Kate Maury, in an Architectural Context Clay Culture: Paciﬁ C Standard Time Mr

Cover: Kate Maury, in an Architectural Context Clay Culture: Paciﬁ c Standard Time Mr. Bailey’s Museum of Wonders Spotlight: Clay at Otis “My Brent CXC is 24 years old and still handles all the clay I can pile on and has never had to be repaired! I don’t expect to ever have to replace it.”

George McCauley

Photo: Tom Ferris

brentwheels.com The Beauty & Magic of the Shino Carbon Trap Lou Raye Nichol My work focuses on carbon trapped porcelain. When I first saw the accidental results it produces, I was enthralled. There is a magic in opening a kiln full of surprises. The beauty of the effects created by this method can be breathtaking. Their unpredictability can be humbling – pots that I thought of as throw-away have turned out to be the most successful. I had to change the way I make pots because of the complexity of the glazes. With Shino Carbon Trap glazes, I am always pushing to see how much is too much.

I chose a Bailey gas kiln because it was highly recommended at the shino carbon trap workshops I had attended. Our teacher fired all his shinos in a Bailey. I had never fired a gas kiln on my own when I started, so this was a great leap for me.

With significant support from the Bailey team, I have become comfortable managing such sensitive firings. Their responsiveness to my technical questions, and interest in my results has been invaluable. This is a great kiln, and my firing results confirm that I made the right choice.

Bailey Shino Carbon Trap Workshop May 25th, 26th, 27th 2012 Join Lou Raye Nichol, Jim Bailey, Jeff Shapiro, Les Richter, and Regis Brodie featuring a Shino Carbon Trap firing which will include: special Shino CT glazing techniques, carbon trap and reduction firing techniques (with oxygen probes & data loggers) slide presentations, demonstrations, and more. Participants will bring bisque to be glazed and fired in a Shino CT reduction during the workshop. For more info, go to our website. Reserve your space now.

The new generation of Bailey ENERGY SAVER kilns produces consistently reliable & beautiful reduction or oxidation firings. It can be manual- Professionals Know ly fired or program fired, and even allows delayed starts so your kiln is at body reduction the Difference. first thing in the morning! Bailey Pottery Equip. Corp. www.baileypottery.com Certified for the (800) 431-6067 Direct: (845) 339-3721 C US Fax: (845) 339-5530 US and Canada.

www.ceramicsmonthly.org april 2012 1 Sculpture Objects & Functional Art Fair April 20-23, 2012 Park Avenue Armory Opening Night Preview, Thursday, April 19 Co e Hall & ine , rs k Michi kawa, E zo Sho

Produced by The Art Fair Company, Inc.

2 april 2012 www.ceramicsmonthly.org www.ceramicsmonthly.org april 2012 3 monthly Editorial [email protected] ceramic arts telephone: (614) 794-5867 fax: (614) 891-8960 editor Sherman Hall associate editor Holly Goring associate editor Jessica Knapp editorial assistant Erin Pfeifer technical editor Dave Finkelnburg bookstore online editor Jennifer Poellot Harnetty Advertising/Classifieds [email protected] telephone: (614) 794-5834 fax: (614) 891-8960 classifi[email protected] telephone: (614) 794-5843 advertising manager Mona Thiel NEW advertising services Jan Moloney Marketing telephone: (614) 794-5809 marketing manager Steve Hecker Subscriptions/Circulation customer service: (800) 342-3594 Naked Raku and Related [email protected] Bare Clay Techniques Design/Production production Melissa Bury, Cyndy Griffith production assistant Kevin Davison Edited by Eduardo Lazo design Boismier John Design $29.95 Editorial and advertising offices 600 Cleveland Ave., Suite 210 Naked Raku and Westerville, Ohio 43082 If you’ve been waiting for the defi nitive Publisher Charles Spahr Related Bare Clay book on naked raku, your wait is over. Editorial Advisory Board Linda Arbuckle; Professor, Ceramics, Univ. of Florida Techniques Here is a book resulting from years Scott Bennett; Sculptor, Birmingham, Alabama of studio work, workshop presenta- Val Cushing; Studio Potter, New York Dick Lehman; Studio Potter, Indiana tions, conversations, and research. Meira Mathison; Director, Metchosin Art School, Canada It’s the bringing together of a variety of Bernard Pucker; Director, Pucker Gallery, Boston Phil Rogers; Potter and Author, Wales approaches from artists with differing Jan Schachter; Potter, California skill sets and technical abilities. Years Mark Shapiro; Worthington, Massachusetts Eduardo Lazo, Editor Susan York; Santa Fe, New Mexico Contributors steven branfman in the planning and writing, there’s Kate and Will Jacobson Ceramics Monthly (ISSN 0009-0328) is published monthly, Wally Asselberghs except July and August, by Ceramic Publications Company; a Linda and Charlie riggs now a single authoritative source for Amber Aguirre Dana bilello-barrow subsidiary of The American Ceramic Society, 600 Cleveland Ave., David Lazo information on the practice of this Suite 210, Westerville, Ohio 43082; www.ceramics.org. Periodicals postage paid at Westerville, Ohio, and additional mailing offices. exemplary alternative fi ring technique. Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The American Ceramic Society. The publisher makes no claim as to the food safety of published glaze recipes. Readers should refer to MSDS (material safety data sheets) for all raw materials, and should take all appropriate recommended safety measures, according to toxicity ratings. From a Slab of Clay subscription rates: One year $34.95, two years $59.95. Canada: One year $40, two years $75. International: One year $60, two years $99. By Daryl E. Baird back issues: When available, back issues are $7.50 each, $29.95 plus $3 shipping/handling; $8 for expedited shipping (UPS 2-day air); and $9 for shipping outside North America. Allow 4–6 weeks for delivery. change of address: Please give us four weeks advance Working with clay slabs offers more notice. Send the magazine address label as well as your new From a Slab of Clay address to: Ceramics Monthly, Circulation Department, P.O. Box opportunities than any other forming 15699, North Hollywood, CA 91615-5699. process. From small dishes and plates contributors: Writing and photographic guidelines are available online at www.ceramicsmonthly.org. to architectural installations, slabs indexing: Visit the Ceramics Monthly website at www.ceramicsmonthly.org to search an index of article titles and can be used to create any form, any artists’ names. Feature articles are also indexed in the Art Index, size. Daryl Baird explores slab work daai (design and applied arts index). copies: Authorization to photocopy items for internal in depth with information on how to or personal use beyond the limits of Sections 107 or 108 of the U.S. Copyright Law is granted by The American Ceramic get started, the tools, equipment and Society, ISSN 0009-0328, provided that the appropriate fee supplies you need, as well as tips and is paid directly to Copyright Clearance Center, Inc., 222 Eduardo Lazo Rosewood Dr., Danvers, MA 01923, USA; (978) 750-8400; Amber Aguirre techniques shared through a series Wally Asselberghs www.copyright.com. Prior to photocopying items for classroom Dana Bilello-Barrow use, please contact Copyright Clearance Center, Inc. Stephen Branfman of demonstrations from simple tiles to Kate & Will Jacobson This consent does not extend to copying items for general Linda & Charlie Riggs distribution, or for advertising or promotional purposes, or to Daryl E. Baird complex boxes. republishing items in whole or in part in any work in any format. Please direct republication or special copying permission requests to the Publisher, The Ceramic Publications Company; a subsidiary of The American Ceramic Society, 600 Cleveland Ave., Suite 210, Westerville, Ohio 43082, USA. postmaster: Send address changes to Ceramics Monthly, P.O. Box 15699, North Hollywood, CA 91615-5699. Form 3579 requested. www.ceramicartsdaily.org/bookstore Copyright © 2012, The Ceramic Publications Company; a subsidiary of The American Ceramic Society. All rights reserved. www.ceramicsmonthly.org

4 april 2012 www.ceramicsmonthly.org Slab_NRaku_2-3AD.indd 1 2/28/12 5:55 PM $1559 $1679

$925 $985 $1049

www.ceramicsmonthly.org april 2012 5 contentsapril 2012 volume 60, number 4

editorial reviews

10 From the Editor Sherman Hall 46 Dark Childhood: Push Play: the 2012 nCECA Invitational 12 letters This biennial exhibition, on view in conjunction with the National Council on Education for the Ceramic Arts conference, is presented at Bellevue techno file Art Museum in Bellevue, Washington. Reviewed by Matthew Kangas taken into Context 12 Plaster (Gypsum) by Guy Michael Davis 51 There is good plaster and there is bad plaster. Here is how to achieve A temporary exhibition space at Macalester College in St. Paul, one while avoiding the other. Minnesota, presented an interesting opportunity for a dialog between ceramic art and residential architecture. Reviewed by Keith J. Williams tips and tools resources 14 Auto tape Resist by Janie Varley 77 Call for Entries If precision is what you’re looking for, take a tip from an industry that’s Information on submitting work for exhibitions, fairs, and festivals. all about being specific and precise. 78 Classifieds exposure Looking to buy? Looking to sell? Look no further. 16 Images from Current and Upcoming Exhibitions 79 Index to Advertisers Take a ceramic trip through exhibitions on view at places as diverse and widespread as Baltimore, Bellevue, Charlotte, Davis, Duxbury, London, spotlight Minneapolis, Missoula, Paris, Philadelphia, Portland, and St. Petersburg. Clay is everywhere—and there is just so much of it! 80 Clay Is Back at otis After a fifteen-year hiatus, ceramics has been reinstated at an institution that played a significant role in the studio-ceramics movement.

6 april 2012 www.ceramicsmonthly.org clay culture

24 Pacific Standard Time by Kathleen Whitney Sixty museums and galleries between Santa Barbara and San Diego simultaneously focus on art created in Southern California during the postwar years. Over the course of ten years of research, the Getty Foundation committed over $10 million to the project, making it possible to archive four decades of material and help scholars and curators to produce and present exhibitions, catalogs, and videos.

28 trading Experiences by Justin Rothshank We do a lot of trading in this ﬁeld, some intentional, some not so much. We trade knowledge, we trade our time and labor, we trade our pieces. All of these come back to our experiences, which of course are the basis for our relationships to one another.

30 Khan Academy by Jessica Knapp If you need a refresher course on anything from chemistry and math for the studio, or art history for inspiration, maybe even business ﬁnance to support all of the above, you could search for various sources online and piece together your own short courses—or you could just go to one place, where it’s all available for free. studio visit 32 Backa Carin Ivarsdotter, Stockholm and Valskog, Sweden The deﬁnition of a studio might be broader than you think. A computer in your living room can be an integral part of it, especially if you work large scale on public commissions, your clay working studio is an hour’s drive away, and you also have kids to look after. features 36 Sources and Influences: Mentors and Students by Kathleen Kneafsey An artist’s journey comes full circle when she returns to her home town in West Virginia and accepts responsibility for running a premier workshop series hosted at the Huntington Museum of Art. Who says life and work can’t play well together?

