep under the Up Front watchful eye of one of their members, who holds a cane for protection. The right tympanum addresses what should be our highest priority and yet we find it at the ties—notices to the unwary of life’s temptations and bottom—children and education. How seriously should troubles. The placement of these four gargoyles provides we take a culture that has rising, not falling, infant mor­ a clear break for those concerns we acknowledge above tality rates and illiteracy? Here, equations are presented to and those events and existences we don’t choose to deal a figure who must count fingers and toes, yet will find no with below. success. “The first level below the gargoyles concerns itself with “At the very bottom, furthest removed from our con­ the environment that many find themselves living in—the sciousness, we find abandoned planters that once ele­ gantly announced an important entry to salvation. Now there’s a used beverage container laying against the weed- filled planter.”

Redefining Clay by Jeffrey Hughes The recent invitational exhibition “Redefining Clay” at Cecille R Hunt Gallery, Webster University, Saint Louis, attempted to extend the parameters of the ceramic arts by combining both functional frivolity and virtuosity with sculptural intensity. One of the primary strengths of the show was its eclecticism. For every element of the tradi­ tional, there was a quick reminder of the absurd, perhaps in direct reference to the immediacy of the medium. Of the 27 artists accepted, the majority presented traditional, wheel-thrown forms. However, this exhibition seemed to underscore that ceramics, like other contem­ porary art, is searching for a dominant force to give coherence. There were no theoretical surprises; rather, an insistence on possibilities. Gallery director John Hilgert and Webster University ceramics professor Jeri Au collaborated in the develop­ ment/installation of this exhibition. Works were displayed with an insight that hints at a methodical understanding of connectedness of form and intent. There were no direct stars here; each work was chosen to highlight the refreshing nondidactic or philosophically burdened level of the new works being completed in clay. Continued

William Disbro’s “Priority Facade,” 8 feet in height, carbon steel and Cone 6 ceramic forms with acrylic paints and varnish; at International House, New York City. occurrence of muggings, homelessness, deteriorating urban areas (notice the drug syringe on the fender of the abandoned car) and, of course, overcrowding of our jails. “Moving lower and getting further away from our consciousness, we find four figures representing segments of cultural neglect—Native Americans, the elderly, the infirm and basic dietary education. “At the lowest level, we find the entrances to the cathe­ dral form; even though doors are present and appear to be open, these are really not open. At the top of these entrances, we find TV cameras that are documenting everything, regardless if anyone is looking at monitors. “At this lowest level, in the left tympanum, we find « ...... „_ ’ / r ’ Chris Gustin stoneware teapot, thrown and coil built,12 starving children. The center tympanum deals with the inches in height; featured in “Redefining Clay” in Saint Louis.

20 CERAMICS MONTHLY March 1992 21 Dexter, Victoria, British Columbia; Walter Drohan, Cochrane, Alberta; Harlan House, Lonsdale, Ontario; Luke Lindoe, Medicine Hat, Alberta; and Ron Tribe, North Vancouver, British Columbia—all among Canada’s acknowledged master potters—and Lindsay Anderson, Regina, Saskatchewan; Cheri Sydor, Vancouver; and Bruce Taylor, Halifax, Nova Scotia—who in comparison are relative newcomers to the Canadian clay scene. These artists aren’t necessarily nonsubscribers to the publish-or-perish orthodoxy or its corollary, the exhibi­ tion circuit. But they are past the point of participating in competitive exhibitions or having their work juried. At

Judith Condon’s untitled sculpture (aka “Two Men with Two Cats”), one figure from a pair, handbuilt earthenware with black and white slips, 20 inches in height; at Cecille R. Hunt Gallery, Webster University, Saint Louis.

But while the exhibition demonstrated a vast array of activity in clay, in short, “Redefining Clay” didn’t. What it did do was argue for the existence of a happy uncertainty, a detente between clay sculpture and traditional vessel forms. This is not likely a static situation—“Redefining Clay” intimates the underlying imbalance of critical dialogue between factions of clay artists and the larger sphere of contemporary art.

On Reflection by Paula Gustafson The curatorial concept for “On Reflection...,” presented recently at Petro Canada Gallery in Calgary, Alberta, had its origins in an entirely personal desire for an antidote to all the insidious intellectualizing about deco-baroque and other forms of ceramic art I’ve encountered during the past several years. Don’t get me wrong. I’ve been excited and intrigued by some of the more recent innovations in daywork. But if I’ve learned anything at all during three decades as Harlan House’s “Iris Vase,” porcelain, 18 inches in height; at both potter and critic, it’s that, while there will always be Petro Canada Gallery, Calgary, Alberta. good pots and bad pots, the good ones sing. In this reactionary mode, I proposed an exhibition the same time, opportunities to show in a noncommercial distinguished for what it would not be. It would not venue, among others of equal distinction, are few and far promote political or moral messages. It would not dazzle between. viewers with technical cleverness or ideological correct­ I’d be the first to agree that we need “difficult” or ness. It would not need textual explanation or nationalis­ exploratory exhibitions from our art college graduates tic qualification. In short, it would present ceramic art for and others stretching the limits of creative endeavor. We its own sake, timeless and universal, as an affirmation of also need more exhibitions like “On Reflection...” to the potential of the potter’s quest. remind us that, in a time when all our value systems are The artists represented in the exhibition were Tony crumbling, we still know how to recognize excellence Bloom, Canmore, Alberta; John Chalke, Calgary; Walter when we see it.

22 CERAMICS MONTHLY March 1992 23

26 Ceramics Monthly London Theme Auctions by Philip Stanbridge

It may be too soon to tell, but last at Bonhams) was involved in orga­ tinely do not command more than autumn could have seen a firming nizing last year. the $900* that this one reached. trend toward grouping ceramics into The 14-inch-high, cut-sided vase themes or categories for auction. The The Leach Influence by William Marshall was, however, recent sale of contemporary works Michael Cardew and William Mar­ very Leachlike and the most highly at Bonhams in London was subdi­ shall, who were among early Saint priced example of Marshall’s work at vided into “20th Centuryjapan, Ber­ Ives (Leach) workers, had larger $1440 (nearly $300 above the cata­ nard Leach and His Influence” and numbers of their pots in the first sale log estimate). “Dame Lucie Rie, Hans Coper and than we normally see. Six lots strongly This auction also was particularly Their Influence.” The first evening’s demonstrated Cardew’s popularity interesting for having the largest se­ group was linked to the six-month, with buyers, as bids often exceeded lection of 20th-century Japanese ce­ nationwide Japan Festival that con­ the catalog estimates. In passing, ramics I have seen come under the tinued in the U.K. until the end of though, I have to say I couldn’t see hammer in one evening, making up, January. The second seems almost to much “Leach influence” in a huge as it did, over one-third of the lots be an extension of a touring exhibi­ (nearly 2 feet high), magnificent, offered. In general, interest was tion that Cyril Frankel (head of the Abuja water pot; neither can I see *A11 prices quoted in this article are based on a contemporary ceramics department why similar handsome pieces rou­ conversion rate of $1.80 to £1.

A pair of untitled vessels, each approximately 25 inches in height, by Joanna Constantinidis; $2070.

left Faceted porcelain vase with pale green celadon glaze, 14 inches in height, by William Marshall, for many years foreman and main thrower at the Leach Pottery in Saint Ives; sold at Bonhams in London for $1400, nearly $300 above the catalog estimate.

March 1992 27 above Four black-glazed stoneware sculptures, to 3 inches in height, by Yasuo Hayashi; $270, $342, $432 and $342.

far left Cycladicform, approximately12 inches in height, circa 1976, by Hans Caper; $39,600.

left “Spout Pot,” handbuilt stoneware, with white-glazed interior, 6V2 inches in height, by Elizabeth Fritsch; $4140.

strong and prices good, although the prices above nearly all the auction- Hamada and Leach were on one of catalog estimates suggested greater house estimates. their lecture tours, it had been given expectations. Shoji Hamada represents the com­ to the person offering it for sale, af­ A splendid, vigorously glazed mon Western perception of the Japa­ ter helping Hamada with a firing. charger by Kimiaki Takeuchi sold for nese potter. Two vases were the first It is interesting to note that al­ $3600 to the woman sitting next to of thirteen works by him in this sale; though there was once again vigor­ me. To digress for a couple of lines: the first, a hexagonal, 7%-inch-high ous bidding for a 5-inch-diameter the buyer of this plate, a delightful form with resist decoration and tem- teabowl, a 3%-inch-high beaker and and diminutive figure, sufficiently se­ moku glaze, was featured on the cata­ a 1%-inch-tall sake cup with prices of nior to be a grandmother, paid for log cover and saw considerable $2520, $1080 and $630, the market and collected her $3600 treasure at competition before bidding closed turned away from the pieces that were the end of the evening, then shoul­ at $7200. The second, a slightly more functional and Western in con­ dered her way out into the chilly No­ smaller, eight-faceted pot, accompa­ cept, with a 10/4-inch-high planter vember night to seek a number 52, nied by its signed box, went for $3240. reaching only $432 and a “Saint red, London bus for her journey Of the Hamada pots that followed, Ivesish” pitcher, perhaps 6 inches tall, home. there was once again keen and pro­ going to but $270. A group of small, black, sculptural longed competition in the bidding Some works by Kanjiro Kawai fol­ forms by Yasuo Hayashi were per­ for a flattened, gray-white bottle, lowed the Hamadas; a 3%-inch-high haps not what we might generally which pushed its price way beyond teabowl with its signed box and silk associate with Japanese ceramics, but the estimate to close at $4320. Made wrapping proved to be one of the they were well received, with sale during 1953 in Los Angeles when most significant pieces in the sale;

28 CERAMICS MONTHLY again, highly competitive bidding the same enthusiasm; bidding fin­ tussle over a 10-inch-tall vessel that quickly pushed the price beyond es­ ished at $2520, which, in common fetched $9000, as there was for the timate to finish at $5760. with most of the other works, was at smaller spouted form that followed, The first evening came to a close the low end of its estimated sale with once again the estimate ex­ with 30-odd lots related to Leach him­ range. The highest priced Leach ceeded to finish at $4140. self and remarkable for only 9 of work, a 1965 charger, closed bidding Particularly memorable were the them being pots. There were a num­ and the evening at $5400. large number (19 in all) of pots by ber of framed etchings that only Lucie Rie and Hans Coper worked Joanna Constantinidis, including fetched $130 to $160; this was sur­ during the 1960s and into the ’70s at some of the finest of her work that I prising because they were from edi­ two of the London Art Schools— can recall seeing. Two sensuous wave tions of only 25 and were immediately Camberwell and Royal College— forms led me to the sin of covetous­ preceded by a number of 4-inch- where they taught many of today’s ness, but at $2070 and a 10% buyers square ceramic tiles that went for be­ prominent U.K. ceramists. As I men­ premium (which incidentally at­ tween $200 and $300. This must have tioned at the start of this article, a taches to all of the prices quoted been one of the few occasions that a touring exhibition that visited Nor­ here), I had to watch them go to work made of clay has found a higher wich and Cambridge pointed out another admirer. price than a work on paper! connections between these teachers In my last London auction com­ The pots and their reception held and their pupils. In part, this sale felt mentary [see “A Hot London Sum­ no particular surprises. Leach is re­ like a continuation of that show. mer” in the October 1991 CM], I corded to have commented about Early on in the evening, buyers reported that things had eased back an 8%-inch-diameter bowl: “I like this seized the increasingly rare opportu­ on the prices of major Hans Coper cut-sided pot as well as anything I nity to bid for work by Elizabeth works as lots estimated at over have made.” But buyers did not have Fritsch. There was a competitive $10,000 or so seemed not to find

above left Stoneware charger with splashes of white, green and brown glaze, 21 inches in diameter, packaged in signed wooden box and yellow cloth, by Kimiaki Takeuchi; $3600.

above “Celestial Bowl,” 13 inches in diameter, thrown from colored clays to form a spiral of browns, pinks and greens, circa 1969, by Lucie Rie; $10,800.

left Stoneware teabowl with blue-gray glaze, approximately 3 inches in height, with signed wooden box and silk pouch, by Kanjiro Kawai; $5760.

March 1992 29 above left Flattened stoneware bottle, 73A inches in height, made in 1953 at the Chouinard Art Institute in Los Angeles by Shoji Hamada; $4320.

above middle Abuja water jar, 22 inches in height, incised earthenware, by Michael Cardew; $900.

above Faceted stoneware vase with saturated-iron glaze, 63A inches in height, packaged in signed wooden box and yellow cloth, circa 1955, by Shoji Hamada; $3240.

left Glazed stoneware bowl with 12 facets, 8½ inches in diameter, circa 1965, liked “as well as anything I have made,” by Bernard Leach; $2520.

new homes; and I even went so far as amusement of bidders looked as if it a 1979 vase that substantially ex­ to suggest that this might be a sign of could have brought shame to a ga­ ceeded expectations at $11,700. our recessionary times. For whatever rage sale, the lot fetched only $3240. With trend watching, we must al­ reason, if there was a problem in the ways wait to see what will turn up summer, it evidendy didn’t last into The Rie-Coper Influence next. Prices did seem to signal an fall, for the very first Coper, a black This two-evening sale moved into upturn and certainly returning spade form, only 6½ inches in height, its final phase with over 60 pots by strength in the upper value brackets. was batded over for some minutes Lucie Rie. If there were any doubts It still strikes me, however, that out­ before closing at $19,800. In gen­ after the Copers that optimism had side of established “investment” buys, eral, the bidding for all his works was become the mood of the evening, a there are still some very fine pots to brisk and it felt like all lost ground few minutes with the Ries banished be had for comparatively low figures. was regained by the time the last them. There surely could not have As for the trend toward “theme” piece, a slender, white, Cycladic form been any Rie sellers seriously disap­ sales, there must be a marketing ad­ on a black base, finished at $39,600. pointed by the results, as prices were vantage, so we may well see more— I made a point earlier about func­ often well above catalog estimates. even though some of the connec­ tion being a hindrance to “value” in Although Rie is known for her tions do seem somewhat tenuous. If the contemporary ceramics resale bowls, none are known to be larger only the auctioneers would provide market. There was more proof of than the 13-inch-diameter, spiraling greater depth of information about that when a Coper lampbase ap­ pink-and-buff example, probably artists in their catalogs so that we peared. Even with the “support” of made during 1969, that brought might readily judge the interpreta­ its original 1960s shade, which to the $10,800. More typical of her work is tion of “influence” and other tags.A

30 CERAMICS MONTHLY Stoneware vase, 12½ inches in height, “Spade Form,”6V 4 inches in height, Stoneware vessel, 10 inches high, with with spiraling pink and green glaze, black stoneware, circa 1970, by Hans interwoven diagonal glaze pattern, circa 1979, by Lucie Rie; $11,700. Coper; $19,800. circa 1975, by Elizabeth Fritsch; $9000.

I made a point earlier about function being a hindrance to “value” in the contemporary ceramics resale market. There was more proof of that when a Coper lampbase appeared.

Porcelain and stoneware vessels, to 21 inches in height, by Joanna Constantinidis; prices ranged from $252 for the small oval form on the right to $756for the tall bottle.

March 1992 31 Now in her early seventies, Chicago artist Ruth Duckworth has established an international reputa­ tion through nearly four decades of daywork. But experience has not made the work easier in a concep­ tual sense; today it is “at times much harder, and I don’t mean its texture,” she says. Her greatest chal­ lenge is communicating personal and sociopolitical concerns. Duckworth questions herself, “Can I, in my work, express what I feel about life, about being alive, what I feel about the earth and its creatures, what I feel about the beauty of the earth and its fragility? “To me, my life and my work are relatively unim­ portant compared to the drama of a sick planet. The health of the planet and how to keep it intact are what matter most. The earth is so fragile and beautiful, and it needs so much love and caring.” A solo exhibition of Duckworth’s stoneware and porcelain sculpture was presented recently at Bellas Artes Gallery in Santa Fe, New Mexico. A

32 CERAMICS MONTHLY Glazed stoneware sculpture, 352 V inches in height, by Ruth Duckworth; shown (opposite page) with works in progress in her Chicago studio.

March 1992 33 Porcelain sculpture, approximately 14 inches in height; Duckworth’s concern is to express what she feels “about, about life being alive...about the beauty of the earth and its fragility.”

34 CERAMICS MONTHLY Stoneware sculpture, 28 inches in height, by Ruth Duckworth; exhibited recently at Bellas Artes Gallery in Santa Fe, New Mexico.

March 1992 35 Building Experience by Steve Davis-Rosenbaum

Much of the thought behind my salt- treadle wheel because of its flexible finishing pots from one day, I am de­ glazed and reduction-fired stoneware speed and rhythm. It is important that veloping ideas for the next, building originates in the basic joy of eating, my pots exhibit varied and exciting on each day’s experience. with all the pleasant overtones this textures and surfaces, while keeping In addition to selling through show­ evokes—nourishment, caring, festive to forms that are provocative yet not rooms and galleries, I have partici­ presentation. Even vases are consid­ overly complex. pated in several regional and national ered in the context of a table setting. When working at the wheel, I try competitions. I submit my work to be Historical and contemporary influ­ not to think too much, letting the juried because having functional work ences also include the studio pottery pots develop through repetition and in exhibitions is important to the sta­ and Japanese mingei (folk craft) move­ previous experiences. But allowing tus of functional pottery in today’s ments. I choose to work within these surprises and variation in forms keeps craft movement. There is a need for contexts because of their emphases the pots fresh. functional pottery in juried exhibi­ on function and aesthetics. They help Being a potter allows me many tions and for jurors to be faced with bring together the important elements choices, perhaps too many. So I fol­ having to judge functional pottery. of making pottery: form, surface, tex­ low a list to assure that each kiln load I’m at the beginning of my career ture and color. includes a representative assortment. making pottery and probably have a My everyday dishes for use in cook­ A day’s work might involve making long way to go before I get things ing, dining and home decoration are several types of dishes in series—10 to right. WTiile I struggle with the eco­ made on the wheel, with some off- 20—and trimming the previous day’s nomics of making and selling pots, wheel altering. I work on a Leach pots. I like this continuum. As I am every year gets better and I keep try-

Now teaching and producing work at Midway College, Steve Davis- Rosenbaum (top) previously rented studio space in a converted bam.

