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

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

Ceramics Monthly (ISSN 0009-0329) is published monthly except July and August by Professional Publications, Inc.—S. L. Davis, Pres.; P. S. Emery, Sec.: 1609 North­ west Blvd., Columbus, Ohio 43212. Second class postage paid at Columbus, Ohio. Subscription Rates:One year $18, two years $34, three years $45. Add $5 per year for subscriptions outside the U.S.A. Change of Address:Please give us four weeks advance notice. Send both the magazine wrapper label and your new address to Ceramics Monthly, Circulation Office, Box 12448, Columbus, Ohio 43212. Contributors:Manuscripts, photographs, color separations, color transparencies (in­ cluding 35mm slides), graphic illustrations, texts and news releases dealing with ceramic art are welcome and will be considered for publication. A booklet describing procedures for the preparation and submission of a man­ uscript is available upon request. Send man­ uscripts and correspondence about them to The Editor, Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Indexing:Articles in each issue of Ceramics Monthly are indexed in the Art Index. A 20-year subject index (1953-1972) covering Ceramics Monthly feature articles, Sugges­ tions and Questions columns is available for $1.50, postpaid from the Ceramics Monthly Book Department, Box 12448, Columbus, Ohio 43212. Additionally, each year’s arti­ cles are indexed in the December issue. Copies and Reprints:Microfiche, 16mm and 35mm microfilm copies, and xerographic re­ prints are available to subscribers from Uni­ versity Microfilms, 300 N. Zeeb Road, Ann Arbor, Michigan 48106. Copies in micro­ fiche are also available from Bell & Howell, Micro Photo Division, Old Mansfield Road, Wooster, Ohio 44691. Back Issues: Back issues, when available, are $3 each, postpaid. Write for a list. Postmaster:Please send address changes to Ceramics Monthly, Box 12448, Columbus, Ohio 43212.

Copyright © 1985 Professional Publications, Inc. All rights reserved September 1985 3 4 Ceramics Monthly Ceramics Monthly Volume 33, Number 7 September 1985

Feature Articles Studio Management, Part 2 by Jeannette and Jim Cantrell...... 27 The B.O.R. Kiln by W. Lowell Baker ...... 32 Art For Eating...... 34 Potters, Zombies and Others by Harry Davis...... 35 Wood Firing in America...... 37 Washington Craft Show...... 43 Unloading by Louis Katz...... 46 Earthenware Revisited...... 48 Breaking Old Patterns by Margaret Ford...... 50 David Taylor by Astrid Brunner...... 52 Crystal Glazes by Cameron Covert...... 92

Departments Letters...... 7 Questions...... 13 Where to Show...... 15 Suggestions...... 17 Itinerary...... 19 Comment: Summer Workshop by Ersatz Soubriquet...... 23 Technical: Feldspar Fluxing Differences by Jerry Weinstein ...... 58 News & Retrospect...... 63 New Books...... 89 Classified Advertising...... 94 Index to Advertisers 96

The Cover Canadian ceramist David Taylor in his Dayspring, Nova Scotia, studio. Initially trained as a painter, he still acknowledges that connection in his clay work, utilizing a palette of slips and glazes to build depth and color on surfaces. CM’s profile of this artist be­ gins on page 52. Photo: Norval Balch. September 1985 5

Letters New Zealand Impressions Foremost is their inability or unwilling­ that I disposed of for a colleague. But that John Glick’s lack of historical conscious­ ness to sell their utilitarian pottery at the does not justify Mr. Troy’s ludicrous and ness in his article, “New Zealand Impres­ price of art while most prominent galleries unfounded claim that I, or anyone else for sions” (CM, April and May) is appalling. cannot afford to price it as craft. Conse­ that matter, have been manipulating the Ohr How could he fail to mention Harry and quently, many such potters have turned to market. May Davis? The Davises are probably the making nonutilitarian vessels which sell as As for the rest of the information (which only potters in New Zealand who will be art, but which too often lack the directness seems as much based in fact as the spurious recalled a century hence—so why their ab­ and vitality of their utilitarian sources. comments about Ohr) I have nothing to say. sence in Glick’s article? Everybody cheers the “expressive freedom” Debating the content of an uninformed, jin­ No other New Zealand potter, or any oth­ won by Voulkos, forgetting that the content goistic statement (however well intentioned) er living potter besides Harry Davis, is a co- and intensity of one’s creative focus, not free­ does not interest me at all. What does interest founder of the modern crafts movement. Be­ dom, account for quality. me is why Troy, who has written sensitively tween 1931-35, Davis worked at the St. Ives Jack Troy is wrong when he comes to in the past and has indicated a belief in writ­ pottery and ran it during Bernard Leach’s words and criticism. The problem there is ten analysis, should write such a bitter, anti­ absences. Davis went to Ghana, Africa, in bad writing and thinking. And I was sur­ intellectual statement. It is a little like a fem­ the capacity of a British first-class civil ser­ prised to find Mr. Troy displaying so much inist writing an ode in praise of male chau­ vant to operate the pottery at the Achimota of both. vinism. College in 1936. He resigned his position One silliness is Troy’s claim that critics Lastly I protest the sloppy handling of this and left Achimota in 1942, turning the pot­ are the oddsmakers of the art business—that matter by Ceramics Monthly which should tery over to Michael Cardew. In 1946, the artgoers, like gamblers at the track, read us know how to spell Mr. Ohr’s name correctly Davises started Crowan Pottery in Cornwall for solid bets. He assumes that critical writ­ (even if Mr. Troy does not) and for their and worked there for 15 years. The Crowan ing prevents people from thinking for them­ lack of professionalism and courtesy in not Pottery was nearly 100% self-sufficient. In selves. I wish it were so. My uncle was a verifying information that could potentially 1962, the Davises quit England for New handicapper at the track, and he retired ear­ be damaging. Obviously truth and respon­ Zealand where they once again established lier and wealthier than free agents from Yan­ sible publishing matters less than some “fun” a self-sufficient pottery. In 1971, they estab­ kee Stadium. in the Comment column. lished a cooperative pottery in Peru, where Another is Troy’s notion that criticism in­ Garth Clark there was no indigenous pottery. Harry forms us about “a body of work.” Criticism New York City Davis raised funds for the project by writing, informs us only about the critic’s opinion and lecturing and giving workshops in Europe, eye. That opinion varies in clarity, and so An Open Letter to Ken Ferguson Australia, New Zealand and North and South does the eye. However, from the most con­ Dear Ken: Somehow I knew I’d like you America. He currently resides in Crewenna, scientious critics and viewers, one gains a as soon as I read the article about you in New Zealand, editing his two-volume mag­ sense of where a willing eye may lead. Ceramics Monthly. Anyone who cares as much num opus, The Potter's Alternative, and de­ Whether the reader is willing to go along is about students and his role as a teacher as signing pottery equipment. another matter. Criticism, I’ve found, can be you do is okay in my book. These are just a few of the Davises’ many enormously self-revealing. That may be why My preconceived opinion of you wasn’t accomplishments, not the least of which is it continues to draw responsible practitioners tarnished in the least when I attended your 24 years of pottery-making in New Zealand, and readers. For whenever one’s eye differs workshop at San Jose State this spring. You’re which John Glick failed to mention. He may with one’s mind—and vice versa—one must an interesting man who has obviously spent have hit the bright spots of pottery in New think. some time thinking about what’s really im­ Zealand, but he missed the heart and soul— Despite Troy’s insinuations, that aspect is portant in life. Harry and May Davis. one of the refreshing qualities of some who Your skill and knowledge came as no sur­ Bruce Wild, Ceramics Instructor collect and attend art. They think about what prise. After all, you’re “famous.” Your mid- Philip Key, Ceramic Aide they see, buy what they like and yawn at dle-American style was refreshing to the Art and Applied Design Department authorities who try to tell them what’s good. California audience which you initially seemed Lane Community College Edward Lebow a little leery of. Eugene, Ore. Brooklyn Yesterday I received a postcard from you with the Shino glaze recipe you offered to Summer Comment Responses In Comment (June/July/August) Jack send anyone who left their name with you. Jack Troy is right: crockery that is made Troy asks the question, “Would Mr. Clark I had forgotten all about it; but you had not. to be viewed as art is, in a sense, “made to be at work on a book about George Orr (sic) Thank you! You’ve added another layer of be written about.” So what? if Orr’s (sic) pots weren’t handled by Clark’s respect to my memory of the big man from And there are pedigrees. The Shigaraki galleries?” The Garth Clark Gallery does Kansas who makes big, sensitive pots. jar Mr. Troy swooned over “at the western not handle Ohr’s pottery. For Mr. Troy’s Linda Mau edge of the continent” is a pretty good one. information neither I nor the gallery has ever Campbell, Calif. He ought to thank the agent of “critical of­ owned a work by Ohr. Ohr is a member of ficialdom” who placed it there. our stable in spiritual and not a commercial Thanks to Potters And yes, Virginia, dealers would love to sense. The Ohrs shown recently in my gal­ When one asks potters of today where they control their markets. Most never succeed. lery were all on loan (as was clearly stated began their study of ceramics and daywork, The ones who do are usually adored by their in all promotional literature). Each year it most of them reply, “Oh, I learned from a artists and bankers, who, as far as I know, is our policy to present a show for purely course in college and then I continued on my keep depositing the checks. educational reasons and we have been doing own.” Now this is changing; students in el­ However, the new ceramics market does this ever since we opened four years ago. ementary and high schools are becoming more present problems for many fine utilitarian In eight years of writing about Ohr I have aware of ceramics, and more programs are potters. Instead of whining, Mr. Troy would only once sold any pieces and that was a becoming available to them. A good number have done us a favor by discussing them. group of about six small, inexpensive pots Continued September 1985 7

Letters Of course, all those ceramists who glaze sculptures or other nonfunctional objects can of these students do continue with their stud­ heave a relieved sigh. They won’t have to ies of ceramics off campus in guilds or small jettison their favorite copper-red special. But organizations, where ceramic classes are of­ [potentially toxic] glaze that might be used fered according to the capabilities of the stu­ for orange juice or salads, even beans, is out. dent. The new generation of potters has be­ As Woodhull Stopford’s investigations have gun, but they can’t learn without the help of pointed out, 800 ppm in food or drink from the potters of today. I thank all of them, and a leached barium-glazed surface would be their work CM shows in the magazine. The potentially lethal to a 44-pound child. articles and pictures have inspired me to be I hope that somewhere in the upcoming more creative and to try new things. NCECA conference schedule a slot can be Sara Beckett found for this issue to be advertised and widely Dallas discussed. I anticipate that Monona Rossol is correct: research into a variety of glazes Look Again that would replace those popular barium In regard to “Art in Saskatchewan” (May specials should begin now. Hopefully, it won’t CM), dear Jack Sures: “Embryos”? No way, be all that difficult to drop the use of barium. Jose. You can’t trick me. Those are chocolate But it is clearly imperative that all potters, chips! teachers and ceramic engineers make stren­ Kari Copland uous efforts to eliminate the use of barium- Gypsum, Colo. containing glazes on eating or drinking sur­ faces. Exhibiting in Japan The alternative is too painful to consider. Brian Moeran’s Comment (March and Mac McCloud April CM) was really intriguing. I spent nine Tujunga, Calif. years in Fukuoka, Japan as a teen and an adult, and also a little time potting in Ko- While it may not yet be possible to mea­ ishiwara, but reading his article was a rev­ sure funk, it is possible to measure toxic dos­ elation to me—like peeking under a rock. es of chemicals—however, this is only true if Japan is definitely a country of surface and the correct measuring units are specified. hidden meanings, and I had heard about the In the May issue of Ceramics Monthly, closed world of pottery there. However, read­ an article about barium glaze toxicity men­ ing about the degree of behind-the-scenes tioned that 800 ppm of soluble barium could manipulating and plotting gave me a shock, be fatal to a child. The correct comment would plus a good dose of reality. It was fascinating be that 800milligrams of soluble barium could following the author through the whole pro­ be fatal to a child. cess of doing the show and listening in on Obviously, when using ppm one has to all his reactions and realizations as he went specify the volume involved. A milliliter of along. I wonder if his experience is indeed an 800 ppm solution of soluble barium would a universal one, or is intrinsic to the system not be a fatal dose, but a gallon would be. in Japan. Robert Tichane In any case, I really enjoyed Brian Moer­ Painted Post, N.Y. an’s “journey.” His writing is clearsighted, candid, humorous and without rancor. His Michael Cardew understanding and deep feeling for Japan I can’t believe CM didn’t catch the mis­ come through. Thank you for the education. spelling of “mu” in the transcript of Michael Nancy Yoshii Cardew’s address (“The Fatal Impact”) in Mineola, N.Y. the June/July/August issue. “Moo” is what a cow says. “Mu” is what the Buddha said Barium and Glaze Toxicity to a pointless question. It means “That is Bravo to Ceramics Monthly for publishing unanswerable.” Monona Rossol’s article in the May issue. Thanks very much anyway for publishing I’m sure that many of us were unaware of the address. Michael Cardew always had a this research which reveals evidence of the unique and valuable point of view. lethal potential from leaching of barium-con- Sarah Center taining glazes on food surfaces. Fort Collins, Colo. I think that it is the immediate obligation for all those responsible for glaze rooms in Coverage Gap ceramic shops and those who teach in studios As a board member of the Manitoba Crafts of universities and colleges, high schools or Council, and a subcommittee chairperson for pottery centers to post this crucial article in the Canadian Crafts Council, and a regular a prominent place. reader of Ceramics Monthly, I just realized I also think that we should begin at once something. I don’t know how I’ve missed it to inform all of our students, friends, col­ all these years but it suddenly dawned on me leagues, clients and the general public on this that there is an important gap in CM’s cov­ issue, just as responsible ceramists and en­ erage. It addresses the interests and needs of gineers have done with lead-bearing glazes ceramists of every ilk, and may I say ad- in the past 15 years. Continued September 1985 9 10 Ceramics Monthly Letters thousands more in the U.S., so how about Thank you, Dave Burrows (May Letters) it? for saying what many readers have felt for mirably, but there’s nothing in there for us Geoff Ireland a long time. poor, beleaguered, overworked, unpaid and Winnipeg, Manitoba Ken Horvath generally unsung volunteers. Escondido, Calif. Over half the membership of the MCC Subscribers’ Comments consists of potters, and I am sure a large I love the Ross Murphy controversy. It Please, how about less emphasis on non­ proportion of them subscribe to CM. In fact shows that not all potters choose potting as functional pottery (“Hey! Let’s make a clay we, as an organization, subscribe and keep an alternative lifestyle; some could be great bra!”) and more emphasis on classical tra­ the magazine in our resource center. Natu­ at used car sales. ditional ware by people such as Peter Dick. rally, members also receive our newsletter, Norman Lally Charles Moorman of which I am editor, but one of our chief Olsburg, Kansas Hattiesburg, Miss. problems remains communication, or the lack thereof, between the board and the mem­ For a long time I stopped reading Ce­ As I am presently occupied as the mother bership. We keep cranking out the infor­ ramics Monthly. Then I saw the tip about of two very small boys, but once a working mation, much of it provocative, interesting, throwing tall cylinders and wide bowls in potter, I appreciate the arrival of Ceramics controversial, and cocking a hopeful ear at outer space, and now I eagerly await CM’s Monthly. The issues I don’t get to are stashed the craft community. Mostly we hear the wind arrival. While this tip is just as useless as under the couch away from chewing mouths on the prairies. the meaningless aesthetic tripe that appears and curious scissors. Someday I’ll dig them It would be interesting to see articles in far too often in CM, such a thought is at out along with all the various dust balls and CM on the doings and difficulties of some least fun, something that hard working pot­ Legos and have that mythical cup of coffee local, volunteer, nonprofit craft organiza­ ters need in quantity. Zany potters, take up on the couch. Keep it up folks, you may be tions. Perhaps this would stimulate some your pens! on the back burner of my life at the moment, useful and interesting dialogue in the Letters Giles Singleton but not forever. column. Also of interest would be more of Venice, Fla. Penny Hoagland the usually excellent “how-to” articles on Farmington, Maine subjects germane to such groups: fundrais­ If everyone would open their eyes and look ing, management and organization, running at what’s going on around them, personal Share your thoughts with other readers. All successful workshops and meetings, etc. growth would be tremendous and Ceramics letters must be signed, but names will be In Canada alone I estimate that at least Monthly wouldn’t have to print so many of withheld on request. Address: The Editor, 500 potters are actively involved in volunteer the same old “let’s have more, let’s have less” Ceramics Monthly, Box 12448, Columbus, work for craft organizations. There must be narrow-minded correspondence. Ohio 43212.

September 1985 11 12 CERAMICS MONTHLY Questions Answered by the CM Technical Staff Q After several years of firing to Cone 9 reduction, I am one of the legions switching over to Cone 6 oxidation. My problem is that I can't seem to come up with a really first-rate basic glaze for onglaze brushed decoration at Cone 6. I want a glaze that has some life to it—ideally a fat, white, waxy matt to semigloss. I have tested many recipes but have come up with only two that come close; however, there is some slight surface movement with both, and this fuzzes the lines of brushwork. For your information, these glazes are: PAUL’S WHITE GLAZE (Cone 6) Gerstley Borate...... 15.7% Talc...... 8.6 Whiting...... 12.0 Custer Feldspar...... 43.0 Edgar Plastic Kaolin ...... 8.6 Flint ...... 12.1 100.0% Add: Zircopax...... 8.1% CUSHING SATIN MATT GLAZE (Cone 6) Whiting...... 20% Frit 3124 (Ferro) ...... 25 Nepheline Syenite...... 25 Edgar Plastic Kaolin...... 15 Flint...... 15 100% Add: Zircopax...... 10% In the case of the first glaze, I realize that it may be the Gerstley borate that is causing the slight surface movement; in fact, this was a Cone 9 reduction glaze which I modified to Cone 6 by adding Gerstley borate. Both of these recipes have nice, fat, somewhat shiny surfaces—superior altogether to the typical, dead Cone 6 oxidation glazes. Am I looking for something that doesn’t exist? Is it perhaps the case that to get a lively, somewhat shiny glaze in oxidation, one is inevitably going to have some surface movement?—J.M. You ought to be able to adjust either of these recipes to take onglaze decoration without surface movement, and there are a va­ riety of ways to do that. An increase in flint is one simple method, but this may change the glaze fit. If so, try increasing the Edgar Plastic Kaolin content for a less drastic change in glaze fit. Or, decrease the quantity of Gerstley borate. In each of these cases, 3% increments should be sensitive enough to give you the results you seek. Better yet, leave these good glazes alone, and apply decoration with strong colorants under the glaze instead of onglaze; with this method the decoration usually will remain where you put it. Q I have seen the description “polychrome colorants or slips” sev­ eral times in CM and would be grateful for any information about them, their application, giving range and color intensity. Also, man­ ufacturers’ and suppliers’ names would be helpful.—D.P. The term “polychrome” as applied to slips or colorants (or glazes, for that matter) refers to any time a variety of colored recipes are used on the same work. It’s a catchall phrase with roots in museum classification. Often the source or cause of colors is not identifiable, so terms like “cobalt blue” or “cadmium red” can’t be used with certainty. Thus a curator might refer to a work as having polychrome (red and blue) glazes. Subscribers’ inquiries are welcome and those of general interest will be answered in this column. Due to volume, letters may not be answered personally. Send questions to: Technical Staff, Ceramics Monthly, Box 12448, Columbus, Ohio 43212. September 1985 13