42 mr. Bailey s museum of Wonders by Garth Johnson Most closely associated with the California Funk movement, Clayton Bailey has contributed much more to the ﬁeld of ceramic art. The visceral humor he employs, while central to engaging an audience, is used in the service of complex, layered, social and political concepts. Bailey reminds us that it’s okay to laugh at serious art—and that perhaps we should do it more often. 56 Summer Workshops Workshops can help inspire a change in your work by allowing you time and encouragement to think outside of your own studio. At best, they can be transformative. At worst, they are still a pretty great escape and a chance to recharge. So, whether you’re looking for a vacation, an education, or some of both, you’re bound to ﬁnd everything you need right here.

43 cover: Kate Maury’s Grotto (For Marie), collaboration with David Swenson, 24 in. (61 cm) in height, handbuilt porcelain, fired to cone 6 in oxidation. See page 51. Photo: Brad Daniels (http://BradDaniels.com).

www.ceramicsmonthly.org april 2012 7 from the editor respond to [email protected]

I like to think that all of the clubs (or cliques) I belong to (officially I know we can think just a bit more deeply about how excited we or unofficially) consist of creative, insightful people. And it is for are about ceramics. Maybe we’re steeped in tradition, or our cups that reason that I must implore you—nay, beg you on my hands runneth over with the joy of ceramics. Some of us may be stuck on and knees—to never use the term fired up to refer to anything to do clay, and others may be throwing caution to the wind. If you must with ceramics ever again. There are so many great ways to describe use a pun, there are just so many (some admittedly better than oth- what we do that I am continually groaning with disappointment at ers). Give the wheel a spin, and something just might stick. Don’t the many ways this easy-out pun finds its way into exhibition titles, go casting about for a mud pie in the sky; try to stay grounded. I group and business names, class descriptions, studio names, and can almost see your pinched expressions now, but stick with me press headlines. I know I am running the risk of alienating those of on this, and we’re bound to turn, turn, turn the corner and slip you who have employed this word play at one time or another— into a perfectly fitting lid—I mean metaphor. Can you handle it? maybe even currently— Okay, enough; even but I think we’re mostly all We need passionate newbies; we do, in fact, those of you still read- grown ups, so we can have ing are probably reaching this conversation. How want them to be fired up about clay. But once your limit. Seriously, even many times have you read they are interested, and we have them in our though I do roll my eyes a blog post or local paper at some of these things that was headlined with clutches, and they have learned a subtle thing from time to time, I can’t something like, “Ceramic or two about the wonders of clay, then I think fault anyone for being Artists get Fired Up at Lo- it is reasonable to expect that their vocabulary that excited about clay. cal Exhibition,” or “Lots And with this issue, which to Get Fired Up About at and manner of dialog reflect their level of includes so many people Local Arts Center.” Our knowledge—which is to say that they move who are excited about clay content-review meetings in so many ways, there is here at the magazine have from being fired up to becoming stoked, or enough proof of the variety come to include me rolling centered (well, maybe not centered—that in our field that I think a my eyes in exasperation few should probably be when fired up or one of its takes quite a while). allowed to be “fired up.” many cousins comes across Some of them are work- the desk. So this is fair warning; don’t do it. I know it’s tempting. shop presenters, which you can check out in our annual Summer I know that you are actually fired up about clay (who among us it Workshops listing (p. 56). Heck, Bill Jones, the editor of our sibling not?), but that’s not the point; the point is that too many people are publication, Pottery Making Illustrated, starts off every issue with a too fired up about clay for it to maintain any real meaning; it has letter called Fired Up. (I suppose I should prepare myself for the passed the point of cleverness into over-use, and is quickly becoming conversation we’re going to have after he reads this). If you didn’t a cliché. In one respect, this is a good problem to have, because it mind my little attempt at humor, then perhaps Garth Johnson’s means that there are more people joining our clay world all the time, observations of Clayton Bailey’s retrospective exhibition (p. 42) suits and if it’s one of the few things folks who know very little about your attitude. And of course, there is always a lot of great work in clay can think of to say when trying to get other folks who know the Exposure section (p. 16) to get excited about and maybe go see very little about clay interested in something to do with clay, then I in person, and Matt Kangas’ review of the NCECA biennial (p. 46) guess that’s fine. We need passionate newbies; we do, in fact, want is sure to get you fffff—get you thinking. them to be fired up about clay. But once they are interested, and I know that I am biased, but I’m truly excited about this issue—I we have them in our clutches, and they have learned a subtle thing am, however, most certainly not fired up. or two about the wonders of clay, then I think it is reasonable to expect that their vocabulary and manner of dialog reflect their level of knowledge—which is to say that they move from being fired up to becoming stoked, or centered (well, maybe not centered—that takes quite a while). I know that to avoid a term for fear of seeming pedestrian or low brow screams of elitism, and therefore possibly can be even Sherman Hall more damaging, but like I said, we’re all very creative people and

8 april 2012 www.ceramicsmonthly.org www.ceramicsmonthly.org april 2012 9 letters email [email protected]

Throwback Malcolm seemed to be everybody in one reflecting the sometimes-chaotic emotional I have been reading CM since my father would person—as brooding an existential doubter as energy invested in them: spooky Halloween get it in the late ’70s, and I really enjoy the new- Camus or Sartre; idealistic Berrigan–like social oranges and blacks; intriguing colors without est format. However, CM is still hanging on reformer; Merlin, contriving with soda ash; Lib- names—a necromancer’s palette. Whenever to one dinosaur: the dreaded MSC (Magazine erace, forgoing a candelabra for a triple-beam we reach for a piece of work in the kiln that Subscription Card). CM has both kinds; the balance; Jonathan Winters, effusing: “This has completely clobbers our expectation of what “fall on the floor when you open it” variety and to be the end-of-the-world best/worst firing I’ve it was “supposed” to be, we inhabit Malcolm’s the “thick card stock won’t let me turn to other ever had!” Before he became a potter he led a metaphorical landscape, where wonderment, pages” variety. It is a ritual to recycle those the professional life of his choosing, but after that discovery, and calamity were prevailing second I get any subscription but CM is the first class, the potter’s life chose him. weather patterns. It is easy to imagine him last of two magazines I subscribe to that still use Malcolm, who was Phi Beta Kappa when clapping his hand to his forehead, going ashen, either of them. Do you really have people send- he majored in math, spoke for those of us and exclaiming, “My God, you’re right!” being ing those in? I appreciate not everyone wants who suspect that no amount of computational reminded that part of his everlasting legacy to download an app but your website makes it analysis can completely banish the catalyst of would be dozens and dozens of plastic glaze very easy to subscribe, and a telephone number magic from the angelic deviltry of firing, yet buckets bearing his name around the world. should suffice for those who don’t want to deal somehow the odds seemed to be in his favor. Flaubert said, “Be orderly and disciplined with firing up the computer. On the other hand, He could easily have said, “My goodness! I’ve in daily life, like a good bourgeois, so that I have been tempted to start collecting them and come up with a glaze that makes people reach you might be wild and violent in your art,” making MSC ash glaze. for their wallets. That’s market-share, baby!” but Malcolm spun that advice: his pottery Andy Hershberger, Chicago, Illinois He had a perfect right to sew his shino secrets forms were both orderly and disciplined, into the lining of his vestments; instead, he while aspects of his daily life were wildly non- At What Price? clued everyone in on what he knew and didn’t violent. When luck boogied with knowledge, My first thought when I saw the Feb. issue was know about the diva of all glazes. No hoarder his namesake glazes became a playground for that it looked like the cover of a trade catalog. I of knowledge, it was his pleasure to, “gladly impish, radicalized beauty. He was the first to was very surprised that I was close to the mark. learn and gladly teach,” implying the fetid, admit, rolling his eyes, and throwing his hands I was a gift sales representative for 25 years. I medieval relationship between secrets and in the air: “Don’t ask me why it does that!” have been working in clay for the past fifteen. insecurity. His shino formulas were not holy Malcolm comes to mind when we read What do reproductions of plates and grails—suffer the shino-deprived to come unto this observation by E. B. White: “If the world cups produced in China that retail for $18 me and sip from this cup—they were more like were merely seductive, that would be easy. represent? With the usual retail markup, that sourdough starter we passed along, knowing If it were merely challenging, that would be means it may be costing them $9 to produce our water, materials, and astrological sign no problem. But I arise in the morning torn the cups. No question Ms. Hatch is a good would factor into the results. He showed us between a desire to improve the world and a designer, and we are always looking for ways that if we can predict how things come out desire to enjoy the world. This makes it hard to support our future work, but at what price? of the kiln, why make them according to a to plan the day.” I always thought Ceramics Monthly supported formula for boredom, portending burn-out. Jack Troy, Huntingdon, Pennsylvania the craft of ceramics, and I feel this cover and He knew the definitive answer to any question concept has nothing to do with that. about ceramic processes begins with either Corrections Marianne Smith Sullivan, Salt Lake City, Utah three or four words: “Well, it depends . . .” or, In Margaret Carney’s tribute to Eva Zeisel “Well, it kinda depends . . .” (March CM, p.30), we mistakenly listed her Remembering Malcolm He could pick up a beginner’s pot and with place of passing as New York City, when the The tribute to Malcolm Davis [February mock outrage exclaim, “You used my glaze? author correctly provided it as New City, New CM, p.28] was a reminder that even those of Why can’t I get it to come out that gorgeous?” York. We sincerely regret this error. us who’d known him a little bit would soon Someone with a booth near his at a craft On page 17 of the February issue, we in- run out of adjectives trying to describe him show related a favorite anecdote. He said that, cluded an image of work by Michael Hamlin- to others who hadn’t been so fortunate. We in one 20-minute period, Malcolm expressed Smith, which we listed as being included in the are grateful for the stealthy photographer, every possible human emotion at full fortis- American Craft Council Show in Baltimore, catching him in a rare moment of ease, ap- simo—something easy to imagine, having Maryland, February 24–26. While he did in parently in Tuscany, with a favorite vista in heard his operatic falsetto even once. His best fact exhibit work at an American Craft Council the background. pots seem charmed into being, not just made, event, it was in Atlanta, Georgia, March 9–11.