36 CERAMICS MONTHLY below Salt-glazed cup, 3½ inches in White Liner Glaze height, porcelain, lined with white (Cone 10, reduction) glaze, brushed with Avery slip and Whiting...... 20% black stain, trailed with saturated-iron Custer Feldspar ...... 20 glaze, fry Sfei/eDavis-Rosenbaum, Kona F-4 Feldspar...... 20 Lexington, Kentucky. Cone 10 Edgar Plastic Kaolin...... 10 decorating slips are prepared simply by Flint...... 30 adding water to various commercial 100% clays: 6-Tile for white, XX Sagger for Add: Zircopax ...... 10% yellow, and Avery kaolin for orange. Bentonite...... 3%

March 1992 37 Covered jar, 9 inches in height, stoneware, wheel thrown, Salt-glazed teapot, 9 inches in height, wheel-thrown with pulled handles, salt glazed at Cone 10. stoneware, with brushed stain.

ing to improve on past experiences. The author After several years of teach­ ing with Ron Meyers to earn an M.F.A. at By working hard, I am optimistic about ing language to chimpanzees at Yerkesthe Re­ University of Georgia. Davis-Rosen­ success. I just hope that I will make gional Primate Research Center in Atlanta, baum then moved to Berea, Kentucky, to some good pots for the next kiln load, Steve Davis-Rosenbaum decided to pursue work as a resident potter for Berea College and that my work grows as I grow as a his interest in clay, first apprenticing withCrafts. Since 1988, he has lived in Lexing­ potter and a person. local potter Michael Simon, thereafter study­ton, Kentucky.

Thrown stoneware bowl with handles,4 V2 inches in height, with Shino-type glaze (on the interior), brushed stain, trailed saturated-iron glaze and salt glaze.

38 CERAMICS MONTHLY above Soy /oil jar, 5 inches in height, wheel-thrown stoneware, with trailed black stain and saturated- iron glaze, salt glazed. right Salt-glazed squared dish, 2½ inches high, thrown from the following stoneware body:

Stoneware Salt-Glaze Body (Cone 10) Custer Feldspar...... 20 lbs. Cedar Heights Goldart...... 50 Hawthorn Bond...... 100 Kentucky Ball Clay (OM 4)...... 25 6-Tile Clay...... 50 XX Sagger Clay...... 25 Fine Grog ...... 25 295 lbs.

March 1992 39 Artists on Their Own

The Jane Hartsook Gallery of Greenwich House Pottery in New York City recentiy presented an exhibition of works by 20 ce­ ramists from across the U.S. who are not currently represented by a gallery. In addi­ tion to giving exposure to emerging artists not already established in the public eye, the intent of “Artists on Their Own” was to focus on “the newest work” addressing func­ tional or sculptural issues, according to cu­ rator Kim Dickey, director of Greenwich House Pottery. From 120 entries, the participants were selected by John Perreault, curator at the American Craft Museum; and Penelope Dannenberg, director of the Artists’ Fellow­ ship Program for the New York Foundation for the Arts. Each artist exhibited one or two sculptures or vessels. ▲ “Layered Platter,” 20 inches in length, slab-built earthenware, with underglaze “American Gator” 23 inches long, terra cotta decoration, by Ian Symons, Toronto. with gold leaf\ metal frame and candles, by Thomas McCanna, Woodstock, New York.

40 CERAMICS MONTHLY Elizabeth MacDonald

Tile columns, 7 feet in height, handbuilt stoneware, impressed when damp with powdered stains, saggar fired.

A CERAMICS MONTHLY PORTFOLIO orting through my work of the past 30 years for a recent retrospective, I became s aware that disparate elements in my life, primarily theater and painting, have been brought together through clay. I grew up in western Massachusetts in and around Springfield, where I lived part of the year in town and the rest in the country. My earliest and strongest memories were formed as I wandered alone uneven green glaze, very a ceramics studio—Pottery understand the slide rule. in the fields and woods much like the surfaces I Northwest—was set up on (Of course, a calculator surrounding the house. longed for many years later.) the floor beneath our would have made a differ­ A few days ago, I came After I grew impatient with rehearsal hall, I asked for ence.) But once I had clay in across Gaston Bachelard’s handbuilding, I learned to space in which to work. It my hands, life improved; The Poetics of Reverie, was perfect—all of my within a year, I had a show at which I opened at passions were under one Greenwich House. The random and hap­ roof. With a key to the transition was made more pened to see: “In his studio, I could work day or complex by taking on a happy solitude, the night, whenever I had a bit country home in Bridge­ dreaming child knows of time. water, Connecticut, and the cosmic reverie After several years, my trying to work at both which unites us to husband received a Rockefel­ places. Fortunately, I discov­ the world.” Images ler grant to study at Harvard, ered I was close to the from my early years and I was able to continue Brookfield Craft Center, flooded back— my work in clay at a studio where I would eventually gardens filled with in Cambridge. meet other craftspeople, peonies, milkweed On a temporary return to attend workshops and bursting against a the Seattle Repertory become a board member. blue sky, branches of Theater, I worked in a studio Many people have helped apple trees as secret An expanded barn serves as studio space. next to a Swedish woman shape my vision. Paulus places. who was preparing for an Berensohn, with his commit­ After a year of theater form tightly thrown and exhibition. She was making ment to material and training in London at the trimmed bowls, then talked porcelain miniatures of her process, has been a continu­ Royal Academy of Dramatic my way into a Peter Voulkos larger pots. When I asked her ing presence in my creative Art, I arrived in New York. workshop. His powerful for some clay, I was capti­ life; encounters with M. C. Reluctantly, I found my way relationship with clay was vated by the sensuousness Richards, Gerry Williams, to a secretarial school, a exhilarating. of this new material. Know­ Toshiko Takaezu and Karen detour that ultimately led to My English-theater ing I’d be going back and Karnes also enriched my work in the theater—first as training led me to believe forth across the country, I relationship to clay. Work­ an assistant to a drama that if I could learn the too started making small shops at Penland with Byron school director and later to outward skills, the inward forms. It was a good match, Temple and at Haystack with working with a Broadway ones would develop as for I developed a skill as well Cynthia Bringle were invalu­ producer. needed—that skills were as a passion. And I could able in helping me to As I was living in Green­ simply the vehicle for carry my pots in a suitcase. understand the demands of wich Village across from the expression. When I began to By the late studio life. New School, I signed up for work with clay it seemed as sixties we My dream evening classes in drawing if I were choosing the were back in had been to and painting. I would spend opposite approach—concen­ New York. earn a living half the night doing portraits trating on expression rather Knowing that I in the theater of my friends because I had than skills. I considered didn’t have the and do the a need to paint what was giving up my ties to theater drive to rest for love, behind the eyes. After a time to go to Alfred University pursue a but I had to I was asked if I would like a but, at the age of 26, felt too theatrical learn to put a scholarship, which I ac­ old to start another life. career, I gave monetary cepted, but soon found it In 1963, I married an myself a year value on my exhausting to work all day actor and we began our life to make the pots. and paint each night. together on a national tour, transition My plunge One day I happened to be playing cities all over the from a public into the in the East Village visiting a country. Later, we settled form of economics of friend. I’ll always remember down to work with the expression pottery that third floor walk-up with Seattle Repertory Theater, and communi­ coincided sounds of jazz leading me my husband as director and cation to one with the last on. Inside, there were gilt I as actress. I had always more personal year of the mirrors and canvas chairs, wanted to create a life, not a and private. It nonjuried but mostly I remember the career, and suddenly my was painful to Stains are pressed into damp clay. Bennington clay pots with ivy. My friend dream was a reality—being abandon one Craft Fair. So, had made them at Greenwich paid to do what I enjoyed, deeply held commitment for with wooden crates and a House Pottery, she said, and every night acting in plays another, with no guidelines large spool to hold a tree I headed there the next day. by Shakespeare, Shaw, but a desire to create a with my hanging pots, I set First I learned how to coil Chekhov and by contempo­ language through another up a stand. The stores a pot following a template, rary authors as well. medium—clay. bought; even a gallery or two which was extremely te­ We worked from early First I studied glaze took my work. I knew then dious. (Recently, I found my morning to late at night, but chemistry, which was a that I had found a material first pot, the rust of earthen­ with breaks between rehears­ disaster. It took me the capable of containing and ware showing through an als and performances. When whole semester just to grounding my imagination.

A Ceramics Monthly Portfolio Tiled doorway arch, 7 feet in height, exhibited with earlier vessels and sculpture in a retrospective at Paris-New York-Kent Gallery in Kent, Connecticut. Perhaps because of my In the late 1970s, I knew I China—I was attracted to way ever since—sometimes repertory experience, I had had to go to Japan—the (and photographed) ancient, reinforcing the geometric; never settled on a single World Craft Council was to peeling walls. sometimes emphasizing the focus. If I was throwing with have its conference in Kyoto. In 1982, after I had moved subtleties of landscape, porcelain, making delicate My trip became a pilgrimage, to a 20-foot-square carriage trying to evoke the light and forms, I was also handbuild- one in which I discovered barn for added studio space, depth behind a surface, as in ing with rough stoneware. If profoundly disturbing I received a second grant markings of ancient walls or I was striving for some kind dualities. I longed to see the from the Connecticut clouds on a pond, or moss of simplicity, I was, at the breath of life in clay; but I Commission on the Arts to on stone. Each tile becomes same time, allowing clay to also saw a Hiroshima shard. develop a modular form a reflection of time and a reveal imagery that seemed suitable for fragment of space. independent of my control. architectural With this technique, I am If I was waiting for a reduc­ applications. able to make paintings, ing gas kiln to transform my This was sculpture, wall relief or glazes, I was also building particularly furniture—large or small— complicated surfaces that practical, and earn a living as well. needed only oxidation firing since I had Like a weaver, I charge by in an electric kiln. hurt my back the square foot ($150-5250). I would work for a year, and needed With a tape measure in my then go off to the Northeast to find a way hand, I no longer need to Craft Fair in Rhinebeck, New of working in agonize over value. York. This approach allowed which size When I began to receive me to follow my impulses. was not commissions, I expanded the Each year, as a result, there necessarily barn studio. I had already would be some sales, a few related to invested in a slab roller, with orders, as well as a show weight. some misgiving, for I enjoy invitation or two, sometimes During the making slabs by hand, even an award—just the year, as I stretching clay for its own right combination to give me prepared for beauty. Knowing that a freedom to explore new my grant machine would change work, yet enough pressure to exhibition, I everything, as it did, I placed keep me focused. I began to worked with the roller at one end of the learn that clay was a pivotal elements of barn and added another 20 teacher by turning experi­ translucent feet with basement and ence into understanding, porcelain, storage. It’s a wonderful even revelation. waiting, at space, although I’ve just After five years in a the same about outgrown it. primitive basement studio at Elizabeth MacDonald with works in progress. time, for the Some of the tile construc­ my home, which was built in unexpected. tions are very large. One, 1790, I moved into the The fire of creation had One day, as I was cleaning made for a hotel in Hong garage; it had been con­ become a confrontation with up, I made a tile by pressing Kong, is 16 feet square; verted into a work space by the other side. On my return, leftover powdered stains another in Washington, for my architect brother. The the surfaces of my pots into scraps of wet clay, torn the National Conference of daylight gave me new became more complex, often around a block of wood. The Catholic Bishops, is 4x35 confidence. the result of many firings. result looked like old feet. Now that I had a feeling Though clay was my parchment covered with Most recently I have for what happened to glazes chosen medium, my relation­ layers of lichen. (I had been completed a commission in firing, I wanted to see ship to the theater remained. making paper and loved the that involved covering three what happened to clay— As fire created a surface deckled edge and rough rectangular structures with especially porcelain—with narration, so I explored an surfaces.) Then I knew I had 3500 tiles for a plaza in no glaze. After playing with internal narration by build­ found a way to use color, as downtown Hartford, Con­ smoke firing and raku, I ing forms reminiscent of well as satisfy my need for necticut—a gift to the city decided to work solely stage sets, miniature spaces spontaneity and surprise. from ITT Hartford Insurance within the kiln. with elements of recogniz­ This one tile contained all Group. Next, I will be With a grant from the able imagery. The impulse to that I wished to bring working on a “percent for Connecticut Commission on create intimacy in relation to together—a formal element art” project for the new the Arts, I experimented with vastness has been a continu­ with a ragged edge and headquarters of the Con­ patterns of flame that occur ing theme. layered pigments. necticut Department of within a closed form. First I Over the years, color I realized I had arrived at Environmental Protection in got black pots with white became increasingly impor­ a method of producing large- Hartford, where approxi­ lines from sawdust in a tant to me. Though, for a scale work, using the mately 700 square feet of saggar. As the process long time, I had simply formality of a grid with an tile will be part of the evolved, I developed pots added oxides to porcelain, I organic sensibility, where building’s facade. with gray tones and finally felt the need for a more both delicacy and crustiness I now feel as if the public color by introducing differ­ direct application; I longed would dictate internal form. and private aspects of my ent kinds of combustible to see pigment before (not With each tile complete in creative life are merging, materials, such as dog food just after) a firing. I even itself, I could assemble the that the internal journey and seaweed. Each pot, pure turned to weaving, but the pieces and discover an taking place in my studio white, was polished to an process seemed too me­ image without knowing can be part of a larger world, alabaster sheen before I put thodical. The painter in me ahead of time what it would that remembered landscapes it into the kiln. I did not seek wanted immediacy, as well be—much like having a from my childhood can be a consistency of surface, but as layer upon layer of color. jigsaw puzzle without a re-formed in my work, that rather an ever-changing Everywhere I went—from the picture on the lid of the box. something received can be revelation of dark and light. Caribbean to, best of all, I have been working this something given.

A Ceramics Monthly Portfolio Landscape mural, approximately 9 feet in length, assembled from handmade stoneware tiles colored with powdered stains, then saggar fired.

Commissioned saggar-fired tilework at Richardson-Vicks, Inc., in Shelton, Connecticut. "Bonacord" (from the French for ‘‘good agreement"), a downtown plaza sculpture surfaced with 3500 tiles, commissioned by ITT Hartford Insurance Group. Relief tile composition, 18 inches square, handbuilt, layered with powdered stains, high fired, mounted on wooden backing.

Handbuilt relief tile, 18 inches in length. A Ceramics Monthly Portfolio Tile fireplace, 16 feet in height, assembled from torn squares of stoneware layered with powdered stains, by Elizabeth MacDonald, Bridgewater, Connecticut.

A Ceramics Monthly Portfolio Confessions of a Collector by Oswald Harding

Though my general interest in art be­ are two doors to the potter, one for gan early and persisted throughout the public and one for collectors. my younger years into college, my in­ Jamaica, like most Third World terest in pottery was really kindled in countries, has severe foreign exchange 1981 when I saw a retrospective exhi­ problems with serious restrictions on bition of the works of Cecil Baugh, the amount of money available for Jamaica’s master potter (see Ceramics travel. That which is available to me is Monthly, September 1982). This was usually only sufficient to take care of the beginning of a love affair with my hotel bills and a few out-of-pocket pottery, a consuming passion that has expenses; therefore, to contemplate led to the development of a collec­ large purchases is unrealistic, but not tion that now includes works by all necessarily impossible. On two occa­ the important contemporary studio sions, I survived through the generos­ potters of Jamaica, as well as an ever- ity of friends. The first was in London increasing number of pieces from pot­ when I finally came across a piece by ters around the world. Lucie Rie. I had to have it; the oppor­ Why the sudden conversion to pot­ Jamaican Senator Oswald Harding. tunity might never present itself again. tery? I guess I was attracted to the I agreed to make the purchase and to sheer beauty of it all: the range of market—everything is preselected for collect it the following day. As far as colors, the silent or shouting glazes you. I prefer buying farm-fresh vege­ funds were concerned, however, it was and the varying forms possible with tables at the farm gate and pottery at the Lucie Rie or my hotel bill. Luckily, wheel-thrown vessels. the studio, sometimes hot out of the an old college roommate took care of I had never met a potter before kiln. Every pot I have collected has an the hotel bill. Cecil Baugh, but by the time I had identity, a history and a story. Much Yet it did not seem that I had written the forward to his autobiogra­ pleasure is derived from the search, learned a lesson, for I was to commit phy (reviewed by Ceramics Monthly in the tracking, the finding, as well as the same offense again in New Or­ May 1987), the desire to possess had the selection; that is the consumma­ leans when I found a Chinese cere­ taken me to many potters, kilns and tion of possession, highly personal and monial teapot at an antiques shop. In museums in many lands. As my intimate. the language of those who treat habit­ knowledge of ceramics inevitably in­ Auctions I avoid as much as pos­ ual offenders, this is called “recidi­ creased, my fascination deepened. sible, for there you risk getting caught vism.” But I was rescued again, this Whenever I traveled on government up in bidding. I go to auctions only time by a fellow countryman who was business, my staff at first regarded my where a collectible is otherwise hard living in New Orleans. passion for collecting ceramics as to locate; then I preset an acquisition How do I justify this habit, one that merely an eccentricity, but later they limit price over which I will not go. I cannot kick? There are no social were sure it was a form of madness. In addition to contacting potters workers trained to deal with this type How else could a responsible adult directly, I will buy through established of addiction. Well, I rationalized it a slip out at the coffee break of an inter­ galleries. Galleries have access to more long time ago. I do not own a boat, do national conference to undertake artists and thus can introduce you to not go fishing, am not a heavy drinker such felonious activities as collecting, new works, but the range and quality and do not go to racetracks. Look then (after committing such a crime) depend entirely on the sensitivity of how much money I have saved! surreptitiously return to deliver a the dealer. Reputable ones keep their There is no doubt that with the speech? Yet, as I persisted in these prices reasonable and present only inexorable worldwide march on the nefarious activities, even my staff be­ sound works for sale. As collectors are road to inflation, the collection will gan to lose their sanity, and they too year-round purchasers and repeat cus­ appreciate in monetary value, but I started to collect. tomers, they can seek and obtain dis­ have never bought a piece of pottery Buying pottery from exhibitions is counts for acquisitions. It was Shoji as an investor. If there are pecuniary like buying vegetables from a super- Hamada, I believe, who said that there profits to be gained, they can only be

March 1992 49 Korean bottle, approximately 12 inches in height, wheel Wheel-thrown stoneware bottle, 14V2 inches in height, with thrown, with inlaid slip under celadon glaze. brushed glaze decoration, by Walford Campbell, Jamaica.