Where to Show exhibitions, fairs, festivals and sales Send announcements of juried exhibitions, fairs, 30, 1986) is open to craftspeople born in, or pres­ envelope to: April Hammer, Annie’s Attic, Box festivals and sales at least four months before theent and past residents of North Carolina (for 4 928, Big Sandy 75755; or call: (214) 636-4412. entry deadline to: The Editor, Ceramics Monthly, years minimum). Juried from slides. Jurors: Charles October 15 entry deadline Box 12448, Columbus, Ohio 43212; or call: (614)Counts, Susan Peterson and Carolyn Weekley. Five Andover, Massachusetts “Super Sunday Craft 488-8236. Add one month for listings in July andawards of $1000. Entry fee: $10. Contact: SJENCC, Exhibit & Sale” (December 15) is juried from 3 two months for those in August. North Carolina Museum of History, 109 E. Jones slides and 1 of display. Fees: $45-$75. Send self- St., Raleigh 27611; or call: (919) 733-3894. addressed, stamped envelope to: CPS Enterprises, January 6, 1986 entry deadline Box 156, Newton, New Hampshire 03858. National Exhibitions Murfreesboro, Tennessee The ninth biennial New York, New York The “3rd Annual September 6 entry deadline “Currents 86” exhibition (March 3-28, 1986) is Thanksgiving Weekend Crafts Festival” (Novem­ Mesa, Arizona “Boxes, Baskets, Containers” open to craftspeople residing east of the Missis­ ber 29-December 1) is juried from 5 slides. Fees: (December 3-28) is juried from slides. $500 in sippi River. Juried from slides. Juror: Nancy Sat­ $240-$300. Contact: Simon Gaon, American Arts awards. Contact: Galeria Mesa, Box 1466, Mesa urn. Fee: $15 for up to 3 works. For further in­ & Crafts Alliance, 425 Riverside Dr., Apt. 15H, 85201; or call: (602) 834-2056. formation contact: Currents ’86, Middle Tennessee New York 10025; or call: (212) 866-2239. Guilford, Connecticut “Holiday Exposition of State University, Art Department, Murfreesboro New York, New York The “6th Annual Hol­ Crafts” (November 9-December 24) is juried from 37132; or call: (615) 898-2455. iday Crafts Festival” (November 30-December 1, 5 slides. Send self-addressed, stamped envelope to: December 7-8) is juried from 5 slides. Fees: Patricia Seekamp, Holiday Expo & Sale, Box 221, $240-$280. Contact: Simon Gaon, American Arts Guilford 06437; or call: (203) 453-5947. Fairs, Festivals and Sales & Crafts Alliance, 425 Riverside Dr., Apt. 15H, October 4 entry deadline September 9 entry deadline New York 10025; or call: (212) 866-2239. Rochester, New York “Small Works National Mount Prospect, Illinois The “13th Annual October 19 entry deadline ’85” (December 7-January 11, 1986) is open to Fall Art & Craft Fair” is juried from 2 photos. Tucson, Arizona The “14th Annual Winter residents of the continental U.S. Juried from slides Fee: $25 for a 4x15-foot space. Contact: Adele Arts & Crafts Fair” (December 7-9) is juried from of work within a 15x15-inch format. Awards. Ju­ Jeschke, 1058 Mount Prospect Plaza, Mount 6 slides. Entry fee: $10. Booth fee: $150 for an ror: Nancy Hoffman. Fee: $15 for up to 3 entries. Prospect 60056; or call: (312) 255-0644. 8x10-foot space. Contact: Kim Weaver, Fourth Ave. Contact: John Haldoupis, Zaner Gallery, 302 N. September 12 entry deadline Merchants’ Association, 605 N. Fourth Ave., Tuc­ Goodman St., Dept. W., Rochester 14607; or call: Moorestown, New Jersey “Perkins Christmas son 85705; or call: (602) 624-5004. (716) 442-6560. Craft Show & Sale” (December 4-8) is juried from October 26 entry deadline October 11 entry deadline slides or work. Commission: 25%. For further in­ New Smyrna Beach, Florida “Images ’86-A Mesa, Arizona “Sensational Art” (January formation contact: Carmel Dorsey, Perkins Center Festival of the Arts” (February 22-23, 1986) is 3-February 1, 1986) is juried from slides of work for the Arts, 567 Sentinel Rd., Moorestown 08057; juried from 3 slides. $12,250 in awards. Entry fee: for the senses (sight, touch, hearing, taste and smell). or call: (609) 234-6716. $5. Booth fee: $50. Contact: Images ’86, 1414 Art $500 in awards. Contact: Galeria Mesa, Box 1466, September 15 entry deadline Center Ave., New Smyrna Beach 32069; or call: Mesa 85201; or call: (602) 834-2056. Gainesville, Georgia “Holiday Marketplace” (904) 423-4733. November 1 entry deadline (November 22-24) is juried from slides. Fee: $75 October 30 entry deadline Ames, Iowa “The Clay and Fiber Show” (De­ for members; $100 for nonmembers. Contact: Bluefield, West Virginia “Juried Art and Crafts cember 15-January 26, 1986) is juried from 3 Georgia Mountain Crafts, Box 1061, Gainesville Show” (November 7-9) is juried from 3 slides. slides. Awards. Jurors: Jerry Horning and Mary 30503; or call: (404) 534-6080. Contact: Wayne Potrafka, Rte. 81, Box 10, Green­ Jo Horning. Fee: $15. Send self-addressed, stamped Oak Bluffs, Massachusetts “Martha’s Vine­ ville, West Virginia 24945; or call: (304) 832-6531. envelope to: Octagon Clay & Fiber Show, The yard Columbus Day Weekend Craft Fair” (Oc­ November 1 entry deadline Octagon Center for the Arts, 427 Douglas Ave., tober 5-7) is juried from 5 photos, 1 of display. Asheville, North Carolina “High Country Ames 50010; or call: (515) 232-5331. Entry fee: $3. Booth fees: $50-$75. Send self-ad- Christmas Art & Craft Show” (November November 20 entry deadline dressed, stamped envelope to: Ayn Chase, Vine­ 29-December 1) is juried from slides or photos. Los Angeles, California “Artquest ’86-Second yard Craftsmen, Box 1207, Oak Bluffs 02557; or Fee: $90. Send self-addressed, stamped envelope Annual Major Art Competition” (June 1-July 1, call: (617) 693-0134. to: Betty Kdan, 40 Hyannis Dr., Asheville 28804; 1986) is juried from a minimum of 3 slides. $5000 New York, New York “Waterfront Fair Arts or call: (704) 253-6893 or 254-0070. in awards. Fee: $5 per slide. Send self-addressed, & Crafts Show” (November 16-17) is juried from Hampton, Virginia The “3rd Annual Christ- stamped envelope to: ArtQuest, 2265 Westwood 4 slides, 1 of display. Fees: $145—$275. Contact: masfest” (November 23-25) is juried from slides Blvd., Box 12420, Los Angeles 90064; or call: (213) Stella Shows, Box 482, Paramus, New Jersey or photos. Fee: $150. Contact: Ann Schnaedter, 6 399-9305. 07652; or call: (201) 262-3063. Conway Rd., Newport News, Virginia 23606; or December 6 entry deadline Scaly Mountain, North Carolina “A High call: (804) 898-4210. Mesa, Arizona The “8th Annual Vahki Ex­ Country Art & Craft Show” (October 11-13,18-20) Norfolk, Virginia “High Country Christmas hibition” (March 14-April 19, 1986) is juried from is juried from 3 slides or photos. Fee: $70 for a Art & Craft Show” (December 6-8) is juried from slides. Awards. For further information contact: 10x12-foot space. Send self-addressed, stamped slides or photos. Fee: $125 for a 10x10-foot space. Galeria Mesa, Box 1466, Mesa 85201; or call: envelope to: Virginia Smith, High Country Craf- Send self-addressed, stamped envelope to: Virgin­ (602) 834-2242. ters, 29 Haywood St., Asheville, North Carolina ia Smith, High Country Crafters, 29 Haywood January 17, 1986 entry deadline 28801; or call: (704) 254-0070. St., Asheville, North Carolina 28801; or call: (704) Radford, Virginia “Clay, USA 1986” (Feb­ September 30 entry deadline 254-0070. ruary 28-March 16, 1986) is juried from slides Tampa, Florida “Gasparilla Sidewalk Art November 8 entry deadline of 2 works, up to 3 views each. Juror: Paula Wi- Festival Show” (March 1-2, 1986) is juried from Boca Raton, Florida The “6th Annual Fiesta nokur, $1000 in awards. Fees: $10 for 1 entry; $15 slides. $20,000 in awards. Contact: Admissions, of Arts & Crafts” (February 1-2, 1986) is juried for 2. Send self-addressed, stamped envelope to: Box 10591, Tampa 33679. from 4 slides, 1 of display. Entry fee: $5. Booth Felicia Lewandowski, Gallery Director, Art De­ October 1 entry deadline fee: $75. Send self-addressed, stamped envelope partment, Radford University, Radford 24142; or Helena, Montana “Christmas Festival” (No­ to: Boca Raton Community Center, 201 W. Pal­ call: (703) 731-5324. vember 29-December 1) is juried from 4 slides, 1 metto Park Rd., Boca Raton 33432; or call: (305) of booth. Fee: $100 for a lOxlO-foot space. Con­ 393-7806. tact: Roxy Carper, 2911 Vermillion Dr., Billings, November 10 entry deadline Regional Exhibitions Montana 59102; or call: (406) 656-5132. New York, New York The “3rd Annual Lin­ September 16 entry deadline October 11 entry deadline coln Square Area Christmas Crafts Festival” (De­ Kentfield, California “The Art of Clay and Washington, D.C. The fourth annual “Wash­ cember 14-15 and 21-22) is juried from 5 slides. Glass, 1985” (September 23-October 21) is juried ington Craft Show” (April 18-20, 1986) is juried Fees: $215-$240. Contact: Simon Gaon, American from hand-delivered works. Juror: Kenneth Trapp. from 5 slides. Jurors: Cynthia Bringle, Arline Fisch Arts & Crafts Alliance, 425 Riverside Dr., Apt. Awards. Fee: $10 for up to 3 entries. For further and Lloyd Herman. Fee: $20. For further infor­ 15H, New York 10025; or call: (212) 866-2239. information contact: Allester Dillon, Art of Clay mation contact: Smithsonian Associates Women’s November 19 entry deadline and Glass 1985, 98 Alta Vista Ave., Mill Valley, Committee, Arts and Industries Bldg., Room 1278, Indian Rocks Beach, Florida “The Beach Art California 94941; or call: (415) 388-6487, eve­ Smithsonian Institution, Washington 20560; or call: Center’s Fall Arts & Crafts Show” (November 24) nings, or 457-0120, daytime. (202) 357-4000. is juried from slides, photos or brochure. Fee: $25 September 20 entry deadline Big Sandy, Texas “Annie’s Pecan Festival” for a 12x12-foot space. Contact: George King, The Raleigh, North Carolina “Second Juried Ex­ (November 10-11) is juried from 3 slides or pho­ Beach Art Center, 1515 Bay Palm Blvd., Indian hibition of North Carolina Crafts” (April 4-June tos. Fees: $39-$59. Send self-addressed, stamped Rocks Beach 33535; or call: (813) 596-4331. September 1985 15

Suggestions from our readers Adaptable Antiques Unusual tools and machinery adaptable for use in the studio can be found at second-hand and antiques shops. Early cast-iron sausage presses (costing $15-$20) need only end-cap clamping rings and

dies to make efficient extruders. Also look for belt-driven meat grind­ ers to be used as clay mixers; mine was only $25. —Robert Hudovernik, Cascade, Wis. Strong Bottoms Before plopping your clay ball on the wheel head, press down a ½-inch-thick slab approximately the diameter of the work to be thrown and drier than that of the throwing clay. It will compensate for those wide bottoms that dry unevenly, as well as add strength to any thrown pot, especially those that have absorbed water on the inside bottom while throwing. — Michael Hiatt, Scottsdale, Ariz. Vibrating Screen An orbital sander, a saber saw, a jigsaw, a modified electric steak knife, turned on and with the housing held against the frame of a sieve make useful vibrators for moving glazes through the screen. —Benji S. Morrill, Saint Louis de Kent, N.B. Clean Jeans It occurred to us that all those slip-decorated jeans we were taking to the laundromat could be eliminated in one easy step. By making

a “rubber band” from a cross section of a large truck tire inner tube, a flexible dam could spin with the edge of the wheel head. Extra liquid and slip are thus prevented from leaving the wheel head and dampening your lap. —Paul Dresang and Dan Anderson, Edwardsville, III. On Simmer Buffet heating trays purchased (for 50^ each) from second-hand stores are useful for drying plaster molds or for cooling down pots when unloading a warm kiln. —Robert Hudovernik, Cascade, Wis. Back Saver When doing “back-breaking” work like wedging large pieces of clay, a kidney brace, available at motorcycle shops, will help main­ tain proper back position. The braces are inexpensive and Velcro straps make them easy to put on and take off. —James Neupert, Nine Mile Falls, Wash. Dollars for Your Ideas Ceramics Monthly pays $10 for each suggestion published; submis­ sions are welcome individually or in quantity. Include an illustration or photo to accompany your suggestion and we will pay $10 more if we use it. Send your ideas to CM, Box 12448, Columbus, Ohio 43212. Sorry, but we can’t acknowledge or return unused items. September 1985 17 18 Ceramics Monthly Itinerary conferences, exhibitions, workshops, fairs and other events to attend Send announcements of conferences, exhibitions, stallation”; at the East Campus Gallery, Valencia 6 Harold Lewis, stoneware sculpture; at Mari workshops, juried fairs and other events at least Community College. Galleries, 133 E. Prospect Ave. two months before the month of opening to: Maine, The Portland through September 21 Judy New York, RochesterSeptember 12-28 Frans Editor, Ceramics Monthly, Box 12448, Columbus, and Hiroshi Nakayama; at the Maple Hill Gal­ Wildenhain; at Dawson Gallery, 349 East Ave. Ohio 43212; or call: (614) 488-8236. Add one lery, 367 Fore St. month for listings in July and two months for thoseMassachusetts, BostonSeptember 14-October in August. 16 Anne Smith; at Thomas Segal Gallery, 73 Group Exhibitions Newbury St. Arizona, Phoenixthrough October 27 “Asian New Jersey, Trentonthrough October 13 Eva Reflections: Contemporary Ceramists View the International Conferences Bouzard-Hui, “Figurine Momentums”; at the New East”; at the Phoenix Art Museum, 1625 N. Cen­ Canada, Ontario, TorontoOctober 17-20 The Jersey State Museum, 205 W. State St. tral Ave. “Fourth International Ceramics Symposium” of New York, MamaroneckSeptember 8-October Continued the Institute for Ceramic History will include ex­ hibitions, collectors’ preview, “Clay in the Win­ dows,” an Ontario Potters Association auction, films and social gatherings. Guest speakers include: Madame Lucy Amyot, Garth Clark, Leopold Fou- lem, Ed Lebow, Daniel Mato and Susan Weschler. Featured artists include: Rudy Autio, Satoshi Sai- to, Louise Doucet Saito, Joe Fafard, Ken Price, George Jeanclos and Judith Moonelis. Contact: Ann Mortimer or Margaret Melchiori-Malouf, The Fourth International Ceramics Symposium, 1251 Yonge St., Second Floor, Toronto M4T 1W6; or call: (416) 968-0455. Conferences California, Oakland June 4-7, 1986 “Art/ Culture/Future: American Craft ’86,” organized by the American Craft Council, will include dis­ cussions on the relationship of the crafts to mu­ seums, gallery marketing systems, collector’s mo­ tivations, crafts in architecture, criticism and history of the crafts movement, crafts and education, etc.; plus workshops, demonstrations, films, exhibitions and tours. Contact: ACC Conference Project Of­ fice, Box 30756, Oakland 94604. Massachusetts, Boston February 12-14, 1987 The 75th annual meeting of the College Art Association of America at the Marriott and Westin Hotels. Those interested in suggesting ses­ sions should submit proposals by November 15. Send art history proposals to: Jeffrey M. Muller, Art Department, Brown University, Providence, Rhode Island 02912; studio sessions proposals to: Natalie Charkow, 95 Beecher Rd., Woodbridge, Connecticut 06525. Texas, San AntonioMarch 19-22, 1986 The annual conference of the National Council on Ed­ ucation for the Ceramic Arts (NCECA) will in­ clude workshops, demonstrations, panel discus­ sions, slide lectures, etc. A “National Touring Children’s Ceramic Exhibition” will be shown at the conference; it will travel through 1987. Inter­ ested educators may submit slides of work by chil­ dren from 2-17 years of age to: Ted DeMuro, 1547 Moreland Ave., Baton Rouge, LA 70808; or call: (504) 387-6126. Ceramic artists who wish to par­ ticipate in gallery exhibitions shown in conjunction with the conference may send up to 6 slides and self-addressed, stamped envelope to: Anna Cal- luori Holcombe, Exhibitions Director, Art De­ partment, SUNY Brockport, Brockport, New York 14420. For further conference information contact: Steve Reynolds, Division of Art and Design, Uni­ versity of Texas at San Antonio, San Antonio 78285; or call: (512) 537-4867 (home), or 691-4382 (school). Solo Exhibitions California, San Francisco through September 21 Carolyn Brice-Brooks, inlaid porcelain bowls and vessels. September 24-October 19 Frank Boyden, decorated vessels; at Elaine Potter Gal­ lery, 336 Hayes St. Florida, Orlandothrough September 27 Steve Howell; at the Performing Arts Center Gal­ lery. through October “Nan4 Smith: an In­ September 1985 19 20 Ceramics Monthly sels; and Patrick Minervini, raku vessels and wall life sculpture; at Esther Saks Gallery, 311 W. Su­ Itinerary forms; at A Singular Place, 2718 Main St. perior Street. Arizona, Sedonathrough September 1 7 “Clay Connecticut, GuilfordSeptember 15-29 Kansas, Wichita September 7-October 6 The and Fiber 85”; at the Sedona Arts Center, Hwy. “Faculty Exhibition”; at Guilford Handcrafts, 411 “Wichita National Decorative Arts Exhibit”; at 89A at Art Barn Rd. Church St. the Wichita Art Association, 9112 E. Central. California, Los Angelesthrough November 1 D.C., Washington through October 20 “Our Minnesota, Minneapolis through September “The Vessel and Its Metaphor: Southern Califor­ Cup of Tea: Contemporary Crafted Teapots, Cups 15 A dual exhibition with James Tanner, wall nia Ceramics, 1950-1985”; at the Pacific Design and Spoons”; at the Renwick Gallery, Pennsyl­ reliefs; at the Minneapolis Institute of Arts, 2400 Center, 8687 Melrose Ave. vania Ave. Third Ave., S. California, Sacramento September 3-28 A Florida, Coconut GroveSeptember 27-October Missouri, Saint LouisSeptember 8-27 “British three-person exhibition with Richard Bauer, life- 26 A group exhibition including Ron Fondaw Ceramics”; at Craft Alliance, 6640 Delmar Blvd. sized figures; at Himovitz/Salomon Gallery, 1020 and Charles Malin; at Netsky Gallery, 3107 Grand September 29-October 27 “First Annual Con­ Tenth St. Avenue. tainer Show,” national competition; at Hickory California, San Diego through October 3 Florida, Miami Beach September 14-November Street Gallery, 1929 Hickory St. “Jivaro: Expressions of Cultural Survival,” in­ 10 “Newcomb Pottery: An Enterprise for South­ New Hampshire, Concord September 19- cludes pottery from Peru and Ecuador.through ern Women, 1895-1940”; at the Bass Museum, January 18, 1986 “Unearthing New England’s February 23, 1986 “Water: Liquid of Life,” ar­ 2121 Park Ave. Past: The Ceramic Evidence”; at the New Hamp­ tifacts documenting water rituals in the ancient Florida, Miami ShoresSeptember 7-27 A dual shire Historical Society, 30 Park St. Americas; at the San Diego Museum of Man, 1350 exhibition including Christina C. Kimball, low- New Jersey, Newark through December 31 El Prado, Balboa Park. fire, handbuilt vessels; at Barry University, 11300 “Treasures from the Collections,” includes Greek California, San Francisco through September N.E. Second Ave. pottery and figures, English art pottery, and 18th- 30 “Ban Chiang: Discovery of a Lost Bronze Age,” Georgia, Gainesville through February 1, and 19th-century Chinese export porcelain; at the artifacts from 4000 to 200 B.C found in Thailand, 1986 “Pieceworks,” national competition of works Newark Museum, 49 Washington St. including pottery, ceramic figures and rollers; at inspired by quilts; at Georgia Mountain Crafts, New Jersey, OceanvilleSeptember 18-December the California Academy of Sciences, Golden Gate 311 Green St., SE. 15 “All Join Hands-A Celebration of Crafts in Park. Georgia, Madison through November 3 New Jersey”; at the Noyes Museum, Lily Lake through October 19 A dual exhibition with Ann “Southeastern Potteries”; at the Madison-Morgan Road. Christenson, steel and ceramic sculpture; at the Cultural Center, 434 S. Main St. New Mexico, Santa FeSeptember 23-November San Francisco Crafts and Folk Art Museum, 626 Illinois, Chicago through September 15 2 “Ancient Inspirations,” includes vessels by Joan Balboa Street. “Chinoiserie,” approximately 80 works illustrat­ Daub; at Bellas Artes, 301 Garcia at Canyon Rd. through November 30 ‘‘Meissen Porcelain and ing the Occidental view of the Orient; at the Art New York, Albanythrough October 20 “The Its Influence on Continental Manufacture,” 18th- Institute of Chicago, Michigan Avenue at Adams Arts and Crafts Movement in New York State century works; at the California Palace of the Le­ Street. (1876-1916)”; at the New York State Museum, gion of Honor, Lincoln Park. September 23-October 8 A two-person exhibi­ Empire State Plaza. September 5-28 Louis Marak and Kazuko Mat­ tion with Chris Berti, clay, limestone and wood New York, Brooklynthrough September 30 thews, sculpture; at Dorothy Weiss Gallery, 256 animal figures; at Objects Gallery, 341 West Su­ “Mingei: Japanese Folk Art from the Brooklyn Sutter St. perior. Museum Collection”; at the Brooklyn Museum, California, Santa Monica September 1-30 September 13-October 12 Joanne Hayakawa, 200 Eastern Parkway. Michael Gustavson, large raku objects; David Irish- Karen Koblitz, Richard Shaw, Juta Savage, Nancy New York, BuffaloSeptember 7-October 2 Hosler, sandblasted porcelain and stoneware ves­ Selvin, Victor Spinski and Paula Winokur, still Please Turn to Page 61

September 1985 21 22 CERAMICS MONTHLY Comment Summer Workshop by Ersatz Soubriquet