10 april 2012 www.ceramicsmonthly.org America’s Most Trusted Glazes™

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amaco.com “Season of Change” (2010) www.ceramicsmonthly.org april 2012 11 TEchno filE

plaster (gypsum) by Guy Michael Davis The human relationship with plaster is ancient, and can be traced from 4000-year-old Egyptian walls to modern industrial applications. This fast-working material is easily manipulated from fluid slurry to the hardened stone, proving it to be an indispensable studio material. Defining the Terms Good Plaster Calcination—Applying heat to a substance so that it Plaster as we know it today comes from the mineral gypsum (chemically known as oxidizes, reduces, or loses water. calcium sulfate). Gypsum crystals are mined all over the world and are processed Efflorescence—A whitish, powdery deposit on the for a variety of architectural, artistic, and construction uses. Gypsum is considered surface of rocks or soil in dry regions usually consisting a sedimentary rock, and a water-soluble evaporate that crystallizes through the of gypsum, salt, or calcite. Powder is formed as mineral- evaporation of trapped water. These crystals take on many forms and colors rich water rises to the surface through capillary action and is exposed to air and evaporates. depending on where they are found. From gypsum there are primarily two types of plaster, alpha and beta. The Exothermic—A chemical change that releases heat. alpha plaster is gypsum that has been made into a watery mixture then heated

Gypsum—(Calcium sulfate-CaSO4 2H2O), a white in an autoclave under contained pressure. This plaster, upon setting, forms long, mineral found in sedimentary rock, few deposits in straight crystals that can become very hard. Beta plaster is processed by heating North America are large enough for commercial mining. the powdered mineral in open containers, which cause it to dehydrate under Hygroscopic—To take up and retain moisture by all atmospheric pressure. By either of these two methods, calcination of the gypsum contact with water. occurs. Upon the reintroduction of water to the calcined plaster, re-crystallization Slake—Combining clay chemically with water in happens, returning it to a rock like material. The size and shape of these crystals preparation for a solution. plays a large role in determining how the plaster performs. Of these two primary Slurry—A homogeneous and fluid, molecular mixture. plasters, many other formulas have been engineered for specific applications and With regards to plaster, it is the fluid mix of plaster and hardness. water anticipating a chemical reaction. A uniform beta plaster (such as No.1 Pottery Plaster) is what potters use in the studio to make plaster molds, bats, wedging tables, and for slip-casting and pressing clay due to its fantastic ability to draw the water out of the clay. Harder Plaster Types plasters, such as Hydrocal and Ultracal, (some even contain cement) are formulated for mechanical casting with industrial tools, and other methods where strength is No. 1 Pottery Plaster: wanted and the even absorption of water is not required. A general studio use plaster. Formulated to An intriguing attribute of plaster is that it can be recycled indefinitely, by the produce long-lasting, break-resistance, and smooth-wearing molds. same methods of the processing, but its availability and low cost outweigh the labor of reclaiming it. Pottery Plaster: An all-purpose pottery plaster specially formulated for most ceramic slip-casting Bad Plaster applications and is very absorbent. Plaster’s hygroscopic nature makes it sensitive to environmental factors such as humidity. It should always be stored indoors, in a dry place, and used as soon as Molding Plaster: possible. Large amounts should be placed off the floor (i.e., on a pallet), as it will Is the same as Plaster of Paris and is an all-purpose utility plaster. Produces casts of draw moisture from the ground and cement floors. Open and exposed bags can nominal strength and hardness, reproduces begin absorbing atmospheric moisture within weeks, eventually hardening and intricate detail, but casts are very porous and forming rocks. United States Gypsum Company (the primary producer of plasters must be sealed. in North America) estimates that there is an approximate six–month shelf life when Puritan Pottery Plaster: stored under normal conditions (regions and seasons with high humidity may have With exceptional hardness and wear a shorter shelf life) and bags are marked with the manufacturing date. Smaller resistance, this is designed for jigger molds amounts keep well in sealed plastic buckets and can last for well over a year. The and is stronger than No. 1 Pottery plaster hygroscopic nature of plaster is also the reason we need to keep it from getting Hydrocal Gypsum Cement: into our clay—it takes on water, expands, and then cracks our work. This utility gypsum cement has higher Once the plaster has been exposed to moisture it begins a chemical change. strength than typical plasters. Designed for There is nothing more frustrating than opening a bag of plaster to find a bunch of a variety of applications and thin sections, hard chunks inside. Good plaster should be fine and soft, almost the consistency which require high green strength to of flour, on the other hand old plaster will become coarse and have hard spots minimize breakage during removal from from the size of sand and rice up to rocks the size of baseballs and larger. Only in latex molds. a pinch should aged plaster be used and it should be first pushed through a screen Above information from www.usg.com. to separate any hardened areas. The difference in how it works can be noticed in all working stages from mixing and setting to the final result.

12 april 2012 www.ceramicsmonthly.org Water Considerations Each type of plaster is mixed with water at specified ratios depending Water temperature also impacts setting time. Room temperature on its engineering and use—No. 1 Pottery Plaster is 100 parts water is ideal for mixing, but it is ultimately up to the user to plaster to 70 parts water (Hydrocal-White: 100 plaster to 45 water; standardize their process based on desired effects—the warmer the Hydrostone: 100 plaster to 32 water; Ultracal 30: 100 plaster to water, the faster the plaster will set up, while cooler water slows set 38 water). Water quality should be considered as it can affect the time. It is important to know that plaster strength increases with reaction. Simply, if you would drink the water, you can use it in the length of the time it takes to set up. mixing a satisfactory plaster batch. Large amounts of impurities Mixing plaster slurry involves a period called soaking. During and soluble salts in the water will affect the plaster slurry set time. this time the plaster disperses evenly in the water, removing air These salts travel to the surface and the resulting efflorescence can and allowing the plaster to be absorbed by the water. The plaster cause hard spots on the plaster surface. Any inconsistencies in the should sink slowly into the water, allowing the particles to become plaster’s density can result in uneven water absorption from clay, completely saturated over the course of four minutes or less, resulting in inconsistent hardening and, in the case of slip casting, depending on the temperature. Inaccurate soaking time adversely uneven thickness in the cast clay object. affects the mixing stages.

Accurate Mixing • On a calibrated scale, weigh out the proper • Tap the outside of the bucket to release any trapped air. amounts of plaster and water in separate Plaster Mixing and dry containers. • To gain a sense of timing the set of the • Gently but swiftly sift all the dry plaster into Setting Time Frames slurry, run your finger across the surface. the water, beginning the soaking period. A slight wake will notify you if it is time to Time Total Avoid dumping in large clumps at once, in Minutes pour. The more intense and permanent even plaster dispersal and water saturation Minutes Elapsed the line left behind, the less time you have is the goal. Always add the plaster to the before the mixture begins to harden; a Add deep, permanent groove may be too late water rather than the inverse. If the water is 1 1 added to the plaster, a re-hydrated barrier Plaster while a slight record of the pass means will form leaving dry clumps stuck to the it’s time to act. bottom of the mixing bucket. Soak 3 4 • The chemical reaction that occurs when • Soak 2–4 minutes. Nearly all of the visible mixing plaster and water together is plaster will become dissolved and the rising exothermic. High levels of heat are Mix 3 7 bubbles will slow. released upon the crystallization of the • Mix for 2–5 minutes. Use a timer to make setting plaster. Liquid sure the soaking and mixing time are 3 10 • Be aware that there are safety and health State consistent with each batch. Batches under concerns while working with plaster. At 5 pounds can be mixed by hand, but any any point while handling plaster, use gloves Thixotropic 2 12 larger amounts should be mechanically State to minimize contact. Burning and allergic mixed using a drill and paint mixer. Hold the reactions can occur, avoid exposing to skin, Plastic eyes, and lungs. Wear a dust mask; plaster blade approximately 1–2 inches from the 3 15 side and bottom of the bucket at a slight State contains silica that can lead to hardening 15° angle, drill it downward fast but avoid of the lungs. Hardening 5 20 • Keep your buckets and tools as clean as whipping air into the mix. Mix aggressively Cycle for 1–2 minutes, then slow it down for the possible. Too much cured plaster touching remainder of time to get air bubbles out. Heat your mix can cause it to set up extremely 10 30 You should be working toward a creamy Cycle fast. Keep a large drum of water in the slurry. If you haven’t soaked and mixed studio where all tools and buckets can be long and aggressively enough, the particles Courtesy of Andrew Martin and The immediately washed out. It is important to Essential Guide to Mold Making & Slip settle and separate from the water and the Casting, A Lark Ceramics Book by keep plaster out of the sink as it can build finished cast is soft. Lark Crafts. www.martinporcelain.com. up and clog drainpipes over time.

www.ceramicsmonthly.org april 2012 13 Tips and Tools

auto tape resist by Janie Varley Getting a super fine line when glazing your pots is often difficult—and even more so when you’ve had a few cups of coffee before heading into the studio. Try using this tape resist technique to glide over curves and around handles when decorating your next great set of coffee cups.

Auto trim tape is a flexible adhesive used in auto body detailing. You can generally buy it anywhere auto paint is sold. It comes in 1 ⁄8-inch, ¼-inch, ½-inch, and ¾-inch widths. Be sure to wipe your pieces with a damp cloth and allow them to dry before applying the tape; it doesn’t stick well to dusty bisque. To apply, set the tape end where you want to start, and then pull to stretch the tape as you press it to the surface. Press firmly. I run my thumb over it to be sure the edges are tightly adhered to the bisque. It is very easy to apply the tape in curves, just remember to continue to stretch and stick the tape as you go. I cut the end, rather than tear or break it off, to insure that it will lie flat, especially if my line will start or end independently of other lines. The pot is immediately ready to dip, brush, or spray with your choice of decoration—from glaze and slip to underglaze and terra sigillata. When the coating is dry, use a needle tool or an X-Acto 1 knife to lift the tape and pull it away from the surface. You can also use the tape on greenware; you just have to take extra care when pulling, stretching, and pressing. This resist technique is great for layering glazes or slips too, as long as you fire each layer before adding another round of tape.

Send your tip and tool ideas, along with plenty of images, to [email protected]. If we use your idea, you’ll receive a complimentary one-year subscription to CM!

1 Auto body trim tape is very flexible and is available in several widths. 2 2 The tape stretches and holds very well around curves. 3 Glaze over the resist using your typical methods. 4 Allow the glaze and pot to dry, then remove the tape with a needle tool or sharp point.

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14 april 2012 www.ceramicsmonthly.org Bailey = Better Blending The Ultimate Comparison Test In the pug mode, the primary function of a mixer-pugmill is to thoroughly blend, de-air, and pug clay quickly so you save time & energy. How would you know if it is blended properly? We came up with the ultimate test to compare two different mixer-pugmill designs. We took white and dark clay in equal amounts and fed it alternately into the hopper. First white, then dark, then white, etc. There was no pre-mixing, just direct pugging right through the barrel. We compared a Bailey MSV25 Mixer-Pugmill with the “short- barrel” style mixer-pugmill. Each had the same 25 lb. barrel capacity. You will be amazed at the results!