notional for they are not realizable, as it was a limited-edition Picasso ash­ Ma Lou {CeramicsMonthly, April 1984, a collector does not part with these tray. Collectors are to be warned that page 63). She has continued a tradi­ possessions, unless he or she is really a housemaids, waiters, workmen, un­ tion, handed down by her grand­ dealer in disguise. disciplined children and drunks are mother, mother and maternal aunts, I tried recently to remember the the natural enemies of ceramics. using a technology traced with certi­ first pot I collected, but could not. It A collection tells the viewer not only tude to the west coast of Africa. is likely to be one of those first pieces about the potters but about the aes­ Her ware is made in a broken bit from Cecil Baugh, among which was thetic sensibilities of the collector. of pot called a keke, simulating a pot­ “Teardrops,” a stoneware pot about Mine is no exception. It is heavily ter’s wheel. The clay is softer than 15 inches high. The glaze comes down weighted in favor of functional pieces, that which is typically thrown. It is the neck and shoulder in droplets, for to me the history of pottery is tempered with coarse-grained river leaving the lower part of the body humanity’s use of clay for domestic sand, making the body “short.” The exposed. Dissatisfied with how the living. These pieces are functional and pots are fired in the open, covered glaze reacted, Baugh fired it three eminently useful, but never without only by the fuel (wood and branches). times. On the third firing, I feared it aesthetic value. Beauty and utility, These unglazed, sometimes bur­ would crack or shatter. In the end it when conjoined, is the ideal. nished pots I regard as the founda­ came out fine, maybe a little distressed, Those that kindled my interest, and tion of the collection. Out of this and the droplets flowed like real tears. continue to nourish and sustain it, tradition came Cecil Baugh, the fa­ My own tears almost came one day have been Afro Jamaican works. The ther of modern Jamaican pottery. when I discovered that “The Danc­ advent of aluminum pots and pans, to Jean Pearson rebelled against ers,” one of my favorite pots by Baugh, which Jamaica as a world producer of Baugh’s vessel tradition, departing had been unintentionally smashed to bauxite and alumina was a significant from it loudly with his sculpture of smithereens in my home. The pot still contributor, almost put an end to the heads. Though a gifted thrower, he is lives, in that an archaeologist friend production of Afrojamaican ceram­ haunted by the human visage. has painstakingly pieced it together. ics. Standing in the way of its almost Norma Rodney-Harrack was also Some years previously I had under­ total extinction was a solitary figure— never satisfied with the conventional gone a similar experience. This time a national treasure, in the person of forms of the Leach/Baugh tradition,

50 CERAMICS MONTHLY and has ever been pushing vessel fron­ the hotel, has given us a series of near­ What of the future? My house, tiers, restlessly seeking suitable vari­ abstract forms in white matt glaze un­ though reasonably large, has become ations of handles/lugs on geometric disturbed by decorations. too small for my collection. Many shapes, creating an interplay of space, If you could visit Jamaica, there pieces have to be repacked in boxes but never overreacting with technical would be more to share: the works of and stored away—a pity. They should cleverness. Philip Supersad, David Dunn, Jean all be visible, readily enjoyed. So now The Clonmel potters (Belva and Taylor-Bushay and Walford Campbell, in the shadows lurks the dream of Donald Johnson), worthy heirs of establishing a museum where this col­ Baugh, have refined tradition. Mas­ Auctions I avoid as much as lection can be on display and open to ters of local clays, their first Jamaican the appreciation of others—a resource proto-porcelains are among the most possible, for there you risk getting for potters, teachers, school children, exquisite wares in my collection. the public at large, even the ubiqui­ AJamaican collection would be in­ caught up in bidding. tous tourists. complete without the works of Ameri­ The habits of a lifetime will for a cans Edwin and Maribel Todd, who to name a few. All have been a source lifetime be. I intend to continue col­ now work in Costa Rica. During their of particular satisfaction and pleasure lecting as long as good pots are made, sojourn in Jamaica, they made a wide to me. always hoping to find that very special range of excellent poLs, a legacy of But then collecting in general has one. Maybe it will be in an antiques the pre-1980 period. been a source of satisfaction and pleas­ shop or a kiln that is not yet opened. Then there is Michael L,ayne, a ure. My collection has become a part But I know it’s out there somewhere. young artist whose creations have a of my existence, never beyond arm’s Driven by the desire to possess, to hold patchwork of textures on different reach. Certainly, that is part of the the beautiful, I will always search for level surfaces, with slits and tears, pro­ pleasure—tactile qualities no painting just one more pot. trusions and indentations coated with can provide. These works are old a simple wash. friends and my attachment has only The author An attorney-at-law; Os­ And Jag Mehta, an India-born ho­ grown with time, so that I who was the wald Harding is currently minority lead­ telier working from his electric kiln in possessor have become the possessed. er of the Jamaican Senate.

Fluted bottle, 13 inches in height, stoneware with temmoku “Girl with Beauty Spot”l/2 inches17 in height, handbuilt, glaze, by Belva and Donald Johnson, Jamaica. crackle glazed, raku fired, by Jean Pearson, Jamaica.

March 1992 51

for 3 slides. Cash awards. Contact Clay Cup IV, University Museum, Southern Illinois University Call for Entries at Carbondale, Carbondale 62901. Exhibitions, Fairs, Festivals and Sales Jenkintown, Pennsylvania “The Clay Cup” (April 1-30). Juried from actual work; 9-inch limit. Juror: Ron Nagle. Entry fee: $5, one cup. Cash awards and catalog. For prospectus, send sase to Abington Art Center, 515 Meetinghouse Road, Jenkintown 19046; or telephone (215) 887-4882. International Exhibitions University Park, Pennsylvania “Crafts National 26” (June 7-July 26). Juried from slides. Juror: March 10 entry deadline John Vanco, executive director of the Erie Art Golden, Colorado “North American Sculpture Museum, Pennsylvania. Entry fee: $20 for up to 3 Exhibition” (May 3-June 16), open to residents entries. Awards: $3000. For prospectus, send sase of the United States, Canada and Mexico. Juried to Crafts National 26, Zoller Gallery, 101 Visual from 8x10 black-and-white photos. Fee: $10 per Arts Building, Penn State University, University entry; up to 3 entries. Jurors: Nathaniel Kaz, New Park 16802; or telephone (814) 865-0444. York City; andjesus Bautista Moroles, Rockport, March 28 entry deadline Texas. Awards: $6000. For prospectus, contact Rockford, Illinois “2x2x2” (April 17-May 29), the Foothills Art Center, 809 15th Street, Golden open to all fine arts and crafts except photogra­ 80401; or telephone (303) 279-3922. phy; no dimensions over 2 inches, excluding April 30 entry deadline frame or pedestal Juried from actual work. Entry Jamestown, New York “Contemporary Scandi­ fee: $20 for 4 entries. For prospectus, sendsase to navian Art” (Fall), open to Scandinavian artists Gallery Ten, 514 E. State St., Rockford 61104; or living in the U.S. or abroad. Juried from no more telephone (815) 964-1743. than 10 slides. Artists are encouraged to send March 31 entry deadline resume and support material that will help jurors Lenexa, Kansas “Lenexa’s National Art Show” better understand the work. Send sase to the (June 12-14), open to 3-dimensional art. Juried Forum Gallery, Jamestown Community College, from slides. Awards: $4700. Contact Lenexa’s 525 Falconer St. Jamestown 14701; or telephone National Art Show, 13420 Oak, Lenexa 66215; or Dan Talley or Michelle Henry (716) 665-9107. telephone (913) 541-8592. May 31 entry deadline April 1 entry deadline Mino,Japan “The 3rd International Ceramics Eureka Springs, Arkansas “Fifth Annual Sculp­ Competition ’92 Mino” (October 25-November ture Show and Sale” (May). Juried from slides. 3), judging in 2 categories: ceramics design and Entry fee: $20; up to 3 entries. Awards: from ceramic arts. Juried from up to 3 actual works. $1500, first place; to $200, honorable mention. Shipped entries due betweenJuly 1 and 15; hand- Send SASE to Sally Gorrell, Box 283, Eureka delivered entries due August 29-30. Entry fee: 1 Springs 72632. entry, 3000 yen (approximately US$23); 2 en­ April 3 entry deadline tries, 5000 yen (approximately US$40); 3 entries, Lincoln, California “Feats of Clay V” (June 3- 7000yen (approximatelyUS$54).Jurors, ceram­ 27) .Juried from a maximum of 3 slides per entry; ics design: Nino Caruso, Toshiyuki Kita, Kather­ up to 3 entries. Fee: $10 per entry. Works should ine McCoy, Masahiro Mori, Timo Sarpaneva, not exceed 24 inches. Juror: Anne Currier. Place, Karl Scheid and Osamu Suzuki. Jurors, ceramic merit and purchase awards. SendsASE to Lincoln arts: Robert Arneson, Garth Clark, Yoshiaki Inui, Arts, Box 1166, Lincoln 95648; or telephone Takuo Kato, Kyubei Kiyomizu, Pompeo Pian- (916) 645-9713. ezzola and Rudolf Schnyder. Awards (per cate­ April 10 entry deadline gory) : grand prize, 3 million yen (approximately Sonora, California “Contours VI—Expressions US$23,000), plus a domestic or foreign study in Form” (June 2-22). Juried from slides. Juror: trip; gold award, 1 million yen (approximately Randall Schmidt. Fee: $15 for up to 3 works. US$7700); 2 silver awards, 500,000 yen (approxi­ Awards: $1000 cash plus purchase awards. Two mately US$3900); 5 bronze awards, 300,000 yen concurrent satellite shows will be curated from (approximately US$2300); and 7 special judges’ these entries for Anne Saunders Gallery, awards, 200,000 yen (approximately US$1540). Jamestown, California; and Groveland Hotel For application forms, contact International Ce­ Conference Center, Groveland, California. Send ramics Festival ’92 Mino Japan Organizing Com­ sase to Contours VI, Central Sierra Arts Council, mittee Office, 2-15 Hinode-machi, Tajimi City, 48 South Washington Street, Sonora 95370; or Gifu Pref. 507, Japan. telephone (209) 532-2787. April 15 entry deadline National Exhibitions Middlebury, Vermont “In and Out of the Gar­ den” (June 6-July 19), competition for garden- March 15 entry deadline related items in all media; and “The Exception Portland, Oregon “Garden Exhibition” (May Rather than the Rule” (September 11-October 17-June 20), open to artists working in clay, fiber, 25), juried by resident potter Henry Tanaka; glass, metal and wood. Juried from 5 slides and competition open to artists who stretch their resume. Send sase to Executive Director, Con­ medium beyond the ordinary Juried from slides. temporary Crafts Gallery, 3934 Southwest Cor­ For prospectus, send SASE to Anne Majusiak, bett Avenue, Portland 97201; or telephone (503) Gallery Director, Vermont State Craft Center at 223-2659. Frog Hollow, Mill Street, Middlebury 05753; or March 19 entry deadline telephone (802) 388-3177. Milwaukee, Wisconsin “Vessels” (May 15-June April 21 entry deadline 26). Juried from 5 slides and resume. Fee: $10. Chicago, Illinois “Sixth Annual Great Lakes Send sase to A. Houberbocken, 230 West Wells National” (June 6-July 5), open to functional Street, Suite 202, Milwaukee 53203; or telephone and sculptural clayworks. Juried from slides. Ju­ Joan Houlehen (414) 276-6002. rors: Andrea Gill and John Gill. Entry fee: $20. March 20 entry deadline Awards: first place, $500; second, $300; third, Carbondale, Illinois “Clay Cup IV” (May 12- $150; fourth, $50; as well as some exhibition June 10, traveling through 1993). Juried from opportunities. For prospectus, contact Lill Street slides. Juror: Virginia Cartwright. Entry fee: $15 Gallery, 1021 West Lill Street, Chicago 60614; or telephone (312) 477-6185. Send announcements of juried exhibitions, fairs, festi­April 30 entry deadline vals and sales at least four months before the event's Philadelphia, Pennsylvania “Invitational Artist entry deadline (please add one month for listings in Series” July (1992-93). 4 solo and 1-2 group shows and two months for those in August) to Callfor Entries,will be selected. Juried from slides. No entry fee. Ceramics Monthly, Box 12448, Columbus, Ohio For application, send SASE to the Clay Studio, 139 43212; or telephone (614) 488-8236. Fax announce­N. Second St., Philadelphia 19106; or for infor­ ments to (614) 488-4561. mation telephone (215) 925-3453.Continued

March 1992 53 Call for Entries May 29 entry deadline Sioux City, Iowa “51st Annual Juried Competi­ tive Exhibition” (November 7-December 27), open to artists residing in Illinois, Iowa, Kansas, Minnesota, Missouri, Nebraska, North Dakota, May 1 entry deadline South Dakota and Wisconsin. Juried from slides. Manitou Springs, Colorado “Sculpture in Mani- Fee: $20 for up to 3 entries. For prospectus, tou” (July 10-12). Juried from slides. Entry fee: contact Sioux City Art Center, 513 Nebraska St., $20. Awards. For prospectus, contact Darpino, Sioux City 51101; or telephone (712) 279-6272. Alliance of Professional Artists Association, 513 Manitou Avenue, Manitou Springs 80829; or Fairs, Festivals and Sales telephone (719) 685-1861. May 29 entry deadline March 6 entry deadline New York, New York “1992 Grand Exhibition” Spokane, Washington “Artfest: Spokane ’92” (June 27-July 18). Juried from slides or photo­ (May 29-31), open to artists residing in Arkansas, graphs. Jurors: Victoria Clark, curator, Carnegie California, Idaho, Montana, Nevada, Oregon, Museum of Art, Pittsburgh; Nina Cohen, artist Utah, Washington and Wyoming. Booth fee: and director of the “1992 Grand Exhibition,” $10—$15. Commission: 25%. Awards: 3 totaling New York; Philip Ginsburg, Aaron Ashley Art $700 plus smaller cash and merchandise awards. Publishing, New York; and Eric Zafran, associate For prospectus, send sase to Artfest: Spokane curator, Museum of Fine Arts, Boston. Entry fee: ’92, Cheney Cowles Museum, West 2316 First $6 per slide. Awards: $10,000; with 50 finalists Avenue, Spokane 99204; or telephone (509) showing work in a group exhibition. For entry 456-3931. form, send a postcard with your name and ad­ March 15 entry deadline dress to Art Horizons, Craft Dept., 140 Prospect Clinton, Iowa “Art in the Park” (May 16-17). Ave., Suite 16R, Hackensack, New Jersey 07601; Juried from 5 slides. Entry fee: $5. Booth fee: $50 telephone (201) 487-7277 or fax (201) 343-5353. for a 10x10-foot space. Cash awards. No commis­ June 12 entry deadline sion. Send sase to Clinton Art Association, Box Bethlehem, Pennsylvania “Head to Toes: Hats, 132, Clinton 52732; or telephone Carol Glahn Buttons, Belts, Purses and Shoes” (October 3- (319) 259-8308. November 8), open to craft media dealing with March 27 entry deadline body ornamentation/accessories. Juried from Salem, Oregon “Salem Art Fair and Festival” up to 3 slides per work; up to 3 works. Jurors: (July 17-19). Juried from 6 slides. Booth fee: $60 Dorothy McCoach, textile conservator, Bethle­ for a 10x10-foot space. Commission: 20%. Send hem; Allison Watson, fiber artist, Jacksonville, sase to 1992 Prospectus, Salem Art Fair and Florida. Cash awards. Send sase for prospectus to Festival, 600 Mission St., SE, Salem 97302. Luckenbach Mill Gallery, 459 Old York Rd., March 31 entry deadline Bethlehem 18018; or telephone (215) 691-0603. Cambridge, Wisconsin “First Annual Cambridge Milwaukee, Wisconsin “Not Just Another Fur­ Pottery Festival” (June 13-14). Juried from 4 niture Show: More than Just a Fixture” (August slides. Entry fee: $10. Booth fee: $100. Awards. 28-October 23). Juried from 5 slides and re­ Send sase to Cambridge Pottery Festival, Cam­ sume. Entry fee: $10. Send sase to A. Houber- bridge Chamber of Commerce, 105 South Spring bocken, 230 West Wells Street, Suite 202, Mil­ Street, Cambridge 53523; or telephone (608) waukee 53203; or telephone (414) 276-6002. 423-3780. April 1 entry deadline Regional Exhibitions Morristown, New Jersey “Morristown CraftMar- ket” (October 9-11). Juried from 5 slides. Entry April 4 entry deadline fee: $15. Jurors: John Bickel, Jaclyn Davidson, Albuquerque, New Mexico “1st Annual Cone 10 Gary Genetti, LorraineJackson, Sheila Nussbaum, Gallery Figurative Exhibition” (May 2-16), open Greg Roche and Sy Shames. Contact Morristown to ceramists living in Arizona, Colorado, New CraftMarket, Box 2305, Morristown 07962. Mexico. Juried from 6 slides. Fee: $15. Send sase Garrison, New York “23rd Annual Arts and to Cone 10 Gallery, 2937 Monte Vista, NE, Albu­ Crafts Fair” (August 15-16). Juried from slides. querque 87106; or telephone (505) 266-5868. Entry fee: $5. Booth fee: $175 for a 10x10-foot April 30 entry deadline space. Send sase to Garrison Art Center, Box 4, Chester Springs, Pennsylvania “Studio Days ’92” Garrison 10524; or telephone (914) 424-3960. (September 25-October 4), open to craft artists Greensburg, Pennsylvania ‘Westmoreland Arts residing in Delaware, Washington, D.C., Mary­ and Heritage Festival” (July 2-5). Juried from land, New Jersey, New York, Pennsylvania, Vir­ slides. Entry fee: $30. Cash and purchase awards. ginia and West Virginia. Juried from up to 5 Send sase to WAHF-C, Box 203, RD 12, Greensburg slides. Entry fee: $10. Cash awards. Send sase to 15601; or telephone (412) 830-3950. Studio Days ’92, Chester Springs Studio, Box Spring Green, Wisconsin “Spring Green Arts 329, Chester Springs 19425; or telephone (215) and Crafts Fair” (June 27-28). Juried from slides. 827-7277. Entry fee: $60. Contact the Spring Green Arts May 1 entry deadline and Crafts Fair, Box 96, Spring Green 53588; or Los Alamos, New Mexico “Biennial Crafts 1992 telephone (608) 588-7080. Exhibition” (June 19-July 19), open to artists April 10 entry deadline living in Arizona, Colorado, New Mexico, Okla­ Vail, Colorado “Vail Arts Festival 9” (July 11- homa, Texas, Utah. Awards: approximately $750. 12). Juried from 4 slides of work plus 1 of booth. For prospectus, send legal-sized sase to Fuller Entry fee: $20. Booth fee: $185 for a 10x10-foot Lodge Art Center, Box 790, Los Alamos 87544. or 8x12-foot space; $235, corner booth. Send #10 State College, Pennsylvania “Images ’92” (July sase with 52£ in stamps to Pamela Story, Director, 6-August 7), open to artists residing in Pennsyl­ Vail Valley Arts Council, Box 1153, Vail 81658; or vania and the Mid-Atlantic region. Juried from telephone (303) 476-4255. slides. Entry fee: $20. Awards: $2000. For pro­ Layton, New Jersey “Peters Valley Crafts Fair” spectus, send sase to Images ’92, Central Pennsyl­ (July 25-26). Juried from 5 slides. Entry fee: $15. vania Festival of the Arts, Box 1023, State College Booth fee: $185 for a 10x10-foot outdoor space; 16804; or telephone (814) 237-3682. tented space extra. Send sase to Peters Valley May 7 entry deadline Craft Fair, 19 Kuhn Road, Layton 07851; or Kingston, Rhode Island “Earthworks ’92” (Maytelephone (201) 948-5200. 14-21), open to clay artists who are past or Albuquerque, New Mexico “20th Annual South­ present Rhode Island residents.Juried from hand- west Arts and Crafts Festival” (November 12-15). delivered work. Fee: $5 per entry; up to 6 entries. Juried from 5 slides. Entry fee: $15. Booth fee: Awards: $500. Juror: Steven Hill. For prospectus, $250 for an 8x12-foot space; $300 for a 4x20-foot contact Suzi Caswell, South County Art Associa­ space. For prospectus, contact Southwest Arts tion, 2587 Kingstown Road, Kingston 02881; or and Crafts Festival, 525 San Pedro, Northeast, telephone (401) 783-2195, 1-4 P.M. Suite 107, Albuquerque 87108. Continued