One of the least pleasurable memories bons for identification, the tents previously of my youth is of the first day of school had been used by painting classes which each year, when the teacher would re­ had run out of canvas. quire us to tell about our fantastic sum­ I ventured into the main building to mer activities. My basic problem was see what my workshop had in store for that summers were dull. Oh yeah, there me and was cheerfully welcomed by was the time that the big kids on the VCW organizer and director Rudolf block decided to enter me as a sculpture Millstone. The workshop had been in in the 4-H fair. My mother became an­ existence long enough that no one could noyed when I came home with no clothes, remember what he did there. He only covered with smelly mud from the river, hung around, trying to come up with a wearing one sprig of poison ivy in a stra­ new way to make the place survive just tegic place. Ah, the sweet memories of one more year. youth; they fade almost as quickly as a For my summer learning experience rash. But as I grew, I found that there I had signed up for “Dance Steps to Cre­ were more interesting things to do with ate Better Ceramics.” Only three others my summers: attend workshops, for in­ were enrolled: Henry Jones was a CPA stance. from Wauwatosa who had decided to va­ As I maneuvered my car up the drive­ cation in the Vain area and had been way of the Vain Craftsummer Work­ signed up by his travel agent. He con­ shops (VCW), excitement bounced fessed he thought the workshop would through my body. This feeling was help his fox-trot. He hadn’t the foggiest heightened by the effects of the previous idea what a “ceramic” was, which was hard winters on the asphalt, leaving it great since he made the rest of us feel potholed like the moon. we knew more than someone. Then there The location was lovely—by a run­ was Gloria Sunflower Surprise from San ning stream and shallow lake which for­ Francisco. She believed that by im­ merly was a settling pond for a large mersing herself in the pursuit of ce­ coal company. The VCW marketing ap­ ramics she could find her inner cosmic proach was to make the prospective at­ self and her way out of the ’60s. Last tendee believe that the Swiss Alps were was Wanda Kulak. Wanda can best be just outside the property’s boundaries. described as a ceramics groupie. She was As advertised, the workshop was a cross so impressed with anything having to do between a college ceramics course, group with clay that she would rush to see and therapy and the “Love Boat.” (The last to be seen with anyone who knew the time I saw a pitch like that was when, word keramikos. There were reports that as a youngster, I was sent off to Camp in slow times she would even hang around Mosquito to have a good time even if it clay deposits in creek beds. She felt that killed me.) But I was committed, having this workshop with the almost known dutifully sent VCW my deposit for 75% Jack Strikeup would be almost as good of the tuition and fees. There would be as leaving her husband for a Pine Bot­ no turning back. toms clay salesman. It seemed that the buildings at VCW After meeting the other participants, had been moved from Camp Mosquito, I moved my suitcase and official “fly and and hadn’t aged particularly well, so tackle box designed for ceramics art stu­ VCW was using army tents as student dents” into my tent. For this task I was housing. But these were rather inter­ assisted by Elliot Blangk, one of the esting tents, not because of their musty workshop aides. He cleaned studios, ran smell (which comes with all army tents) errands or did odd jobs in exchange for or even that to aid in the outdoors feeling tuition to the workshops. I really never they had been waterproofed with an in- understood how these aides were cho­ sect-attracting solution. Instead, creativ­ sen, though I was told that the process ity was paramount. Festooned with rib­ Continued September 1985 23 24 Ceramics Monthly Comment thus the only things raised in that work­ shop were welts. involved an application including ref­ The soft sounds of our footwork kept erences and a resume. But in talking to time with the metronome and Strikeup’s Elliot, I was convinced that those chosen snare drum. After we became more a- had turned in blank resumes. This only dept, Jack showed us how to make pot­ seemed natural since the guest artists tery with a Latin flair, and perhaps the would probably not want anyone at the most amazing talent in that department workshops who could challenge their was Henry Jones. He was able to pick ideas of what was correct. Besides, this up the dance steps even when the past- way it was easier for the workshop’s staff ed-down, numbered footprints on the to pay off personal debts to ceramics in­ flywheel were moving quite rapidly. A structors who had pet students in need real natural, he moved from the basic of a summer as a “gofer.” steps Jack taught us, to improvise his However, as near to nice as the setting own. One came to be known as the “Jones of the workshop was, I had come to be boogaloo.” With this step the most fan­ taught something new and exciting about tastic pots were produced. To the others ceramics. And, as requested, had brought in the workshop it was as though Henry my pottery tools, dance shoes (I had to was possessed. When we asked Strikeup buy new ones since it was suggested that how Jones was able to make pottery with tap shoes would be unacceptable in the no knowledge of what a ceramic was, ceramics studio) and a Roget’s Thesau­ Jack simply shrugged his shoulders and rus. To my surprise, all the items on the said that it was magic. Word spread of materials list were used at the work­ Henry’s prowess, and within two days shop—even the Velcro, which was for art critics from the Vain Journal came attaching foam rubber bats to felt-cov- to interview this phenom. He was so na­ ered wheel heads. No matter if the need ive that the art critics assumed he was for a technique had anything to do with great because he answered questions the ideas taught, the material was used suggesting a double-entry system ac­ and thus justified the hassle of finding counting for the way the pottery turned it at Stretch-N-Sew. The thesaurus came out. in handy particularly at the evening lec­ For Wanda, it was as if all her prayers tures, when the vocabulary reached the had been answered. She actually could zenith of esoteric pomposity. Going to now say that she knew the latest craze these nightly events was somewhat of a in ceramics before he was great. She be­ challenge since it meant you wo”^J need came Henry’s steady companion, for­ to extend your logic and vocabu ^ry from getting the clay salesman, and started the “doing your thing” reasoning level walking around with a 14-inch, double­ which functioned during the day. entry ledger pad. Nevertheless, in my workshop itself Meanwhile, Gloria started collecting there was an interchange of new ideas. shards from Henry’s broken pots, offer­ I found out that the reason my tap shoes ing them to visitors as icons of the cosmic would not work was because the two- forces which create all ceramics. step we were taught in kicking the wheel I guess it was lucky that the workshop would cause sparks, skidding and quite lasted only two weeks, for I am not sure a racket. To boot, this noise would have that Jack could have lasted much longer upset the Zen pottery workshop next to with Henry’s meteoric rise to near fame. us. The idea I picked up from over­ It would be hard for Strikeup to sit hearing the Zen instructor was that it through the lecture on “The Triple-En­ was as much the way you didn’t make try System and Other Accounting Meth­ pots as the way you did. So success was ods of Balancing Your Pottery” sched­ dependent on the efforts that do and don’t uled for the following week. As I packed make the pot which becomes and doesn’t my car with the three pots I made, plas­ become the potter who is or isn’t the pot tic footprints to put on my electric wheel which was or wasn’t. As you can imag­ and two Henry Jones shards, I saw ine, the clicking of taps would or wouldn’t Millstone with one arm hanging around destroy the atmosphere needed to pro­ Jones’s neck, asking him if he would duce their Zen pottery. For when those teach next summer’s workshops. Rudy workshop participants sat quietly at their said, “Perhaps a workshop titled ‘Ledger wheels and watched the clay and waited Entry Methods for Making a Ceram­ for the pots to happen or not to happen, ic.’ ” It was something to think about as they would become bait for the deer flies I started my car and bounced one last which did (rather than didn’t) bite. And time down the driveway. September 1985 25

Studio Management by eannetteJ and Jim Cantrell

This is the final installment of a two-part Another factor affecting our market here series suggesting business practices for studio (or anyone’s anywhere) is free publicity. While potters. In the June/July/August issue, part we get less exposure now because we are not 1 discussed setting up, production rhythm and producing the “trendy” objects (nor are we pricing; part 2 examines marketing options “the new kids on the block”), when we are and bookkeeping.—Ed. in an exhibition, usually we’ll be mentioned in a review because ours is the “solid, mature There are many ways for studio potters to sell their wares—enough so that any par­ work.” ticular temperament can find one which will Finally, over the years our market has work satisfactorily. Among the most common changed from the majority of our sales being are direct sales through your own gallery/ made through work displayed in our show­ showroom, through the numerous fairs and room to commissions for special ware from by other galleries and craft shops. clients because of what they have seen in the Selling through your own showroom (as past or heard through word-of-mouth. we have done for 14 years) may seem best Fairs because you keep profits from both making Craft fairs are good markets to move a lot and selling. However, it does have draw­ of merchandise in a short period of time, and backs, so examine your needs and temper­ to get a lot of exposure. It is important to ament before deciding to open such an outlet. participate only in those fairs which have the Remember that your work in the studio can partronage that appreciates your style of work. be constantly interrupted, unless someone else Usually your financial responsibility will be manages the showroom. Then, of course, your a flat fee, a percentage of your gross retail profits would be cut by the expense of paying sales, or a combination of the two. a salary. Ask yourself if you would enjoy Some potters do all their marketing on the dealing with the public on a day-to-day basis. fair circuit. They produce pots for several Do you want to spend time rearranging the months, then load a van or truck with their displays, cleaning, negotiating over returned wares and attend fairs until their inventory ware? Perhaps the biggest commitment of is depleted, usually picking up wholesale or­ shop management is to regular business hours. ders along the way. Then they return to the We solved this problem by posting hours as studio to start the cycle over again. “by chance (usually Tuesday through Sat­ A few questions about fairs for the novice urday) or by appointment.” Our regular out- to consider: Is your work compatible with of-town customers know to call ahead to make the rest of the pottery being shown? If your sure we’ll be in the studio before they plan work is out of line either in price or quality, a drive here. it probably will not sell. Of course, as long All drawbacks aside, we have found that as the quality is there, different work might maintaining a gallery/showroom gives us an Promotional materials can have a be just what people are looking for that par­ opportunity to observe people’s responses, significant affect on business. For example, ticular season. Do you like to meet people particularly to new items on which we may these flyers advertising the authors’ and talk to strangers? These are pluses if be working. Upon these we base our deci­ showroom are distributed in motels and you choose to go the fair route. If you don’t sions about the inclusion (or deletion) of a restaurants throughout their community. like to be around large groups of strangers, production item. Also the tourist attraction look for another way to sell your pots. Many of our town has encouraged maintaining a majority of visitors being from the 35 to 50 a potter with good work has been found sit­ gallery/showroom. age group of well-dressed connoisseurs of the ting alone in a booth while others whose works We are finding, however, that both we and handmade object, the area now attracts bus are of lesser quality are crowded with cus­ the market for pottery in Bardstown have tours of retired citizens (less interested in tomers. Why? One potter relates well to peo­ changed over the years. When we first opened making purchases) and blue-collar families ple, while another’s attitude and body lan­ our studio, reduction-fired stoneware was the out for an inexpensive vacation who want to guage encourage people to steer clear. Booth “in” pottery to buy. After a few years we be entertained by watching someone work at display is also extremely important. An en­ began to see a shift toward the more “high- the potter’s wheel. Thus, we no longer can terprising potter will soon pick up some of tech” look of porcelain and the “new” look open our studio for public tours; nor do we the clever and efficient designs perfected by of earthenware and raku—the latter two drop other work when tourists come in and veteran fair participants. coming into the forefront, perhaps due to the ask for demonstrations. We do, however, still energy crisis. We were not too affected by give a studio tour and demo to those who are Galleries and Shops these factors because by this time we were sincerely interested in our work and are Selling your work through other galleries fairly well established, and decided not to making a purchase. and shops allows you to stay home and work join the trend but to allow ourselves to be­ This attitude is based, in part, on our de­ while they take care of marketing—for a come the “old timers.” As our reputation in­ cision from the beginning to rely heavily on commission, of course. Your work will be creased so did the prices and the number of markets other than tourism. We did not want handled on a wholesale (outright purchase) one-of-a-kind objects being produced (as op­ to chance a trap of being pressured to pro­ or consignment basis. A wholesale purchase posed to inexpensive line items). But these duce “tourist-oriented” items, and instead gives you one-half of the retail price, while factors meant we were narrowing our market worked to develop a regular clientele from a consignment sale gives you anywhere from to a smaller percentage of buyers. the surrounding region. If the town turned 40% to 60% of the retail depending on the Interestingly, the tourists coming through away from tourism, then our business would gallery or shop. Bardstown were also changing. Instead of the not dry up. The advantage of wholesaling is ob- September 1985 27 Photos: Gary Denker or okepn i cnieal ese. With easier. considerably is bookkeeping your osgmn yu ae o at ni te work the until wait to have you consignment plus away, right money your get vious—you s od eoe o ae ad ad ht a be can that and paid, are you before sold is ment ordersatleastoneway. pays gallery the Also all. at not or months o ae epnil fr hpig consign­ shipping for responsible are whereas orders; you wholesale on charges freight ok n ke a rs spl o yu pots your of supply fresh a keep and work frequent to able are you if outlets sales good n potnt t mk sr yu r paid are you sure make to opportunity an hm fe eog t ke a ee n your on eye an keep to enough often them ue pyet hud e ae n monthly a on made be should payment rule, in their inventories. These visits also give you give also visits These inventories. their in required employees managing found Jim et wie hy prt te hp o the on shops the pay­ operate making they delay while and ments pots sell been to have known dealers unscrupulous Some basis. general a As sold. is work the when promptly this israrewithestablishedgalleries. or ae De te ok led i the in already work the Does handle ware. to shop or your gallery a for looking when vr oiyn ter osges Fortunately without consignees. moved their and notifying all; up ever at closed paid simply not they have Some money. potter’s substantial timefromproduction. el n gley hr te uk f h in­ the of bulk the where not gallery a may type, in ware in sell Functional yours quality? and with price compatible seem shop ietr ol lkl tr dw inquiries down turn likely sculptural—the would or nonfunctional director is ventory ult i a rsetv so, r oe ex­ more or shop, prospective a equal in of that quality than expensive more ware your aktlc de o hi lwr vred and overhead lower gallery their the to in due marketplace you underprice can er/potters Is anyway. ware functional handling about usd icm. I te alr cen n is and clean gallery the Is income.) outside (Teach­ interested. be not may buyer If the works? so, potters’ better-known than pensive h wr wl dslyd Hw og a it has long How displayed? well work the h gley prts Wa mgt hi com­ their how might on What feelings operates. gallery their the about Ask con­ them. and tact represents, gallery the craftspeople ok awy ke go rcrs o what pre­ for orders, wholesale records For them. good sent you’ve keep always work, rep­ being like they resented bythegallery? do why and be, plaints other of names the Obtain business? in been 28 CERAMICS MONTHLY osgmn gleis n sos a be can shops and galleries Consignment hr ae te tig t ke i mind in keep to things other are There hn o d fn a ote t sl your sell to outlet an find do you When

enet pit pooinl aeil n hi own their on material promotional prints Jeannette letterpress purchasedusedtokeepcostsdown. re . . 4; . ag bw/ht . . $60; . . . bowl/white large 2. $40; . casserole/ . . medium green (1. prices retail of and list items numbered a the name, and date; commission; your the gallery’s number; address; telephone its and and address gallery name the the include of should sheet inventory An ae n noc we dlvrn o shipping. or delivering when invoice an pare o ad or ok te wl ntrly make naturally will they like work, director your and and you salesperson the If area. the the numbered sold, itemized work an include for should payment gallery a receive you corre­ must sheet the on number The etc.). records. your in kept be will gal­ other the the in with lery; prepared stay will be copy must duplicate—one sheet inventory bered d t etbih s omsin ok because work, commission is establish to ods work a your terminate on planning may if relationship and business will, you say you what time. doing your on on count to able take them be to has fill you dealer A you If certain behalf. make your orders, on effort extra an in are you when visit short a for in stopping list sothatyoucanmarkyourrecords. When pot. the on tagged number the to spond num­ a then consigned, be will work the If hi cnetos f eti trs n ideas and terms certain of conceptions their ad­ but yourself, please only not must you come through interiordesignfirms. frequently will individuals for missions commis­ pursue to choose you unless mouth t priua tm ol t fn i wnt be won’t it find to arriving. only time particular a at to allowusthefinal decisionondesign. de­ control to you allow long to willing the clients more grows, are In reputation yours. your as to though, run, parallel run not Or may be else. actually something but visualizing thing, or one thinking wishes. say their may verbalize They poorly clients Often well. as desires client’s your satisfy ditionally com­ Even sector. business the from sions word-of- through develop usually sales such aged a commission unless the client is willing discour­ is client the have unless commission a we aged consequently, And, sign. ts od o ep rltosi gig by going relationship a keep to good It’s n o te ot ifcl mreig meth­ marketing difficult most the of One omsin cn lo e ifcl because difficult be also can Commissions Commissions hr aog h ln, e il ae t least at have will we line, the along where Then, intriguing. is idea the and never before have we done something for is request the if finished the from choose customer the let and hi mns fe pyn i pr fr what for part in paying they’ve requested. after minds change to their likely less are a Clients finalize commission. helps also deposit A costs. covered some­ fails project the if commis­ way this total In cost. sion the on based deposit fundable we prototype, the with pleased is client the if prototype— a make we Sometimes products. to come to you to buy. Even though you may you though Even buy. to you to come to don’t they If selling. of function necessary a is else. a someone in by sold maintained be shop to or second gallery a send never should proceed. h ms rsosblt fr etn yu name your getting for responsibility most assume must the you gallery, a by represented be going not are they work, selling are you know what (Interestingly, first-rate. quite not is ex­ can you and they such, sure as be marked can clearly are you because there, sold be can seconds showroom, own your have you If you feel We “seconds.” selling of practice and workknown. pot particular a why customer the to plain onstrations, seminars, workshops, holiday open holiday workshops, seminars, onstrations, iiaig b dsgig n dsrbtn a distributing and designing by ticipating, that but word-of-mouth, through is course, dem­ special openings, eye—kiln public the potters considerasasecondvarieswidely.) rcue bu yu wr, r y aig out taking by or work, your about brochure par­ are you which in shows announcements for out you sure sent making out, are by gets help word to the have until of So advertise, time. takes to way best The etc. houses, dniy hs byn yu wr ad then these and reaches that work advertising of form your a select first buying advertising, those in identify money Remember, etc. investing spots, before radio ads, newspaper epe I yu ae oehn uiu t of­ to unique something have you If people. What we generally do is make several forms several make is do generally we What e sal rqie oetid nonre- one-third, a require usually We n ls mreig on cnen the concerns point marketing last One etn te od u t te uig public buying the to out word the Getting hr ae ay as o ep oref in yourself keep to ways many are There Promotion fer, a newspaper or magazine may be inter­ business profit formulas seem feasible for ing your business to go to a reputable CPA ested in doing a story on you. potters. to get expert advice on setting up your books. We have kept a mailing list of major pur­ So, like many others in this field, we have If you are unsure whom to go to, ask friends chasers and other people who have expressed operated with the “instinct” theory: If, at the or acquaintances in successful businesses. a strong appreciation for our work. As a ser­ end of the year, we are not too far in debt You may find the same name mentioned sev­ vice, this is provided to galleries for exhi­ (this determination will vary with the needs eral times, giving an indication of where to bition announcements. Not only does this and temperament of each individual), have turn. Or simply talk with various CPAs about practice tell known buyers about your show, been able to purchase needed equipment and their particular specialties or interests to de­ it keeps people who like your work up to supplies, and have maintained a life-style that termine suitability. date on what you are doing. Collectors are is comfortable, then we have made a suffi­ We had a CPA help set up our double­ especially interested in following a potter’s cient profit. entry books. This system ensures a more ac­ career development. We did have a financial statement pre­ curate determination of one’s financial po­ We also print a small flyer about our pot­ pared by a CPA for our first two years in sition and helps easily detect errors. We re­ tery and gallery, and place it in the motels business. After that we decided that it really cord day-to-day transactions, then balance and restaurants that cater to the same type didn’t warrant spending the extra money to the ledgers at the end of the year. These of clientele we do. To keep costs down, we have such a statement done—it only gives records are taken to the CPA, who then closes purchased an old letterpress and do much of you a picture of your net worth, not your net out the year and figures income tax, etc., for the printing ourselves. profit. Your income tax return can give your us. A wise investment, your CPA is always net profit, but only in actual dollars. Our available to answer questions concerning your Bookkeeping instinctive method probably only works when business. Let’s assume you have your marketing un­ you are the sole owner and have no employ­ A potter’s bookkeeping system can be as der control. People are buying your work, ees assigned to any particular area of the simple or elaborate as one desires. There are but how are you going to know at the end operation. When you are doing the ordering, several basic items one needs to maintain of the year if there is a profit? Without a production, selling and record keeping, you business records: a checking account with its profit, your business won’t last long. But prof­ should be able to sense how well your busi­ respective deposit book, numbered sales re­ it is difficult to determine, particularly in a ness is doing. ceipts books in duplicate or triplicate, and business that is concerned with creative pro­ Speaking of accountants and bookkeeping some type of ledger. We use two ledgers, one duction on a limited scale. Nor do typical (absolutely essential), it is wise when start­ for “Sales and Receipts” and one for “Dis-