BAILEY MSV-25 Mixer-Pugmill In pug mode, the Bailey MSV25 was fed white and dark clay alternately into the hopper. Looking through the plexiglass vacuum lid, we could see that the clay coming through the shredding screens was already showing impressive blending. By the time it came out the nozzle, the results were outstanding. Look at the cross section cut (at the nozzle) and the length cut of the pug. Very impressive! By the way, the clay in the Bailey MSV never loses vacuum in the pug mode, even when you open the lid to load more clay. Thanks to the efficient shredding/blending screens, every square centimeter of clay is thoroughly deaired and no valuable time is wasted premixing. Each pug benefits from 3 stages of blending in the pugmill mode. In just 15 minutes from loading to finish, we had pugged out 237 lbs. of beautifully blended clay with no effort.

The “Short Barrel” Mixer-Pugmill We repeated the same test procedure using a “short barrel” mixer-pugmill unit with a 25 lb barrel capacity. Short barrel mixer-pugmills don’t have extra blending augers or shredding screens like a MSV25. When pugging the two colored clays directly through the barrel in pug mode, you get the results shown here. The white and dark clays are very poorly blended. To get well blended pugged clay with a short barrel design, you have to run each pug batch in a mix mode first before pugging. This makes the pug process much longer. It took 1 hour and 10 minutes to feed, mix, & pug out the same 237 lbs! Don’t be fooled by deceptive claims. There is a big difference between a “pug rate” (lbs/hr based only on the pugging out time) and total process time (lbs/hr based on feed + mix + pug out) to produce a finished volume of pugs.

Why is the Bailey MSV so much more efficient? Because the Bailey is indeed two-machines-in-one: a fast efficient auto feed pugmill, and an efficient recycle/clay mixer. Our dedicated vacuum chamber, shredding/blending screens, and final blending barrel yield the highest quality clay in the shortest time. Go to our website to see a Bailey MSV demonstrating the “ultimate blend test”. A mixer-pugmill is a lifetime purchase. What kind of performance do you want?

Bailey’s efficient 3-Stage Blending Pug Mode System Faster Pugging Stage 3 Stage 2 Stage 1 Final Blending Vacuum Shredding Direct feed & first blending Better Blending Augers Chamber Blending Screens Greater Efficiency Honest Ratings

2 Models of Pugmills All stainless MSV25-SS Ultra 6 Models of Mixer-Pugmills

Bailey Pottery Equipment Corporation PO Box 1577 Kingston NY 12402 TOLL FREE (800) 431-6067 (845) 339-3721 (Fax 5530) email: [email protected] Website: www.baileypottery.com

www.ceramicsmonthly.org april 2012 15 exposure for complete calendar listings see www.ceramicsmonthly.org

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16 april 2012 www.ceramicsmonthly.org 4

1 Kyle Johns’ white cup, 8 in. (20 cm) in height, porcelain, glaze. 2 Michelle Swafford’s Tumbler with Swallows, 6½ in. (17 cm) in height, porcelain, glaze. 3 Yoshi Fujii’s Goblet Trio, 6 in. (15 cm) in height, carved porcelain, celadon glaze. “Daily Companions: Cups, Mugs, and Teabowls,” at Baltimore Clayworks (www.baltimoreclayworks.org) in Baltimore, Maryland, through April 14. 4 Kelly Wu’s Regeneration Magnolia, 7 in. (18 cm) in length, porcelain, stains, matte glaze, fired to cone 6, 2011. “Ceramic Showcase,” at Oregon Convention Center (www.oregonpotters.org/ceramicshowcase) in Portland, Oregon, May 4–6. 5 Judy Onofrio’s Owie, 15 in. (38 cm) in length, mixed 5 media, 2012. “30 Ceramics Sculptors,” at the John Natsoulas Center for the Arts (www.natsoulas.com) in Davis, California, April 20–May 28, as part of the 23rd Annual California Conference for the Advancement of Ceramic Art. 6 Andrew Gilliatt’s Lost and Found Mugs, 5 in. (13 cm) in length, colored porcelain, laser transfer, fired to cone 10, 2011. “Functional Redesign,” at Northern Clay Center (www.northernclaycenter.org) in Minneapolis, Minnesota, through April 29.

www.ceramicsmonthly.org april 2012 17 exposure

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1 Christopher M. Torrez’s Liquefaction, 14½ in. (37 cm) in height, porcelain, Keraflex, two-way mirror, LEDs, mixed media, 2011. 2 Wookjae Maeng’s Framed, 16 in. (41 cm) in diameter, slip-cast porcelain, wood, fired to cone 8, 2011. “Detailed Information,” at Mindy Solomon Gallery (www.mindysolomon.com) in St. Petersburg, Florida, May 26–July 7. 3 Susan Beiner’s Bouquet, 4 in. (10 cm) in height, porcelain, foam, wire, 2012. 4 Brett Freund’s Crystal Jawbreaker, 4 in. (10 cm) in height, porcelain, borax, 2012. “Small Favors VII,” at The Clay Studio (www.theclaystudio.org) in Philadelphia, Pennsylvania, through April 1. 5 Dirk Staschke’s Confectional Façade, 8 ft. 6 in. (2.6 m) in height, ceramic, 2011. “Dirk Staschke: Falling Feels a Lot Like Flying,” at Bellevue Arts Museum (www.bellevuearts.org) in Bellevue, Washington, through May 27.

18 april 2012 www.ceramicsmonthly.org America’s Most Trusted Glazes™

Transform Your Everyday Glaze Arroyas Cone 05-5

Danny Meisinger Spring Hill, KS

Black Brown over over HF-55 Soft Black Soft White HF-22 Coral Gloss over over Textured PC-39 White PC-25 Blue Umber Float over Textured HF-120 Turquoise Dark Blue Download pdf at arroyaglazes.info www.ceramicsmonthly.org april 2012 19 exposure

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1 Diego Romero’s Golfball Moon, 8½ in. (22 cm) in diameter, earthenware, 2002. “Diego Romero,” at Collection Gallery, Ateliers d’Art de France (www.ateliersdart.com) in Paris, France, April 5–May 26, organized by Clark + Del Vecchio (www.garthclark.com). 2 Herb Cohen’s platter, 17 in. (43 cm) in length, stoneware, ca. 1996. “Sophisticated Surfaces: The Pottery of Herb Cohen,” at the Mint Museum (www.mintmuseum.org) in Charlotte, North Carolina, April 7–January 6, 2013. 3 Thomas Bohle’s Vessel 5, 12 in. (30 cm) in length, stoneware, oxblood glaze. “COLLECT 2012,” at the Saatchi Gallery (www.collect2012.org.uk) in London, England, May 11–14. 4 Kevin Flicker’s lidded bell jar, thrown and handbuilt stoneware, alfalfa ash glaze, wood-fired, 2009. “Stoked: Five Artists of Fire and Clay,” at the Art Complex Museum (www.artcomplex.org) in Duxbury, Massachusetts, May 27–August 19.

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20 april 2012 www.ceramicsmonthly.org Look at what’s new!! The Bailey “Quick-Trim™” Bat The low cost Bailey Quick-Trim™ (patent pending) is an exciting new centering/trimming bat for tooling the foot on your pots. The Quick-Trim™ has greater flexibility for trimming symmetrical, asymmetrical and multi-sided forms. It’s all done with clever easily positioned magnets with super holding power on the metal surfaced bat. Find out more on our website. NEW!!!

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1–2 Eva Champagne’s Conducive Habitat, overall and detail, 26 in. (66 cm) in height, handbuilt earthenware fired to cone 04, porcelain fired to cone 10, 2012. “Eva Champagne: Littoral Drift,” at The Clay Studio of Missoula (www.theclaystudioofmissoula.org) in Missoula, Montana, May 4–25. 3–4 Gong Yuebin’s Site 2801, installation view and detail, terra cotta fired to 1800°F, mixed media, 2011. “Gong Yuebin: Site 2801,” at Crocker Art Museum (http://crockerartmuseum.org) in Sacramento, 3 California, through April 29.

22 april 2012 www.ceramicsmonthly.org May 18-20, 2012 • Columbus, Ohio CERAMIC SURFACE CONFERENCE

Immerse yourself in a weekend full of discovering new surface techniques that start with building the form and continue right through the firing process. Lisa Orr Mark Peters Too Many Surface Techniques? NEVER!

Andrew Gilliatt Sarah Jaeger ceramicartsdaily.org/potters-council/ceramic-surface/

Sponsors AMACO/brent – www.amaco.com Mayco – www.maycocolors.com Shimpo – www.shimpoceramics.com www.ceramicsmonthly.org april 2012 23 clay culture pacific standard time by Kathleen Whitney

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In 1970, Susan Peterson, then professor of ceramics at the University Although prewar Southern California already had a considerable, of Southern California, was asked by CBS-KNXT to create “Wheels, home-grown, and idiosyncratic crafts tradition in place, it tended Kilns and Clay”; 54 half-hour television episodes on ceramic art. to be localized and without wider impact. By contrast, reception Peterson presented a range of ceramic subjects including handbuild- of ceramic objects made after the war was unique and widely rec- ing, throwing, decorating, and firing. The series was rebroadcast ognized. Peterson’s television series is just a single example of the for two years and is still available on DVD. The program was one interest in and appreciation of handmade or beautifully designed indicator of the tremendous interest in and popularity of ceramics in ceramic objects. Collectors and the general public were sensitive Southern California. This DVD (on view at the American Museum to new forms of art because modernism so permeated Southern of Ceramics Arts in Pomona) is just one of many films, objects, and Californian culture. A number of European architects made Los documents on view during “Pacific Standard Time,” a year-long, Angeles home and exerted an enormous stylistic influence. The region-wide series of exhibitions dealing with Southern California’s growing aerospace industry brought an enormous sense of expand- art history between the years 1945 and 1985. ing horizons. Charles and Ray Eames, Eva Zeisel, Sam Maloof, and The end of WWII transformed Southern California’s art com- other influential designers created an aesthetic that complemented munity, creating an environment characterized by experimentation and supported the work artists were making. The postwar economic and a need to create innovative and original objects. The years be- upsurge made the acquisition of ceramic objects affordable. Many tween 1945–1985 are particularly interesting because they saw the ceramic artists lent their skills to the design industry so their work introduction of new technologies, art practices, and attitudes that became widely accessible. were specific to the region and distinctly different from those of the The Pacific Standard Time (aka PST) exhibitions focus on art cre- rest of the country. During this time, Japanese decorative techniques ated in the Los Angeles area during the postwar years. PST involved and raku were introduced, industry developed a new relationship the participation of over 60 museums and galleries between Santa with the arts, and every extant technique was pushed to edge. Barbara and San Diego and was the result of ten years of research