54 Ceramics Monthly March 1992 55 Call for Entries

April 15 entry deadline Toledo, Ohio “Old West End Festival Art Fair” (June 6-7). Juried from 1 slide or color photo. Booth fee: $35 for a 10x10-foot, open space; $50 for a space with easel. For further information contact the Old West End Art Fair, Box 4652, Old West End Station, Toledo 43610. April 20 entry deadline Chautauqua, New York “Chautauqua Crafts Festival ’92” (July 3-5 and August 7-9). Juried from 4 slides. Entry fee: $5. Booth fee: $125 per show. Send sase to Gale Svenson, Director, Chautauqua Crafts Festival ’92, Box 89, Mayville, New York 14757; or telephone (716) 386-6043. April 30 entry deadline Fair Hill, Maryland “Country Music and Craft Festival” (August 15-16). Juried from 5 slides. Entry fee: $15. Booth fee: $200. For prospectus, contact Carl Hyden, Governor’s Office of Art and Culture, 34 Market PL, Suite 325, Baltimore, Maryland 21202; or telephone (410) 333-4793. May 8 entry deadline Beaver Creek, Colorado “Beaver Creek Arts Fes­ tival” (August 15-16). Juried from 4 slides of work plus 1 of booth. Entry fee: $15. Booth fee: $100 for a 10x10- or 8xl2-foot space. Commission: 10%. Send #10 sase with 52£ in stamps to Pamela Story, Director, Vail Valley Arts Council, Box 1153, Vail, Colorado 81658; or telephone (303) 476-4255. May 22 entry deadline Norman, Oklahoma “A Midsummer Night’s Fair” (July 10-11). Juried from 4 slides or photos. Booth fee: $45 for a 10x10-foot space. Sendsase to MSNF Artist Selection Committee, Firehouse Art Center, 444 South Flood, Norman 73069; or telephone (405) 329-4523. June 1 entry deadline Gaithersburg, Maryland “17th Annual National Craft Fair” (October 16-18). Juried from 5 slides. Entiy fee: $10. Booth fee: $>250-$375. Contact National Crafts, Noel Clark, Director, 4845 Rum- ler Road, Chambersburg, Pennsylvania 17201; or telephone (717) 369-4810. Granite Falls, Minnesota “Riverwalk” (June 26- 27). Juried from 5 slides and resume. Entry fee: $10. Booth fee: $40. Sendsase to Riverside Col­ lectors Society, 176 East Highway 212, Granite Falls 56241; or telephone (612) 564-4770. Richmond, Virginia “17th Annual Richmond Craft and Design Show” (November 20-22). Ju­ ried from slides. Booth fee: $250 for a 10x10-foot space; $375 for a 10x15-foot space; or $500 for a 10x20-foot space. Contact the Hand Workshop, 1812 West Main Street, Richmond 23220; or telephone (804) 353-0094. June 27 entry deadline Pittsburgh, Pennsylvania “23rd A Fair in the Park” (September 11-13). Juried from 5 slides. Entry fee: $5. Booth fee: $125 for a lOxlO-foot space. Contact A Fair in the Park, Box 10128, Pittsburgh 15232; or telephone (412) 361-8287. June 30 entry deadline Mobile, Alabama “28th Annual Outdoor Arts and Crafts Fair” (September 26-27) Juried from slides. Entry fee: $10. Booth fee: $75. Awards: up to $6500 in purchase, distinction and merit awards. Contact the Fine Arts Museum of the South, Outdoor Arts and Crafts Fair, Box 8426, Mobile 36698; or telephone (205) 343-2667. July 1 entry deadline Mason City, Iowa “MacNider Arts Festival” (August 23). Juried from 5 slides. Cash awards. For prospectus, contact MacNider Art Museum, 303 Second Street, Southeast, Mason City 50401; or telephone (515) 421-3666. July 15 entry deadline Glastonbury, Connecticut1 'On the Green” (Sep­ tember 12-13). Juried from slides. Booth fee: $75. Cash awards. Contact On the Green, Glas­ tonbury Art Guild, 1396 Hebron Avenue, Glas­ tonbury 06033; or telephone (203) 659-1196.

56 Ceramics Monthly March 1992 57 Questions jolleying. Which is the proper term for this method of using a template above and a plaster mold Answered by the CM Technical Staff beneath to produce studio ceramics—W.S. ? Both terms are correct, depending on what you are producing. Jolleying is the proper term for producing flatware with the technique you describe, while jiggering typi­ Q I would appreciate receivinginformation callyabout refers to the production of holloware kiln venting and the proper safe distance needed using this technique. between the vent and a vegetable garden. What substances are vented from an electric kiln during an “average”firing (no lead or barium) ? Also, Q Whatis does it mean when a ceramic underglaze raku smoke contaminated with harmful elements is described as a polychrome underglaze ? No prod­ (even though this ware contains no lead or uctbarium is sold under this name.—M. G. as well) ? If so, how far away should the rakuing Polychrome underglaze is a term de­ area be from the garden— ?M.F. scribing a variety of underglazes, each of a We wish there were easy answers to your different color when used on the surface of questions, but really there are none. It is a pot or sculpture. For example, the piece anyone’s guess what’s in your kiln gases, might be decorated with three different because that depends on the specific mate­ underglazes—one blue underglaze, another rials incorporated in your clay, slips and yellow, another red. glazes, their interaction chemically/physi- cally during firing, firing temperature and Q How do they make ceramic magnets f Taking consistency, relative humidity (really), alti­ that question one stepfurther, is it possible to make tude of the firing site, water content, dura­ magnetic pottery, and how would that be accom­ tion of firing, etc. Consequently, there is no plished?—A.L. average firing to consider. Firings by ce­ Ceramic magnets are made from com­ ramic artists and potters are more likely to pressed and fired ferrite (iron) powders be unique than standard or average. through a variety of rather high-tech pro­ Nearly any potentially volatile material cesses, depending on the type, size and contained in your clay or glaze may be part proposed use of the magnet. Basically, the of the gases exhausted from an electric kiln. iron-rich material is placed in a magnetic To be on the safe side, we recommend field in order to align its particles as re­ considering all raku smoke and kiln gases as quired for polarity in the finished piece. But being harmful until proven otherwise. because of the complexity of the processing, If you always work in exactly the same making magnetic pottery seems a difficult way, use the same materials, fire to the same goal to achieve. cone range, etc., it is possible to have a One of the most complete descriptions meaningful analysis of kiln gases made (by of the process of making a variety of mag­ an independent lab, by your local Environ­ netic ceramic materials appears in a new mental Protection Agency lab or by your technical book, Ceramic Materialsfor Electron­ state health department). Be sure to specify ics (published by Marcel Dekker, Inc., New what elements they should sample for, based York City). In part, the book states: on the materials you are using. “A wide variety of...methods can be used The other approach is to have exposed to prepare ferrite powders....The usual syn­ vegetables analyzed by a state or regional thetic approach is to start with a solution agricultural services lab. But whether ana­ containing the appropriate metal ion sul­ lyzing gas or vegetables, both of these analy­ fates and to precipitate a ferrite intermedi­ sis methods fail to provide useful data if your ate using hydroxide or carbonate as the materials, working methods or firing pro­ precipitating agent. The precipitation is cesses change. carried out at pH 10-12 at an elevated solu­ The one foolproof method of risk elimi­ tion temperature....Repeated washing of the nation is to simply keep kiln gases and raku precipitate maybe necessary to remove trace smoke away from food sources. amounts of sulfate, which can have detri­ It is important to realize that lead or mental effects on.. .magnetic properties. The barium may be part of your ceramics even resulting powder is finely divided, 0.05- though you do not use lead frits, white lead, l.Ojim, and chemically homogeneous.... or other major sources of such materials. “For the spinel ferrites, specific attention

Lead is found in some clays as a minor is paid to the silica content of the Fe2O3 (it constituent or trace element, and barium should be in the range <200 ppm and, for may be part of a clay body or a trace element the highest-grade materials, <100 ppm) be­

in glaze chemicals as well. Only a quantita­ cause Fe2O3 constitutes approximately 65% tive analysis provides meaningful results, of the composition. The usual source of iron whether it is an analysis of the materials oxide is chemically precipitated powder.... themselves or of the gases generated when “Following weighing, the mixture of ox­ these materials are fired in combination. ides or carbonates is mixed to yield a homo­ geneous powder.... Q I’m interested in jiggering some of our produc­“Following this first mixing step, the raw tion, but I’ve also heard this process referred tomaterials as are [calcined] to form the ferrite

58 CERAMICS MONTHLY March 1992 59 Questions properties, especially of high-permeability fully oxidized state [e.g., nickel zinc ferrites, materials. One such system in use is: hexagonal (magnetoplumbite) ferrites, and 0.4 wt% polyethylene imine (Polymin) garnets]. 0.4-1.6 wt% polyvinyl alcohol “2. Materials in which it is necessary to phase....The reaction temperature is typi­ 0.2-1.0 wt% Polyvinylpyrrolidone control the valence state of the cations, cally 700°-1000°C [ 1292°F-1832°F] in air.... typically the manganese zinc ferrites. “The result of the calcining process is a 0.03-0.1 wt% methyl cellulose “The nickel zinc ferrite, Nii- xZnxFe2-yO4, powder that is lightly sintered into friable “The ceramic slurry, including binders, is formulated with a slight deficiency of iron lumps. This material must be milled again is spray dried to yield a free-flowing powder, (0

60 CERAMICS MONTHLY March 1992 61 ference of the National Council on Education Calendar for the Ceramic Arts. Contact Regina Brown, Conferences, Exhibitions, Emrs, Box 1677, Bandon, Oregon 97411. Or contact Minerva Navarrete, NCECA Conference Planner, Workshops and Other Events to Attend33-25 147th St., Flushing, New York 11354; or telephone (718) 939-0963. Washington, EllensburgOctober 2-3 “Functional Pottery: Past, Present, Future” will include lec­ Conferences tures and panel discussions on such topics as “The Role of the Living Potter,” “Potters on the Alabama, MontgomeryMarch 13-15 “Alabama Edge of Industry,” “The Future of Functional Clay Conference VII” will include demonstra­ Pottery” and “How Is Functional Pottery Meant tions, discussion and slide lectures with Val to Be Judged?” Speakers will include Mary Clure, Cushing and Frank Fleming. Fee: $45; students/ Lloyd Herman, Matthew Kangas, Elaine Levin, seniors, $30. For further information contact Warren MacKenzie, Carol Roorbach, Robert Sue Jensen or Joy Hester, Auburn University at Sperry and Kenneth Trapp. Contact Central Montgomery, Department of Fine Arts, 7300 Washington University Conference Center, Cen­ University Drive, Montgomery 36117; or tele­ tral Washington University, Ellensburg 98926; or phone (205) 244-3377. telephone (509) 963-1141. California, DavisApril 2-5 “Third Annual Cali­ fornia Conference for the Advancement of Ce­ International Conferences ramic Art” will include lectures, demonstrations and exhibitions. Participating artists include Betty Finland, Helsinki June 16-18 “Interaction in Ce­ Asher, Clayton Bailey, Donna Billick, Nancy Car­ ramics—Art, Design and Research” includes ex­ man, Stephen De Staebler, Raymon Elozua, Ste­ hibitions in area galleries and museums, plus phen Fleming, Viola Frey, David Gilhooly, Beverly invited speakers from the United States, Norway, Mayeri, Anne Perrigo, Lisa Reinertson, Irvin Finland, England andJapan. (For specific speak­ T epper and Peter Van denBerge. For prospectus, ers, see September or October 1991 issue.) Fee: send sase tojohn Natsoulas Gallery, 140 F Street, FIM1200 (approximately US$300); participants Davis 95616; or telephone (916) 756-3938. presenting papers, FIM800 (approximately California, HealdsburgApril 10-12 “Fired Trea­ US$200); students, FIM600 (approximately sures: A Wealth of Color and Design ” will include US$150). Following the conference, there will be lectures by Sheila Menzies and Joseph Taylor, a 1-week workshop directed by Frank Boyden founders of the Tile Heritage Foundation; Jamy (United States) and Torbjorn Kvasbo (Norway) Faulhaber; Brian Kaiser; Gary Kurutz; Lee Rosen­ in Posio, Lapland. Contact the University of thal; David Streatfield; Karen Weitze; and Robert Industrial Arts Helsinki (UIAH), Centre for Ad­ Winter; as well as hands-on workshops on tile vanced Studies, Hameentie 135 C, SF-00560 design, mold making and glazing with contem­ Helsinki. Or telephone Tuulikki Simila-Lehtinen, porary tile makers Bob Harris, Karen Patterson secretary general (358) 0 7563-344; or Marianne and Dale Wiley. Will also include tours of historic Finnila, press/marketing (358) 0 7563-539; or buildings and a sale of antique and contempo­ Taina Sarvikas, conference secretary (358) 0 rary tiles. Fee: $195. Registration deadline: March 7563-234. Or fax (358) 0 7563-537. 15. Contact Tile Heritage Foundation, Box 1850, Healdsburg 95448; or telephone (707) 431-8453. Solo Exhibitions California, Walnut Creek March 7 “Visions and Voices: Women Artists in Dialogue” will include Alabama, Birmingham March 19-April 25 Robert panel discussion on “Women Artists: Where Are Sunday, raku; at Maralyn Wilson Gallery, 2010 They Going? What Struggles and Differences Do Cahaba Road. They Face?” as well as a one-woman theater Arizona, Scottsdale March 25-April 1 Nancy presentation by Helena Hale, titled “O’Keeffe, A Youngblood. March 26-April 2 Nathan Young­ Dramatic and Visual Presentation” and “Louise blood; at Gallery 10, 7045 Third Avenue. Nevelson: Another Dimension.” Also includes an California, DavisApril 3-25 Patrick Crabb, “Ves­ appearance by Guerrilla Girls and the exhibition sels: An Artifactual Perception”; at the Pence “Images of Us: Views of Identity and Relationship Gallery, 212 D Street. by 14 Women Artists,” with daywork by Sherry California, Los AngelesMarch 7-April 1 Beatrice Karver. Fee: $8. Contact Regional Center for the Wood. April 4-29 Geert Lap; at Garth Clark Arts, Bedford Gallery, 1601 Civic Drive, Walnut Gallery, 170 S. La Brea Ave. Creek 94596; or telephone (510) 295-1416, or California, San Francisco March 4-28 Beverly Center Ticket Office (510) 943-SHOW. Mayeri; at Dorothy Weiss Gallery, 256 Sutter St. New York, New YorkApril 24-25 “First National Delaware, Wilmington March 6-29Debra Samek Symposium on Criticism in theCRAFTARTS: Cross­ Sontag; at Delaware Center for the Contempo­ ings, Alignments and Territories.” Fee: $95; stu­ rary Arts, 103 East 16th Street. dents, $70. Late fee: additional $15 after April 3. D.C., Washington through March £Jane Larson, Contact Center for Career Advancement, New columns, murals and vessels; at Studio Gallery, York University, 32 Washington PL, Sixth FL, 2108 R Street, Northwest. New York 10003; or telephone (212) 998-5090, Hawaii, Volcanothrough April 2 Lisa Louise Ad­ or Judith Schwartz, Dept, of Art and Art Profes­ ams; at the Volcano Arts Center, Hawaii Volcano sions (212) 998-5700. National Park. Ohio, ColumbusApril 25-26 “ODC Fifth Annual Maryland, Bethesda March 8-April 5 Robin Hop­ Midwest Craft Conference” includes a workshop per; at Appalachiana, 10400 Old Georgetown Rd. on “Making Functional Stoneware in the ’90s Massachusetts, Northampton March 14-April 19 Using the Single-Fire Technique” by studio pot­ Nancy LaPointe; at Ferrin Gallery, 179 Main St. ter Steven Hill. For further information contact Michigan, Farmington HillsMarch 7-28 “Signifi­ Darlene Sullivan, Ohio Designer Craftsmen, 2164 cant Work from the Estate of Daniel Rhodes”; at Riverside Drive, Columbus 43221; or telephone Habatat/Shaw Gallery, 32255 Northwestern (614) 486-7119. Highway, #25. Pennsylvania, Philadelphia March 4-7 “NCECA Michigan, Royal Oakthrough March 14 Dennis 1992—Old Worlds/New Worlds,” annual con­ Tobin, sculpture. March 21-April 1 £John Stephen­ son, sculpture. George Bowes, pots.April 25-May tend announcements of conferences, exhibitions,23 ju­Andrea Gill, vessels. Paul Kotula, tableware; at ried fairs, workshops and other events at least twoSwidler Gallery, Washington Square Plaza, 308 months before the month of opening (add one monthWest forFourth Street. listings in July and two months for those in August)Missouri, to Kansas City through March 14 John Calendar, Ceramics Monthly, Box 12448, Columbus, Balistreri, anagama-fired sculpture; at Leedy- Ohio 43212; or telephone (614) 488-8236. Fax an­Voulkos Art Center, 2012 Baltimore. nouncements to (614) 488-4561. Missouri, Saint Josephthrough March 13 John