With an accountant's help, the Cantrells set up double-entry ledgers, one for *,Sales & Receipts ” the other for “Disbursements* (expenses). To assure early detection of errors, debit (DR) and credit (CR) columns are balanced at the bottom of each page. September 1985 29 Maintaining a showroom can mean more Wheel-thrown stoneware covered jar, approximately 10 inches profits and direct buyer contact. in height, fired to Cone 9 in reduction, by Jim Cantrell. bursements” (expenses). Our double-entryfor pottery sold on invoice 1001.” The amount explanation of that amount under the ap­ system involves a debit (DR) column and a of money received would naturally be re­ propriate DR column (“Office Exp.”). credit (CR) column; all money received goes corded under the “Cash Rec’d” DR column. It is easier to keep accurate records using under a debit column and the explanation of But because you have not sold an additional a checking account rather than cash. If you what it was received for goes under the credit $250 in pottery, you do not record a CR entry do use cash, be sure to keep receipts and column. in any of the sales columns. (This was al­ record them as you would checks. Instead of ready recorded in the transaction on line 1.) a check number, you would enter a cash re­ Sales and Receipts Ledger You must record the CR column part of this ceipt invoice number and list the amount in Assume you are ready for business and entry under “Accounts Rec’ble.” the “Cash” CR column. have made your first transaction—a $250 At the end of the year your “Accounts More often than not a purchase transac­ charge sale to Doe Gallery. You would ini­ Rec’ble” could total $25,000 in the DR col­ tion will need to be entered in various cat­ tially have filled out an invoice and/or sales umn and $20,000 in the CR column. By sub­ egories: $95.40 for materials, $15.00 for freight receipt. Now you are ready to transfer that tracting the credit column from the debit col­ and $39.60 for supplies. (Entries in the “Ma­ information to your Sales and Receipts led­ umn you would note that you are still owed terials” DR column include anything you ger. On line 1 you would write the date of $5000 by one or more customers. This figure purchase that becomes a part of your pottery; the transaction (January 5), the place or per­ is important to consider when making plans whereas “Supplies” are the products you son dealt with (Doe Gallery), and the num­ for the ensuing year. purchase that aid in the manufacture of your ber of your sales receipt from which you have Each transaction made throughout the year ware.) When you write a check, it is best to taken the information (1001). is entered in the ledger. By using numbered indicate the purchase breakdown on the stub, The type of transaction determines the sales receipts to record all income (including so that you will be able to transfer all the column in which it is recorded. Since you loans) you can easily see if you have missed necessary information to your ledger directly were not paid at the time of the sale, it would recording a transaction. If you make a mis­ from your check stubs. Otherwise, you will be known as an “accounts receivable” sale. take on a sales receipt, write “VOID” across have to retrieve invoices from purchases to Therefore, line 1 would show $250 under the receipt and list it as such in the ledger. find the appropriate information. “Accounts Rec’ble DR.” Since it was a That also applies to your deposit book for As with the Sales and Receipts ledger, en­ wholesale transaction, the CR column entry the checking account. tries in the Disbursements ledger are made would be under “Sales-Wholesale.” Information on bank deposits recorded in from January 1 through December 31 of each Line 2 in this example shows money re­ the ledger will be taken from your deposit year. Try to make yourself balance your col­ ceived at an indoor fair—$1000 in cash sales, books. The “Cash Deposited” is a CR col­ umns at the bottom of each page to assure $500 through MasterCard and $500 through umn, while the name of the bank (or banks) early detection of errors. The total of all CR Visa. Note that all methods of receiving cash involved becomes a DR column. Note that columns must equal the total of all DR col­ are listed under a DR column headed “Cash all information concerning one transaction is umns on each page. Rec’d,” “MasterCard” or “Visa.” (During the put on the same line, and that the sum of fair you might use a different receipts book. the debit figures and the sum of the credit Information Retrieval Slip 1002 could read under the description figures on the same line must be equal (bal­ Now that you have a set of books under­ column “From fair receipts 1-50.” These re­ anced). way, the next thing to consider is what to do ceipts could even be attached to slip 1002.) with other paperwork you need to keep. A To finish recording the transaction from sales Disbursements Ledger filing system is essential, and a four-drawer slip 1002, you would fill in the CR column. In the Disbursements ledger you will re­ cabinet would be a prudent purchase. Our Let us assume the $2000 cash received turns cord information for all transactions involv­ system is set up as follows: Drawer 1 con­ out to be $1000 in wholesale sales and $1000 ing expenses. Assume you have written a tains catalogs, newsletters and photographs. in sales to miscellaneous individuals. You number of checks and paid cash for some Drawer 2 contains correspondence and in­ would record a $1000 entry under “Sales- expenses. You would transfer this informa­ formation (individual folders in alphabetical Wholesale” and a $1000 entry under “Sales- tion to the Disbursements ledger. On line 1 order), expenses (paid receipts for advertis­ Fairs.” you would enter the date on your check stub ing, car, freight, rent/utilities, etc.), galleries Now assume you receive a check from Doe (January 5), to whom the check was written (folders include a consignment sheet or Gallery on January 10. Another sales slip (Any Magazine USA), the check number wholesale order receipt plus any correspon­ (1003) is made showing a payment of $250. (730), the amount of the check under the dence) and suppliers (folders include all cor­ The description would read: “On Account appropriate bank CR column ($40) and the respondence and paid receipts). Drawer 3 30 CERAMICS MONTHLY contains inactive paperwork; and drawer 4 ideas from within. There won’t be the same necessary time away has not been “wasted.” contains warranties and instructions, plus kind of stimulation one finds when working One final concern is whether or not you miscellanea. in a college atmosphere. If you need this group are a manager type or more of a loner. Just When sending out correspondence, make environment, you should look for an area because you enjoy working with people doesn’t a copy so you have something to refer to that has several people working in studios. necessarily mean you’re a manager—work­ should questions arise. We note on carbons To stay in business, you must develop a ing together and managing are separate skills. if photos or resumes were sent along. If pho­ methodical approach to its problems. Goals When our business grew to the point where tos were sent, list how many and what objects should be set. Then you know what you are we needed help, we had apprentices and em­ were represented. Also note if a subsequent working toward and whether you are making ployees for several years. These were accom­ phone call was made and what was dis­ progress. plished potters who designed their own ware cussed. If you have made a verbal agreement You will no sooner have begun business which we bought wholesale and marketed. with a dealer or client, write a confirming when you will discover that you’re not able The only stipulation was that their work fit letter to assure that everyone is thinking on to devote 100% of your time to it. Perhaps into the image of our pottery. We soon found the same wavelength. you may have to take time out to raise a less time to work in clay because we were You will find that the longer you are in garden, maintain or restore a home, take care spending more time managing. So we changed business, the more paperwork there is to of aging parents, recover from an illness, or our direction and decided to remain a small manage. Regardless of the growth of your a host of other important concerns. In our studio rather than grow and produce more studio, simply remember that the whole pur­ case, it seems we are involved in non-clay work. pose of a filing system is to provide fast and duties about 50% of our time. Now, with two We have been on both sides of the fence. easy access to vital information, and organize teenage children, a great deal of that non­ The first 15 years of our careers were spent it accordingly. clay time is devoted to their needs and ac­ teaching art and trying to figure out how the tivities, some to community service, and the art world operates. We were working for Individual Concerns rest to our other, varied interests and busi­ someone else. For the past 15 years we have After reading this basic account of what ness sidelines. devoted our energies to developing and main­ studio management should entail, the next Not surprisingly, we have found the need taining our own studio pottery and gallery/ question should be: What personal qualities to vary our activities to keep from getting showroom as an independent, small business. does one need to be a successful independent stale. For a change of pace, a portion of the We are still able to teach through workshops, potter? One of the most significant is self- year is spent painting in oils and watercolors. but now we have the time to turn more of motivation or self-discipline. You need to be By relaxing our creative energies in pottery, our ideas into something concrete. We can able to work when you don’t feel like it. Should and working in a medium that tends to be take the time to allow an idea to evolve and you be in a position where you are isolated, more cerebral, we find ourselves restimulat­ finally mature—and still have a rush of ideas you must be able to develop inspiration and ed and ready to get back into clay. Thus the impatiently waiting to be tried.

Commission work can be a substantial part of a potter's business. Prototype for “Stations of the Cross ” 15V2 inches in width, reduction-fired stoneware, for a relief commissioned by a Louisville church, by Jim Cantrell. September 1985 31 The B.O.R. Kiln by W.L owell Baker

In my search for the perfect kiln, I When you get the B.O.R. to your stu­ chamber roof to the box and prevent sag­ have experimented with virtually all dio, remove the compressor, all the in­ ging- available refractory materials, and have sulation (look for a B.O.R. with fiber With a pneumatic panel cutter (avail­ spent years developing homemade cast- glass insulation; foam is much too trou­ able at most auto repair shops) a hole able refractories. Each has its own par­ blesome to remove) and the interior lin­ was cut in the top of the box, 4 inches ticular application, which when fol­ ing; leaving only the box, hinges, door larger than the intended draft. Then it lowed closely, can result in the perfect and closures. Cleaning out the B.O.R. was lined with 2 inches of insulation kiln for a specific use. takes about six hours. A note of caution: board, “glued” into place with sodium Along with studying refractory ma­ Some of the tubing contains refrigera­ silicate. I would recommend using com- terials, I have considered the use of an tion gas under pressure. Cut the lines merical fiber adhesive for kilns designed object that is widely available and often carefully in a well-ventilated place and to be fired above Cone 6 due to the flux­ escapes notice. Yes, I am here to apply be sure to wear eye protection. Or better ing action of the sodium silicate. The a scholarly direction to the B.O.R. (burnt- yet, get someone else to do the job. finished flue size was 3x7inches. out refrigerator). Now nearly all of us You can line the box, which is what The damper was made from fiber­ have used them—these carcasses of the we have been looking for all along, with board scrap and laid over the flue open­ second and third quarters of the 20th a variety of refractory materials. In the ing. A metal hood can be hung over the century—for clay storage and damp summer of 1983, while I was teaching flue to exhaust hot gases; however, the boxes. (Also note the utilization of a at the University of Arkansas at Fay­ kiln at Fayetteville exhausted into a high- B.O.R. in building the Arkansas sand­ etteville, my students and I built a B.O.R. roofed open kiln shed. blasting booth described in the March kiln using refractory board and fire­ The door was constructed in much the 1983 CM.) But I intend to give new brick. same way as the walls, except that the meaning to the words burnt out. My After removing the unwanted mate­ refractory board had to be wired in place latest experiment involves the almost rial, the first step was to lay a softbrick to prevent shifting as the door was opened perfect application of the B.O.R. as a floor. The brick can be easily cut, and and closed. A door gasket was formed kiln shell. several layers were laid with the cracks by gluing ceramic fiber blanket where A B.O.R. can be obtained from many staggered to prevent heat penetration the door and inner kiln walls touch. sources. For example, taking one off the through the kiln floor. Brick was used Burners were added at ports cut into hands of a friend may earn eternal grat­ because it carries the weight of the shelves the sides of this 12-cubic-foot kiln. They itude. Or try the city dump. Look for better than ceramic fiberboard. Castable were rated at 100,000 Btu’s, but 70,000 single-door models, unless you are plan­ refractory, hardbrick or a combination Btu’s should be enough. ning a two-chambered kiln. Just re­ of all the above could be used. Finally, the surface was painted. The member: Never pay for a B.O.R. Ac­ Next, refractory board was cut with primary function of this paint job is to tually, if you are clever, you might get a band saw into 3-inch strips. A vacuum indicate if and where there is any heat someone to pay you hard cash to haul cleaner was attached to the dust outlet leaking. The paint discolors when it gets one away. of the saw. Wear protective clothing and hot. There are several strategies in ob­ take all reasonable care when handling Cutting the board and building the taining a B.O.R. First, no matter how any dusty refractory materials. The most kiln took about 5 hours. choice the find, never act like the object dangerous ceramic particles are around The interior dimensions of this kiln has any real value. Talk about weight, 5 microns in diameter, and these simply are 24x24x36 inches. The first shelf, ecological impact of solid waste and the pass through most dusk masks; so it is or the working floor of the kiln, was set danger of Freon leaking into the at­ advisable to have a constant supply of above the burners. A small space, about mosphere. After you have gone through fresh air blowing the dust away. 1 inch, was left between the first shelf all this, suggest the standard fee for When enough of the refractory ma­ and the kiln walls to allow easy circu­ hauling one off’ is about $10. terial was cut, the strips were stacked lation of flame and hot gases. The kiln Now for the exception to the rule: up the wall of the box, taking care to is capable of stoneware temperatures in stainless steel. If you can find a com­ anchor the side and back walls together about one hour. mercial stainless steel B.O.R., it should by lapping the layers much as you would This B.O.R. kiln was the first of sev­ sell for about 10^ per pound and is well with brick. The walls were thus stacked eral I’ve built. The second used ceramic worth the cost. The steel will last longer, until they were within approximately 5 fiberboard (1 inch) on the cold face and the hinges are much stronger and the inches of the top. Walls could also be 4½ inches insulating firebrick on the hot closures are better. constructed of softbrick as shown. Three face. It has an interior capacity of about One last caution in acquiring your first layers of fiberboard were then slipped 15 cubic feet and is fired with two burn­ B.O.R.: Since they are so easy to find, into place, spanning the top of the cham­ ers rated at over 100,000 Btu’s each; be choosy; it is very likely that the B.O.R. ber. This roof was then lifted to the ceil­ needless to say it fires very quickly. will smell as if it was the storehouse for ing of the box and additional strips were many years of negative karma. Don’t layered to complete the walls. Nichrome The author A frequent contributor to take anything home that you will have wires were threaded through the fiber­ Ceramics Monthly, W Lowell Baker re­ to pay someone else $15 to haul away. board and ceramic buttons to secure the sides in Eureka Springs, Arkansas. 32 CERAMICS MONTHLY A discarded refrigerator with contents The interior is first lined with refractory The door insulation is attached with clay removed makes an excellent frame for board, then softbrick; stacked refractory buttons and Nichrome wire. A blanket almost any type kiln. board (see text) may be substituted. gasket on the kiln makes a tight seal.

Burner ports may be cut in the side with a The bottom shelf of the kiln should be set The completed kiln (here used for raku) pneumatic panel cutter. above the burners. has about a 15-cubic-foot interior space.

Though the kiln shown here was constructed from softbrick and refractory fiber, castable refractory, hardbrick or a combination of all four may be used. September 1985 33 Art for Eating

Made with regard for visually en­ that find their way into people’s lives such as Allan Buitekant (Pound Ridge, hanced dining as well as utility, func­ and give them pleasure,” often they are New York), prefer “the expression of raw tional vessels by 28 potters were exhib­ “concerned foremost with visual rich­ clay, the way it reveals itself where ited in “Art for Eating III” at the ness.” Some, such as John Frantz (Fries, touched, sometimes employing saggars Elements Gallery in Greenwich, Con­ Virginia), use polychrome slips and/or and sawdust for certain results. I do not necticut, through June 22. glazes to emphasize “color and a paint­ use glaze as a decorative element, but Though many of the participants fea­ er’s approach to line and brushwork, instead treat it as a functional surface tured in the show make “useful objects balanced with a forceful form.” Others, texture.” Photos: Karakas and courtesy of the Elements

Above Thrown stoneware mug, inches in height, with gold lustered handle, by Allan Buitekant, Pound Ridge, New York.

Far left Slab-built sushi dish, IOV2 inches in length, stoneware with Shino glaze, by Allan Buitekant. Left Earthenware platter, 26 inches in diameter, with slip decoration, clear glazed, by John Frantz, Fries, Virginia.

34 CERAMICS MONTHLY Potters, Zombies and Others byH arry Davis

If one wanted to make a study of the minor a potter of substance in the creative and eco­ or “mug up” what they could for themselves. follies and conceits of society, one could do nomic sense. For those installed on the teach­ Some did find traditional potters willing to worse than start with the potters of the 20th ing staff of a college, it takes a rare stamina teach them some of their skills, but a con­ century. That pathetic piece of advice, to to pull out and re-establish themselves as ditioning factor in all this was that they came would-be “artist-potters” not to have any­ makers of pots for a living. It also takes an­ to the situation as adults with the outlook of thing to do with function, would make a good other sort of stamina and some vision to do “artists.” They were self-conscious and well starting point. This could be followed by the this without subsiding into a routine of stag­ beyond the appropriate age when a young more recent confession of another potter who nant repetition. This hazard has to be avoid­ person could be expected to knuckle under explained that he had given up making func­ ed whatever the stage in a potter’s life. In and acquire the skills properly and fully. There tional pots because it was turning him into fact, the opposite is essential, for without it were also certain other influences emanating a zombie. no development is possible, and it requires from Japan which, in seeking to achieve what If there is something to be extracted from more than a little dedication to prevent prac­ was regarded as vitality, managed to intro­ remarks of this sort, it has surely to do with tical and commercial considerations from duce an odd cult of unskill. The outcome of the psychological condition and status am­ swamping all others. To escape this chal­ all this was that the revival was launched on bitions of the people who make them. It ob­ lenge by shirking all repetitions is no answer. a practical level that was bound to make rep­ viously also has something to do with the The idea that the way to learn to be a etition distasteful and to make it extremely background and training they underwent as potter is to be apprenticed in a potter’s place difficult to earn a living without indulging young potters. Whatever the explanation, the of work went out a long time ago, though in in extravagant pricing, which in turn meant policies have paid off, as is well and truly remote parts of Africa and South America reliance on an affluent and elitist clientele. endorsed by the role now being played by one may still see a little girl learning to make Fragmentation of the movement was an in­ the world of art auctioneers. Does anyone pots from her mother—but that is another evitable consequence. need further proof of the superiority of artist- category. Now the accepted route, if not the Faculty members in science departments potters over any other sort of potter? True, only route, is via a school of art or a technical are admonished to “publish or perish.” Re­ it took quite a while to work up to this point, institute where the chances are that the search is expected as a matter of course and but the price tag as the guide to excellence teaching staff has no experience of what it as long as results are published, all is well. has been established over a long period. At takes to earn a living making sound pots at Something similar happens in the world of first the level rested on the nerve of the potter prices that do not exclude them from the art teaching institutions, only the admonish­ who ventured to market his pots in a Bond work-a-day world of domestic life. In all ment is to exhibit instead of to publish, and Street gallery. More recently the work of art- probability they came straight from another so the regular appearance of the “Solo Ex­ ist-potters now dead has become of interest teaching institution of the same kind, staffed hibition” becomes an essential part of the in the world of real-estate investors. Sale by in the same way. There are now many suc­ example set before the young in teaching in­ auction now puts their work alongside that cessive generations of this sort of teacher. This stitutions. Right—if that is how it is, so be of dead painters. This is a new and probably is what I mean by the limiting factors as­ it, but why all the ranting about the other irreversible twist. sociated with the training of potters. This side of the coin where potters make, and have All this poses problems for living potters, alone explains a great deal about the jaun­ made for millennia, simple functional pots for let it not be forgotten that there is still a diced view many hold about the making of for people to use and live with? Why the case for ignoring the seductions of auction­ pots for use, for tedium is accentuated when warning implying dire consequences for an eers and collectors and following the road skill is minimal. “artist-potter” who ventures into that humble taken by potters for thousands of years. This How did all this come about? Historically field? Why the fear of being—or being thought road invites the making of simple pots for it is fairly clear. When the challenge of re­ to be—a zombie as the price of being a per­ mundane use that incorporate a function and viving handcraft pottery first presented itself, sistent maker of useful pots? Why the shades a meaningful decorative role. In other words, there probably did not exist in all Europe a of denigration associated with the classifying the stamp of some degree of human concern potter with integrated creative talents and adjective in “production potter”? What else and warmth in their making: something the skills such as lived in China or Ecuador three have potters always done but produce pots? industrially mass-produced alternative con­ millennia ago—or for that matter may still Why not just stick with the title potter and spicuously fails to provide. The world of pot­ be found in some isolated communities in leave the qualifying adjective “artist” to those tery users is still crying out for pots of vitality Africa or Latin America. By that time potters who feel insecure without it? It is surely sig­ and moderate price, to be lived with on a in Europe were proletarian wage earners nificant that none of this fragmentation arose humble domestic plane. But this is a tougher specialized in narrow categories. A thrower to trouble all those generations of potters in proposition, calling firstly for a type of train­ was such a person. The revitalizing of the simple societies who made pots for eating and ing that teaching institutions are simply un­ craft had to come via educated and probably cooking and ceremonializing. They were un­ able to offer. It calls for an attitude to eco­ through traveled people of privilege. It was affected by differences of mood arising on nomic independence which needs a lot of a middle class intelligentsia that conceived the one hand, out of the making of countless determination to achieve, and a withdrawal the idea because their privileges had enabled stew pots all vital in their own small way, from the suburban ethos of “studios.” It calls them to get a glimpse of the diversity of fine and on the other hand, the making of more for self-discipline and a capacity to resist the work that so many potters had achieved in spectacular pieces with quite different func­ seductions of those who recruit staff for so many places, mostly unknown to each oth­ tions. Functions they all had, be it as a burial teaching institutions. One cannot do both: be er. But when they tried to put the idea into urn or a stew pot, yet the potter was one and a teacher in the formal classroom sense; and effect, they had either to employ a thrower the same person—usually a woman. Where “The outcome of all this was that the revival was launched on a practical level that was bound to make repetition distasteful and to make it extremely difficult to earn a living without indulging in extravagant pricing, which in turn meant reliance on an affluent and elitist clientele. Fragmentation of the movement was an inevitable consequence.” September 1985 35 did we all go wrong in our little macho con­ down their noses at manual workers—no place a recreation relative to the other two. The ceits, or is this also a consequence of the for that urbane arrogance that equates im­ word recreation implies a process of re-cre- trauma called specialism? maculate clothes and unsoiled hands with ating vital mental, spiritual and physical We are in no doubt today about the im­ proof of nobility. It has no place either for energies, which, contrary to current ways of mensity of the body of knowledge and the that sad misconception that craftspeople and working and thinking, is possible within the impossibility of any one person being able to artists are necessarily two distinct sorts. It day’s work, as well as outside it. encompass all of it. The last universal per­ was a frontal attack on many perverse social I have often heard comments, even from son, it is sometimes said, was Leonardo da values, but it was also something that clearly fellow potters, which reveal the fragmented Vinci, but the fact that we can no longer required a discipline. Given the voluntary effects of poorly integrated attitudes. A re­ encompass all knowledge in one grand sweep acceptance of discipline implicit in the idea curring example, made no doubt by a mem­ of wisdom is no reason for not striving to of a monastic order, it could obviously work ber of the zombie-fearing fraternity, was usu­ encompass what we can, whether in terms and be an inspiration as well. But outside ally prompted by the sight of piles of dinner of skills acquired, or levels of sensitivity such an order all hangs on self-discipline, plates or other repetitive work. The comment achieved or sheer intellectual grasp of sci­ and that is the rub. Very few people are ca­ usually took the form of a question which entific technicalities. Not to strive has a pable of cultivating it. Nevertheless, this no­ went something like this: “Don’t you find it stunting effect, whereas efforts to realize one’s tion of a way of life has a relevance to potters. soul destroying to do repetition work of this potential mean personal growth and matu­ My personal experience has been an almost sort?” One could imagine the same question rity. Aldous Huxley and Lewis Mumford accidental drift into similar divisions of time: being asked of the monk digging irrigation are two outstanding examples of people in not punctuating the day with any fixed pro­ ditches in the monastery grounds. The ob­ our day who resisted the temptations of nar­ gram, but nevertheless ranging back and forth vious answer in both cases would be: “That row specialism. The breadth of their under­ over these three kinds of activity. is not the whole of the job. The plates are standing and wisdom has been a real inspi­ To interpret this concept in terms of a pot­ wanted and needed,” or in the other case: ration to many. ter’s world implies a combination of ade­ “The ditches are needed and must be dug.” In his famous Santa Barbara lectures quate skill, some degree of sensitivity and In my situation I would probably also add (1969), Aldous Huxley refers to his grand­ also a willingness to think, but above all it that as a self-employed person, I could switch father, T.H. Huxley, as having struggled in implies a readiness to apply them all to mun­ to something else when I had had enough vain in the last century to broaden the basis dane things as well as to the more exalted. and that I could also think about why I was of studies at the University of London—to It implies a wish to make pots for mundane doing it. Not so in the case of a man in a integrate education, in other words. The Santa purposes, yet imparting positive qualities to glass factory of whom I once asked a ques­ Barbara lectures are a fine testimony to Al­ them in spite of their prosaic role and shun­ tion: “What is that material you are shov­ dous Huxley’s efforts to achieve the blend of ning the attitude expressed by the curator of eling?” To which he answered: “I am not wisdom and intellect that he did. Lewis a public gallery who said; “They don’t want paid to know anything, I am only paid to Mumford identifies himself with a similar shovel the bloody stuff.” If monotony dam­ opposition to narrow specialism and refers ages souls that was surely an example, for to himself in several of his writings as a gen­ “The idea that the way to learn he was not free to do something else when eralist. to be a potter is to be he felt inclined; nor was thinking his strong That universities have capitulated in favor point, or he might have realized the damage of fragmentation and specialism to the extent apprenticed in a potter's he was doing to himself. that they have, I find sad and hard to un­ place of work went out a Some years ago I concluded an essay called derstand. But much more difficult to under­ long time ago. “Art, Commerce and Craftsmanship” (CM, stand is why this capitulation should have ...” December 1981) by saying that potters should taken such a hold among potters. The hand­ have the courage to be potters. There still craft pottery revival was in essence an at­ to make pots; they want to make Art.” So seems to be a need to say something very tempt to recapture the ethos of a simpler the first category would be covered by this similar and I will conclude this with a ques­ world—a simpler technology more easily in­ willingness to make mundane things and lots tion. When are the potters going to get the tegrated and capable of being understood by of them in a generous and positive spirit. sculptors out of their hair... or when are some an individual potter. Why has it allowed it­ That would be the manual fraction in the sculptors going to stop pretending to be pot­ self to succumb to fragmentation along with rule. The second category implies a more ters? Sculptors have been traditionally con­ so much else in our society? It could be a relaxed mood in which imaginative elements tent to be known by that simple title. They mixture of complacency and a yielding to a and nonpractical ideas are given play, as in do not seem to have felt the need to qualify line of least resistance presented by the experimenting with form and relating dec­ their activities with prefixes indicating that plethora of vendors of expertise and mate­ orative embellishment to it. This is a mood they work in stone or wood or bronze or even rials. Or is it one, or several, of the social of hunches and feelings and not much con­ terra cotta. So why, may one ask, this insis­ vices tempting potters in directions that yield scious thought. Stretching the meaning of tence on ceramic sculpture? When a potter’s more kudos for less effort? The circum­ words a little, this would correspond to the conference involving some 750 participants stances of the founding of the movement were spiritual and meditative part of the rule. The is reported as being dominated by nonpotters essentially middle class and it is perhaps not last section of the rule covers the intellectual, with sculptural pretentions, it is time for such surprising that it has come to be dominated which implies a willingness to grapple with nonpotters to tag on to the world of sculptors by the values of that class. Born though it the science side of it all: the geological, the pure and simple, taking those afflicted with was on a wave of protest, that element in its chemical, the physical and the mechanical. zombiephobia along with them. Potters could makeup was soon stifled. It also implies what is perhaps the most im­ then settle down to being potters. A noble effort was once made within a portant field for thought, some introverted closely knit community to outlaw some of the speculation about motives. Why make this The Author Harry Davis operates Crew- more flagrantly fragmenting social habits. and not that, and for whom, with an occa­ enna Pottery in Nelson, New Zealand. He That was the Dominical order which framed sional glance at a balance sheet so that the worked in England with Bernard Leach in its rules so that people’s physical, spiritual overall implementation does not become dan­ the 1930s and in 1946 established Crowan and intellectual attributes might remain in gerously unrealistic. Pottery “converting a water mill at Praze in step with each other. This meant dividing The total reflects in my opinion a diversity Cornwall, using its power to help in the ef­ the working day, that is the waking hours, that makes for an integrated person: a potter ficient production of moderately priced stone­ into three: the manual, the meditative, and with integrity. It includes something once de­ ware.” Emigrating to New Zealand in 1962 the intellectual, with each accorded equal fined by Eric Gill as re-creation. Such an an interest in the Third World led the author importance and respect. This splendid con­ oscillation of activities and the exercise of to Peru as a one-man peace corps to teach cept leaves no place for the snobs who look faculties can make any one of the three rules self-sufficient ceramic production. 36 CERAMICS MONTHLY Wood Firing in America