24 april 2012 www.ceramicsmonthly.org initiated by the Getty Institute. The Getty Foundation committed many pots, including a beautiful Gertrude and Otto Natzler bowl. over $10 million to the project, making it possible to archive four The Huntington Library (San Marino) exhibit, “The House That decades of material and help scholars and curators to produce and Sam Built: Sam Maloof and Art in the Pomona Valley, 1945–1985,” present exhibitions, catalogs, and videos. used objects from Maloof’s personal collection to show the diverse by Kathleen Whitney The majority of the PST shows emphasize a Southern Califor- nature of crafts in the region. Maloof’s elegantly crafted wood fur- nian zeitgeist expressed in a number of styles, mediums, and ideas. niture was presented with a piece by Paul Soldner, groups of Natzler Feminism, Abstract Expressionism, Pop Art, politics, and new and Ward Youry vessels, a Harrison McIntosh vase, and a small Betty technologies such as video were strong vectors for creativity. Some Ford sculpture of ferrets. of the artworks on display are inseparable from Southern California The Mingei Museum in San Diego and the Craft and Folk Art and completely local in origin; the California Finish Fetish, surf art, Museum in LA also had survey exhibitions of Southern Californian and the Light and Space movements. Southern Californian artists craft artists. The Mingei Museum presented “San Diego’s Craft saw themselves as the cutting edge for a new 20th-century aesthetic. Revolution—From Post-War Modern to California Design.” The Nine PST venues included or focused on the ceramic arts. Each show featured a particularly striking, Pop-influenced teapot from of these exhibitions placed a different focus on the place occupied by the 1970s by Ron Carlson and a Malcolm McClain slab-built pot

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1 John Mason’s Red X, 4 ft. 11½ in. (1.5 m) in length, stoneware, 1966. Gift of the Kleiner Foundation. Digital image copyright 2009, Museum Associates / LACMA / Art Resource. 2 Peter Voulkos’ Snake River, 3 ft. 5 in. (1 m) in height, stoneware, iron slip, sgraffito, clear glaze, 1959. Copyright schopplein.com. 1–2 are on view in “Clay’s Tectonic Shift: John Mason, Ken Price, Peter Voulkos, 1956–1968” at the Ruth Chandler Williamson Gallery, Scripps College in Claremont. 3 Beatrice Wood’s Chocolate and Young Men, 21 in. (53 cm) in height, earthenware, 1990/1993. On view in “Beatrice Wood: Career Woman— Drawings, Paintings, Vessels, and Objects” at the Santa Monica Museum of Contemporary Art. Collection of Dr. and Mrs. William P. Klein, Photo: Tony Cunha. Copyright Beatrice Wood Center for the Arts/Happy Valley Foundation. 4 Ken Price’s BG Red, 10 in. (25 cm) in height, fired clay with acrylic and lacquer on wooden base, 1963. Copyright: courtesy Ken Price Studio. Object Credit: Mr. and Mrs. Gifford Phillips. Photo: Taylor Sherill. 5 Henry Takemoto’s Untitled, 27¾ in. (70.5 cm) in diameter, stoneware with iron and cobalt brushwork, 1959. Copyright Henry Takemoto. Object Credit: Pier Voulkos. Photo: Joe Schopplein. 4–5 are on view in “Pacific Standard Time: Crosscurrents in L.A. Painting and Sculpture 1950–1970” at the Getty Center in Los Angeles. ceramics. Some presented ceramics as a sculptural medium, others from the late 1950s. The Craft and Folk Art Museum presented considered the intersection of ceramics and design in collaboration “Golden State of Craft: California 1960–1985,” with works by many with industry, one exhibit stressed the importance of studio pottery ceramists, including Dora De Larios and Marguerite Wildenhain. and influential artists. Three institutions presented in-depth exhibitions focused solely Two of the museum exhibitions, including the Getty’s “Pacific on the ceramic object. All three assembled shows that are notable Standard Time: Crosscurrents in L.A. Painting and Sculpture, 1950– for their exhibition design, curatorial brilliance, and scholarship. 1970” and the Santa Barbara Museum’s “Pasadena to Santa Barbara: They have also produced stunning catalogs with contributors such A Selected History of Art in Southern California, 1951–1969” pre- as Peter Plagens, Suzanne Muchnic, and Jo Lauria. sented broad surveys of the art made during those decades. The Getty The Santa Monica Museum of Contemporary Art presented showed a magnificent John Mason wall piece, a large, earthenware “Beatrice Wood: Career Woman—Drawings, Paintings, Vessels, and sphere with an octopus motif by Henry Takemoto, a very Picassoid Objects.” Wood was a vital contributor to the Southern Californian art Peter Voulkos, and a mid-career Pop art piece by Ken Price. Santa scene for decades. The exhibition features her major work in ceramics Barbara included the work of the omnipresent Beatrice Wood. from the 1940s until her death in 1998. Wood’s functional work with Several museums concentrated on mid-century Californian lusters is well known and well represented in the exhibition. Lesser design. The Los Angeles County Art Museum in its “California known are some of her larger sculptural works such as Chocolate and Design, 1930–1965—Living in a Modern Way,” featured a great Young Men, a large painted earthenware piece that depicts a seated

www.ceramicsmonthly.org april 2012 25 6 7

6 Otto and Vivika Heino’s plate, 15 in. in diameter, 1956. Collection of the Long Beach Museum of Art, Anonymous Gift. 7 From left to right: Jerome and Evelyn Ackerman’s blue and white decanter, female figure mishima decoration, 14¾ in. (37 cm) in height, 1952–1956. Collection of Jerome and Evelyn Ackerman. Jerome and Evelyn Ackerman’s blue and white decanter, 14½ in. (37 cm) in height, 1952–1956. Collection of Laura Ackerman Shaw. Jerome Ackerman’s blue and black striped decanter, 14¾ in. (37 cm) in height, 1952–1956. Collection of Jerome and Evelyn Ackerman. Photos: Gene Sasse. 6–7 are on view in “Common Ground: Ceramics in Southern California 1945–1975” at the American Museum of Ceramic Arts.

woman (Wood) with a group of small male figures seated on each The major point Common Ground makes is that the history of knee. This piece and several others typify her wit and faux naïf style. Southern Californian ceramics is synergistic; the right people (artists, “Clay’s Tectonic Shift: John Mason, Ken Price, Peter Voulkos, teachers, mentors, personalities) came together in the right place at 1956–1968” is at the Ruth Chandler Williamson Gallery, Scripps the right time. The economy was burgeoning, a cultural shift was in College, in Claremont. The show dramatically illustrates how the progress and, in combination with the freewheeling, self-inventing works of Mason, Price, and Voulkos became the basis of a major new nature of the Los Angeles area, the total package created an aesthetic movement in abstract ceramic sculpture. The exhibition represents tipping point, a strong “tectonic shift.” The personalities of artists like a pivotal moment when clay began its move into the mainstream the Natzlers and the Heinos, Millard Sheets, and Susan Peterson led of sculptural practice. The three produced objects that are iconic the charge into new aesthetic territories. This is the most encyclopedic and inextricably linked to them. They were all influenced by the and eclectic of the shows; the works on exhibit create a context and predominant aesthetic of the time; Abstract Expressionism. Their demonstrate the diversity and explosive creativity that defined the era. work could not have been made in any other medium; in their hands, All these exhibitions establish Southern California as an influential clay is more than the mere vehicle for form, it’s the propellant for creative center for ceramic art. Jo Lauria, curator of the Golden State their ideas. Although all the work has kept its original punch, the of Craft exhibition and contributor to another, stated that their goal most iconic object in the show is John Mason’s Red X from 1966. was, “to tell the unsung story of the contributions made by ceramic The extraordinary American Museum of Ceramic Arts (AMOCA) artists to culture overall—to the economy, to the art community and in Pomona presented “Common Ground: Ceramics in Southern to academia.” California 1945–1975.” Curator Christy Johnson chose a diverse Although the boundaries between function and art, and ce- selection of work made by potters who had some relationship with the ramic art and art, remain tricky and contested territories, the Pacific influential teacher, artist, and designer Millard Sheets. There are over Standard Time exhibitions, with their inclusion of functional and 300 objects made by 53 artists working in studios, classrooms, and in sculptural ceramics, accomplish a great deal; they’ve succeeded in industry. Common Ground tells the history of mid-century Southern positioning the ceramic arts where they’ve always belonged, in the Californian ceramic arts by organizing the exhibition into groupings; midst of the contemporary American art dialog. studio work, commercial work, and work produced in coordination with industry. The show demonstrates how potters influenced each the author Kathleen Whitney is a sculptor residing in Los Angeles. She other as well as how they were able to sustain themselves financially. is also the author of numerous catalogs and has written extensively about The majority of potters in the exhibition are well known nationally and ceramic sculpture for a number of publications including Sculpture Maga- internationally. Common Ground shows prime examples of all their zine, Ceramics: Art and Perception, and CM. In 2000, she moderated work, including an extremely elegant Helen Watson covered bowl (see a panel “The Body in Ceramic Sculpture” at the National Council on CM March 2012, p. 22) and a vase-like sculpture by Henry Takemoto. Education for the Ceramic Arts conference.

26 april 2012 www.ceramicsmonthly.org presents Amy Sanders • Deborah Schwartzkopf • Mark Peters Sandi Pierantozzi • Stephani Stephenson • Curt Benzle Erin Furimsky • Guy Michael Davis • Paul Lewing Angelica Pozo • Paul Andrew Wandless • Nan Rothwell Linda Arbuckle • Neil Patterson • Jeremy Randall

Something for Everyone

If you’re looking for a way to add color to your surfaces, nothing beats Majolica Decoration majolica. Linda Arbuckle has dedicated years to the study and perfection of ceramic artsdail this historic technique, and brings the process into the 21st century. In this y DVD, you’ll learn about the materials, tools, and techniques you need to get started. And through a series of easy-to-follow demonstrations, Linda will presents guide you step-by-step through the entire decorating process. If you want to really understand the majolica process, Linda Arbuckle is ready to teach you everything you need to know to become proficient—just add practice. 2-Disc Set! with Linda Arbuckle – Jennifer Poellot Harnetty, Managing Editor, ceramicartsdaily.org Majolica Decoration Creating Colorful Surfaces with Linda Arbuckle

A longtime practitioner of the majolica process, Linda Arbuckle is also a professor at the University of Florida. Her work has been recognized through an Artists’ Fellowship from the National Endow- ment for the Arts, as well as a Florida Individual Artists’ Fellowship. She has participated in artist residencies in Wales and the People’s Republic of

China, and has been a faculty presenter at such daily video library ceramic arts well-respected craft schools as Penland, Arrow- mont, Haystack and the Archie Bray Foundation, to name a few. Her work appears in museum collections worldwide and she has been featured in numerous books and magazines. To learn more about Linda, please visit www.lindaarbuckle.com.