62 Ceramics Monthly March 1992 63 Calendar California, Oceanside March 23-April 10 “New Visions: Ceramics,” exhibition of works by Yoon- chung Kim, Jaye Lawrence and Les Lawrence; at Mira Costa College, Kruglak Gallery. California, RiversideMarch 29-April 24 “Califor­ Kudlacek; at the Missouri Western State College, nia Collegiate Ceramics Competition”; at the 4525 Downs Drive. Riverside Community College Art Gallery, Missouri, Saint Louis March 9-April 30 Jeff Terracina Drive. Oestreich; at Pro-Art, 1214 Washington Avenue. California, San DiegoApril 3-14 “Current Clay,” New Jersey, Morristownthrough March 11 Marion works by San Diego Potters’ Guild members; at Held; at Morris Museum, 6 Normandy Heights Rd. Gallery 21, Spanish Village, Balboa Park. New York, Alfred through May 7Charles 1 Fergus California, San FranciscoMarch 4-April 26 “The Binns, “A Chair Must Invite the Sitter,” stone­ Radiance ofjade and the Crystal Clarity of Water: ware; at the Museum of Ceramic Art at Alfred, Korean Ceramics from the Ataka Collection”; at New York State College of Ceramics at Alfred the Asian Art Museum of San Francisco, Golden University, Harder Hall, Fifth Floor. Gate Park. New York, Mamaroneckthrough March 22Jolyon Colorado, Goldenthrough March 22 “Colorado Hofsted, ceramic and bronze assemblages; at Clay Exhibition”; at the Foothills Art Center, 809 Mari Galleries, 133 East Prospect Avenue. 15th Street. New York, New York through March 7 Karen Colorado, Snowmass Villagethrough March 10 Karnes. Alev Siesbye. March 10-April 4 Ken Ceramics by Donna Aguirre and Wesley Ander- Ferguson. Beatrice Wood; at Garth Clark Gal­ egg; at the Anderson Ranch Arts Center, 5263 lery, 24 West 57th Street. Owl Creek Road. March 19-April5 Gene Anderson, “An Extraordi­ D.C., Washingtonthrough March 15 “Texas Clay,” nary Vision”; at 112 Greene Street. works by Ron Boling, Piero Fenci and Dan Pennsylvania, Glenside through March 20 Daisy Hammett; at the Farrell Collection, 2633 Con­ Youngblood, sculpture; at Beaver College Art necticut Ave., NW. Gallery, Church and Easton Roads. Illinois, Champaign March 16-April 10 “Fresh Pennsylvania, Philadelphia through March 21 Ideas from Familiar Faces: Illinois Invitational Barbara Diduk; at Paul Cava Gallery, 22 North Ceramics Exhibition,” works by Dan Anderson, Third Street. Chris Berti, Susan Bostwick, Harris Deller, Paul William Parry; at the University of the Arts, Dresang, Bill Farrell, Bonnie Katz, Yih-Wen Kuo, Arronson Gallery. Dennis Mitchell, Kitty Ross, Anne Shatas, Mary through April 5 Robert Arneson, “Guardians of Seyfarth and Rimas VisGirda; at Parkland Col­ the Secret II.” Betty Woodman, “Somewhere be­ lege Art Gallery, 2400 W. Bradley Ave. tween Naples and Denver”; at the Institute of Illinois, Chicagothrough March 25 Exhibition of Contemporary Art, University of Pennsylvania, works by Yih-Wen Kuo and Niles Wallace. March 36th and Sansom Streets. 27-May 6 “Art for the Table,” exhibition of works March 1-24 Mexican potter and ceramic histo- by Stanley Mace Andersen, Val Cushing, Don rianJorge Wilmot, works in ceramics and glass; at Reitz and Norman Schulman; at Schneider- Eyes Gallery, 402 South Street. Bluhm-Loeb Gallery, 230 West Superior Street. March 4-29 Ken Vavrek, works from 1976 to the Maryland, Baltimorethrough April 25 “Three in present; at Rosenfeld Gallery, 113 Arch Street. Clay—Three Points of View,” works by Jan Hol­ March 6-April 26Toshiko Takaezu; at the Penn­ comb, Paula Winokur and Robert Winokur; at sylvania Academy of the Fine Arts, Morris Gal­ the National Museum of Ceramic Art, 250 West lery, Broad and Cherry Streets. Pratt Street. April 3-26 Fran Scott, resident artist. Mitchell Maryland, Bethesda March 8-April 5 Works by Messina, juried solo; at the Clay Studio, 139 Ron Meyers and Michael Simon; at Appalachiana, North Second Street. 10400 Old Georgetown Road. Pennsylvania, RosemontMarch 4-28 Janice Massachusetts, Ipswich March 1-31 “Primarily Merendino, “Casting Clear Shadows,” works in Plates,” exhibition of works by Northshore clay and on paper; at Rosemont College, Mont­ Clayworks members; at Ocmulgee Pottery and gomery Avenue. Gallery, 263 High Street. Pennsylvania, Willow GroveMarch 14-April 25 Massachusetts, LexingtonApril 7-25 “In the Gar­ Beverly Saito, raku; at Langman Gallery, Willow den,” work by Ceramic Guild members of the Grove Park. Lexington Arts and Crafts Society; at the Par­ Texas, HoustonMarch 13 “Pots by Payton,” raku; sons’ Gallery, 130 Waltham Street. in the lobby of the Enron Building, 1400 Smith. Michigan, Detroit March 13-April 25 “Progres­ sions: Work in Clay from Adrian College, Center Group Ceramics Exhibitions for Creative Studies, Cranbrook Academy of Art, Henry Ford Community College, Mott Commu­ Arizona, Mesa April 1-30 Arizona CLAY exhibi­ nity College, University of Michigan at Ann Ar­ tion; at Mesa Public Library, 64 East 1 Street. bor”; at Pewabic Pottery, 10125 E. Jefferson Ave. Arizona, Scottsdale March 1-31 Sculpture by Michigan, Farmington HillsMarch 7-April 25 Gina Bobrowski and Triesch Voelker; at Joanne “Mid-Century Italian Ceramics: Gambone, Fan- Rapp Gallery/The Hand and the Spirit, 4222 toni and Other Master Modernists”; at Habatat/ North Marshall Way. Shaw Gallery, 32255 Northwestern Highway, #25. March 5-12 “New San Ildefonso Pottery,” with Minnesota, Saint Paul through March 21 “Student works by Barbara Gonzalez, Russell Sanchez and Bodies II,” works by students of Hamline Univer­ DoraTse Pe Pena. March 12-IP “New Santa Clara sity, Southern Illinois University, University of Pottery,” with works byjody Folwell, Grace Medi­ Minnesota-Duluth, Iowa State University, Anoka cine Flower and Lu Arm Tafoya; at Gallery 10, Ramsey Community College and Bethel College. 7045 Third Avenue. March 27-April 25 “Teapots”; at the Northern Arizona, Tempe through March 19 ArizonaCLAY Clay Center, 2375 University Avenue, West. exhibition; at Tempe Public Library Gallery, New Jersey, Glassborothrough March 7 “South 3500 South Rural Road. Jersey Clay Connection”; at Glassboro State Col­ California, Davis April 2-May 3 “30 Ceramic lege, Wilson Music Building, Wilson Art Gallery. Sculptors Show,” in conjunction with the Califor­ New Mexico, Las CrucesMarch 1-29 “From the nia Conference for the Advancement of Ceramic Ground Up XI,” works by artists residing in Ari­ Art; at John Natsoulas Gallery, 140 F Street. zona, New Mexico and Texas; at Branigan Cul­ April 3-May 3 “California Clay 1992,” in conjunc­ tural Center, 106 West Hadley. tion with California Conference for the Advance­ New York, New York April 7-May 2 “Greeks ment of Ceramic Art; at the Artery, 207 G St. Bearing Gifts”; at Garth Clark Gallery, 24 West California, El CajonMarch 30-April 30 “View­ 57th Street. point: Ceramics 1992,” works by Richard Burkett Oregon, Corvallisthrough March 11 Four-person and Joanne Hayakawa; at Hyde Gallery, Gross- sculpture exhibition; at Fairbanks Gallery, Ore­ mont College, 8800 Grossmont College Drive. gon State University. Continued

64 Ceramics Monthly March 1992 65 Calendar

Pennsylvania, Cheltenhamthrough March 21 “Ce­ ramic Work”; at Cheltenham Center for the Arts, 439 Ashbourne Road. Pennsylvania, Elkins Parkthrough March 21 “Con­ tainers Revisited,” NCECA members exhibition; at Tyler School of Art, Tyler Gallery, Beech and Penrose Avenue. Pennsylvania, Haverfordthrough March 19 “Ce­ ramics by the Main Line Center of the Arts Faculty”; at Main Line Center of the Arts, Old Buck Road and Lancaster Avenue. Pennsylvania, JenkintownApril 1-30 “The Clay Cup”; at Abington Art Center, 515 Meeting­ house Road. Pennsylvania, NewtownMarch 5-April 15 “Di­ verse Perspectives: Six Ceramic Artists,” works by Bonnie Cooper, Penelope Fleming, Elyse Saper- stein, Steve Waterman, Helen Weisz and Bruce Winn; at Hicks Gallery, Bucks County Commu­ nity College. Pennsylvania, Philadelphiathrough March 7 “Stu­ dio Potter Network Exhibition”; at 479 Gallery, 55 North Second Street. through March 15 “Clay Array,” works by members of the Cheltenham Clay Guild; at the Gallery at the Gershman Y, 401 S. Broad St. through March 20 “Canadian Clay”; at Drexel University, Nesbitt College of Design Arts, De­ sign Arts Gallery, 33rd and Market Streets. through March 21 “Ceramics,” works by faculty artists Joanne Bryant, Gail Golden, Janet Grau, Ruth McGee, Robert Platt, Susan Ross and Grove Thomas; at Fleisher Art Memorial, 709-721 Catherine Street. through March 22 “Ceramics Now,” regional ju­ ried exhibition; at University City Arts League Gallery, 4226 Spruce Street. “Contemporary East European Ceramics”; at the Second Street Art Building (the Clay Studio, Nexus Foundation for Today’s Art, Zone One Artists Collective, High Wire Artists), 137-39 North Second Street. through March 27 “Archie Bray Foundation Ben­ efit Exhibition,” works by 25 artists connected with the Bray; at Owen Patrick Gallery, 4345 Main Street, Manayunk. Mark Bums, Michael Frimkess andjames Makins, “Contrast and Continuum”; at the University of the Arts, Rosenwald-Wolf Gallery, 333 South Broad Street. through March 28 “Ceramic Art Alumni of Tyler School of Art”; at Temple University Gallery, 1619 Walnut Street. “Cthonic Realms: Philadelphia Collects Clay,” works from 1955-1992 chosen from private col­ lections; at Helen Drutt Gallery, 1721 Walnut St. Viola Frey andjames Melchert, recent projects in textile surface design; at the Fabric Workshop, 1100 Vine Street, 13th Floor. through March 29 “Philadelphia Clay Regional”; at Painted Bride Art Center, 230 Vine St. through April “Clay 5 Heritage: African American Ceramics,” including historical ware by slave pot­ ters, native pots from East Africa (late 19th and early 20th centuries), as well as contemporary works by Syd Carpenter, Martha Jackson-Jarvis, Marva Jolly, David McDonald, Sana Musasama, Winnie Owens-Hart, James Tanner andjames Watkins; at the Afro-American Historical and Cultural Museum, Seventh and Arch Streets. March 1-April I5“Artistic Generations:Jacquelyn Rice and Her Students”; at the Works Gallery, 319 South Street. March 2-9“NCECAjuried Student Exhibition”; at Snyderman Gallery, 301 Cherry Street. March 3-17 “Clay Studio Alumni”; at Vox Populi, 17 North Second Street. March 3-April 1 “From the Ground Up: Ten Philadelphia Clay Artists,” with works by Jill Bonovitz, Nancy Carman, Syd Carpenter, Nicho­ las Kripal, Rudolf Staffel, Lizbeth Stewart, Jack Thompson, Ken Vavrek, Paula Winokur and

66 Ceramics Monthly Robert Winokur; at Moore College of Art and Design, Levy Gallery, 20th and the Parkway. March 4-7 Exhibition of wood-fired works by Peter and Chris Callas, Mike Groves, Richard Moyer, Don Reitz, Bruce Riggs, Bill Shillalies and Peter Voulkos; at the Restaurant School, 4207 Walnut Street. For dining reservations, telephone (215) 222-4200. March 4-22 “Clay Studio Resident Artists,” ceram­ ics by artists currently working at the Clay Studio; at Nexus Foundation for Today’s Art, 137 North Second Street. March 6-2 7'Works by Jack Thompson and James Watkins; at Sande Webster Gallery, 2018 Locust Street. March 6-28 Works by gallery ceramists, featuring Jimmy Clark and Matthew Courtney; at Jessica Berwind Gallery, 301 Cherry Street, Second Floor. March 6-31 “Connections,” works in terra cotta, porcelain and stoneware by Clemson University MFA candidates of the early ’80s, including Maggie McMahon Jeanee Redman, Linda Schusterman, Michael Vitalaro and Alan Willoughby; at Galerie Atelier, 65 North Second Street. Pennsylvania, Pittsburghthrough April 19 “Ce­ ramic Sculpture: Form + Figure,” works by 18 artists; at the Society for Contemporary Crafts, 2100 Smallman Street. Pennsylvania, West Chester March 3-April 18 “National Ceramic Invitational”; at West Chester University, Art Department, Mitchell Hall. Pennsylvania, Willow Grovethrough March 13 “High Tea,” national teapot invitational; at Langman Gallery, Willow Grove Park. Rhode Island, BristolMarch 21-April 5 “Rhode Island Clay Artists”; at the Bristol Art Museum, Linden Place, Hope and Wardwell Streets. Texas, Farmers Branch March 9-28 “Clay”; at the Forum and Studio Galleries, Brookhaven College. Texas, Lubbockthrough September 30 “Fire and Clay”; at the Museum at Texas Tech University. Texas, San AngeloApril 16-May 24 “Seventh Annual San Angelo National Ceramic Competi­ tion”; at the San Angelo Museum of Fine Arts, 704 Burgess Street. Virginia, AlexandriaMarch 6-29 “Ceramic Guild Annual Juried Show”; at Scope Gallery, Torpedo Factory Art Center, 105 North Union Street. Virginia, NorfolkMarch 4-April 29 “Ceramic Designers Association’s Early Works.” April 29- June 30 “Natural Inspirations,” works by the Ce­ ramic Designers Association; at Dominion Bank, 999 Waterside Drive. Washington, Seattlethrough February 1993Works by Patty Detzer, John Downs, Margaret Ford, Larry Halvorsen,John Harris, Anne Hirondelle, Jim Kraft, Debra Norby, Geoffrey Pagen, David Shaner and Patti Warashina; at the Sea-Tac Inter­ national Airport, Main Concourse. Wisconsin, Madison April 25-May 31 “16th- to 19th-Century Porcelains from the Permanent Collection”; at the Elvehjem Museum of Art, 800 University Avenue.