“Warm COLORS, depth and richness of use smaller, faster firing kilns, such as ticipating in the firing, which, in itself, the surfaces, evidence that fire has touched the Bourry-box design popular in Eng­ becomes an aesthetic experience, not just the pots, and the sense of personal in­ land and Australia. All are faced with a way of getting the ware completed. teraction with this relatively primitive physical exertion (splitting and stoking Wood firing requires complete under­ method have persuaded a growing num­ wood) far beyond that required for the standing of the process and offers a sense ber of American potters to undertake the typical gas or electric firing. of total responsibility for one’s work. challenge of firing with wood,” noted Sy­ “It is an arduous task and, in most “Firing with wood also poses a par­ bil Robins, curator of the recent “Wood parts of the country, an uneconomical ticular challenge to create works that are Firing in America” exhibition at the method of firing,” Sybil Robins contin­ enhanced by the random fly ash that Craftsman’s Gallery in Scarsdale, New ued. “To most, wood is not just a fuel, settles on the ware. Considerable thought York. but an entire mode of working. A ded­ goes into the making of each pot and its Several of the 35 potters represented icated wood firer is concerned with par­ placement in the kiln—a broad shoulder in this exhibition fire large, multicham­ on a large vase, an undulation on the bered kilns based on centuries-old Ori­ lip of a cylinder are planned as surfaces ental hill-climbing designs (see “Ana- to be highlighted by the soft yellow-green gama!” in the March 1985 CM). Others of melted wood ash.”

Thrown stoneware bottle, 32 inches high, Wood-fired vase,1V /2 inches in height, fired on its side in an anagama, by Jack thrown porcelain with thick slip and Troy, Huntingdon, Pennsylvania. carbon trap glaze, by George Lowe, Orlando, Florida.

In upstate New York, Mary Roehm’s wood-burning kiln at the peak of its firing.

September 1985 37 Photos: John Begansky, D. James Dee, William Hunt, Schecter Me Sun Lee, David Tait and courtesy of the Craftsman ’s Gallery Rock Creek Pottery workshop and kiln shed, built by Will Ruggles and Douglass Rankin in the backwoods of North Carolina. 38 CERAMICS MONTHLY Will Ruggles and Douglass Rankin load their three-chambered, Natural ash-glazed bottle, 9 inches in height, mood fired in wood-fired kiln with collaborative slip-trailed stoneware vessels. an anagama kiln by Rob Barnard, Timberville, Virginia.

Tony Marsh (left) stokes the fire, while Peter von Wilken Zook (right) rakes coals in the opposing firebox of a kiln in Mendocino, California. “A dedicated wood firer is concerned with participating in the firing itself.” September 1985 39 An anagama kiln built by James Jansma and Shirley Koehler in rural Iowa. “ Wood firing offers a sense of total responsibility for one's work ”

A four-chambered, wood- burning kiln built by Chuck Hindes and his students at the University of Iowa in Iowa City. 40 CERAMICS MONTHLY “.Pillow Pot ,” 10 inches in width, wheel- “Diamond Fish Dish,” 17 inches in length, thrown stoneware, wood fired, by David stoneware with stenciled iron on celadon, by Shaner, Bigfork, Montana. Jeff Oestreich, Taylors Falls, Minnesota.

Stoneware jars, to 20 inches in height, fired in a Bourry-box kiln, by Karen Karnes, Morgan, Vermont.

Wheel-thrown stoneware vase, 20 inches in height, with residual ash glaze, anagama fired, by Jack Troy. September 1985 41 Wood-fired teapot, 9 inches in height, by Rob Barnard.KFly ash settles on the ware so considerable thought goes into placement in the kiln *

Untitled sculpture, 23 inches in height, by Japanese artist Katsuyuki Sakazume, who directed the construction of the 56-foot-long anagama at Peters Valley in New Jersey. House Shape,” 16 inches Wood-fired covered jar, high, by Wayne Brannum, 12 inches in height, wheel-thrown Millacs, Minnesota. stoneware, by Karen Karnes. 42 CERAMICS MONTHLY Washington Craft Show

Ceramic artist Mara Superior, Wil­ Based on questionnaires from thislarger proportion of people who are in­ liamsburg, Massachusetts, won top hon­year’s show, the sales total was estimated terested in owning crafts because atten­ ors at the 1985 “Washington Craft Show,” at $450,000—a 25% increase over last dance remained around 10,000 while held in the auditorium of the U.S. De­ year’s gross. Organized by the Smith­sales increased substantially. The artists partment of Commerce. She received onesonian Associates Program, the three- also told us that more gallery owners of the $500 judges’ prizes for excellence, year-old show is “helping to build a fol­and collectors came to buy and make and her work was also selected by thelowing for crafts,” according to directorcontacts, and many of them commis­ show’s participants as the winner of the Virginia White. sioned pieces which are not included in $500 Craftsmen’s Choice award. “We know this year’s show drewour a sales estimate.”

“A Tea Party Platter ” 18 inches in diameter; porcelain, with underglazes and oxides, by Mara Superior; Williamsburg, Massachusetts.

September 1985 43 “Hot Tea," 12 inches in height, slab-built porcelain teapot, pedestal and platter, by Mara Superior. Above center Thrown porcelain bowl, 12 inches in diameter; with cut edges, additions, by Jean Cohen. 44 CERAMICS MONTHLY Opposite Earthenware vessel, 18 inches in diameter, slab built, by Christine Demeter Zimmerman, Baltimore. Opposite below Edge-cut plate with additions, 13 inches in diameter, wheel-thrown porcelain, by Jean Cohen, Baltimore. Below Slab-built sculpture on a steel base, 19 inches in height, with airbrushed underglazes, by Carolyn Sale, San Francisco.

September 1985 45 Unloading byLouis Katz

46 Ceramics Monthly Photos: Poonarat Pichayapaiboon and Lourdes Ramos

Firemouth of Cone 10 salt kiln built from Wheel-thrown bowl, 6 inches in diameter, loaded with straw for stability in a kiln scrap clay, glazes, softbrick and straw. built on a wheeled cart, rolled outdoors, then fired with gas to Cone 04. I SEE my work as primarily educational,withstand some bumps and rough han­ Albany slip, one has a greater chance of particularly the kilns built while a grad­ dling when rolled outside to be fired. producing a rich glaze than when mix­ uate student at Illinois State University Besides being strong, the kiln body hading pure oxides and trying to imitate in Normal. It seems to me that all art to be able to survive the stress of beingnature. During these times when it seems is educational. This work gives me thehot on the inside and cold on the outside. that I believe in macrobiotic pottery, I opportunity to expose aspects ofAnd func­ perhaps most important, with sofeel that if a glaze is made out of “re­ tional pottery making that are usually much material involved, it had to be in­spectable” ingredients and I don’t enjoy observed only by pottery makers.expensive. The the way it looks, then the fault is within sense of anticipation potters feel while To meet these requirements, a mix­ me, not the glaze. a kiln is cooling and waiting to be un­ture of floor sweepings from the clay stu­After applying an insulation layer of loaded is missed by the public. Manydio, plaster-contaminated clay, scrapwet clay and sawdust to the surface, the people don’t realize that most kilns areglaze, broken softbrick and straw (for kiln was loaded (sometimes packing the made from clay. They tend not to un­tensile strength) was used. Although the pots with straw for stability) and moved derstand that, like a teabowl, a kiln is a body these ingredients produced had aoutdoors. Firing was with gas, usually functional object and can have the same look and feel similar to unrefined clays, to Cone 04, though one salt kiln was kinds of admirable qualities. most had at one time been refined com­taken to Cone 10. When cooled, the in­ Because of the scale and nature of this mercial products. sulation layer was removed to reveal the work, it was necessary to overcome sev­At times I find myself looking at glaze colors of the fired kiln. eral practical and technical problems. recipes and judging their quality solely The largest of these kilns weighed near­ on the cumulative “integrity” of The their author Louis Katz is now a grad­ ly 1000 pounds. Built indoors on wheeled constituents. It seems to me that when uate student at Montana State Univer­ carts, they had to be tough enough using to relatively unrefined ingredients likesity in Bozeman.

Left Salt kiln surrounded by ware from its Cone 10 firing.

Right Using studio scrap materials, the author built a series of kilns to show that *like a teabowl, a kiln is a functional object and can have the same kinds of admirable qualities. ” Moved outdoors for firing, they had to be tough enough to withstand rough handling, as well as the stress of being hot on the inside and cold on the outside. September 1985 47 Earthenware Revisited

Bold color and patternwere pre­ dominant in the recent exhibition of contemporary earthenware at both Ma­ ple Hill Gallery locations in Ogunquit and Portland, Maine. “Most of us lead lives comprised mainly of patterns,” ob­ served Columbus, Ohio, potter Barbara Miner. “Our interactions with others, our habits, our thought processes . . . are Below Slip-cast whiteware, plate 10 inches in diameter, with all patterns of sorts. I’ve merely put into brushed underglazes, by Barbara Miner, Columbus, Ohio. tangible form some of my more positive patterns.” Right Terra-cotta basket/planter with saucer, 16 inches in Also featured in “Earthenware Re­ height, wheel thrown, brushed with stained slips, bisqued at Cone visited” were Stanley Mace Anderson, 04, clear glazed, then fired to Cone 05, by Jill Manos, Parker, Bakersville, North Carolina; Harvey Colorado. Brody, Healdsburg, California; Nina Far right Wheel-thrown earthenware platter with slip Gaby, Rochester, New York; David brushwork, 19 inches in diameter, by Jill Manos. Keator, Louisville, Kentucky; Jill Kleinman, Burlington, Vermont; and Jill Below right Underglaze-decorated whiteware, striped Manos, Parker, Colorado. rectangular dish 11 inches in length, by Barbara Miner.

48 CERAMICS MONTHLY September 1985 49 Breaking Old Patterns byM argaret Ford

After several years of focusing on ing a new way to work. It started with Early in the work, the base tiles had the robe form [see CM’s cover, October as basic a change as rearranging my stu­ to be made with holes in them to hold 1979], other ideas began to insist on my dio; improvements for health and safety the figures or other elements. The bases attention. Moving both inward from robe reasons were long overdue. I enclosed were then dried, glazed, fired and re- to person and outward to place or con­ and vented my kilns, and built a vented glazed-almost finished before I could text has been my preoccupation for the spray booth with the compressor outside place the sticks and make the figures’ last three years. The challenge has been to cut down on noise. Nailing up white heads and hands or other elements. Then to keep the forces of these opposing di­ acoustical board for a ceiling and adding more glazing and firing were required rections from severing their essential re­ some more lighting made my basement before final assembly-at last an oppor­ lationship. studio much brighter. These changes tunity to see how the vision realized it­ Although this has brought into ques­ helped break old work patterns but I still self. tion my working processes and mate­ did not know how to make the new forms. This process took precedence over the rials, clay still offers me a language of Gradually, things began to fall into techniques involved in making the parts. great flexibility and potential. Yet when place. Instead of action/response/fir- The tiles were made from Cone 3 white- ideas exceed this potential or when their ing/response, decisions about placement ware fired to Cone 05 to avoid warping. expression in clay overshadows technical and proportion would have to be made Other ceramic elements were Cone 05 virtuosity, new materials and techniques without visually knowing whether the whiteware colored with underglazes. The must be found. A new body of work is separately made parts were working as use of other materials evolved as they the result of this exploration. Such an a whole. This eliminated the “response” met the idea of each piece. opening of expanded possibility causes phase, and meant I had to maintain a both exhilaration and apprehension, the clear vision of the outcome and could The author Margaret Ford maintains familiar feelings of all journeys into the only check my intuitive sense of process a studio in Seattle and is currently teach­ new and untried. as a measure of whether the work was ing as an artist-in-residence at Ohio State Preparing for this has involved learn­ proceeding appropriately. University in Columbus.

Above "Passenger27 inches in height, handbuilt whiteware with twigs and wrapped silk threads; detail view on the right. Right "Carry Tiger to the Mountain ” 12V2 inches in height, handbuilt whiteware and wood, with gold leaf, by Margaret Ford, Seattle.

50 Ceramics Monthly Above “Shalimar Dream * 16 inches in height, low-fire clay with underglazes; “flowers” supported by clear acrylic tubes.

September 1985 51 David Taylor byA strid Brunner

Going one’s own way has repercus­ rigidities of college art training, David sions. If there is artistic value in being lived in the suburbs of Paris for five willfully eclectic, idiosyncratic or simply months, working at a ceramic factory stubborn, there is also the resultant loss which specialized in majolica ware ex­ of valuable time. Canadian potter David ported to North America. He mixed and Taylor of Dayspring, Nova Scotia, has applied glazes, then decorated the pots experienced both. His recent solo ex­ with oxides. The standard designs were hibition at the Art Gallery of Nova Sco­ several realities removed from nature, tia presented the mature artist, fusing intended to make birds, frogs, lobsters or deliberately contrasting styles and and mackerels commercially viable. processes. However, the main income of the 25- David Taylor decided early on in his person factory was from the handbuilt career that the formal structure of art baskets and flowers designed to adorn schools did not suit his temperament. He graveyards. What was not handbuilt was studied painting and sculpture for two jiggered, cast or sometimes thrown. While years at the Nova Scotia College of Art there, David practiced throwing during and Design, and an additional year at his lunch hours. the Coventry College of Art and Design Via Spain and Portugal, he arrived in in Coventry, England. Later, he studied the Middle East. He had been employed etching at the School of Fine Arts in to execute archaeological drawings by Paris. However, life became his ultimate David Taylor the National Center of Scientific Re­ teacher. search in Paris, and from 1969 to 1970 When David left Canada to study and includes “the painterly division into col­ worked in Turkey, Israel, Cyprus and work in Europe and the Middle East, or surfaces,” and “the play of glazes and Iran. Ankara, Istanbul, Izmir, Jerusa­ he had no thought of pursuing ceramics light,” he merely expressed in words what lem, Tehran and Susa became more than as an art form. That recognition was for many years he had expressed in clay. names. They became symbols for the kind accidental, and the change came grad­ The sizable Italianate urns, decorated of inspiration that turns fact into fiction ually. It took even longer to formulate with chevrons and leaves, sgraffito and and fiction into fact. What remains from the central thoughts important to him the play of running glazes, showed the Susa and the Darius kings, says David, as a ceramic artist. When, in connection artist getting at the interaction of control planted in him a love for clay. He recalls with his latest exhibition, he talked about and freedom. a brick castlelike structure with cunei­ “a conscious play with illusion,” which In 1969, after the real or imagined form signs on the walls. There were bits

The artist’s house and studio on the LaHave River in Dayspring, Nova Scotia. 52 CERAMICS MONTHLY Faceted vase, 14 inches in height, with overglaze brushwork, fired to Cone 3. September 1985 53 Vase, 9½ inches in height, with black slips under white glaze, by David Taylor.

Handbuilt basket, 23 inches in length, with overglaze decoration, fired to Cone 1. 54 CERAMICS MONTHLY T

Wheel-thrown bowl, 15 inches in diameter, with overglazes, fired to Cone 4.

“Bowl with Leaf Decoration,*8V 2 inches in diameter; fired to Cone 2. September 1985 55 Vase, 22 inches in height, sprayed partially with terra sigillata, fired to Cone 06.

Vase with Cone 014 alkaline “Painted Vase with Red Handles ” “Footed Dinner Plates,” each glaze, 22 inches in height. 22 inches in height, fired to Cone. 1 6V2 inches across, fired to Cone 3. 56 CERAMICS MONTHLY David Taylor freely admits the connection of painter and potter; and still respects the irrevocable choice a first brush stroke implies. He savors the balance of function and aesthetics inherent in clay. Above all, he cherishes the play with illusion. of sculpture on the roads, and inside the ing machine”) and bought a small kiln, into art. This attitude is still at the core building were storage rooms with pot­ which he set up in the kitchen. of David Taylor’s work and philosophy. tery figures of archers and shards for The love of clay persisted. He worked David has learned to transform idi­ which the originating wheel could only with a mixture of local clays to repro­ osyncrasy, willfulness and stubborn ad­ be imagined. duce the buff-colored ware he had seen herence to his vision into decisive artistic David was in Susa because he could in the Middle East. The first craft show form. He talks of making his ceramic draw. What came with the job, unsolic­ came, and was mainly a matter of dis­ forms “as human as possible.” Genuine ited and irrevocable, was interest in the playing the ware in such a way that the love for the medium makes him accept buff earthenware and fascination with flaws would be least visible. In 1973, he its limitations, makes him explore one the stylized animals of 4000 B.C. A gas switched from his homemade wheel to glaze (an opaque, semimatt, off-white beehive kiln was on the site, but was not a commercial wheel, and moved from recipe) in depth. He is traditional in that available for use by the 18-member ar­ the Annapolis Valley to Dayspring. Ini­ he utilizes these limitations to grow as chaeological crew. Their figures re­ tially running an antique shop with the an artist. Vessels to him are autonomous mained unfired. So David learned the pottery, he soon concentrated exclusively personalities “which through their calls of the dogs and the silver fox. And on clay work. There was little encour­ strength demand respect.” His methods when he tired of driving them crazy, he agement from outside. Resource centers are often painterly: slips for impasto, admired the stylized owls on the shards. and the public seemed aloof. It was “the sgraffito in lieu of drawing, thin washes From Cyprus, he retained the impres­ year of the thin,” and David felt alone of glaze to build depth and color. He sion of amphoralike carved stone vessels. with his suspicion of technical manifes­ freely admits the connection of painter And in Israel, it was again the buff- toes and formal fashions. and potter, and still respects the irre­ colored earthenware that interested him. He studied books and experimented vocable choice a first brush stroke im­ He worked in a tomb for several months, with ash glazes, multiple glazes and high plies—how the space is altered as soon seeing artifacts such as those described temperatures, plus overglazes and low as the brush hits the surface. and illustrated in Ben Shiman Aba- temperatures. Kyoto ceramics and Ken- David savors the balance of function gosh’s Bones of the Fourth Millenium zan color were on his mind. During this and aesthetics inherent in clay. He ap­ from Azor near Tel Aviv. He discovered period, he also attempted to become preciates the importance of physical en­ one of the most common forms there was commercial, producing “the planters de­ ergy that characterizes process as well the “pillow pitcher” shape made cur­ signed with your plant in mind” by Dav­ as finished form. He loves the vase form rently by Betty Woodman. His memo­ id “Miracle” Taylor. For two years, he as some painters love the human body; ries of these archaeological excursions took a line of production pottery to trade and he likens with pleasure the bowl and read a bit like a dream, and as in a shows across Canada. However, “the di­ the teapot to the relationship a three- dream, he remembers the broken sar­ vision of reality into bread and butter minute talk has to a three-hour conver­ cophagi which taught him the passage and the things you want to do,” never sation. Above all, he cherishes the play of time, and the persistence of clay. worked well. Psychological realism, if with illusion that clay affords—its re­ Back in Canada, remembering run­ not commercial sense, made him work semblance to other materials, to other ning glazes in overfired kilns (which were with clay in his own way, at his own modes of art; its infinite interaction with later to surface as experiments on many pace. light. pieces), David saw no particular reason In 1978, David was part of a group Now, as an artist who has come into why he should become a potter. In 1971, exhibition in Halifax. His pots were dif­ his own, he talks about tradition, noting he lived on North Street in Halifax, and ferent from anything shown in this part that “this piece was based on a Bernard worked as a properties assistant and set of the country. They were square, slab- Leach piece which was based on one painter at the Neptune Theatre. It wasn’t built forms, with cobalt black glazes and that went before.” And he sums up his until the spring of the next year that he gold luster decoration. The unusual ves­ life as a self-taught artist saying, “Mak­ realized something important lingered sels, for all their Oriental background, ing a mistake in one sense is not making from his Middle East experience. were the artist’s own, and they were the a mistake in another.” Moving to the Annapolis Valley, he result of an accident he had had just built his first electric wheel (a contrap­ before the exhibition. He had only one The author Art reviewer Astrid tion without gears, “half car, half wash­ usable hand, and thus turned challenge Brunner resides in Halifax, Nova Scotia. September 1985 57 Technical Feldspar Fluxing Differences by Jerry Weinstein