Total Running Time: Approximately 2 1/2 hours

ceramic artsdail .org ceramic arts daily video library y g Copyright 2012 The American Ceramic Society Clay Projects and Fundamentals In this Ceramic Arts Daily Presents video, Neil Patterson focuses on the fundamentals of working with clay to provide an indispensable ceramic artsdaily resource for those just starting out in clay, and those who teach them. The DVD is structured in the way Neil structures a semester of begin- presents ning ceramics, starting with pinch pots and progressing to more complex slab-built pieces. In addition to demonstrating eight handbuilding projects, Neil provides an introduction to studio materials, as well 2-Disc Set! as a bonus guide geared specifically toward teachers, which helps to CLAY PROJECTS address state educational goals and standards.

– Jennifer Poellot Harnetty, Managing Editor, ceramicartsdaily.org and FUNDAMENTALS

a resource for aspiring ceramic artists and teachers with Neil Patterson with NEIL PATTERSON

Neil Patterson operates the “Neighborhood Potters” studio with his wife Sandi Pierantozzi in Philadelphia, and has been making pots for more than 25 years. In 1986, he earned a BFA from the Cleveland Institute of Art, followed by an MFA from Louisiana State University ceramic arts daily video library ceramic arts in 1992. Neil is passionate about teaching the craft of ceramics, and has more than 23 years of experience teaching to all ages and skill levels. To learn more about Neil, please visit www.sandiandneil.com.

Total Running Time: 3 hours

In this installment of the Ceramic Arts Daily Presents Video Series, Jeremy Ran- Slabs, Templates, Texture & Terra Sigillata dall presents the handbuilding and decorating processes he employs to create his vibrant, architecturally inspired vessels. Beginning with his slab building ceramic artsdaily technique, Jeremy demonstrates how he uses texture and asymmetry to reference aging industrial and agricultural structures. He explains his tar paper presents template system—including a bonus feature on using tar paper templates to sketch in three dimensions—which allows for a bit of control in form, but also leaves room for alteration. Jeremy also covers the addition of nonclay materials 2-Disc Set! such as steel tacks and nichrome wire to not only strengthen the work structur- ally, but as a reference to his aesthetic influences. Finally, Jeremy walks step by Slabs, Templates, step through making, using, and troubleshooting terra sigillata, as well as his glazing and finishing techniques. Texture, & Terra Sigillata – Jennifer Poellot Harnetty, Managing Editor, ceramicartsdaily.org Handbuilding and Surface Techniques with Jeremy Randall

with Jeremy Randall

Jeremy Randall lives in Tully, New York, where he co-owns and operates a studio with his wife Sarah Panzarella. In addition to being a studio potter, Jeremy is Visiting Professor of Art at Cazenovia College, and an Adjunct Professor of Ceramics at

Syracuse University. In 2000, Jeremy graduated with a BFA in daily video library ceramic arts ceramics from Syracuse University, and moved to Bennington, Vermont, to work as an apprentice at Bennington Potters. After a two year stint in Vermont, he attended the University of Flor- ida in Gainesville from 2002–2005 and earned an MFA in ceramics. Jeremy’s work has been shown in numerous national and international juried and invitational shows. For more information, please visit www.jeremyrandallceramics.com.

Total Running Time: 3 hours

ceramicartsdaily.org/bookstore 866-672-6993

www.ceramicsmonthly.org april 2012 27

CAD_15Presents_Full.indd 1 2/28/12 7:49 PM clay culture

trading experiences by Justin Rothshank

Sometimes my three-year-old son, Layton, helps me put away the clean dishes. Often he’ll pick up a cup and ask, “Daddy, did you make this one?” Usually, the answers is, “no,” and then the question is, “who made it?” And he’ll pose this question to every dish before it goes back on the shelf. And what I think is great about this, are the answers: “Marty, Layne, Ayumi, Bob, Martina, Brooks, Elisa, Malcolm, Janne, Keith, Yoshi, Dale, Meredith.” Virtually all the pieces have a name that goes with them, as nearly everything in our cupboard is handmade by someone we’ve met, or know. The first memory I have of visiting a working artist’s studio is a trip my family took to the studio of Grey Stone, a potter living in Corunna, Indiana. I was about five years old at the time. My parents had met Grey at an art fair in Nappanee, Indiana, and decided to commission him to make a full dinnerware set. Our whole family drove down to his studio with several miscellaneous pieces of handmade pottery from the family collection. They wanted Grey to make a set that would draw together the pieces they had collected over the years. I barely recall Grey’s house and studio complex. But what I do remember, even at that young age, is thinking how great it was that he could work at home, with his family around him, and produce things with his own hands. There were pots everywhere, in all stages of completion. Although I can’t say for certain, he may have even been throwing pots on his treadle wheel when we arrived. We returned to his place several months later to pick up the finished dinnerware—a set of eleven dinner plates, salad plates, bowls, and a few serving dishes. He had chosen a clear-ish glaze that pooled green, likely an oxidized copper red glaze.

1 Layton and Justin doing the dishes and learning about pots. Photo: Brooke Rothshank.

2 Stoneware mug and bowl by Grey Stone, completed 1996. Glazed and fired by Justin, 2010.

3 (clockwise from left) Keith Ekstam bowl, Keith Hershberger mug, Yoshi Fujii bowl, Meredith Host cup, Janne Hieck mugs, Martina Lantin mug, Layne Wyse plates, Robert Briscoe bowl, Layne Wyse cup, Dale Huffman vase, Ayumi Horie mug, Elisa Helland-Hansen mug, Brooks Bouwkamp cup and bowl, Marty Fielding mug, and Malcolm Davis mug. 2

28 april 2012 www.ceramicsmonthly.org One of my favorite features of each piece was that, upon close seller if she’d be interested in a trade. Fortuitously, she was. I drove inspection, one could see that the pieces had been individually in- to Kendallville to pick it up. scribed on the underside, just inside the trimmed foot. On the dinner When I arrived, Debbie Walterhouse greeted me and told me that plates, with the large foot area, there was room for the inscription she had purchased all the equipment and materials from the Stone not only of the potter’s mark, address, and date, but also a unique family upon Grey’s death several years previously. She had acquired saying or phrase for each of the eleven pieces. lots of materials, a kiln, some wheels and shelving, and this Walker A favorite family pastime then developed when guests came over pugmill. And, she had also taken several boxes of Grey’s bisqued, and we got out the “good stoneware.” Before serving the food, guests but unfinished, pots. were encouraged to flip over their plates to read what was on the Our trade, as it worked out, was kiln space for Debbie in my underside. I still flip over all handmade pottery pieces as soon as I newly constructed wood kiln, and some stoneware clay, in exchange first touch them to see if there might be an inscription or at least to for the Walker Pugmill that Grey had used. Perhaps the same pugmill look for the potter’s mark. I had likely seen more than 25 years before when I made that first It’s hard to say what exactly made me want to pursue a career artist’s studio visit. as a potter. Certainly the fact that my mom worked at the Old Bag While I was clearly trading an experience (firing her pots in a Factory, the same building that housed Dick Lehman and Mark wood kiln), I’m not sure Debbie totally understood that she was also Goertzen’s studio, for several years as I grew up made an impact. trading an experience, and a memory. She wanted me to fire some And there was the fact that we always had a mug rack filled with of Grey’s old bisque pots in my first wood firing of this new kiln. handmade ceramic mugs at home for as long as I can remember. What a perfect honor for me. Plus she gave back to me four of the Or that my high school art teacher wrote me a pass to skip school newly fired pots, which I’ve given to my parents. for a day and go to my first wood firing at the kiln of Jeff and Tom While I don’t expect Layton to become a potter, I do hope to pass Unzicker. Or that we lived only two blocks from the home of Fred along the same sense of respect for handmade objects that my parents Driver who had a pottery studio and kiln in his backyard. helped to root in me. It feels good to share moments of connection But this trip to visit the studio of Grey Stone definitely made a to others in our lives while unloading the dishwasher with my son. big impression. It seems like more than just coincidence, then, that I think one of the strengths of the studio pottery movement, and shortly after moving back to Goshen in 2009 to set up my own the benefits of buying handmade objects, is this experience. There’s pottery studio and kiln, I came back into contact with the pots of a face and a name, and a culture and experience, behind each piece, Grey Stone. not just dirt and glaze. After spending my first summer building a new wood kiln, and looking for used studio equipment, I received a forwarded email the author Justin Rothshank is a full time studio potter living in from Dick Lehman about a used pugmill available for sale in the Goshen, Indiana, with his wife Brooke, a painter and illustrator, region. Not having the ability to purchase it outright, I asked the and their three year old son, Layton. Check out www.rothshank.com.

3 www.ceramicsmonthly.org april 2012 29 clay culture

khan academy by Jessica Knapp Need to brush up on some chemistry to help with glaze calculation? Want a refresher on geometry for either handbuilding or calculating volumes? Wondering about the physics behind reﬂ ective surfaces? Looking to diversify the sources and inspiration for your work? One website can help with all of this and a lot more—for free.

Salman Khan, a former hedge fund analyst and graduate of both MIT different eras. Art historians Dr. Beth Harris and Dr. Steven Zucker, and Harvard started www.khanacademy.org to compile the YouTube plus guests, cover many of the 448 works discussed. Dr. Harris and tutoring lessons he made for his cousins. It’s expanded considerably Dr. Zucker are either featured together, discussing works at the Met- since then into a non-profi t organization staffed by software pro- ropolitan Museum of Art and the Museum of Modern Art in New grammers, academics, designers, and educational experts with some York City, or individually at various museums talking to curators impressive credentials, and a website that has over 2600 lessons, and and historians on location. The talks are informal, and it’s great to hundreds of interactive exercises. Now, in addition to Khan’s easy to hear the excitement and enthusiasm in the narrators’ voices as they understand, wide ranging lessons on math, science, and fi nance, there discuss, critique, and occasionally disagree about the works. The are other staff contributors who have created lessons on history, art videos are essentially like an introductory art history course and go history, and other topics. from pre-historic objects to the present including the Age of Post- There are numerous lessons that are useful to artists, from art Colonialism. It is currently focused primarily on Western Art, and history to business and fi nance. There are videos for brushing up on heavy on two-dimensional art, but other focus areas are planned. chemistry, physics, or math concepts that are useful in the studio as The lessons are often either a video close-up of the work from well, and the fact that you can save different angles or still shots of the and share your progress helps to sat- work, combined with a question isfy the inner nerd in all of us. and answer discussion format, with one of the scholars presenting the Math and Science information, while the other asks The math lessons on calculating questions to either prompt or expand area and volume are applicable for on the information. The sidebars on mold making and for potters inter- the page for each artwork show where ested in making vessels of a specifi c and when it was made, and also of- volume or creating templates. The fer related content for further study. unit conversion lessons teach you There is also a link to a Flickr stream to convert pounds to ounces, or gal- of viewer-uploaded images that relate lons to quarts, pints and cups, and to the topic, creating more interaction compare the Fahrenheit to Celsius and participation. The drop-down temperature scales. outline for each movement or “ism” Chemistry lessons on the periodic includes all of the related videos. table; phase diagrams; solubility; and Some noteworthy ceramic-related suspensions, colloids, and solutions historical videos include a discussion are all useful to ceramic artists. Why? of the narrative on the Mixing ves- Well, we’re dealing with materials sel with Odysseus Escaping from the whose reactivity or stability (charac- Cyclops’ Cave, the New York Kouros, teristics defi ned by atomic makeup) Euphronios’ Attic Calyx Krater, the are very important to our fi nished Geometric Greek Krater, and the Pre-

objects; materials that change physi- Stills from a SmartHistory video on a Pre-Columbian cup and a Columbian Cup. cal states throughout the making Khan Academy video on the difference between suspensions, Watching the lessons from various process; and are different kinds of colloids, and solutions. Courtesy of Khan Academy. sections of the Khan Academy site mixtures based on particle size, which affects their behavior. offers not only a refresher for practical information that fades from Khan’s physics lessons on refl ection (diffuse and specular) are memory after we leave school, but it also opens opportunities for a good extension of David Pier’s Technofi le article on matte glaze creative cross-disciplinary free association, and a way to do either surfaces (September 2010, p. 12). structured or organically-built research that starts with the videos but can expand infi nitely with the related content other users up- Smart History load. Our studio time is precious, and these short videos offer a way Art history, or “SmartHistory” as it is called on the site, has its own to stay engaged with learning that sparks creativity in manageable separate home page with a visual timeline of works made during pockets of time.