Ceramics in Multimedia Exhibitions Arizona, Mesa March 3-28 “PATTERNPATTERN- PATTERN”; at Galeria Mesa, 155 North Center. California, Palo AltoMarch 1-May 3 “Contempo­ rary Uses of Encaustic and Wax,” including clay- works by Ron Nagle; at the Palo Alto Cultural Center, 1313 Newell Road. California, San DiegoMarch 15-May 25 “Te Waka Toi: Contemporary Maori Art of New Zea­ land”; at the San Diego Museum of Man, 1350 El Prado, Balboa Park. California, Walnut Creek through March 15 “Im­ ages of Us: Views of Identity and Relationship by 14 Women Artists” includes clay sculpture by Sherry Karver; at Regional Center for the Arts, Bedford Gallery, 1601 Civic Drive. Colorado, Snowmass VillageMarch 13-31 Three- person exhibition with ceramics by Diane Sullivan. April 3-21 Three-person exhibition with ceram­ ics by Kelly Palmer; at Anderson Ranch Arts Center, 5263 Owl Creek Road. Continued

March 1992 67 Calendar

Connecticut, New Haven March 4-29 “6th An­ nual Women in the Visual Arts Exhibition”; at the Erector Square Gallery, 315 Peck Street. D.C., WashingtonMarch 8-August ‘When9 King­ ship Descended from Heaven: Masterpieces of Mesopotamian Art from the Louvre”; at Arthur M. Sackler Gallery, Smithsonian Institution. Florida, Saint PetersburgMarch 13-April 24 “Forty Years of Crafts in Florida”; at Florida Craftsmen Gallery, 235 Third Street, South. Georgia, LaGrangeApril 4-30 “LaGrange Na­ tional XVII”; at Lamar Dodd Art Center, La­ Grange College. April 4-May 15 “LaGrange National XVII ”; at the Chattahoochee Valley Art Museum, 112 Hines Street. Illinois, La Grangethrough March 20 “Diminutive Art,” juried miniature exhibition; at Aardvark Gallery, 6 South Sixth Avenue. Illinois, Rockfordthrough April 3 “Sixth Regional Exhibition,” juried fine arts and crafts; at Gallery Ten, 514 East State Street. Kansas, Wichita March 2-28 “Art Show at the Dog Show”; at the Foyer Gallery, Century II Conven­ tion Center. April 3-5 “Art Show at the Dog Show”; at the Kansas Coliseum. Louisiana, LafayetteMarch 3-April 7 “Lafayette Art Association Annual National Juried Compe­ tition of Original Two- and Three-Dimensional Art”; at the Lafayette Art Gallery, 700 Lee Ave. Massachusetts, Bostonthrough March 7Two-per- son exhibition with ceramics by Marvin Sweet. March 14-May 2 “A Tea Party: A Group Exhibi­ tion of Teapots,” over 50 teapots in clay, silver and pewter; at the Society of Arts and Crafts, 175 Newbury Street. New Jersey, MontclairthroughJune 7 “Highlights from the Native American Collection”; at Mont­ clair Museum, 3 South Mountain Avenue. New Mexico, PortalesMarch 27-April 24 “Creat­ ing Ourselves: A Regional Women’s Art Exhibi­ tion”; at the Eastern New Mexico University Art Gallery. New York, Albanythrough May 31 “The Enduring Flower,” includes Early American stoneware; at the New York State Museum, Empire State Plaza. New York, Brooklynthrough December 13 “Bio- morphicism and Organic Abstraction in 20th- Century Decorative Arts”; at the Brooklyn Mu­ seum, 200 Eastern Parkway. New York, New Yorkthrough March 15 “Motifs and Meanings in Asian Art: Selections from the Mr. and Mrs. John D. Rockefeller 3rd Collec­ tion”; at the Asia Society, 725 Park Avenue. April 2-May 17 “New Art Forms from the South,” with ceramics by Kathy Triplett; at Wheeler- Seidel Gallery, 129 Prince Street, Soho. New York, West Nyackthrough March 19 “Folk­ ways,” exhibition of contemporary folk art; at Rockland Center for the Arts, 27 Greenbush Rd. North Dakota, MinotMarch 1-29 “15th Annual National Juried Art Exhibition”; at the Minot Art Gallery. Ohio, Cleveland through November 8 “Gruener Collection of Pre-Columbian Art” includes West Mexican ceramic sculpture; at the Cleveland Museum of Art, 11150 East Boulevard. March 20-April 19 “Another Dimension,” featur­ ing clayworks by Frank Boyden, Susan Kemenyffy, Jenny Lind, Patricia Parker and Wendy Ide Wil­ liams; at American Crafts Gallery, Sylvia Ullman, 13010 Larchmere. Ohio, Columbus April 5-May 17 “The Best of 1992,” statewidejuried exhibition of fine crafts; at Columbus Cultural Arts Center, 139 W. Main St. Ohio, Daytonthrough April 19“Art that Works”; at Dayton Art Institute, Forest and Riverview Aves. Ohio, Mansfield March S-29“All-OhioJuried Art Exhibition”; at Pearl Conard Art Gallery, Ohio State University at Mansfield, 1680 University Dr. Oregon, Salemthrough March 29 “Native Iconog­

68 C eramics Monthly raphy,” with ceramics by Jenny Lind and Lillian Pitt; at the Bush Barn Art Center, 600 Mission Street, Southeast. Tennessee, Gatlinburg through May 16 “Spring Faculty and Staff Exhibition,” with clayworks by Mary Barringer, Sandra Blain, Karl Borgeson, Bill Griffith and Byron Temple. “Everything but the Kitchen Sink: Artists and the Kitchen, New Forms, New Functions”; at Arrowmont School of Arts and Crafts, 556 Parkway. Texas, Beaumont March 7-31 Three-person ex­ hibition featuring clayworks by Bob Kurkowski and Grace Moje; at the Art Studio, 700 Orleans. Virginia, Richmond March 6-April 24 “Image/ Object/Memory Exhibition”; at the Hand Work­ shop, 1812 West Main Street. Wisconsin, Madison through April 12 “Modern Art from Thailand”; at Elvehjem Museum of Art, University ofWisconsin-Madison, 800 University Avenue. Wisconsin, Milwaukee through March 13 “Fourth Annual Teapot Show”; at A. Houberbocken, 230 West Wells Street, Suite 202. Wyoming, LaramieMarch 6-April 19“Form and Object: Contemporary Interpretations of Craft Traditions”; at University of Wyoming Art Mu­ seum, Fine Arts Complex, 19th and Willett.

Fairs, Festivals and Sales Arizona, PhoenixMarch 21-22 “Arizona CLAY Fifth Annual Pottery Craft Sale”; at Heritage Square, 115 North Sixth Street. Arizona, Tempe March 14 “Arizona CLAY Craft Fair”; at the Tempe Public Library, 3500 South Rural Road. March 27-29 “15th Annual Old Town Tempe Spring Festival of the Arts”; in Old Town Tempe, along Mill Avenue. California, San FranciscoMarch 20-22 “Contem­ porary Crafts Market”; at Fort Mason Center, Herbst and Festival Pavilions, Marina Boulevard at Buchanan Street. D.C., Washington April23-26 ‘Washington Craft Show”; at the Departmental Auditorium, 1301 Constitution Avenue. Georgia, AtlantaApril 23-26 “ACC Craft Fair”; at the Atlanta Apparel Mart, downtown. Illinois, Highland ParkMarch 7-8 “32nd Annual Festival of the Arts”; at North Suburban Syna­ gogue Beth El, 1175 Sheridan Road. Maryland, GaithersburgApril 10-12 “Spring Arts and Crafts Fair”; at the Montgomery County Fairgrounds. Maryland, TimoniumMay 1-3 “Spring Crafts Festival”; at the Maryland State Fairgrounds. Minnesota, MinneapolisMay 1-3“ACC CraftFair”; at the Minneapolis Convention Center. Texas, Round TopApril 4-5 “ 17th Annual Texas Crafts Exhibition”; at the University of Texas at Austin Winedale Historical Center. Texas, San AntonioApril 18-19 “Fiesta Arts Fair”; at the Southwest Craft Center, 300 Augusta. Virginia, BlacksburgApril 3-5 “Brush Mountain Fair”; at the Rector Field House, Virginia Tech campus. Wisconsin, Stevens PointApril 12 “20th Annual Festival of the Arts”; at the Fine Arts building, University of Wisconsin-Stevens Point.

Workshops California, Santa Ana March 14 A session with Doug Casebeer. Fee: $30, preregistration. Con­ tact Patrick Crabb, Ceramics Department, Rancho Santiago College, 17th and Bristol Streets, Santa Ana 92706; or telephone Patrick Crabb (714) 564-5613. California, Sierra Madre March 7 “Decorating Techniques” with Christy Johnson. April 11 “Purses” with Ingrid Lilligren. May 2 “3-D Slab Construction” with Rob Kibbler. Fee for each workshop: $25. Contact Foothill Creative Arts Group, 108 North Baldwin Avenue, Sierra Madre 91024; or telephone (818) 355-8350. California, Walnut Creek March 21 Slide presen­ tation and discussion with Tom Coleman and

March 1992 69 Calendar sonal Expression of a Ceramicist,” lecture with Janet Grau. Contact the Main Line Center of the Arts, Old Buck Road and Lancaster Avenue, Haverford 19041; or telephone (215) 525-0272. Pennsylvania, Julian March 27-29 “Terra Sigil- Patrick Horsley. Topics will include working with lata and Primitive Pit Firing” with Grace Pilato. porcelain and stoneware, both potters’ general Location: Pilato Camp. Fee: $85. Contact Penn­ philosophies, marketing and photographing sylvania Guild of Craftsmen, Box 820, Richboro, work. Fee: $35. Contact Walnut Creek Civic Arts Pennsylvania 18954; telephone (215) 860-0731. Education, Box 8039, Walnut Creek 94596; or Pennsylvania, Mill Hall April 27-May 1 “Pipe telephone (510) 943-5846. Sculpture ” with Jerry Caplan. Fee: $282, includes Connecticut, New Haven March 14-15 Demon­ materials and firing. Location: Mill Hall Clay stration of wheel-throwing techniques and work Works. Contact the Pennsylvania Guild of Crafts­ with extruded clay forms, as well as video of a men, Box 820, Richboro, Pennsylvania 18954; or recent trip to Japan, with Malcolm Wright. Par­ telephone (215) 860-0731. ticipants should bring slides or photos of own Pennsylvania, Philadelphia March 8 A lecture work. Contact Creative Arts Workshop, 80 Audu­ with Jorge Wilmot on the history of Tonala pot­ bon Street, New Haven 06510; or telephone tery from pre-Columbian to the present. Contact (203) 562-4927. Eyes Gallery, 402 South Street, Philadelphia Florida, OviedoMarch 28-29 “RAM Press and 19106; or telephone (215) 925-0193. Jolley/Jigger Techniques.” Contact Axner Pot­ March 20 Toshiko Takaezu. Location: Pennsyl­ tery Supply, Box 1484, Oviedo 32765; or tele­ vania Academy of the Fine Arts. Fee: $5, students phone (800) 843-7057 or (407) 365-2600. $2. March 28-29 A session with Ron Nagel. Con­ Idaho, BoiseMarch 23-April 4Kilnbuilding work­ tact the Clay Studio, 139 N. Second St., Philadel­ shop with Fred Olsen. Will include participation phia 19106; or telephone (215) 925-3453. in the construction of a salt/soda hardbrick kiln Pennsylvania, RichboroMarch 14 “Product De­ during the first week, followed by a week of velopment” with Curt Benzie. Location: PGC experimental firings. Three credits available. Fee: Craft Center, Tyler State Park. Fee: $65. For $198, undergraduate level; $255, graduate level. further information contact the Pennsylvania Contact Office of Continuing Education, Boise Guild of Craftsmen, Box 820, Richboro 18954; or State University, 1910 University Dr., Boise 83725; telephone (215) 860-0731. telephone (208) 385-3709. Or telephone Profes­ Pennsylvania, State CollegeMay 9 “Zen and the sor Takehara (208) 385-3205, 10:30-4:00 M-F. Art of Pottery’’with Ken Beittel. Fee: $65. Contact Indiana, Indianapolis April 10-11 Hands-on work­ the Pennsylvania Guild of Craftsmen, Box 820, shop with demonstration and slide presentation Richboro, Pennsylvania 18954; or telephone by Jan Richardson, using slab rollers, extruders (215) 860-0731. and press molds. Fee: $65, includes dinner and Pennsylvania, WyomissingMarch 21 “The Crafts: party after workshop. Limited space. Contact Safety, Legal and Ethical Issues” with Monona American Art Clay Company, 4717 West 16th Rossol. Location: the Inn at Reading. Fee: $15. Street, Indianapolis 46222; or telephone (317) Contact the Pennsylvania Guild of Craftsmen, 244-6871, (800) 428-3239 or (800) 358-8252. Box 820, Richboro, Pennsylvania 18954; or tele­ April 25-26 and May 2 “Native American Pottery” phone (215) 860-0731. with Loran Hill, hands-on workshop will include Texas, MineolaApril 11-12 A session with David methods of building pots, smoothing, burnish­ Leach. Limited space. Send sase to Pine Mills ing, slip decorating and dung firing. Maximum Pottery, Route 1, Box 167, Mineola 75773; or of 20 people. Materials provided. Fee: $121; telephone (903) 857-2271. Indianapolis Art League member, $91. Contact Texas, San AntonioMarch 27-29 “Smoke Firing the Indianapolis Art League, 820 E. 67 St., India­ with an Electric Kiln” with Marian Haigh. Fee: napolis 46220; or telephone (317) 255-2464. $100. Contact the Southwest Craft Center, 300 Kentucky, Richmond March 26-27 Raku work- Augusta, San Antonio 78205; telephone (512) shop/lecture with Susan and Steven Kemenyffy. 224-1848. No fee. Contact Joe Molinaro, Art Department, Virginia, ArlingtonMarch 13-15 “Functional Pot­ Eastern Kentucky University, Campbell 309, Rich­ tery: Form and Aesthetics” with Robin Hopper. mond 40475; or telephone (606) 622-1629. Fee: $75; must be received by March 6. April 4-5 Maryland, Baltimore March 14-15 Hands-on “Shining Clay” with Paulus Berensohn. Fee: $75; workshop with Paulus Berensohn. Fee: $75. Con­ must be received by March 27. Contact Sandra tact Baltimore Clayworks, 5706 Smith Avenue, Wasko-Flood, Lee Arts Center, 5722 Lee High­ Baltimore 21209; or telephone (410) 578-1919. way, Arlington 22207; or, for information on Massachusetts, Williamsburg March 28-29 “Ves­ Hopper session, telephone (703) 358-5256; for sel Making: Handbuilt Images/Clay into Spirit” information on Berensohn session, telephone with Nancy LaPointe. Fee: $115.May 8-10 “Clay: (703) 360-5233. Surfaces, Textures, Saggar Firing” with Elizabeth Virginia, RichmondMarch 28-29''"Kiln Construc­ MacDonald. Fee: $195. Contact Jane Sinauer, tion” with Bill Coombs. Fee: $65; Hand Work­ Horizons, 374 Old Montague Rd., Amherst, Mas­ shop members, $60. Contact the Hand Work­ sachusetts 01002; or telephone (413) 549-4841. shop, 1812 West Main Street, Richmond 23220; North Carolina, BrasstownMarch 8-14 “Colored or telephone (804) 353-0094. Porcelain”with MarciaBugg. March 15-21 “Mold Making” with Rebecca Hutchinson. April 5-18 International Events “Wood-fire Special” with Stephen Hawks. April 22-26 “Wood-firing Pyromania” with Peter Belgium, Brussels through March 7 Polished and Goubeaud. May 3-8 “Primitive Firing Tech­ smoked-black clay, as well as drawings, by Nadia niques” with Bob Wagar. May 10-16 “Terra Sig- Pasquer, “Planets...”; at Gallery Atelier 18, Rue illata” with Barbara Joiner. May 17-23 “Raku” du President, 18. with Obie Clark. ContactJohn C. Campbell Folk March 11-April 18 Exhibition of porcelain by School, Route 1, Box 14-A, Brasstown 28902; or Ursula Morley-Price and raku by David Roberts; telephone (800) 562-2440. at Galerie Argile, 5A, rue de Neufchatel. Ohio, WoosterApril 9-11 “Functional Ceramics Canada, British Columbia, Vancouverthrough Workshop,” featuring Mike Dodd, Kathy Koop, April 19 “The Dragon Jars of Southeast Asia: The Walter Ostrom and more. Contact Phyllis Clark, Julia and Miguel Tecson Collection”; at the Mu­ College of Wooster, Wooster 44691; or telephone seum of Anthropology at the University of British (216) 345-7575, evenings. Columbia, 6393 Northwest Marine Drive. Pennsylvania, BemvilleApril 30-May 1 “Wood Canada, Ontario, Chatham March 14-15 “Crafts Firing” with John Troup. Fee: $170. Limited to 8 and Country Collectibles” fair; at Kinsmen Audi­ participants. Contact the Pennsylvania Guild of torium. Craftsmen, Box 820, Richboro, Pennsylvania Canada, Ontario, Kitchener March 21-22 “Crafts 18954; or telephone (215) 860-0731. and Country Collectibles” fair; at Marshall Hall Pennsylvania, HaverfordMarch 15 “The Per­ Bingeman Park. Continued

70 C eramics Monthly March 1992 71 Calendar

Canada, Ontario, Pickering March 5-7 “Crafts and Country Collectibles” fair; at Metro East Trade Center. Canada, Ontario, Sarnia April 4-5 “Crafts and Country Collectibles” fair; at Brock Street Arena. Canada, Ontario, TorontoMarch 7-August 16 ‘Words under Glaze: Inscribed Medieval Persian Pottery”; at the Royal Ontario Museum, 100 Queen’s Park. March 13-15 Lecture and workshop with Robert Turner. Contactthe CraftStudio atHarbourfront, 235 Queens Quay West, Toronto M5J 2G8. Or telephone Melanie Egan, coordinator (416) 973- 4963; or lean Johnson, craft projects manager (416) 973-4928. March 24-August 16 “Of Cabbages and Kings: Naturalistic Ceramics 1700-1850,” over 30 porce­ lain and earthenware tureens shaped like ani­ mals and vegetables; at the George R. Gardiner Museum of Ceramic Art, 111 Queen’s Park. England, LondonMarch "/Auction of “Ceramics and Glass.” March 18 Auction of “Ceramics and Glass”; at Bonhams, 65-69 Lots Road, Chelsea. March 4-April 4 and April 7-May 9“Lucie Rie 90th Birthday Exhibition”; atGalerie Besson, 15 Royal Arcade, 28 Old Bond Street. March 17-April 13 Ceramics by John Maltby; at the Crafts Council Shop at the Victoria and Albert Musuem, South Kensington. March 18 Auction of ‘Japanese Ceramics and Works of Art.” March 26 Auction of “Contempo­ rary Ceramics”; at Bonhams, Montpelier Street, Knightsbridge. April 10-May 9 Ceramic sculpture byjill Crowley; at Contemporary Applied Arts, 43 Earlham Street, Covent Garden. England, Oxfordthrough March 18 Ceramics by Sutton Taylor; at Oxford Gallery, 23 High Street. France, Nevers April 19-25 Han dbuilding, throw­ ing, glazing, china design, raku and kiln design workshop. Instructors: Marcel Legras, Mrs. Gafa and Mr. Dallinge. Beginning through advanced. Instruction in French and little English. Fee: 3340Fr (approximately US$600); including ma­ terials, firing, live-in accommodations and meals. For further information contact Secretariat CEDTE, 11, rue du Cap Horn, Merignac 33700, France; or telephone 56 34 33 40. Or contact Mr. Rabiet, 5 Boulevard Anatole, Chalon Marne 51000, France. Germany, Hohr-GrenzhausenMarch 7-29 “Con­ temporary Ceramics from Belgium.” April 25- May 10 Works by Colin Pearson; at Keramik- museum Westerwald. Mexico, San Miguel de AllendeMarch 7-21 Work­ shop with Thomas Kerrigan, professor of art, University of Minnesota, Duluth. Open to begin­ ners and advanced potters, artists and travelers. Location: Art Instituto Allende. Fee: $795, double occupancy; additional $200 for single occupancy. Three college credits available for $193.50. Con­ tact Terry Anderson, Program Director, Con­ tinuing Education and Extension, University of Minnesota Duluth, 403 Darland Administration Building, 10 University Drive, Duluth, Minne­ sota 55812; or telephone (218) 726-8833. Netherlands, Cadier En Keer through March 22 RobertaLaidman, “Dogs”; atGalerie ‘deKeerder Kunstkamer,’ Kerkstraat 10. Netherlands, ’s-Hertogenboschthrough April 12 Ceramics by George Braque, Marc Chagall, Jean Cocteau, Raoul Dufy, Joan Miro and Pablo Picasso; at Museum Voor Hedendaagse Kunst Het Kruithuis, Citadellaan 7. Scotland, Saint Andrewsthrough March 29 Rosann Cherubini, “Shrine: Astonishment of the Heart,” ceramic sculpture and drawings; at Crawford Arts Centre. Switzerland, Lausanne March 12-April 11 and April 16-May 16 Small bowls by 150 ceramists from around the world; at Galerie Leonelli, Rue Vuillermet 6.