Pyroplastic deformation of a high-fire Potassium Feldspar Porcelain Body peratures (Cone 2) the potassium-fluxed body clay body or the tendency of a body to deform (Cone 9) showed more fired deformation than the so­ or sag under load at high temperature may Pure Orthoclase...... 40.5% dium body; but at higher temperatures (Cones be a problem for potters. This deformation Kaolin...... 28.0 4, 6 and 8) the opposite was true. A graph is not only controlled by the way an object Flint (200 mesh)...... 31.5 of water absorption percentage versus firing is fired, but also by the type and nature of treatment shows that the sodium-fluxed body the body’s glassy phase which is formed dur­ 100.0% has less absorption at all firing temperatures. ing firing. In most conventional stoneware Both recipes are identical in silica to alumina There seems to be a paradox here at low and porcelain formulas, the predominant ratios, calculated mineral contents, total al­ temperatures. Even though the sodium body fluxes are feldspars. There is some dis­ kali content and particle size distribution, with showed less water absorption or a more ma­ agreement as to the effect of the type of alkali only the chemistry of the feldspars differing. tured body at Cone 2, its fired deformation in feldspars on the glassy phase formed, but One uses a pure orthoclase potassium feld­ was less than that of the potassium body. it is generally believed that a sodium feldspar spar (derived from the old Buckingham mines); Many macrostructural properties such as is more effective for fluxing a clay body than and the other a pure albite soda feldspar from fired deformation can be better understood a potassium feldspar; so less sodium feldspar a South American mine. The only contam­ when the microstructure is studied. The is needed to get the same degree of vitrifi­ inant in either feldspar is an associated silica scanning electron microscope is especially cation and thus for the same amount of fired (in the form of sand mixed and ground with suited for this purpose because of its excel­ deformation. But this is only partly true for feldspar), thus accounting for the seemingly lent resolution and depth of field at high bodies fired at high temperatures (above Cone high percentages of feldspar in the recipes. magnifications. 2) and completely wrong for low tempera­ Adding 0.25% Superloid (a plasticizer) to The fully vitrified Cone 8 bars were first tures (below Cone 2), where a potassium each body, slips were mixed to identical spe­ cross-sectioned, then polished and finally feldspar-fluxed body gives greater defor­ cific gravities and solid cast into \xSxV2- treated with hydrofluoric acid to etch away mation than the sodium-fluxed body. inch bars. These bars were then fired on cal­ the glassy phase, leaving the crystalline com­ To understand these paradoxes in feldspar cined alumina refractory supports with thin ponents of the fired bodies: the feldspar “re­ firing behaviors, two Cone 9 casting bodies platinum foil on the edges to prevent sticking licts” or outlines with needlelike crystals of were tested in a series of firings and further during firing. Three sag bars of each body secondary mullite which had precipitated from analyzed for microstructural differences un­ were fired to Cones 2, 4, 6 and 8 over re­ the melt; the kaolin relicts with very fine der a scanning electron microscope. producible firing schedules in a Globar-type crystals of primary mullite; and the quartz electric kiln with excellent temperature uni­ grains with a “moat” around each where the formity. The deformation sag of each fired dissolution rim of glass was dissolved away Soda Feldspar Porcelain Body bar was measured (in millimeters) from a by the acid. This crystalline structure forms (Cone 9) baseline connecting the ends. The same sag the refractory skeleton that prevents the clay Pure Albite...... 46% bar also was used to measure water absorp­ bodies from collapsing into a pool of glass Kaolin...... 29 tion. during vitrification. Flint (200 mesh)...... 25 By graphing sag deformation versus firing In comparing the microstructure of the po­ 100% treatment, it was seen that at low-firing tem­ tassium- and sodium-fluxed bodies at Cone

Scanning electron micrographs (2500X magnification) of Polished and etched cross sections of sodium-fluxed fractured cross sections; sodium-fluxed porcelain (left); porcelain (left), and potassium-fluxed porcelain (right), potassium-fluxed porcelain (right) both fired to Cone 2. both fired to Cone 8. Which is better as a clay body flux?

58 Ceramics Monthly i 8, several major differences were noted. The may explain the lesser sag deformation for sodium-fluxed body produced a glassy phase potassium-fluxed bodies at higher tempera­ that was more reactive as seen in the greater tures. etching and pitting of the kaolinite regions, This early feldspathic glass formation al­ breaking up the kaolinite crystalline struc­ lows early reaction with the surrounding clay ture more than seen with the potassium body. and quartz particles, thus allowing the ear­ The sodium body also showed greater re­ lier solution of alumina and silica into this action rims or wider moats around the quartz glass. The potassium glass, by becoming more grains. It may also be noted that in the so­ aluminous and siliceous earlier in the melt, dium-fluxed body, a sparser, needlelike sec­ thickens and precipitates out more secondary ondary mullite structure remained in the so­ mullite (3AlO -2SiO ), forming a better re­ dium feldspar regions, as contrasted to a fractory skeleton2 3 and2 thus resulting in less denser, more interlocked secondary mullite sag at higher temperatures. structure seen developed in the feldspar re­ Further analysis was then done using an licts of the potassium-fluxed body. This den­ identical Cone 8 porcelain slip made with ser, more fibrous mullite developed in the Kona F-4 feldspar (a mixed sodium potas­ potassium feldspar would add more struc­ sium feldspar). Fired sag and microstruc- tural support to the body at higher temper­ tural results were between those obtained for atures. the bodies fluxed with pure sodium or po­ Cone 2 is where the apparent paradox in tassium feldspars, and no eutectic glass was fired behavior lies. Since polishing nonvitri­ detected. fied bars was found to disrupt the micro- In addition to explaining what tradition­ structures, cross sections of fractured sur­ ally has been stated—that potassium feld­ faces were observed. In these Cone 2 spar gives less deformation at full vitrifica­ microstructures, the differences in the state tion—this study points the way for using body of melting for each of the feldspars could be fluxes in the developing of low-fire vitrified clearly seen. The sodium feldspar had not clay bodies with minimal warpage. (Using a started to melt, and in fact the laminated body flux which gives early glassy phase de­ structure from the crystallographic twinning velopment would lead to a less fluid, better of the feldspar grains was still visible. On supporting glassy phase at temperatures at the other hand, the potassium feldspar had which full vitrification is reached.) This ap­ already melted into the surrounding grains, proach is currently being used by manufac­ looking like thick syrup poured over the area. turers of body fluxes, but may also be applied The early melting of the potassium feldspar by potters using the fired sag and water ab­ explains the greater sag deformation seen in sorption tests to monitor effectiveness of clay. the potassium-fluxed body at Cone 2. It also body fluxing feldspars.

To measure deformation and absorption feldspar porcelain were fired at Cones differences, sag bars of the soda (Na) 2, 4,6 and 8. Graphed results show less feldspar porcelain and the potassium (K) sag for high-firedpotassium-fluxed bodies.

September 1985 59 60 Ceramics Monthly Pennsylvania, ScottdaleSeptember 20-22 The Itinerary “11th Scottdale Coal & Coke Heritage Festival Workshops Continued from Page 21 Juried Craft Show”; at Laurel Highlands. California, FresnoOctober 26-27 David Leach Pennsylvania, StrasburgSeptember 14 “Sec­ workshop. Contact: Clarence Robinson, San Joa­ “Created by Hand”; at Associated Artists’ Orga­ ond Annual Folk Art Festival”; at Historic Stras­ quin Clay Association, 5566 N. Maroa, Fresno nization Galleries, 698 Main St. burg Inn, Rte. 896/Historic Dr. 93704. New York, Ithaca September 6-October 12 Vermont, Stratton MountainSeptember Connecticut, BrookfieldSeptember 21-22 “Lidded Containers-Not Just Your Basic Box”; at 8-October 14 “22nd Annual Stratton ArtsFes­ “Ceramic Sculpture” with Jolyon Hofsted. 15 Steps Gallery, 407 W. Seneca St. tival”; at Stratton Base Lodge. September 28-29 “Computer Glaze Calcula­ New York, New YorkSeptember 3-November 3 Virginia, Manassas September 20-22 Fifth tion” with Harold McWhinnie. October 5-6 “Mimbres Pottery: Ancient Art of the American annual “Virginia Crafts Festival”; at the Prince “Ceramic Forms” with Chris Gustin. October Southwest.” September 13-October 27 “The William County Fairgrounds. 12-13 “Theory of Kiln Design and Firing Tech­ World of the Amasis Painter: Vase-Painting in Wisconsin, Milwaukee September 28-29 nology” with Regis Brodie. October 26-27 Mod­ Sixth-Century B.C. Athens”; at the Metropolitan “Craft Fair U.S.A.”; at the Wisconsin State Fair el and Mold Making Methodology” with Charles Museum of Art, Fifth Ave. Park, 8100 W. Greenfield Ave. Nalle. Contact: J. Russell, Brookfield Craft Cen­ September 9-October 4 “Fall Faculty Exhibi­ Wisconsin, Wausau September 7-8 The 21st ter, Box 122, Brookfield 06804; or call: (203) tion”; at the YWCA of the City of New York, 610 annual “Wausau Festival of Arts”; at the Pedes­ 775-4526. Lexington Ave. trian Mall, downtown. Please Turn to Page 84 September 30-0ctober 25 William Daley, Car­ olyn Daniel, Cliff Garten, Mei-Ling Horn, Dale Zheutlin, “Architectural Clay/Clay in Architec­ ture”; at Greenwich House Pottery, 16 Jones St. Ohio, ColumbusSeptember 1-October 1 A dual exhibition including Tim Mather; at the Cul­ tural Arts Center, 139 W. Main St. September 15-October 7 “Clay Guild Fall Show”; at the Ohio Dominican Gallery, 1216 Sunbury Rd. Ohio, Daytonthrough September 20 “The 1985 Ohio Selection”; at the Dayton Art Institute, For­ est and Riverview Ave. Ohio, Lima September 7-October 4 Kathleen Cerveny, Michael Chipperfield, William Hunt, Ban Kajitani, Robert Mihaly, George Whitten and David Williamson,“Ohio Designer Craftsmen: Ceramics By 7”; at Memorial Hall, Elm and Eliz­ abeth St. Ohio, WilloughbySeptember 8-October 5 “Earth Dreams and Rituals,” a two-person ex­ hibition with Sara Clague, domed white clay forms and standing screens; at the Fine Arts Association, 38660 Mentor Ave. South Carolina, Camden through September 20 South Carolina Crafts Association “Sixth An­ nual Juried Exhibition”; at the Fine Arts Center of Kershaw County. Tennessee, Gatlinburg through October 5 “Arrowmont Permanent Collection-Clay Acqui­ sitions”; at Arrowmont School of Arts and Crafts. Utah, Logan September 28-November 24 “Chronicles: Historical References in Contem­ porary Clay”; at the Nora Eccles Harrison Mu­ seum of Art, Utah State University. West Virginia, Huntington through September 9 “Peruvian Ceramics ; at the Huntington Gal­ leries, Park Hills. Fairs, Festivals and Sales Illinois, EvanstonSeptember 12-15 “American Craft Exposition”; at McGaw Hall, Welsh-Ryan Arena, Northwestern University campus. Michigan, Birmingham September 14-15 “Art in the Park”; at Shain Park. Michigan, Lowell September 28-29 “The 17th Annual Fallasburg Fall Festival”; at Fallasburg Park. New Jersey, ClintonSeptember 27-29 “Hun­ terdon Art Center 54th Annual Craft Fair”; at Old Stone Mill, 7 Center St. New York, New YorkSeptember 19-21 “Annual Bazaar”; at Greenwich House Pottery, 16 Jones St. Ohio, Marietta September 20-22 “Indian Summer Arts and Crafts Festival,” 26th annual; at the Washington County Fairgrounds. Pennsylvania, Chatham September 21-22 “Southern Chester County Arts/Crafts Festival,” second annual; at Primitive Hall. Pennsylvania, King of PrussiaSeptember 20-22 “Super Craft Weekend”; at the Valley Forge Convention Center. Pennsylvania, PittsburghSeptember 6-9 “A Fair in the Park”; at Mellon Park. Pennsylvania, RichboroSeptember 27-29 “State Craft Festival at Tyler”; at Tyler State Park, Rte. 332. September 1985 61 62 Ceramics Monthly News & Retrospect Southern Folk Ware Negotiations with the city of New Bedford berships and more complete, trustworthy ca­ “Tangible Traditions: Folk Crafts of led to low-cost industrial space to house the reer information. Georgia and Neighboring States,” an exhi­ PIA facilities. Space for ceramics was dou­ bition of approximately 400 objects dating bled (to over 12,000 square feet), and all the From the Peters Valley Anagama from the early 19th century to the present, equipment from B.U. (about half a million “Earth & Fire,” an exhibition of anagama was on view at the Atlanta Historical Society dollars’ worth, including two large car kilns) was transferred. wood-fired works by Katsuyuki Sakazume, At Swain, the program will continue to visiting Japanese artist , Jeff Schlanger, New offer master’s, bachelor’s and associate’s de­ Rochelle, New York, Toshiko Takaezu, grees in fine arts as well as certificates of Quakertown, New Jersey, and Peter Voul- mastery in ceramics, fiber, metal and wood. kos, Berkeley, was presented recently at the Chris Gustin and Rick Hirsch are also con­ Summit Art Center, New Jersey. tinuing as full-time ceramics instructors, and Since its construction five years ago by the student/teacher ratio remains approxi­ Katsuyuki Sakazume, his colleagues and stu­ mately 9:1. dents, the anagama at Peters Valley in Lay­ Other pluses from the student’s standpoint ton, New Jersey, has captured the interest are that tuition at Swain is about half of that at B.U., and housing in the community is less expensive.

Face jugs, to 15 inches in height Lovejoy’s Omission through August 15. Drawn primarily from The “all new and updated” edition of the collection of John Burrison, Georgia State Lovejoy’s College Guide, perhaps the most University folklore professor, the show in- widely used resource for those seeking basic guidance on college and university programs, is appallingly incomplete in its listing of schools with ceramic art programs. In the Career Curricula and Special Programs section, only 22 schools offering ceramic art are men­ tioned. Among the many omissions of un­ dergraduate and graduate programs are some of the top ceramic art programs throughout the United States—including, for example, the New York State College of Ceramics at Alfred University. Though previous editions have been reli­ able, it seems Lovejoy’s editors only infor­ mation source for this 17th guide was the American Ceramic Society. When informed by CM of more appropriate sources, Love­ Incised V/2-gallon crock joy’s replied, “ .. . We are grateful to you for Sakazume unloading Voulkos plate eluded a large selection of churns, crocks, supplying names and addresses [and] are of a number of American potters. Fascinated jars, jugs, pitchers, plates and ring bottles, a contacting the organizations. . . . When we by “the nature of the anagama,” the natural working potter’s wheel and other production receive this information, we will do an article ash glaze and unexpected effects from the equipment from Georgia’s eight “Jugtowns” for one of the upcoming issues of the Love­ flames, they “begin again with the elements.” and potteries in surrounding states. Photos: joy’s Guidance Digest [a monthly newsletter During firing, “each piece is covered with courtesy of the Atlanta Historical Society. subscribed to by guidance counselors], there­ wood ash and the subtlety of color cannot be by providing guidance personnel with ad­ seen immediately,” writes Katsuyuki. “An­ Artisanry Program Relocated ditional information on this field of study.” agama ceramics reveal their beauty after a The Program in Artisanry (PIA), estab­ Nevertheless, serious ceramics students may long period of use. Besides, the atmospheric lished ten years ago at Boston University, find it more expedient to contact local, state influence of the four seasons causes a pe­ was transferred during the summer to the and national arts organizations (NCECA, culiarity in these works. This is why the un­ Swain School of Design. Founded in 1881, c/o Regina Brown, Executive Secretary, Box derstanding of anagama is a growing pro­ Swain is a small school (a spring full-time 1677, Bandon, Oregon 97411; American Craft cess.” enrollment of 155 students) located in the Council, 45 West 45 Street, Second Floor, historic district of New Bedford, Massachu­ New York City 10036) for requisite mem- Janet Cooper setts, less than one hour from Boston and “Prairie Quilt I and II,” a floor installa­ half an hour from Providence. You are invited to send news and photo­ tion by Janet Cooper, Cresskill, New Jersey, “Out of crisis has come opportunity,” re­ graphs about people, places or events of was exhibited recently at the Jane Hartsook marked PI A director Bob Cardinale. Be­ interest. We will be pleased to consider Gallery of Greenwich House Pottery in New cause of physical and financial limitations, them for publication in this column. Mail York City. Describing the work as “a nar­ B.U. had proposed closing down the pro­ submissions to: News and Retrospect, rative and literal celebration of clay, clay ob­ gram at the end of the school year. A search Ceramics Monthly, P.O. Box 12448, jects and object making,” the artist noted that for an alternate host institution resulted in Columbus, Ohio 43212. many of the images were “borrowed from PIA’s new affiliation with Swain. Continued September 1985 63 64 Ceramics Monthly years of producing functional stoneware and News & Retrospect porcelain. On view at the High Museum of 19th-century American folk art and Japa­ Art in Atlanta through June 16 was a ret­ nese Haniwa figures. My still life arrange­ rospective exhibition of 105 objects tracing ments are indebted to George Ohr, Morandi developments in the past 30 years of his ca­ bottles and antique dolls. reer. “Directly on the floor and on small pine The son of the director of research at tables were arranged varying sizes of clay Corning Glass Works in New York, Harvey figures, wooden totems decorated with clay Littleton often visited the factory on Satur­ objects, galloping and resting horses, old days with his father. At first he tried to up­

“Prairie Quilt I and II” stoneware bottle forms, paper and clay fans, hold the family tradition by studying physics clay shoes and mitts, ceremonial dishes (each at the University of Michigan, and working containing miniature objects), bird images, summers at Corning. After two years, how­ plus a series of barns and houses. Inter­ ever, he transferred to the Cranbook Acad­ spersed with these images were very basic emy of Art to study sculpture. wheel-thrown bowls, cups and saucers. During World War II, he served in the “I have always been ambivalent toward Army Signal Corps and helped develop a glazes and slips because they conceal the clay device to automatically decode messages surface, and am always working to make fired clay resemble the shadowed surface of leath­ er-hard clay. For this show, the clay (com­ mercial earthenware, stoneware and porce­ lain) was fired to Cone 04-02, then often treated with paint made from old recipes. To a quart of skim milk or buttermilk, I added 2-4% each of slaked lime, whiting and white clay. By varying colorant amounts (red iron oxide, copper sulfate, yellow chromate or crocus martis) a palette of soft, harmonious colors was achieved. In effect, the fired clay was treated with a waterproof, unfired slip (with nonfat milk as its base). “The installation was about the bare es­ sence of container and object, the rhythms of arranging and changing relationships, and informality and commonness. This work de­ liberately shunned the preciousness of ped­ estals and platforms, and hugged the floor. My intention was to present it as a dealer would show items at an antique/flea market, Early Littleton stoneware vase with iron red glaze where it is up to the viewer/buyer to weed transmitted by teletype. Awarded a com­ out the treasure and enjoy the relationship mendation for this work, he was able to spend of one object to another.” his last months in service studying sculpture at Brighton School of Art in England. He Early Littleton then returned to the University of Michigan. Though Harvey K. Littleton is known With two friends he established a design worldwide as a leader of the modern studio business in Ann Arbor in 1947. Later a com- glass movement, his early work included 13 Continued September 1985 65 66 Ceramics Monthly News & Retrospect Benicia, California, Michele Doner and Mary Frank, New York) were selected by Nina mission to build several potter’s wheels led Felshin, former curator at the Corcoran Gal­ him to teach ceramics. While teaching at the lery of Art in Washington, D.C. Toledo Museum of Art School, he commuted to Cranbrook Academy to study with con­ Eileen Lewenstein structivist potter Maija Grotell. By the time “Living on a shingle beach as I do, I find he had received his M.F.A. degree, Harvey that my work is more and more influenced had built two wood-burning kilns. Favoring by what I see and find on the shore,” ob­ a direct approach, he often decorated forms served British ceramist Eileen Lewenstein, (such as the 12-inch vase shown on page 65) Brighton, whose modular sculpture and panels as they turned on the wheel, using slips and were exhibited recently at Tides Gallery in oxides to emphasize contour. Seaford. The “Breakwater Variation” forms, In the fall of 1951 he accepted a position such as this 15-unit, stacked sculpture, ap­ at the University of Wisconsin, bought a farm proximately 56 inches in height, stoneware and converted one of the older buildings into a pottery studio. Supported by university grants, he completed several research proj­ ects (the earliest of which was a study of vapor glazing) during the ensuing years. In 1957 Littleton spent several weeks studying salt glazing at Jugtown Pottery in North Carolina, joining in the firing of the groundhog kiln. Later that same year he re­ ceived university travel support to study Is­ lamic influences on contemporary Spanish pottery. After working several months at a tradi­ tional pottery in Spain, he visited Italy and was surprised to find numerous small glass factories. Convinced that it was possible to work with hot glass outside the context of industry, he began to experiment with small batches of various glasses, melted in stone­ ware bowls set inside an old ceramics kiln. The potential for studio glass captured his interest entirely, and his work soon paved the way for the establishment of hundreds of glassblowing facilities at universities throughout the country. Disarming Images With works by 45 American artists ad­ dressing the threat of nuclear war, the intent of the exhibition “Disarming Images: Art for Nuclear Disarmament” is to communicate visually and aesthetically the global concern for this political issue. Presented recently at the New York State Museum in Albany as “Breakwater Variationmodular stoneware part of a scheduled 30-month tour of cities brushed with yellow iron oxide, were based across the country, the exhibition was or­ on sea defenses in Shorham harbors, and the ganized by the Bread and Roses Cultural “From the Beach” panels are “literally just that,” Eileen explained. “It is surprising to find the combinations of metals that survive and are also modified during a 1250°C (2282°F) firing.” Bert Sharpe “Wiz Bang,” an exhibition of painted clay- work by Memphis artist Bert Sharpe, was presented at Vanderbilt University in Nash­ ville through June 7. Having worked on a series of unglazed terra-cotta boxes for the Michele Doner's “Descending Torsos” past nine years, Bert previously “felt that Project of the National Union of Hospital adding anything to the surface would detract and Health Care Employees and Physicians from the textures I had so carefully composed for Social Responsibility. The participating . . . but I never completely gave up the idea artists (including ceramists Robert Arneson, Continued September 1985 67 68 Ceramics Monthly News & Retrospect vessels were once fired to Cone 05. Colors ranging from sun-baked orange to soft pas­ of color on the surface.” Though he exper­ tels “seem to come from the clay,” George imented with slips and underglazes, the new­ remarked, “not from a surface treatment like est works “came to life” when he began to a glaze.” Fans in Boston “A Show of Fans,” featuring contemporary works in various media using fan imagery, was presented at the Society of Arts and Crafts in Boston through July 6. Among the ce-