30 april 2012 www.ceramicsmonthly.org ceramic arts bookstore The CeramiC arTs handbook series Your Source for InSpIred TechnIqueS

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www.ceramicsmonthly.org april 2012 31 studio visit Backa Carin ivarsdotter stockholm and valskog, sweden

Studio I work in two different locations, depending on purpose. In my small house in Stockholm, I do all my sketching on the computer, marketing, and applying for different public com- Just the Facts missions, etc. The computer has become a very important tool in my creative process. Since I have three small kids, dividing my work tasks into short, spread out increments is crucial. Clay I work on projects when they watch TV, sleep, or are playing on their own. I could never earthenware, stoneware, and porcelain manage to do as much as I do if I did not work at home. So in Stockholm my “studio” is my Primary forming methods desk in our living room full of toys, cats, and kids. coiling, slab building, carving, and I love to be able to stay connected globally and still be at home. Another important slip casting aspect is that I can work anytime during the day or night. If I get an idea, I just start up the Primary firing temperature computer and start sketching. I am a frenetic collector of design and antiques. Our house depends on the clay used and the desired surface in Stockholm was built in 1958 and has a very characteristic architecture, in harmony with the huge pine trees surrounding it. Inside I collect furniture, wallpaper, and ceramics from Favorite surface treatment my own fingerprints, the touch and the ’50s. So when I’m not feeling inspired by the cats on the sofa or the kids screaming and mark of the hand in clay playing, I look to the objects around my home instead. Favorite tools The downside to having my studio space in my home is that I am always an available mother. my hands and sometimes twigs It is hard to always be interrupted by family, however sweet they might be. But it is part of life. Life goes by quickly and, sooner than I realize, the kids will have moved, and will have kids of their own. So I want to be a hard-working artist and a good mother at the same time. Nothing is impossible. So, I do hardly anything else except for these two very important things. My other studio is an old cottage built in 1830. In Sweden, these small houses where originally built for people who were poor and had no land of their own to cultivate. My husband

32 april 2012 www.ceramicsmonthly.org and I bought a country house that was built in 1905 so that we could is like a quilt over the fields. When the wind blows, the high grass have more access to nature. Along with it, we got this small cottage moves like ocean waves. that was in the garden. The broker told us that we could just tear The old cottage, with its rough interior, inspires me to work freely. the cottage down since half the house was rotten and did not have a I do not have to worry about dirt or stains on the floor. Often I find roof. But instead of demolishing the whole thing, we tore down the unusual butterflies or insects inside, and in the summer, flowers grow damaged half, built new walls and a roof and made it into a studio through the floor. In the winter the whole landscape is white, the fields for my husband and me. I have the ground floor, which is about 70 look like an open sea, and you can almost see the end of the horizon. square meters, and my husband has the top floor as a film studio. The problem with my studio in the countryside is the distance Since we have the residential building just a few meters away, this from Stockholm. It takes an hour and a half to get there. If I get an place has the same function for me as my desk at home. I can take impulse and want to work there, I can’t. Therefore, I have made a care of the kids and still create. Here I do my commission work, mini ceramic studio at home in Stockholm. There I have a small kiln build mosaic patterns, experiment in clay, and sometimes have an and a small table in a storehouse. But since we go to the countryside open studio for visitors. almost every weekend and when the kids are not at school, I have a You can hardly find anything more traditionally Swedish than lot of time there to create bigger ceramic artwork. this type of house in the countryside. Around it you see the fields— Since I have two types of work spaces, I am able to work with an open, flat, cultivated landscape that makes your mind feel free. different types of projects. At home in Stockholm I work with really The nearest neighbors are five cows. large-scale projects as an entrepreneur. I do sketches on my computer, The cottage is beautiful. I love the surroundings, and totally de- sending pictures and designs to different manufactures. In the case pend on my experience with the environment there to get inspired. of large-scale projects that I make by myself in ceramic, I work in my I just love to be there creating, and then go outside and take a break cottage. Sometimes if I do a really huge project, I rent a temporary with a cup of coffee in the garden. In the early mornings, the fog art studio that is open for use by professional artists.

www.ceramicsmonthly.org april 2012 33 1 Corridor, 19 ft. 7 in. (6 m) in length, unglazed, slip-cast porcelain, low fired.

2 Mountain Scenery, 39 ft. (12 m) in length, 16 tons in weight. Handbuilt wet earthenware clay, iron oxide.

3 Miraculum 510, 1,670 ft.2 (510 m2), installation view along Hornstulls strand in Stockholm, Sweden. 250-meter-long mosaic made from over 50,000 hand-cut stoneware tiles and mirror glass. Made in cooperation with artist Monica Larsson.

4 Fire Mountains, 20 in. (50 cm) in length, coil-built porcelain, transparent glaze, high firing. Illuminated from the interior with lightbulbs.

When making public art in different materials, I am always and adults. I have been part of the University of Gothenburg School working very closely with the manufacturer or craftsmen. We start of Design and Crafts’ (HDK) ceramic department in Gothenburg, with the design sketch I made, then I am in their workshop, taking where I was also deputy professor for a period. part during the manufacturing process. My main income comes from public art commissions. When I am always a part of the installation process in my public art applying for public art you always have a budget to consider. The projects. Two years ago an assistant and I put up over 150 square artist has the full responsibility for the whole project, including the meters of glass mosaic by hand in Linköping, Sweden. budget. Much of the money is spent in materials since I am very My exhibitions and installations often contain multiple smaller keen on quality; some is spent on transport, installations, documen- ceramic parts to make up the whole sculpture or installation. Almost tation, and so on; the rest is my salary. I always have to choose the all the clay sculpting is done in the cottage, then installed at the gallery best type of materials and skillful craftsmen and still make sure some or museum. I also store sculptures and installations at the cottage. of the budget is left for me. Since I work in large-scale installations at exhibitions, I hardly sell to private customers. I do not sell any Paying Dues (and Bills) traditional pottery or functional products. I went to several pre-art schools before earning my bachelor and master I like to work with large-scale public commissions. That type of of fine art degrees from Konstfack University College of Arts, Crafts, artwork is permanent and often in an environment that is open to and Design in Stockholm, in the ceramic and glass department in a big and non-traditional audience. I like the excitement of being 2000. Since then I have worked as a professional ceramic artist, having a part of these types of competitions, not knowing if I will win the exhibitions internationally and nationally. Lately my focus has been project or not. Another positive aspect is that the salary paid for in public art commissions in schools, hospitals, and public squares. these projects is decent. On the down side, it’s hard to make plans Mainly my working hours are spent at my desk. As a self-employed for the future. I do not know if I have any work one year ahead. So artist, much time is spend on marketing, applying for public art, send- it is an uncertain economic situation, especially having three kids. ing pictures to books, magazines, different web pages and so on. Public art works also require a lot of design work on the computer, from the Body first step, where I work a lot in Photoshop trying different ideas, to After buying our houses, I found a new passion in life. I spend several the design sketches that I send to the manufacturer. I spend at least 30 hours a week in spring and summer outside digging and planting in hours a week at my desk. I spend around 10 hours a week creating in the garden. That is not only good for my mind, it is also good for my clay. When we are at the cottage there are more hours in the studio. body. I have a disease called fibromyalgia, a type of rheumatism. So At the moment I do not have any other part-time job, but I have in the winter it is hard for me to do anything physical due to the pain taught ceramics and sculpture in different schools for both children in my body. I can take walks or go-slow skiing, if I am bundled up in

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lots of clothes. Being out in nature is the best for body and soul. In work and unique ideas and proposals for each project. I do not Sweden we all have the right to be in all forests and landscapes, even spend much time marketing myself to galleries or museums, but if someone else owns it. So you can just go out wherever and enjoy. I still get invitations to different exhibitions around the world. In Sweden, I think we have the best health insurance in the western That is very nice! world, so we do not worry much about that. But we also have the I think I have come to a stage where my market or name grows highest taxes. As a self-employed person, I pay 50% of my income in by itself. Sure, I apply for some exhibitions and a lot of public work, taxes. But Sweden is slowly changing. Sweden has always been a big but I still get more and more offers just through my website and by fan of the United States, so we intend to adopt even what I see as the working hard. injustice in the US social system. Now, for instance, you can’t be sick My greatest success online was when the cultural minister in for more than one year. After that you are out of the national health Azerbaijan found images of a wall mosaic that a close colleague care system, even if you have cancer or some other chronic disease. and I had made, then invited us to do an art piece in Baku, the capital in Azerbaijan. Mind I read books to relax every evening before going to sleep. I like fiction. Most Important Lesson I am currently reading a book about vampires throughout history, and As an artist, you have to learn to develop many different skills. the ancient beliefs about them. Before that, I was reading books about You are the entrepreneur and sensitive creative artist at the same secret sects and fellowships like the Crusaders and Knights Templar. time. You have to market yourself, take care of the budget in com- Love is the best way to recharge my inner battery. In our house missions, make your web page, and have a lot of knowledge about you are surrounded by love, hugging, and kissing, small children construction and materials. You have to be able to speak different taking your hand in theirs. Comments like “I love you mum,” the languages—one to your art colleagues, one to the building con- adventures, going out in nature to look for mushrooms or for beauti- structor, one to the galleries, one to the audience. And of course ful twigs and sticks, and the children’s help in the garden, collecting you need to have an open and free creativity (on demand). If you weeds or a bouquet of flowers, are very important. I also have the want to survive and be successful you have to be able to combine privilege to have a loving, crazy, helpful, and handsome husband. all these capacities. As an artist, woman, and mother of three kids, He inspires me and gives me power to keep going. He is my muse. the most important skill is to be patient and focused.