72 C eramics Monthly March 1992 73 Suggestions automatically starts counting down again. I set it to beep hourly during the day when I’m From Readers turning up the burners on my gas kiln, and every 20 minutes toward the end of the firing.—Jennifer Boyer, Montpelier, Vt.

Cone Reading Aid Adding Fiber Insulation Safely WTien looking into a reducing kiln to I used to place a square of fiber blanket check the pyrometric cones, I use a hairdryer on top of my electric kiln as extra insulation, to clear the atmosphere quickly so that I can but became concerned about this practice see easily. This especially comes in handy after reading about fiber inhalation dangers when firing two or three kilns at once; you and seeing airborne particles in a shaft of need only a few seconds to get an accurate sunlight after removing the pad. reading. No more singed eyebrows. So I cut a piece of blanket to fit the lid of Note: Make sure the peephole is free of the kiln, then covered it with aluminum debris before firing the kiln.—Ivan Ander­ sheeting, folding the metal at the corners son, Laytonville, Calif. and securing the flaps with screws. This proved effective in preventing heat loss, but Flexible-Height, Portable Worktables the kiln took forever to cool. Recently, at a country auction, I pur­ The solution was a “sandwich” of fiber chased two hospital gurneys as sculpture blanket between two sheets of metal (the tables. Conversion for studio use required edges joined with rivets, bolts, etc.), which about 30 minutes. After the mattresses were could be left on the kiln during firing, but removed, plywood sheets were bolted in removed for cooling.—Stephen Plant, Revel- place and covered with canvas to serve as stoke, British Columbia, Canada tabletops. The gurneys have wheels that can be Drying/Storage Stacks locked, completely stabilizing them, or un­ Lack of adequate drying/storage shelves locked for easy movement around the stu­ at my pottery school is so acute that I had to dio. But the most satisfying aspect of their figure out a way to use economically what use is that, with a twist of a handle, the work little space is available. By cutting flexible surface can be raised or lowered, eliminat­ plastic pails (with lids) with a utility knife, it ing lots of back and eye strain. is possible to recycle ordinary containers The gurneys were purchased for $62.50 into (1) plate lifters, (2) controlled drying each, and I can’t remember ever feeling I got so much for my money.—Jean Nichols, Odessa, Tex.

Teapot “Decongestant” The ceramic equivalent of a nasal decon­ gestant—for teapots, at least—is the water sprayer found in most studios. When glaz­ ing a teapot, I hold it with the spout pointing down, then spray water up the spout, thereby soaking the strainer and limiting the amount of glaze it can absorb. This results in a strainer with no glaze-clogged holes.—Duff Bogen, Seattle, Wash. chambers and (3) stacking storage shelves. The plate lifter is made by cutting off the Lifting Raku Ware upper two-thirds of the pail, then removing Some shapes are very difficult to lift with a wedge from the bottom (see drawing); the tongs when rakuing. The solution maybe to uncut side acts as a hinge. To use: wire-cut construct high-temperature wire bridles or the plate from the wheel head, spread the slings for these awkward objects before plac­ sides of the plate lifter and carefully position ing them in the kiln. The bridles can then be it under the plate, squeeze shut and twist off. grasped easily with the tongs to lift these Placing the lid from the pail on top of objects out of the hot kiln and place them in each allows lifters to be stacked vertically as postfiring reduction materials.—Ira Merrill, drying/storage shelves.— SteveStrandnes, New Wrangell, Alaska York City Dollars for Your Ideas Firing Reminder Ceramics Monthly pays $10 for each suggestion I’m usually simultaneously watching the published; submissions are welcome individually kiln, making dinner, helping with home­ or in quantity. Include an illustration or photo to work, getting phone calls, etc. So even after accompany your suggestion and we will pay $10 20 years of potting, I still had “I forgot the more if we use it. Mail ideas to Suggestions, kiln” nightmares. Ceramics Monthly, Box 12448, Columbus, Ohio But now I rely on a sports watch with a 43212; or fax to (614) 488-4561. Sorry, but we timer that beeps at any set interval, then can’t acknowledge or return unused items.

74 CERAMICS MONTHLY March 1992 75 Video

The Language of Shapes “To me, shapes communicate. I’m pretty sure that’s an untapped international lan­ guage,” says Seth Cardew (son of the late British potter Michael Cardew) in this nicely filmed video introducing beginners to “the ABC’s of shapes—what they mean and how you communicate with them.” Seth Cardew begins by demonstrating how to throw bowls as he discusses basic design concepts: “Whenever there’s any change of direction in form, that change of direction is an idea....That is where the style of a piece comes in.” But, he is quick to point out, arbitrary changes of direction are not what make great pieces. “Collectors look for unity in a piece,” he notes. A pot needs to be made with ‘just one thought. Clay is a material that picks up what you’re thinking. I think that’s why it has a rectifying effect on people who work with it. They can see themselves in it. Clay is a very sympathetic medium.” Cardew also demonstrates throwing mugs, covered jars and teapots. “Don’t fuss at the shape,” he cautions. “If you fuss, you kill it. Clay doesn’t need to be repeatedly handled. Always look forward to the next pot. Finally one comes out that expresses exactly what you want it to. Nobody quite knows how that happens. I suppose it’s be­ cause you’re functioning in unity with the clay and you’re not expressing yourself any­ more. You’re expressing the universe. You don’t remember making the best ones. They just seem to flow out of you. That’s something that happens with repetition.” He goes on to explain the importance of good proportions: “Not everybody’s eyes are trained to understand proportion, but potters’ should be.” Most people admiring a pot “don’t know why they like it, but the person who made it does because he knows [how to establish pleasing] proportions.” A handmade object has several things going for it, says Cardew. “One is good proportion. Two is the thought behind it. And three is the fact that it’s the only one of its kind. It goes into the home as a family friend.” Although such pots can’t talk, “they communicate by their shapes.” At the same time, potters need to listen to their customers’ requests. It’s not always true that “the way they used to do things in the old days was so much better. Nostalgia,” Cardew observes, “holds the craft move­ ment back.” When modem potters meet “the needs of people who are alive today, their work actually lives much more.” 29 minutes. Available as VHS videocassette. $50 (delivered in the U.S.); add postage for foreign addresses. DeAnza College Television Center, 21250 Stevens Creek Boulevard, Cuper­ tino, California 95014.

76 CERAMICS MONTHLY March 1992 77 Technical Crystalline Glazes: A Precise Method by Bevan Norkin

In order to produce crystalline glazes will vary greatly in appearance; in it, no matter what the method of ap­ you must first know what it is you are some cases, the quantities of those plication, you will deposit a slightly trying to create. Although the devel­ chemicals needed for crystal precipi­ different percentage oxide composi­ oped glaze is called crystalline, the tation are reduced to the point that tion on different surfaces of the piece. structures that shimmer and float in nothing at all grows. Your piece will have, in effect, a num­ the glaze are not single crystals—they An unusual feature of a glass com­ ber of different glazes deposited on are aggregates of microscopic crystals. position that contains both zinc and the same surface. With a properly sus­

These aggregates may be large or small silica is that ZnO and Si0 2 form two pended glaze, you will find that the and quite varied in appearance, same result is obtained indepen­ depending on the conditions dent of the method of applica­ under which they were pro­ tion (whether it is poured, duced. In order to successfully dipped or brushed). and consistently develop these ag­ The method for producing a gregates in the glaze, several vari­ perfect suspension involves us­ ables must be identified and ing 2% to 3% bentonite in com­ controlled. bination with 1 gram of lithium Basically, this is a problem of carbonate (Li2Co3) per 500 precipitating crystals in a molten grams dry weight of the oxides.

glass composition. And even Here the Li2Co3 acts as a defloc- though what we are describing culating agent and the suspen­ has been labeled a glaze, it is sion produced is thixotropic, really a glass composition that is shifting from a gel to a liquid almost completely free of alu­ with gentle agitation. This sus­

mina (A1203) and boric oxide pension uses less water; the (B2Os). These chemicals act as amount of water must be arrived stiffeners, preventing the glass at by trial and error. In general, I from flowing from the piece. mix glazes in a food blender, add­ They also inhibit the growth of ing water until the solution is the desired aggregate and can very thick. At this point, the solu­ even prevent the precipitation of tion adheres to a brush without any crystals at all. flowing, and bubbles rise out of The technique of precipitat­ the liquid and settle on the top ing crystals may remain elusive without popping quickly. When unless you understand the na­ allowed to sit for 10 to 15 min­ ture of the precipitation product utes, then reagitated, the glop (the aggregate) in relation to the turns into a rich, creamy solu­ glass in which it is grown. The tion. If you have mixed it prop­ same molten glass medium will erly and allowed it to stand, the always yield the same aggregate, solution gels and no liquid accu­ provided the aggregate is grown Wheel-thrown stoneware vase, 8 inches mulates at the top. at the same temperature. The in height, with white-gold crystals on a gold The behavior of the solution fundamental problem here is background, fired to Cone 10 in oxidation. depends upon the ingredients that glass is fluid when it melts, selected. Western bentonite be­ and as the glass flows down a vertical separate molten solutions that do not haves as described. Other bentonites surface, the oxides that make up the mix. It is apparent that the particle mix quickly and there is no waiting glass composition cascade downward distribution in the initial raw glaze period or gloppy initial solution. at different rates. This means that the coat will influence how these two im­ The glaze may be stored in an air­ same combination of oxides, whether miscible phases develop. It is abso­ tight container indefinitely with no fritted or not, will produce an infinite lutely essential that the initial glaze settling. I have stored mixtures for as variety of molten compositions, which composition is properly suspended so long as four months in Tupperware, may vary radically in oxide content that the same flow patterns can de­ and, upon opening, found no liquid versus the percentage in the original velop during the fluid phase. If you on the top as well as no sediment at composition. The aggregate grown have a raw glaze that settles as you use the bottom of the container.

78 CERAMICS MONTHLY Since the composition of the mol­ On the firing chart, A represents periment with your own glaze. Vari­ ten phase is so critical to the results the increase in temperature to the ous effects are produced simply by obtained, you will find that the same melting point, while B marks the con­ altering the holding temperature. At raw glaze melted over different clay trolled descent to C, the temperature the top of the range, the aggregates bodies also yields different results. My at which crystals precipitate out. The formed look like small sticks with tufts work has all been at Cone 9 to 12, so temperature-increase ramp may be set along their borders or at either end. my technique may not apply at a lower at any rate. My cycle begins with in­ As you lower the holding tempera­ temperature. Different porcelains may creases of9°F/minute [5°C/minute] ture, they become (1) bowties lined yield various results, such as a clear and gradually slows down to 4.1°F/ up parallel to one another and per­ background with colored crystals or minute [2.3°C/minute]. pendicular to the floor of the kiln, an opaque background with colored The descent should be rather fast. (2) fanlike plumes with variegated crystals. Such variation is related to I have used two methods: continuous filaments, (3) fanlike plumes with par­ the surface reaction between the clay control fromA to B to C, and broken allel filaments, (4) circular with radi­ body and the glaze. More brilliant re­ control in which the kiln is shut off at ating parallel filaments and (5) sults are obtained on less vitreous clay the end of A, allowing the tempera­ splotchy centers with a filigree fringe. bodies. I have used both and some­ ture to drop freely, then picking up If during the descent, the rate of how the results on semivitreous por­ control at about 54° to 108°F [30° to temperature decline is held below celain are crisper. The shape of the 60°C] below melting point for a con­ 3.6°F/minute [2°C/minute] for com­ aggregate may change as well. trolled descent to holding tempera­ positions using nickel oxide, second­ ture. The temperature is then held ary aggregates that are golden and Firing Control steady for 45 minutes to 6 hours. In square may form, and two are some­ Forming the molten medium in general, I hold this temperature for times connected by a bar. Then, gen­ which crystals are precipitated, mix­ 2-4 hours to allow aggregates to grow. erally, the Zn/Si aggregates form ing the glaze as a perfect suspension Using this method, crystals will beneath them. and selection of the clay body are the grow at random with uniform distri­ After the holding period is over three variables that must be con­ bution about the pot, provided there and glazes with high concentrations trolled, initially, to obtain repeatable are no updrafts or crosscurrents in of copper are left to cool, the lid of results. However, you must also have a the kiln. These air patterns cause very the kiln may be cracked slighdy for 10 way to repeat the firing cycle. To this small aggregates to form all over the to 15 seconds, then shut. The draft end, a programmable temperature piece or, particularly in the case of that enters the kiln will cause second­ controller is the best tool. updrafts, cause crystals to form exclu­ ary crystals to precipitate out in the All the compositions that I have sively on the shoulders of the vase. If form of black speckles at a tempera­ used have extremely broad ranges of the updraft is confined to one side of ture of 1292°F [700°C]. Holding the temperature (from Cone 9 to Cone the vase, bunching of aggregates will lid open several times will almost com­ 12) during which the glass melts or form on that side, while separate pletely fill in the background with con­ becomes fluid. Of course, the aggre­ growth will occur on the other. tiguous black dots, while holding the gates that result are radically differ­ The various features of the aggre­ lid open too long will result in dun ting ent. It should be understood that the gate are a product of heat treatment of the ware. glass is fluid as you approach the tem­ during their growth. At a constant tem­ perature selected as the melting point perature, the crystals will be depos­ Kiln Design and also as the temperature descends ited at a constant rate. Changing the When I first began, I thought the from that point. I have never fired an growth rate by increasing and decreas­ design of the kiln had to be special. entirely fritted composition, because ing the holding temperature periodi­ To ensure uniform temperature dis­ I don’t have the facilities to make one. cally will result in banding. If the tribution, I cut my own bricks to hold My understanding is that fritted glass temperature is allowed to oscillate three to four heating elements each. instantaneously melts at a specific tem­ about the set point, banded crystals However, I later found out that this perature/time. But here we are using will always occur. was not at all necessary. The main a frit in combination with raw oxides, After the kiln is turned off, the reason for overpowering my kiln this so the range of melting is extended aggregate will continue to grow for a way was to allow for quick firing. I also beyond a single point. short time in the temperature zone in wanted the controller to be able to In firing this type of composition, which the glass is still molten but not operate well below the maximum out­ it is necessary to plan a firing cycle. fluid. During this descent a fringe or put of the kiln elements. Any cycle will do—fast or slow. For halo will form about the crystal. The Firing to Cone 10 puts a strain on the sake of economy I have used a fast fringe develops in glaze compositions the elements. At that range, I would cycle in this form: with a small percentage of coloring get about 34 good firings and another oxides, and a halo forms when a large 8 with inconsistent results. At Cone percentage of coloring oxide is used 12, the number descended to 24 good (about 8%). Each of these shifts in firings. Wear and tear on the bricks configuration is produced by altering required their replacement every six the holding temperature 36°F [20°C]. months, firing the kiln at least five The temperature range in which times a week. crystal aggregates can be grown is ex­ My kiln was designed as a ten-sided tremely large and you will have to ex­ top loader made from Johns Manville

March 1992 79 Stretched element wire is used to hold blanket fiber insulation in Exposed insulation on the side and top of the kiln requires place around the exterior of the ten-sided insulating brick kiln. the use of a respirator and gloves when loading and firing.

To prevent contamination, the thermocouple is protected by an Two sets of dangerously exposed lead wires (connected by alumina tube fitted with an exterior dust cover. crimped copper lugs) feed power to the elements.