Painted clay “Buzz,” 11 inches high use paint. He regards the painted boxes in this show “as part of a natural progression with results that are appropriate to the form and the surface.” George Yanson “Living Volumes,” an exhibition of earth­ enware vessels by George Yanson, Pittsford, New York, was presented recently at the Be- vier Gallery of the Rochester Institute of Technology. Expressing his concern for veg­ etable and figurative forms, these vessels were 24-inch earthenware “Embracing Fans” ramie forms shown in this invitational and juried exhibition was “Embracing Fans,” 24 inches in height, earthenware, with air- brushed imagery, byShellie Z. Brooks, Cam­ bridge, Massachusetts. Photo: Andrew Dean Powell. Baltimore Clayworks Show Ronni Aronin,]ean Cohen and Carole Cole are three professional porcelain potters working in studio space at Baltimore Clay­ works. Their ware was featured recently in a joint exhibition in the center’s gallery. Shown were Ronni’s thrown functional vessels with delicate, flowerlike brush work; Jean’s deco-

15-inch altered vessel, saggar fired thrown, then pushed from the inside, twisted and pulled to give a sense of internal life forces. 14-inch, matt black plate by Jean Cohen “I watch vegetables grow in my garden,” style cylinders, bowls and plates with cutout George commented. “They take their place and pierced edges; and Carole’s folded-rim on the earth, responding to the environment, forms with painterly abstract designs. Photo: and ripen in the sun. At harvest time I’m Gary Iglarsh. excited by the variety of forms and how some are figurative, some erotic and others ges­ Chinese Export Ware tural.” Marking the 200th anniversary of direct Placed in saggars with varying amounts trade between the United States and China, of sodium chloride and metallic sulfates, the Continued September 1985 69 70 Ceramics Monthly News & Retrospect little supply . . . from one of the largest mer­ chants, Po-hing at 10 Pa My Hay Street. He the exhibition “Directly from China” at the has every variety of jars, vases, etc. I did not Peabody Museum of Salem, Massachusetts, like to go into his shop as I was always tempt­ displayed an array of useful goods as well as ed to purchase. I bought, amongst other things, objects collected as souvenirs or “curiosities” six Chinaware Seats, painted expressly for by traders or missionaries. These earthen- me.” Photos: courtesy of the Peabody Mu­ seum of Salem: M. W Sexton. Sue John Smoke-fired pots, “coil built to maximize tension and asymmetry before regaining a sense of balance,” by London ceramist Sue John were featured recently in a three-per­ son show at Bohun Gallery in Henley-on- Thames, Oxfordshire. Surface marks on works such as this pitcher form with S-shaped han-

14-inch earthenware figures, circa 1800 ware figures, 14 inches in height, circa 1800, represent Chinese laborers, one carrying, the other packing tea. Among the more commonly imported goods were decorated porcelain items. Prepared to cater to the prosperous American in search of a personalized dinner or tea service, the Chinese produced sets of varying pieces at varying prices. Quantities of partially dec­ orated porcelain in standard designs were kept in stock in Canton, where on short notice they could be further decorated or mono- grammed to the buyer’s specifications. A popular 19th-century form, this por­ Coiled vessel with crackle glaze celain garden seat, 18¾ inches in height, was die, approximately 27 inches in height, crackle glazed, with gold luster rubbed into the craz­ ing, “come from emphasizing incidents that occur during the making and include etched drawing, painted slips, carving and burnish­ ing,” according to the artist. “References are made to the human body, ancient buildings and artifacts, contempo­ rary painting and my work as an art ther­ apist,” Sue continued. “I often begin to work in a relaxed way while traveling or visiting people. The pot can then absorb and narrate actual incidents and emotions from life more easily than if the activity was set apart in a space designed for the purpose. Concluding a pot, however, involves taking more risks and requires solitude.”Photo: David Ward. 1834-inch porcelain garden seat decorated with overglaze enamels and lus­ Allen/Plummer Show ters. The family crest of the purchaser, Louis “New Sculpture,” a dual exhibition pre­ Mamgault of Charleston, South Carolina, senting works by Los Angeles ceramists appears on one side and his surname in Margaret Allen and Anne Scott Plummer, Chinese characters on the other. “In Canton, was on view recently at Antelope Valley Col­ the Chinaware is painted and rebaked,” not­ lege in Lancaster, California. ed Manigault in his journal. “I bouht [sic] a Continued September 1985 71 72 CERAMICS MONTHLY News & Retrospect garding other cultures. . . based on our ob­ servation of their artifacts. This anthropo­ Objects familiar to the point of common­ logical perception is a key issue to my work.” place are often the subjects of Margaret’s impressionistic versions of the American New York Elements Closed Because its location “proved to be too dif­ ficult and time-consuming for many people to visit,” the Elements Gallery in New York City closed at the end of May. However, the original Elements Gallery in Greenwich, Connecticut, is continuing to operate, and its scheduled events will remain unaffected by the other’s closing. A separate corporation, the New York en­ terprise was established seven and a half years ago, but the owners “finally had to admit that our location has been an unhappy choice,” noted director Kay Eddy. “TriBeCa has not “Weenie” by Margaret Allen become the much hoped-for center of the art dream, such as “Weenie,” 12 inches in height, world.” multifired porcelain, stoneware and sewer pipe clays. Karl and Ursula Scheid Most Americans think of Europe as a sin­ Danville Chadbourne gle entity. Yet the ceramic traditions of the “Totemythic sculpture” by San Antonio various countries are distinctly different. West ceramist Danville Chadbourne was featured German potters Karl and Ursula Scheid recently in a solo exhibition at Texas A&I demonstrated not only their techniques, but University in Kingsville. The artist describes personified their country’s ceramic values and his works as evoking “spiritual or primal states, traditions at spring workshops at Loyola using simple organic forms, often in sugges-

Ursula and Karl Scheid Marymount University in Los Angeles and at the Sunnyvale (California) Art Center. Perhaps the major contrast between American and German pottqry that they dis­ cussed is the degree of government involve­ ment. In West Germany, all trades are reg­ ulated. To be a licensed potter, one must earn a degree from a craft school and serve an apprenticeship with a master potter. Despite his 20 years of experience, Karl said, he would have to have his pottery juried and take ex­ “Savage Memorial to the Untrue” ams to be licensed as a master potter. tive conjunctions that elaborate metaphori­ Another obvious difference between cally primary issues of ambiguity, morality, American and German pottery is the still accident/intention, contradiction or even ex­ strong influence of the Bauhaus movement. istence.” Acrylic-painted earthenware sec­ Founded by Walter Gropius in 1919, the tions were arranged on a wooden base to Bauhaus was a school of design that sought form “Savage Memorial to the Untrue,” 76 to end the schism between the artists and inches in height. craftspeople. Most of the approximately 700 Preferring to employ forms and images working potters in West Germany today were associated with cultures with a strong myth­ trained after World War II; theirs is not a ological grounding, especially primitive or folk tradition but rather one influenced by ancient societies, he is concerned “with the the synthesis of decorative arts and function- intellectual speculation that we make re­ Continued September 1985 73 74 Ceramics Monthly slightly with strips of compatible stoneware. News & Retrospect The slip was then scraped off to reveal the alism championed by the Bauhaus until the contrasting clay design. Nazis closed the school in the early thirties. Karl likes to design tension in his forms. The simplicity of form and the effective He made a three-part oval vessel, using pen­ incorporation of glaze into the total design cil lines inside to estimate the center and line in the Scheids’ pottery exemplify Bauhaus values. Working independently, they avoid a sense of competition by never touching the other’s ware. Unsaid, but not unnoticed, is their obvious respect and support for each other’s work. Karl’s family has farmed near Frankfurt for centuries. The only one to break from that tradition, he apprenticed with a potter in Stuttgart. In 1952 he went to Cornwall, England, to study at Crowan Pottery with Harry and May Davis. There, he worked with Lucie Rie and met other notables in the ceramics world. He learned to strive for per­ fection, pot without complicated equipment, and that it was possible to make a living from his craft. Ursula was born in Freiburg, attended a ceramic school and went on to a university. In 1958 she married Karl and they settled in Biidingen (Karl’s hometown). A year later they had converted an old barn into a studio. Most of the Scheids’ work is with porce­ lain fired to Cone 12 in a kiln fueled with bottled gas. Twice a year they mix the fol­ Building oval form from three sections lowing recipe: up the sections before attaching. A cheese cutter was employed to remove excess clay. Porcelain Body Glazes are an important part of the Scheids’ (Cone 12) work; they use approximately 30 different Kalifeldspat (Potash Feldspar) ...... 25% recipes. Ursula shared this recipe for a stony Bentonite...... 5 white glaze: Czech Kaolin...... 40 Flint...... 30 White Glaze 100% (Cone 12, reduction) The slurry is poured into large plaster bowls Kalkspat (Calcium Spar)...... 20% lined with nylon cloth. When the clay has Kalifeldspat (Potash Feldspar) ...... 50 set sufficiently, it is lifted cleanly from the Petalite ...... 10 plaster, dried further, then pugged. Kaolin...... 20 At the Los Angeles workshop Ursula threw 100% a bowl from a lump of porcelain wedged Add: Zinc Oxide ...... 10% Wedging clays for neriage vessel Bentonite...... 2% In a typical glaze firing, reduction is begun at about Cone 06, with approximately 6 inches of flame coming from the peepholes. This level of reduction is maintained until 2300°F. At this point, reduction is decreased and fir­ ing continued to Cone 12. Their schedule revolves around building up a group of pots for exhibition; they do not have a showroom at their home/studio. Usually they know two to three years in ad­ vance about a show and work toward each event. The Scheids’ pots sell for approximately SI75 to $1725. The gallery commission is one-third. Most of the risk is taken by the potters. They have to deliver their work in person. Karl and Ursula also design for industry. Most of this design work and experiments with glazes are done in their studio. They Continued September 1985 75 76 Ceramics Monthly Susanne’s early work was mainly wheel- News & Retrospect thrown functional ware. She began using a have a contract and receive royalty payments small extruder for rims and handles, then every three months on what has sold. Text found that extrusions made interesting bases and photos: Linda Mau and Karen Alpert for thrown vessels. The irregular foot ele­ Entous. vates the form, enlivening the negative space below. British Crafts at ACC Dallas Fair Coming from a painting background, Su­ Works by British craftspeople were in­ sanne says she often draws ideas and makes cluded for the first time in the recent Amer­ small-scale, three-dimensional sketches in clay. ican Craft Council fair in Dallas. Selected Of course, sometimes forms that work well in the usual jury process were jewelry, fiber small will not work when enlarged to the fashions and ceramic objects by 14 members imagined full scale. of Britain’s Crafts Council. Among the ta- Although she now uses a low-fire clay, previously Susanne worked primarily with this porcelain throwing body: Porcelain Body (Cone 9-10) Custer Feldspar...... 50 pounds Mullite ...... 10 Pyrophyllite...... 14 Bentonite...... 4 Georgia Kaolin (6 Tile Clay) . 75 Kaopaque 20...... 25 Flint...... 40 Liza Katzenstein’s decorated tea ware 218 pounds bleware items presented were slip-cast tea For extruded forms, she added 10 pounds sets, with handpainted enamels, by Liza Molochite (or silica sand), plus approxi­ mately ½ pound nylon fibers and ½ pound plasticizer (a lignin extract from an undoc­ umented sample which apparently was the same as or similar to the lignosulfonate Ad­ ditive A, Type 2, produced by Reed Lignin, 100 Highway 51 South, Rothschild, Wis­ consin 54474). To limit air pockets, she shapes the wedged clay into a cone before putting it into the extruder. As the form comes from the die, she allows it to curve naturally. Cutoff ex­ trusions are laid over rolled-and-taped foam supports (scraps of carpet padding or thicker foam from upholstery shops). Susanne also suggests that one might bisque an extruded shape to act as a support for fresh extrusions. Susanne Stephenson

Stoneware dishes by Sandy Brown Katzenstein, London; plus thrown and slab- built stoneware dishes, with brushed poly­ chrome glazes, by Sandy Brown, South Mol- ton, Devon. Susanne Stephenson Workshop In a recent workshop at Midwestern State University in Wichita Falls, Texas, Susanne Stephenson (faculty artist at Eastern Mich­ igan University) demonstrated the construc­ tion of ceramic forms combining wheel-thrown and extruded parts. Sources for her imagery include natural history museums and mag­ azines, aerial and microphotography, and sheared rock formations. Continued September 1985 77 News & Retrospect Although she sometimes stuffs foam into an extruded form to keep it from collapsing, this support is removed before firing. Some foams, she said, produce toxic fumes. During the workshop, Susanne extruded a number of extra parts to have an abun­ dance from which to choose, as well as to have an interesting array of leftovers to sug­ gest ideas for future work. The symmetrical extruded parts become more organic in shape when manipulated slightly or sliced at an angle and combined. She frequently joins ex­ trusions, inserting a slab between for struc­ tural support. When throwing the vessels, Susanne usu­ ally makes a couple different sizes in case the first does not fit the base as expected. She throws in a fairly dry manner to accom­ modate the nature of the porcelain. Some­ times she uses ribs on the inside and outside to get rid of throwing rings or alter the form. After assembling the extruded bases and thrown parts, she decorates the forms with slips. Occasionally, the slip decoration begins before construction is complete. Light vari­ ations of the following recipe are applied first: Cal Slip (Cone 8-10) Borax...... 4.66% Nepheline Syenite...... 25.54 Grolleg Kaolin ...... 19.38 Tennessee Ball Clay (10) ...... 21.25 Flint...... 29.17 100.00% A range of colors is achieved with oxide and stain additions. Kentucky ball clay (OM 4) may be substituted directly for the ball clay content, but Susanne prefers the Tennessee 10 because it contains less iron, thus pro­ ducing a lighter fired color. Brush strokes of slip are applied in a thick, painterly way. Sometimes the slip is from a prepared batch stored in a jar; at other times she mixes colors on a wooden bat as if it were a palette. Later she often “fuzzes” areas with airbrushed slips, using a Paasche air­ brush with a number 5 tip. After the forms are bisqued, Susanne may apply black slip from the same recipe, then wipe it off to accent incised patterns. Un­ derglaze pencils may also be employed. For the final firing, matt and gloss glazes may be combined for desired surface effects. Sometimes a clear glaze is sprayed on the edges to make them look slightly wet. In the firing, balance was a problem as the forms tended to shift a bit in the kiln. However, her current work with low-fire clay avoids that difficulty, and the simpler shapes are able to handle more color. Text: Ann Hunter; photo: Jane Slater. Gerasimo Sosa Alache Self-taught Indian potter Gerasimo Sosa Alache, who has rediscovered a carbon resist 78 CERAMICS MONTHLY technique used by pre-Columbian potters in what is now Peru, Ecuador and Colombia, received first prize for his work entered in the 1984 Piura, Peru, state ceramic com-

101A-inch-high burnished vessel, with resisted design petition. Sosa’s thinly handbuilt earthenware forms are burnished, pit fired, then patterned with resist and flash fired (two to three min­ utes) with a few handfuls of leaves. Text: Gloria Joyce. Lisa Reinertson Depicting relationships between animals and humans, life-size figurative sculpture by Sacramento ceramist Lisa Reinertson was featured recently at Shackelford and Sears

Life-size “Rabbit Romance” Gallery in Davis, California. Shown from the exhibition is the wall relief “Rabbit Ro­ mance,” 30 inches in height, painted with oils. Francine and Frank Ozereko Ceramists Francine and Frank Ozereko, Amherst, Massachusetts, recently exhibited their works in the Jewett Hall Gallery at University of Maine in Augusta. Both artists Continued September 1985 79 80 CERAMICS MONTHLY News & Retrospect of Nevada School of Medicine through Au­ gust 2. concentrate on handbuilt earthenware forms. Each cumulus relief was constructed from Frank focuses on large, multifaceted torn slabs of white stoneware shaped over sculptural forms, which maintain some sem­ crushed newspaper supports. Tissue paper blance of functional pottery. The functional placed between the clay components during aspect of the work occurs in the top 4-8 inches formation served to keep the “cloudlets” from of the form as a covered jar or shallow bowl. sticking to one another, thus making it fea­ However, the vessel idea is subordinate to sible to disassemble the “cloud” for firing. the image of the whole. “The crumpled tissue also imparted a dap­ His surfaces are highly decorated with pled texture,” Christine noted, “that was in­ layers of glazes and engobes. Images of piers, strumental as I sought to embody in clay the boats, houses (fishing shacks?), dogs, birds gossamer vapors that are clouds.” and lone figures climb over the facets. The An identifying number and directional stories that evolve are surrealistic in nature. markings were scratched on the back of each Francine’s work includes both vessels and “cloudlet,” then their relative positions were decorative wall forms, often drawing on art recorded on a full-scale diagram. When bone history for a great deal of inspiration. In dry, these components were dismantled, the works such as “Fantasy Possession Shelf 1,” newsprint and tissue discarded. Any re­ maining paper burned out in the bisque fir­ ing. To accent the tissue texture, Christine treated the surfaces with dilute washes and glazes, then the excess was sponged off, and a thin coat of white gloss glaze applied over­ all. After firing to Cone 6 in oxidation, the “clouds” were reassembled according to the master diagram and affixed with silicone to wooden backings. “The concept of ‘Cloudscape’ adapts well to the wide variety of site specifications en­ countered in practical applications of art in architecture,” Christine remarked. “The work can be expanded to include more ‘clouds,’ “Fantasy Possession Shelf 1” thereby increasing the scope of its visual im­ 20 inches in length, Francine arranges still pact; plus the flexibility afforded by varying lifes of artworks she would like to possess, the heights and spacings of the ‘clouds’ allows notably a 14th-century majolica plate and a a design to suit almost any installation sit­ Korean vase. uation.” The theme that unites all her work is that of silhouette/contour. Her vessel forms are of cubistic roots and their construction is Vermont Clay predicated on thrown forms (usually classi­ With recent work by Jane Ford Aebersold, cal) reduced to a series of flat contours. The Sylvia Bower; Aurore Chabot, Bob Green, wall forms are flat, cutout slabs; their outside Denise and Josh Green, Karen Karnes, Wally edges are cut to match that of the still life’s Mason, Londa Weisman andMalcolm Wright, outer contour. All detail and definition are “Departures from Function: 10 Vermont Clay applied to the surface with little or no mod­ Artists” offered an exploration of form, sur­ eling to interfere with the flat picture plane. face and color, as well as a conceptually di­ Text: Joshua Nadel. verse interpretation of function. Eclectic rather than comprehensive, suggestive rather than Christine Pendergrass definitive, the exhibition brought to both the “Cloudscape,” a five-part wall sculpture, Vermont State Craft Center at Frog Hollow was among the works by clay artist Christine in Middlebury and the Living/Learning gal­ Pendergrass, Klamath Falls, Oregon, fea­ lery at the University of Vermont in Bur­ tured in a solo exhibition at the University lington an overview of some of the innovative daywork being done in Vermont. The ambivalent title of the show hints at the difficulty of defining function, and also suggests that function is—at least in a met­ aphorical sense—a useful point of reference for interpreting the information presented by both functional and nonfunctional work. The implication, of course, is that functionality in clay as both concept and point of departure is subject to interpretation. Very interested in the integration of sur­ face and form, Frog Hollow artist-in-resi- 75-foot-long “Cloudscape” installation Continued September 1985 81 82 CERAMICS MONTHLY News & Retrospect dence Bob Green pit fires his crackle-glazed works with organic fuels. To the various or-

Bob Green's 12-inch, pit-fired “Globe” ganic colorings (ranging from pink to smoke gray) he often adds bold brush strokes of polychrome overglazes. As solid and substantial as the tradition out of which they were born, the salt-glazed and wood-fired lidded jars by Karen Karnes offered an unequivocal point of functional reference. With its quiet refinement and sim­ plicity of form, her work has almost a min-

Karen Karnes’s 13-inch, wood-fired, jar imal quality, a reminder that the paths of form and function diverge and converge and yet never go their separate ways, that even the most experimental work is solidly rooted in the traditional techniques of functional pottery. Text: Andrew Wormer. Kenneth C. Shipley Anagama-fired, wheel-thrown vessels by Kenneth C. Shipley, Springfield, Tennessee, were exhibited recently in “After the Fire” at 200 East Gallery in Knoxville, and in an M.F.A. thesis show at the University of Ten­ nessee Ewing Art Gallery. “I treat my work in much the same way that I treat my life,” Kenneth commented. “There is much that can be controlled and Continued September 1985 83 bell Folk School, Rte. 1, Brasstown 28902; or call: September 1-October 2 “Raku,” an exhibition of Itinerary (704) 837-2775. British work; at Ceramics 7 Gallery, 7 Turnpin Continued from Page 61 North Carolina, RaleighSeptember 28 A Lane, Greenwich. demonstration of large size pottery construction, England, Stoke-on-Trentthrough September Connecticut MiddletownSeptember with Mark Hewitt. Fee: $15. Contact: Craft Cen­ 7 “Tin-Glazed and Smoked-Luster Pottery by 9-13 Master class with Mick and Sheila Cas- ter, Box 7505, North Carolina State University, Alan Caiger-Smith and Aldermaston Pottery 1955- son. October 26 Design lecture by Ferne Ja­ Raleigh 27695; or call: (919) 737-2457. 1985”; at the Stoke-on-Trent City Museum and cobs. Contact: Wesleyan Potters, 350 S. Main St., Ohio, Columbus September 21 “Porcelain Art Gallery, Bethesda St., Hanley. Middletown 06457; or call: (203) 347-5925. Color and Light Workshop” with Curt Ben­ France, Nan^ay September 15-October 14 Loul Massachusetts, New MarlboroOctober 4-14 A zie. September 29 “Contemporary Interna­ and Aline Combres, ceramic sculpture; at Galerie session with Douglas Phillips will cover throwing, tional Ceramics,” slide lecture by Peter Lane. Open Capazza, Grenier de Villatre. raw glazing and firing, and building a fast-firing, to the public. Contact: Sue Wells, Cultural Arts France, Paris through September 15 “About wood-burning kiln. Contact: Jane Burke, Flying Center, 139 W. Main St., Columbus 43215; or call: Perfumes of the XVI to XIX Centuries,” multi- Cloud Institute, New Marlboro 01230; or call: (614) 222-7047. media containers; at Le Louvre des Antiquaires, (413) 229-2697. Oregon, PortlandOctober 26 “Vessel Forms 2 place du Palais-Royal. New York, BrooklynSeptember 28 “Yaki- As Fine Art,” lecture and demonstration with Pe­ September 6-11 “Salon des Ateliers d’Art et de Shime: Demonstration of a Thousand-Year-Old ter Lane. Fee: $27; nonmembers $30. Contact: The Creation”; at the Palais des Expositions, Porte de Pottery Tradition” by Jeff Shapiro. Contact: The Oregon School of Arts and Crafts, 8245 S.W. Barnes Versailles. Brooklyn Museum, Public Programs, 200 Eastern Rd., Portland 97225; or call: (503) 297-5544. Holland, Utrecht September 16-28 A 90th Pkwy., Brooklyn 11238; or call: (718) 638-5000. anniversary exhibition of Mobach Pottenbakkers’ New York, New YorkSeptember 12 “Michael ware, will include objects from the last firing of Cardew Memorial Lecture” by Garth Clark. Con­ International Events the coal- and peat-fueled kiln (August 19-23); at tact: Leslye Faithfull, Greenwich House Pottery, Canada, Ontario, BrockvilleSeptember 13- Kanaalweg 24. 16 Jones St., New York 10014; or call: (212) 242- October 19 “Old Traditions-New Work,” in­ Italy, Faenza through September 28 The 43rd 4106. cludes pottery by Carolyn Gibband; at Heritage “International Competition of Artistic Ceramics”; October 15-19 “Egyptian Faience Jewelry.” Fee: Crafts, Sheridan Mews, King St., W. at Palazzo delle Esposizioni, Corso Mazzini 92. $40; nonmembers $50, includes recipes and fir­ Canada, Ontario, TorontoSeptember 26- through October 31 An exhibition of works from ing. October 26 “Marketing Crafts Workshop” October 20 Alexandra McCurdy, an exhibition the ceramic collection of Galeazzo Cora; at the with Florence Duhl. Fee: $50, nonmembers $60. of textile inspired ceramics; at Pagurian Gallery, International Ceramics Museum. Contact: Janet Katz, Craft Students League of 13 Hazelton Ave. Italy, FlorenceSeptember 13-16 “Florence Gift YWCA, 610 Lexington Ave., New York 10022; or Canada, Quebec, Montreal through September Mart”; at Fortezza da Basso. call: (212) 755-4500, ext. 59. 8 Guy Simoneau, “All the Merchandise in Sweden Eskilstuna September 9-November 3 October 18 or 20 Demonstration/lecture on Oxidation”; and Christiane Paquin, Ulla Viotti, “Ceramic Objects”; at the Eskilstuna functional, raw-glazed stoneware and porcelain with “Forms.” September 22-October 13 Francine Konstmuseum, 63186 Eskilstuna. Douglas Phillips. Contact: Janet Bryant, 92nd Street Potuin, “Portable Landscapes”; at Interaction Sweden, Ystad through September 8 Ulla Y, 1395 Lexington, New York 10128; or call: (212) Gallery, 3575 Avenue du Parc, Espace 5508, Viotti, “Ceramic Objects”; at the Ystad Konstmu­ 427-6000, ext. 172. Promenade de la Place du Parc. seum, 27100 Ystad. North Carolina, BrasstownOctober 13-19, England, Londonthrough September 15 “A Switzerland, Lugano through September 8 20-25 “Elderhostel,” includes pottery sessions Collection in the Making”; at the Crafts Council, “Ceramica Svizzera 1985,” 13th biennial of the with Marsh Wickham. Contact: John C. Camp­ 12 Waterloo Place, Lower Regent St. Swiss Potters Association; at Villa Malpensata.

84 Ceramics Monthly News & Retrospect directed, but at different points in time con­ trol and direction are not the ruling factors. “The process is a strenuous ordeal, from making the relatively large pots, to firing the anagama. Rhythm is an important part. “The forms and the raw, rough surface markings have evolved as I gained greater

14-inch stoneware “Jar, Jar” understanding of the interplay between the flames and the pots. As the fire is stoked, it rages and subsides, leaving fire patterns or flash marks on the pots. These marks are determined in part by the stacking.” Catherine Wygant Cone 5 porcelain decorated with im­ pressed patterns and slips, stains and glazes applied to the wet clay by Catherine Wygant, Portland, Oregon, was featured recently at Lakeshore Gallery in Kirkland, Washington. “By confining my decorative activities to wet clay I can more successfully capture the di­ rect and immediate gesture effects I enjoy,” the artist explained. Some forms are printed with geometric de­ signs, using slips on a greenware block stamp.

15-inch-square “Thalassic Thaumaturgy” “The pieces decorated this way are essen­ tially unnumbered limited editions,” noted Continued September 1985 85 86 Ceramics Monthly News & Retrospect Catherine, “since the blocks eventually de­ teriorate. “The objects emerge as enigmatic repre­ sentations of my visual, intellectual and emo­ tional experiences. I simply indulge in the rhythm and gesture of the process.” Ted Randall “Ovoids” by Ted Randall, Alfred, New York, were presented in a solo exhibition at Martha Schneider Gallery in Highland Park, Illinois, through June 5. Assembled from stoneware slabs and wheel-thrown necks, the

22-inch ovoid with chrome, cobalt slip forms were decorated with clay additions and incising. Ted explains that he enjoys the free­ dom he can obtain from building some parts of the forms with slabs and throwing other parts. Contemporary Colored Ceramics An exhibition of contemporary ceramics, featuring eight artists whose work empha­ sizes color, was presented at Gallery Eight in La Jolla, California, earlier this year. Among the decorative vessels shown was this

Sandra Wyner’s glazed earthenware vessel slip-cast white earthenware form, 11 ½ inches in length, with low-fire glazes, by Sandra Wyner, Hinesburg, Vermont. Also included in “Colored Ceramics” were utilitarian and sculptural objects byStanley Mace Ander­ son, Bakersville, North Carolina; Gail Ken­ dall, Saint Paul, Minnesota; Tom Kerrigan, Duluth, Minnesota;Susan Loftin, Atlanta; Please Turn to Page 91 September 1985 87 88 Ceramics Monthly New Books Jack Earl: The Genesis and Triumphant Survival of an Underground Ohio Artist by Lee Nordness With the text enlivened by recollections from family members, teachers, peers, students and gallery directors, this biography traces the events that influenced the development of Jack Earl’s career as a ceramic artist. Born in rural Ohio, he remained in state to attend Bluffton College, then supported his family briefly as a high school art teacher before gaining admittance to the graduate program at Ohio State University. After earning an M.F.A., he taught at the Toledo Museum School. During this period, his work evolved from Zenlike tea ware and Voulkos-inspired abstract vessels to large stoneware nudes, to the carved genre sculptures with narrative titles “all cast in good humored rusticity” which established his reputation. “Sometimes it’s more serious than the humor it first seems like,” Jack once commented. “Things that surprise us we often find funny, and they aren’t always meant to be.” Because the move would improve his studio facilities, career ad­ vancement and salary, he then took a teach­ ing post at Virginia Commonwealth Uni­ versity in Richmond. “I left Toledo because it was the style. I didn’t know any better. I thought a university job would be the thing to grab.. . . It just seemed time to plain leave. I was restless, frustrated and couldn’t sort it out. So change. Maybe even to outside Ohio.” But when everything the Earls owned was consumed in a house fire, they “accepted the disaster as a warning straight from God,” notes the author. “Shortly thereafter, they withdrew to dwell in safety in Ohio.” Jack now works in the garage of his home on In­ dian Lake, in a space about 8x4 feet. Though represented in exhibitions throughout the country, he rarely leaves the locale from which he draws inspiration for his ceramic portraits and dos-a-dos sculpture. 360 pages including portfolio of works and family snapshots. 50 color plates; 51 black-and-white illustra­ tions. $35 (softcover). Perimeter Press, Ltd., 4041 North Main Street, Box 1919, Racine, Wisconsin 53401. Mold Making for Ceramics by Donald E. Frith A basic “how to” guide, this book provides step-by-step instructions to make simple and complex molds for pressed and slip-cast ce­ ramic objects. Following a review of histor­ ical techniques, the author discusses tools and equipment, then outlines procedures for working with plaster. Part II is devoted to press molding options, including stamp and sprig designs, deep relief patterns and var­ ious molds for specific shapes. Also included Please Turn to Page 96 September 1985 89 90 Ceramics Monthly News & Retrospect Continued from Page 87 Beverly Saito, San Anselmo, California; Ei- lene Sky, Bedford, Texas; and Jamie Walker, Berkeley. Photo: Fred G. Hill. Robert Brady Figurative ceramic sculpture by Robert Brady (faculty artist at Sacramento State University) was featured recently in a solo exhibition at Braunstein Gallery in San

Coil-built stoneware “Sira,” 59 inches high Francisco. Working on a large scale as well as small, the artist coil built the forms from stoneware, then decorated the surfaces with glazes, many times finishing the work with paint. Photo: White Line Photography. Laney K. Oxman A solo exhibition of “functional art” (bowls, goblets, dinnerware, body ornaments, wall reliefs and furniture) by Reston, Virginia, ceramist Laney K. Oxman was featured at Signature Galleries in Boston and Hyannis, Massachusetts, through July 3. Viewing every

14-inch painterly stoneware bowl form as a canvas for painting and collage, Laney tries to juxtapose as many patterns, colors and textures as possible, and to see Please Turn to Page 95 September 1985 91 Crystal Glazes byC ameron Covert

For an introduction to crystalline glazesThrown at the wheel, the crucibles mea­ Pewter crystals on orangish ground and additional recipes, see the article by sure 8 inches in height by 4 inches in Cobalt Carbonate...... 0.5% David Snair in the December 1975 Ce­ diameter, with ½-inch-thick walls. A hole Manganese Dioxide...... 2.0% ramics Monthly.—Ed. the width of a pencil is poked through the bottom. Fired to Cone 10, they are After adding colorants, screen each batch When I first saw crystalline glazes some ready for use in fritting the crystalline a second time (60 to 80 mesh) to thor­ 13 years ago, I was baffled as to how base glaze. oughly mix all ingredients. they were made. Following study with My simple frit furnace is made from the late Marc Hansen at Western Mich­ K-26 insulating brick (set on end and These crystalline variations work well igan University and years of experi­ each cut on a mitered angle for strength) on the following porcelain bodies: mentation, I have found that the growth, and is big enough to hold only one cru­ size and shape of crystals can be con­ cible. The furnace is fired with a single, Porcelain Body 1 trolled through frit composition. forced-air gas burner.* (Cone 8-11) Most crystalline recipes call for com­ When fired quickly to 2300°F, the Nepheline Syenite ...... 31.6 parts mercial frits, mainly Pemco P-283 and liquid glaze runs out of the bottom of Bentonite...... 2.2 Ferro 3110. While they do produce good the crucible through a hole in the fur­ Edgar Plastic Kaolin ...... 40.0 results, the Pemco frits’ manufacture is nace and is caught in a metal can filled Kentucky Ball Clay (OM 4) 8.9 not always consistent and results can with cold water. Then I usually put the Flint...... 17.7 change from batch to batch. Instead, stu­ fritted glaze into a metal pan and set it dio potters can frit the base recipe in an on top of the still-hot, but turned-off fur­ 100.4 parts inexpensive, homemade furnace for con­ nace for thorough drying overnight. The sistently successful crystalline glazes. The next step is to ball-mill the frit until it Porcelain Body 2 color range of fritted glazes also can ex­ passes through a 50-mesh screen. (Cone 8-11) ceed those made with commercial frits. After weighing the frit, coloring ox­ I begin with the following base glaze: ides are added. Combinations of small Nepheline Syenite...... 25.0 parts quantities of coloring oxides produce the Edgar Plastic Kaolin...... 47.0 Crystalline Base Glaze most exciting results, with one oxide going Flint...... 25.0 (Cone 9) into the crystal and the other into the 97.0 parts Soda Ash...... 20.92% background. The following combina­ Add: Baroid Macaloid ... 2.5 parts Rutile...... 1.57 tions are good starting points for exper­ Titanium Dioxide...... 3.15 imentation: Available from Kickwheel Pottery Sup­ Zinc Oxide...... 24.01 ply, 1428 Mayson St., NE, Atlanta, Ga. Flint ...... 50.35 Blue crystals on dark red-brown ground 30324, Baroid Macaloid is a volcanic 100.00% ash material found in Texas; it is used Cobalt Carbonate...... 0.4% as a suspension agent in hand lotion. It Red Iron Oxide...... 1.6% works better than bentonite, but ben­ To prepare the base glaze as frit, the tonite can be substituted directly. thoroughly mixed dry ingredients (they Gold crystals on honey-green ground To work properly, a crystalline glaze should not be mixed with water) are Copper Carbonate...... 2.0% must be extremely fluid, which means a packed tightly into a clay crucible made Manganese Dioxide...... 1.0% glaze puddle will form at the base of the from the following body: pot. So I make a clay ring from the same Flesh-colored crystals on pinkish ground porcelain body to fit the base of the pot Crucible Clay Body Manganese Dioxide...... 4.0% (usually a bottle form). After bisquing, (Cone 10) Red Iron Oxide...... 1.0% the pot and ring surfaces to be joined Bentonite...... 5 parts are smoothed with fine sandpaper to en­ Fireclay...... 50 *For complete information on constructing a frit furnace, see “A Fast-Firing Test Kiln” by Rick Childs in thesure a tight fit. The pot and ring are Sillimanite (high alumina) . . 50 ______September 1984 CM, and “Fiji Frit Furnace” by Bruce then joined with a paste made from about 105 parts Kremer on page 79 in the April 1983 issue. 1 teaspoon each white glue and alumina 92 Ceramics Monthly hydrate mixed with enough water to make it slightly fluid but not runny. Crystalline glaze application needs to be very heavy. On a bottle about 10 inches tall, I use 400 grams (dry weight) of glaze mixed with one whole egg (to act as a binder) and water. When thor­ oughly blended to a creamy, thick con­ sistency, the glaze is applied with an or­ dinary 1-inch paintbrush. The insides of the bottles are left unglazed. The glazed bottle with attached ring is then put into a stoneware catch bowl (to collect the excess run-off glaze) and placed on the floor of a 7-cubic-foot kiln; no kiln furniture or shelves should be present, as they absorb heat and slow the firing. Turned on to fire overnight, the kiln reaches about 1500°F by morning, when it is turned on high until reaching 2360°F, then turned off for 15 minutes. For the next three to six hours the kiln is turned back on to slowly drop the temperature from about 2000 °F to 1800°F to allow the crystals time to grow. After firing, the pot is separated from the ring and bowl by tapping gently with a chisel just below the pot’s foot. Finally, the foot surface is smoothed with a “green grit” grinding wheel (39C100-H-8VK Crystolon, made by the Norton Com­ pany, Worcester, Massachusetts). No two crystalline surfaces are ever alike, nor can one be duplicated except for color. If the pot has too profuse crys­ tals, the glaze application was probably too thin or may have been underfired slightly. If the glaze is transparent with no crystals, it was probably overfired or fired too slowly. If the crystals are small, a slower cooling cycle at the end of the firing would allow a longer time for them to grow. The authorCameron Covert is an as­ sistant professor at West Georgia College in Carrollton. September 1985 93 94 Ceramics Monthly News & Retrospect An addition of 2.07% Mason cerulean blue stain and 2.07% copper carbonate yields soft Continued from Page 91 turquoise. how much she can “get away with,” how many After glazing, the pots were preheated in rules she can break. Photo: Richard Rodri­ an electric kiln, then fired one at a time to guez. Cone 06 in an evenly heated gas kiln. Re- Kathy Erteman Benicia studio potter Kathy Erteman was commissioned earlier this year by California Democrats to produce a limited edition of lustered black porcelain bowls, which were given to 50 individuals and organizations in appreciation of their support for 1984 Dem­ ocratic Senate candidates. Left unglazed on

13-inch lustered porcelain bowl the exteriors, the slip-cast bowls were coated 101A-inch “Somersault” with a silver-gray luster on the interiors, then moved with tongs, they were reduced in accented with pink, purple and turquoise buckets filled with sawdust, then placed in a lusters. Each was fired a minimum of four cooling chamber (made from two metal gar­ times, and signed and numbered by the artist. bage cans set one inside the other with the Photo: Michele Maier. space in between insulated with burnt saw­ dust) and covered with both lids. After 10-15 Mary Lou Deal minutes, each was hosed down. When cool, Underglaze-decorated raku vases by Mary they were scrubbed with cleanser to remove Lou Deal, Ashland, Virginia, were exhibited carbon. recently at Wells Gallery in Virginia Beach. The underglaze imagery was applied to the Andra Ellis dry greenware, slab and coil built from the Presented as part of a series on today’s following clay body: narrative imagery, an exhibition of platters and sculpture painted with symbols from Raku Clay Body myths and rituals by New York ceramic art­ (Cone 06) ist Andra Ellis was on view in the Jane Hart- Ball Clay...... 20 pounds Cedar Heights Goldart Clay (200 mesh) ...... 50 Pine Lake Fireclay...... 40 Grog (medium mesh)...... 13 123 pounds Bisque fired to Cone 06 in an electric kiln, the ware was coated twice with a commercial clear crackle glaze. Areas were masked with wax or latex, then the following matt glaze was applied with sponge brushes to unre­ sisted portions: Raku Matt Glaze (Cone 06) Gerstley Borate...... 51.87% Nepheline Syenite...... 15.56 16-inch plate with slips and glazes Ball Clay ...... 11.72 sook Gallery at Greenwich House Pottery in Kaolin...... 6.53 New York City through June 1. Shown above Flint...... 14.32 from the exhibition is a rectangular plate, 16 100.00% inches in length, with low-fire slip and glaze Add: Opax...... 3.00% images. September 1985 95 New Books gredients, applications and firing processes for various copper red results, such as ox Continued from Page 89 blood, peach bloom and flambe glazes. 306 is a chapter with suggestions for production pages, including annotated bibliography, press molding. Part III covers designing forms bibliography and index. 11 black-and-white and making case molds for slip-cast ware— photographs. $22 (postpaid). New York In­ the accepted procedure used in commercial stitute for Glaze Research, Book Depart­ potteries worldwide. 227 pages including list ment, 511 North Hamilton Street, Painted of supply sources, glossary and index. 31 col­ Post, New York 14870. or plates; 290 black-and-white photographs and drawings. $60. Chilton Book Company, Radnor; Pennsylvania 19089; or from the Ce­ Process Mineralogy ramics Monthly Book Department, Box of Ceramic Materials 12448, Columbus, Ohio 43212. edited by Wolfgang Baumgart, A. C. Dunham and G. Christian Amstutz With each chapter written by a specialist in Reds, Reds, Copper Reds various scientific and technological fields, this by Robert Tichane book summarizes a wealth of information from The ability to produce copper red colors was published literature on research for ceramic developed as early as 1500 B.C. in Egypt, applications, then provides references for but it was during the Song dynasty (A.D. further study. Topics of interest to potters 960-1279) in China that copper red glazes include discussions of raw materials, struc­ gained prominence. Over the centuries this tural properties of clay bodies, forming pro­ ability has been lost and rediscovered several cesses, drying principles, firing reactions, plus times. In his search for a satisfactory expla­ results obtained from certain glaze pigments nation of how to consistently produce the elu­ and frits. There is also a chapter on the ex­ sive copper reds, the author examined his­ ploration for and concentration of raw ma­ torical examples and available literature. In terials, including a section on problems en­ this book he has assembled cited information countered during mining and upgrading of together with observations from his tests “to materials due to interlocking with impuri­ enable ceramists to make good copper red ties. 229 pages including author and subject glazes consistently.” Also included is a chap­ indexes. 82 figures; 33 tables. $27.50 (pa­ ter devoted to “things that go wrong.” Al­ perback). Elsevier Science Publishing Com­ though the text does not list recipes used by pany, Inc., 52 Vanderbilt Avenue, New York potters today, it does suggest optimum in­ City 10017.

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