2500°F insulating firebrick (JM25) in % inch. I cut each element to a length near its connection to the element the floor and lid. The barrel of the of 16.2 ohms (electrical resistance); in wire. Then 2300°F Fiberfrax was kiln was surrounded with a 2-inch- a kiln with three tiers of bricks, I used packed around the Kanthal leads to thick layer of 2300°F Fiberfrax, then nine elements. block all drafts. covered with a 1-inch-thick 1100°F re­ The elements were drawn through The barrel of the kiln sits on a fractory fiber blanket. the side of the kiln to extend about 1 circular kiln floor, which is placed on The entire kiln was held together inch beyond the blanket insulation, a larger square layer of JM25 insulat­ with stainless-steel hose clamps, pur­ and their copper terminal end lugs ing firebrick. This allows the insulat­ chased at a gasket company. These 8- were crimped on. The wires into the ing blanket to seal off the base of the foot-long clamps come with adjustable elements, nine on a side, were fanned kiln resting against the floor. This en­ hardware that can be placed anywhere out from an aluminum terminal block tire arrangement is supported by along their lengths. The 8-foot lengths that was connected to a 50 amp cop­ cinderblocks laid with their flat sides can be extended with the addition of per power cord. These lead wires were against the floor to allow for ventila­ steel banding. This arrangement al­ strung through JM25 firebrick to line tion below the kiln. lowed me to replace bricks easily, sim­ them up with the element wire ex­ As you may have guessed, this is an ply by loosening the clamps. tending out of the kiln. The leads also extremely efficient kiln. However, it The element wire was purchased had copper terminal lugs, and were requires very good ventilation, as from Duralite, in the form of a con­ fastened together with stainless-steel fibers will break off the outer blanket tinuous coil of 16-gauge Kanthal A1 nuts and bolts. About 1½ to 2 inches during firing. In addition, the lid of wire wound to an outside diameter of of lead wire stuck through the brick the kiln was covered by scraps of fiber

80 CERAMICS MONTHLY The power controller is mounted Appropriate lengths of element wire are cut from a about 3 inches away from the wall coil by measuring with an ohm meter—16.2 ohms on L brackets. when planning to install three elements per brick. insulation, pressed down around the kiln, except for the lid, can be touched receive the input of one of the three. top of the kiln to prevent drafts enter­ at any time. R and S are the most common, with S ing from the top. Chambers were constructed two-, the most popular. Platinum thermo­ On the floor of the kiln, I put down three- and four-tiers of brick high. couples are rated to 3200°F [1759°C] about 1 inch of 200-mesh alumina ox­ Each was designed to fire pieces of and can be used continuously at ide. Because I fire my crystalline ware specific size, because I found that us­ 2600°F [1426°C] with very little shift on insulating brick pedestals, the run­ ing a kiln shelf essentially cut the kiln in calibration. At lower temperatures, off simply beads up on the alumina, in half, and temperature control was they may be used indefinitely, pro­ preventing damage to the floor from accurate only at the thermocouple tip. vided they are set up properly. the liquid glaze. The use of a half shelf is all right, Crystalline glazes are volatile at The area around the floor next to although I only tried it once. high temperatures, so the platinum the firebrick of the barrel is lined with The reason for using such highly sensor must be protected from the ½-inch-wide strips of JM25 brick to rated brick was twofold: first, the ele­ kiln’s atmosphere. If not, a purple prevent any run-off from adhering to ment support bricks have a longer compound called platinum disilicide the walls. The brick protecting the life; and second, in the case of con­ forms on the thermocouple and walls should stick up above the alu­ troller malfunction, the kiln will not changes its electrical response. The mina oxide. melt down, even though on several controller has no idea of the kiln tem­ Alumina oxide should be pur­ occasions through careless program­ perature because it reads the electri­ chased by mesh. To test for its suitabil­ ming, I’ve managed to reduce my load cal response to temperature as a ity, compress some in your hand. If it to what looked like a bubbling lava voltage that has been standardized. simply flows from your hand, it is all flow of pooled porcelain and glaze. The contaminated thermocouple now right. If it bunches up and retains its This happened on the first firing of a has a new response because a new shape, it is too fine; molten glaze will new kiln with four elements per brick alloy has been formed. be absorbed, creating a mess you can­ and took less than 25 minutes. When The solution to this problem is to not even imagine. I went in to check the new kiln, the place the element in a closed-end, This is a rather dangerous kiln from atmosphere was glowing white and high-purity (99.9% pure), alumina many points of view. There are electri­ the digital thermometer read in ex­ protector tube, which is fitted with a cal hazards and health hazards. I keep cess of 2550°F [1400°C]. dust cover on the section of the tube it in a separate room apart from my that extends outside the kiln. Con­ studio, with a fan on continuously for Temperature Sensors tamination may be introduced on ei­ ventilation. The refractory fiber insu­ This seems a good time to say a few ther side of the kiln wall. In addition, lation must be handled with gloves. I words about temperature control and the dust cover should have an open­ also need to wear a respirator when controllers. A temperature-control sys­ ing to allow the signal wire from the handling the lid cover and even when tem is only as good as the sensor you controller that is hooked up to the I simply want to check a firing. Why use. The sensor must be made from thermocouple to enter. To seal this didn’t I have a stainless steel jacket one of the available platinum alloys, opening I use a non-silicon resin called cut? My main objection was the dan­ R, S or B, and has to be matched to TORR Seal manufactured by Varian ger of being burned. With the arrange­ your controller. Some setups let you Vacuum Products, 121 Hartwell Ave­ ment described, the outside of the select; others are already set up to nue, Lexington, Mass. 02173; (800)

March 1992 81 544-4636 (a recommendation I got controller so you can see the digital The controller itself may also alter from NASA). readout for temperature when the kiln its original levels because of changes The temperature-control system is in the range of red heat or higher. in ambient temperature. In the speci­ usually consists of a programmable Turn the control system off. If the fications there is usually a term “sta­ controller, a power controller and the readout simply drops linearly, your bility” and a number such as 0.05% of thermocouple assembly. The power unit is properly filtered. If not, or if span/°C. In plain English, this means controller may be purchased in two you see a large instantaneous drop or that as the room temperature changes forms: phase angle and distributed rise in the readout, you are in trouble. from the temperature at which the zero crossover. Phase angle delivers (I had to hire an electrical engineer controller was originally calibrated, for continuous voltage to the elements to help me with this one.) every ±1.8°F [±1°C] shift, the unit and, if the transition is from about Another problem with tempera- reads the kiln temperature at ±0.05% 30% output to 70% output, allows ture-control systems is cokTjunction of the span of the unit. The span re­ them to glow without pulsing. Distrib­ compensation. This terminology re- fers to the length of the temperature uted zero crossover does not. span over which you can get a It is in the full on mode for readout. For platinum, the 30% of the time, full off for span is generally to 3180°F the remainder. I have found [1750°C] and, although that distributed zero crossover 0.05% doesn’t sound like induces the precipitation of much, if you are ramping up many contiguous small crys­ (raising the temperature) at tals and that with it, it is im­ 5.4°F [3°C]/min., at the top possible to grow large separate temperature, you will spend aggregates. With phase angle an extra two to three minutes you can. This is related to the at temperatures above the nor­ size of the elements. In ex­ mal melting point selected for tremely thick and heavy coils your glaze. This will be taking there is no pulsing, but with place when the glaze is fluid, 16-gauge Kanthal A1 there is. and it will alter your results This creates a pulse in the heat radically. wave and can essentially be Because I am interested in counted as an omnidirec­ repeatability, I keep my con­ tional draft inside the kiln. troller in a thermostatically The problem with phase controlled room. If you have angle is that it is extremely central heat and air, that will “noisy” electrically. My origi­ do. Otherwise, a small ther­ nal thermocouple system was Female torso vase, 8 inches in height, slab- mostatically controlled win­ very sensitive to this and the built porcelain, with crystalline glaze, by dow unit will keep the electrical noise caused an er­ Bevan Norkin, Norfolk, Virginia. controller at a constant tem­ ror in temperature reading of perature. It was not necessary ±45°F [±25°C]. The error’s for me to keep the controller size was dependent on the tempera­ fers to the temperature control unit’s at the temperature calibrated by the ture at which it was measured and the ability to compensate for shifts in room factory because I was interested in re­ gauge of the element wire—so the temperature about the connection be­ peatability rather than accuracy. So if error was variable from firing to firing. tween the lead wires to the controller I set up my unit at 27°F [15°C] above Some systems are set up with proper and the thermocouple. This is a fac­ the factory calibration, it didn’t mat­ filtering and some are not. It can be tor when plain copper lead wire is ter as long as the room temperature especially troublesome if you are in­ used. At that connection an additional remained constant. I could compen­ terfacing components from different voltage dependent on the ambient sate for this by firing the kiln to the manufacturers. If electrical noise is a temperature is generated, adding to appropriate readout for Cone 10 and problem, then the unit as well as the the electrical response of the thermo­ check the degree of bending versus thermocouple must be grounded. couple and resulting in a reading that the readout. I could then fire at a Grounding the thermocouple involves is too high. Some systems have a com­ lower or higher readout. Since I using three platinum wires instead of pensation diode on the back panel of wanted the readout to be fairly close, two. The third wire serves as a ground; the controller that may be soldered to I adjusted the temperature of the it is simply welded into the bead at an extension wire so it can be placed room instead. the hot end of the thermocouple. near the cold junction. It reads room I have been talking about the accu­ My old digital thermometer re­ temperature and the controller makes racy of the temperature scale relative quired extensive filtering in addition the necessary correction. Another so­ to the standard calibration. The accu­ to the grounded hot junction. My new lution is simply to use compensated racy of this temperature scale itself is temperature-control system does not. lead wire rated for the type of plati­ also not a critical factor for this sort of Ask manufacturers about this. Some­ num thermocouple used. Here at the work. This is also given as a specified times they know; sometimes they cold junction no additional voltage is “accuracy” ±°F(or ±°C) as a percent don’t. To check for yourself, set the generated. of span. As long as the temperature

82 CERAMICS MONTHLY scale remains constant in its reading ramics in Carrollton, Ohio) is equiva­ To adjust the melting point of the of voltage from the thermocouple in­ lent to the French-process ZnO that I crystals using Variation I, increase or put, the term accuracy really refers to was using, plus the company guaran­ decrease zinc oxide and flint each by the distance between any two tem­ tees it will not change the process, the same amount. An increase results perature readings as a function of the which has been in use for 63 years. If in a more refractory composition, voltage from the thermocouple to pro­ you are looking for consistency in re­ whereas a decrease lowers the melt­ duce a change in one reading to the sults, this zinc is worth the difference ing point. next. Unless the scale is terribly inac­ in price. When I complained to my Copper oxide is a very striking curate, the ramp rates will remain true original suppliers, they simply replied colorant when used in high concen­ over the entire temperature scale. I was not the only one who has com­ trations. Adding 6.1% copper oxide plained. So zinc consistency is really to the base glaze results in a green- Glaze Composition an important consideration. black crystal on an opaque or a trans­ In general, my method for experi­ Another way of altering results and lucent dark green background. This menting with crystalline glaze com­ achieving subtle coloration in the crys­ is the composition that, while cool­ positions is to control the clay body, tal and in the background is to layer ing, will produce black splotches with control the materials, use the same color variations of the same glaze silver borders in the background, if cycle over and over, and to alter the recipe. For example, consider combi­ the lid is cracked around 1290°F percentage composition of my recipe. nations of variations made from the [700°C]. Once that yields a result, I then adjust following base recipe: the holding temperature. Firing Support Most materials can be used directly Crystalline Glaze Base Although some potters stilt, then (Cone 10) out of the bag, except for Ferro frit grind the bases of their crystalline- Lithium Carbonate...... 0.18% 3110. Although this product is labeled glazed pieces, I find this method very Zinc Oxide...... 28.77 200 mesh, it turns out that this rating cumbersome. Instead, my pots have Frit 3110 (Ferro)...... 43.59 is for large quantities only. In order to thick foot rings that fit firebrick ped­ Bentonite...... 2.18 obtain repeatable results, I have to estals cut slightly smaller than the Flint...... 25.28 pass it through a 200-mesh sieve. The ring’s circumference. After having lawn (mesh) of the screen must be 100.00% been cut to size, the pedestals are made of stainless steel. It can be or­ Variation I: add 1.05% red iron oxide dipped into a mixture of alumina ox­ dered in two configurations: open or to produce white crystals on a pale ide and water. The A1 203 coating pre­ standard. The open screen uses a yellow background. vents the corrosive glaze that flows off smaller diameter wire and will sift the Variation II: add 1.05% copper car­ the piece from melting the brick. The frit more quickly. It is important to bonate to produce green crystals on a pot and pedestal are placed on top of dry sift this frit separately from the pale green background. another brick (also coated with A1203) other ingredients instead of wet Variation III: add 1.22% manganese and the whole assembly is placed on screening the entire mixture, because dioxide to produce mauve/pink crys­ the bed of Al 2Os at the kiln’s bottom. of the possibility of eliminating differ­ tals on a mauve background. The thick ring on the bottom of ent amounts of other coarse materials Variation IV: add 0.23% cobalt carbon­ the pot allows the pot to shrink on the from batch to batch. Sifting Ferro frit ate and 0.70% manganese dioxide to brick during firing without falling over, 3110 was something I discovered after produce blue crystals on a gray back­ and helps keep glaze from running all of the other variables had been ground. underneath. Pieces fired to vitrifica­ identified; it was the key to obtaining Variation V: add 2.62% green iron ox­ tion generally shear off the brick on repeatable results. ide and 2.62% red iron oxide to pro­ their own; however, most pots have to The zinc oxide also has a signifi­ duce royal blue crystals on orange to have the brick chipped off, then the cant effect on results. I use 99.9% pure red/brown background. bottom must be ground smooth. For ZnO; the main difference from one Variation VI: add 1.22% manganese grinding, I use a Black 8c Decker angle manufacturer to another is the par­ dioxide to produce pink crystals on a grinder with 16-grit silicon carbide ticle size. French-process calcined ZnO mauve background. sanding disks produced by 3M Cor­ has a particle size of approximately 1 Variation III fired over II produces poration for floor stripping. micron, and American-process cal­ green crystals on a pink and green The final step is to polish the feet. I cined zinc has a diameter of approxi­ background; II fired over III produces had a local steel fabricator who had a mately 0.19 microns. The difference whitish green crystals over an oyster laser saw cut a ½-inch piece of iron in in its use is the ease of mixing in sus­ gray-green background, etc. However, a circle to fit a bat. About three years pension. The French process mixes Variation I fired over VI over IV re­ ago this cost $30. The iron disk is much more easily, while the Ameri­ sults in VI melting out and having no fastened to the bat with a stainless- can process produces a more rubbery effect on the color. steel hose clamp. I then use silicon looking solution. Both work and pro­ Layering Variation I over IV results carbide grit (220 mesh) to polish the duce beautiful results. But I found in pale blue crystals on a hazy, pale base perfectly flat, just like a glass- that some ZnO manufacturers change gray-green background; however, de­ blower polishes work on a stainless- their method of producing ZnO and veloping yet another variation by us­ steel wheel. this would pull the rug right out from ing the colorants from both I and IV under my results. Finally, I found that produces blue crystals on a definite The author A self-taught potter, Bevan Eagle Zinc (a product of Fusion Ce­ green background. Norkin resides in Norfolk, Virginia.

March 1992 83 84 C eramics Monthly March 1992 85 Comment

North of the 49th Parallel by Tony Clennell

Clearly, a pot is a statement about the owners usually opt for the pots that studio. The advantage is that we get to personality of its maker. As I look need no explanation. I can’t say that I educate the public about wood-fired around our two-person studio, however, blame them; they, too, have families, pots and the process that creates them. I feel like we could be featured in Psy­ mortgages and all the other unforgiving The disadvantage is that our best work chology Today, since the pots are made economic task masters. is only seen in our studio and not other with three distinct personalities. But it So we make a line of gas-fired pro­ parts of the country. is necessary to change the personality duction pots that sell really well, afford­ Shops receive our gas-fired line of of our ware, depending on whether ing us the luxury of doing what we do domestic ware. The profit margin is so the pot is destined to be wholesaled, for at least another month or so. In slim in wholesaling, it’s necessary to sent to a show or sold in the studio. 1972, I spent a summer working with make and fire these pots quickly, avoid­ My partner, Sheila, and I do produc­ Mick and Sheila Casson and Andrew ing the high losses that are common tion stoneware, handbuilt porcelain and McGarva in England. This short pe­ with handbuilding and wood firing. wood-fired pots. Sheila is most com­ riod of time changed me, my pots and When you are wholesaling and receiv­ fortable when she is handbuilding probably the roads I’ve traveled. It’s ing 50% of the retail price, less all your friendly, animated, wonky pots from pa­ taken me years to sort out the informa­ material and operating costs, it is im­ per-thin slabs of porcelain. I’m a happy tion that I brought home over the big portant to make time and firings count. victim of potter’s nod, when I’m throw­ puddle, but I have learned to live by We fire a small, 20-cubic-foot, down­ ing slowly on the kick wheel; these pots one of Mick’s expressions: “some and draft kiln and use an oxygen probe for are then glazed sparingly and wood some.” I make some for the customer reduction. This is a 180° turnaround fired in a two-chambered kiln. But we and some for me. for a wood-fire potter, but a necessity to can’t make a living from either of these The ones I make for myself are wood keep our studio on the map. kinds of work. It usually takes time to fired. They require more physical and I don’t know about the ceramics mar­ explain the subtlety of a wood-fired pot emotional energy to produce; there­ ket in the U.S. or other parts of the to an interested customer, and store fore, we only retail these pots from the world, but north of the 49th parallel it

86 CERAMICS MONTHLY March 1992 87 Comment cheap real estate so that we could set It occurred to me that the quality of up our studios. In the ’90s, I don’t know the pots is directly related to our bank where you could go without being so account. When I have received a check, far from the marketplace that it would gotten into a good show, had a good seems to be experiencing some prob­ in the end be more costly. Urban pot­ firing or balanced the bank statement lems. Upper-end galleries have been ters could eat up that million-dollar lot­ for the first time since fall, I feel confi­ biting the dust, ceramics departments tery with the purchase of a downtown dent. At times, when the wind is in our in schools have slaked down, and some house/studio. Then it would be strap faces, we huddle in for protection and respectable potters—weary of the yourself to the wheel ’cause you’ve got take fewer risks. We get uptight when struggle—have turned to mass produc­ bills to pay. we are at the end of our line of credit tion—using hydraulic presses and such. It helps that we love our work and and the summer tourist season is 10 The plight of the Canadian potter the pleasures of being together through­ feet of snow away. I’m meticulous (as can be compared to that of the farmer. out the day. I’m actually happy with the much as I can be) when making din- Some farmers around us are di­ nerware for a customer who car­ viding their land in an effort to I have learned to live by one of Mick s ries a measuring tape, and I’m make ends meet. Others have loose and casual when the turned to mixed farming expressions: “some and some.” I make some bankerfor is on holiday, the door (around here that means a little of the studio is open, the sun is farming, a little real estate, a the customer and some for me. shining and I’ve got a new blues little hairdressing, a bit of teach­ tape to listen to. ing or whatever else a couple can turn diversity of pots that I claim I have to The act of writing down these their hands to.) Since I don’t have large make. Even if I could sell all wood-fired thoughts has straightened my course. sections of land to sell, I diversify my pots, I don’t think I’d want to. It’s snowing and blowing out there, but production to keep afloat. It’s -35°F tonight, as I huddle by the I’m going to the workshop in the morn­ All the potters I know seem to put in wood stove to write these thoughts. Our ing to make some pots—for me. farmers’ hours. I heard a farmer joke weather here is seven months winter As I look over my desk I see a num­ the other day that could just as easily and five months bad skating. The pros­ ber of unopened envelopes that will apply to potters. The joke is about a pect of wadding pots in the wood kiln also require my attention ASAP. No, potter who wins a million dollars in a tomorrow morning would have me these are not love letters, but friendly, lottery. A reporter asks what he’s going combing the Help Wanted ads for a little reminders about the mortgage, to do with the money, and the potter job. This is part of the personality disor­ clay, propane, taxes, line of credit, etc., says, “I guess I’ll just pay a couple of der I’ve been trying to explain. It’s nice etc. Humble pie. Oh, what’s another bills.” Then the reporter says, “But what to know I will be in a warm workshop month or so to make a few installments? about the rest?” And the potter answers, tomorrow and the gas kiln will be firing “Oh, the rest will just have to wait.” virtually unattended. Although I am The author Together with his wife Sheila, Many of us took to the country in committed to wood firing, even a wood Tony Clennell maintains Gleason Brook Pot­ the late ’60s and early ’70s in search of coon needs some creature comforts. tery in Wiarton, Ontario.

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88 C eramics Monthly