Marketing www.ivarsdotter.com I work mainly with my website as the face that I present to the http://artaxis.org world. But I also apply for public commission with pictures of my www.facebook.com/ivarsdotter

www.ceramicsmonthly.org april 2012 35 Sources and Influences: Mentors and Students Kathleen Kneafsey

36 april 2012 www.ceramicsmonthly.org Photo: Rick Lee foR huntington QuaRteRLy Magazine gropius workshop presenters from left to right: Matthew Metz, Josh DeWeese, Beth cavener Stichter, and alleghany Meadows.

Everyone remembers their first experience with clay. Like many expansion in the 1970s, but ultimately led to the inception of an firsts in life, its impact can be life changing. Mine happened at the important visiting artist program—The Walter Gropius Master ripe old age of eight. A group of other eight and nine year olds and Artist Workshop Series. I were entrusted with tongs, long gloves and the total excitement Alex E. Booth, Jr., then Chairman of the Museum’s Building of plucking our glowing orange pots from the kiln and immersing Committee, found a kinship with Walter Gropius and his Bauhaus them into a trash can full of leaves that we’d just collected from philosophy. Mr. Booth’s mother, Roxanna Y. Booth, through a the surrounding woods. It was all there for me—the trees, the clay, bequest in her will, donated funds to establish the Walter Gropius the fire, the adventure, the camaraderie, and I was totally hooked. Master Artist Workshop Series. The program was developed by the It was a huge moment, one that has led me down the path that I museum staff aided by the advice and expertise of Mr. Booth and am still on today. named for the man who firmly believed in the benefit of people But this article isn’t necessarily about me. It is about a place, a working with artists to expand their way of thinking. program, and an exhibition—all of which speak to my life in clay Walter Gropius, in his groundbreaking speech in 1968 for the and bring it back full circle to my hometown and my family. That additions to the Museum, said: hometown is Huntington, West Virginia, which sits along the Ohio “It will be of incalculable value for Huntington and its neigh- River, where southern Ohio and eastern Kentucky meet. Found boring towns to have at their disposal a greatly broadened insti- on a hilltop, high above the town is the Huntington Museum of tute—to pursue both the improvement of historic knowledge of Art—“a gem of a place,” as both Ron Meyers and Mary Roehm art as well as the artistic creativity of their own young generation have noted—surrounded by 52 acres of woods and one-and-a-half for the cultural benefit of the whole community. I ask your per- miles of hiking trails. mission to stress particularly the aspect of workshop education in The museum opened its doors in 1952, and in 1966 was poised the gallery which is perhaps less obvious in its scope and value to for a major expansion, with hopes of adding more gallery space, a the average person than appreciation of art of the past, but ever so larger library, an auditorium, and art studios. Just as chance plays much more important for the future generation’s creative attitude. an important role in the outcome of an eight year old’s raku fir- Children should be introduced right from the start to the potenti- ing, sometimes a chance meeting can lead to a dramatic series of alities of their environment, to the physical and psychological laws events that impact a community for years to come and forge artistic that govern the visual world and to the creative process of giving relationships in ways no one could have imagined at the time. form to one’s living space. Such experience, if continued in depth Such a serendipitous meeting occurred between a board mem- throughout the whole of the educational cycle, will never be for- ber of the Huntington Museum of Art and the famous architect gotten and will prepare the adult to continue taking on informed Walter Gropius, founder of the Bauhaus, at a cocktail party while interest in what happens around him.” both were vacationing in Castle Hot Springs, Arizona. This event Each year the Gropius program (founded in 1992) offers the impacted not only the design, size, and emphasis of the Museum’s opportunity for individuals from the tri-state region of West

www.ceramicsmonthly.org april 2012 37 Virginia, Kentucky, and Ohio to work directly with six to eight to come to the area, spend quality time in excellent facilities, share nationally and internationally known artists working in a variety their knowledge with the participants, and then return to their of media. This is of particular benefit to people of this area, as few homes with the ability to refurbish their studios, buy equipment, opportunities exist to come in contact with artists of this caliber. As or travel for artistic development. part of the Gropius workshop, which is now typically a three-day It wasn’t until 1997, when my husband and I returned to weekend, the museum organizes an eight-week exhibition of works my hometown, 14 years after I had left to earn my BFA in clay by the visiting artist. The artist presents an illustrated lecture, as from Clemson University, that I was given the honor of teaching an additional component to the workshop, which is free to the in that same studio. In 2000, after finishing graduate school at public and a wonderful way for the community to become more Miami University, the museum offered me the position of Artist- educated in the arts. in-Residence, a role I have cherished ever since. It was also at Many people travel here from all over the Midwest and the this time that the clay studio and clay workshops expanded into entire US because the workshop fees are incredibly reasonable what they are today. Besides teaching classes and maintaining in comparison to other workshops of this level. Scholarships are the studio, I became responsible for selecting top ceramic artists offered to those who apply for further educational development. for the workshop series. A few participants have become studio assistants to some of The first Gropius clay artist to visit was Malcolm Wright, a the artists who have been here, while quite a few have gone on to wonderful potter and true gentleman from Vermont. He came for become studio artists in their own right, all due to relationships a two-week residency, making his own work during the day and developed while in Gropius workshops. then hosting students in a hands-on workshop in the evenings. One of the goals of the series is to remunerate artists well for When he left, he packed up all that he had made, only to send back their knowledge and expertise. This allows for world-class artists many of the best pieces that he had fired in his wood kiln for the

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1 1 aysha Peltz’ Vase Triptych, up to 12 /2 in. (32 cm) in height, porcelain, 2008. 2 edward eberle’s Lengthly Interval, 9 in. (23 cm) in diameter, porcelain painted with black and white terra sigillata, unglazed, 1999, revised in 2007. 3 Michael connelly’s White Jar, 9 in. (23 cm) in diameter, stoneware with 1 slip and glaze, 2010. 4 Julia galloway’s teapot with saucer, 9 /2 in. (24 cm) in height, porcelain, 2003.

museum’s collection. Jeff Oestreich, here in 2002 for a three-day, who have participated in the workshop series. When planning an demonstration-only weekend, did the same thing, making count- exhibition to add significance to this growing collection, we asked less pieces, which were bisqued and then sent by the museum to each of these artists to select two additional ceramic artists to dis- him in Minnesota. He fired them in his soda kiln and sent back play work alongside their own: an artist whom they consider their some of the loveliest work ever. mentor, and another artist whom they have mentored. The current collection of contemporary studio ceramics began The exhibition, titled “Sources and Influences: Contemporary with these generous gifts, and the museum continues to acquire Clay Artists, Mentors and Students,” will be on view at the Hun- through purchases and donations. Since 2000, the museum has tington Museum of Art from March 10–May 20, 2012. The title made a conscious effort to purchase a representative piece from for the exhibition comes from the article “Linda Sikora: Beneath each of the visiting Gropius artists, not just in clay, but in all me- the Surface” [The Studio Potter, vol. 32, no. 2 (June 2004), Mark dia represented in this workshop series. The ceramic studio also Shapiro, interviewer, pp. 7–14]. In this article, Sikora, herself a boasts quite an impressive “bones” collection—demonstration Gropius artist, states to Mark Shapiro, another Gropius artist: pieces left behind by all of the past Gropius clay artists. It is one “Excitement about a piece can lead one to discover something of my favorite additions to the studio and an excellent teaching in the studio. I started thinking that some people call these types of tool for my own classes. attractions sources, which is interesting because source implies that Over the course of the past ten years, the Gropius clay collec- you go find it. You go to the source. That is the gesture of going tion has grown to include the works of 22 contemporary artists toward. Then I thought some people call them influences, which

www.ceramicsmonthly.org april 2012 39 suggests something coming at you. ‘It influenced me,’ or ‘I was ences show. MacKenzie, who is considered one of the most signifi- influenced by it’. As if ‘it’ did it to you. Two ways of looking at it.” cant American ceramic artists, will give the Gropius public lecture We all felt that this statement summed up the Gropius workshop at the opening reception of these exhibitions on April 22, at 2 pm. program in that participants are attracted to the workshop by first My family has grown right along with this program. When I started finding the featured artist as a source. Yet the natural give and take in this position, I was expecting my first child, and the way I recall the occurs between the participants, the visiting artists, the artists’ works dates of an artist’s visit is by how many children I had at the time or on exhibit and often concurrent-themed exhibitions in the museum which child I was pregnant with. Many of the artists whom I asked giving everyone involved a learning and a teaching experience. Past Gropius workshop artist, Edward Eberle spoke of this phenomenon: “I am always surprised and elated on what I learn from the “The Gropius Program is outstanding participants. There was a fine mix from beginners to accomplished and a marvelous gift for the museum clay workers and all had something to contribute to the experience and I believe that I learned more than they.” to administer and for the artists In keeping with the spirit of Sources and Influences, a Gropius who receive the award. It was a rare Master Artist workshop will be held April 20–22, 2012, featuring and distinct honor for me to be a Randy Johnston, accomplished potter, educator, and student of participating artist in the Gropius renowned clay artist and teacher, Warren MacKenzie. The work of both Johnston and MacKenzie, student and mentor, will be featured program and an experience I will always in an exhibition running concurrently with the Sources and Influ- treasure and remember.”—Val Cushing

1 2

1 Malcolm Wright’s Four Part Form, 16½ in. (42 cm) in height, stoneware, 2001. 2 Ron Meyers’ Covered Jar with Three Images, 10¾ in. (27 cm) in height, earthenware, 2010.

40 april 2012 www.ceramicsmonthly.org 4

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3 Val cushing’s storage jar from the Column Series, 19 in. (48 cm) in height, stoneware, 2010. 4 Linda Sikora’s teapot, 7 in. (18 cm) in height, porcelain, 2011. 5 gail kendall’s charger, 16 in. (41 cm) in diameter, earthenware, 2003. to visit were chosen because they were parents themselves. I selfishly the museum, which led to a life choice that has been completely wanted to see how they juggled all the balls in the life of an artist, fulfilling. That first experience drove me to pursue study in clay, teacher and parent. So, the growth of the program and the growth taking me to Clemson where I was fortunate enough to learn from of my family, now three children in all, are completely intertwined. a wonderfully gifted professor and mentor. I also met my husband This upcoming exhibition, the concept of which came about in a there, and through his career travels, I was able to study clay in conversation with Mike Vatalaro, my undergraduate professor and many different places with great artists. Then, we came back to my past Gropius artist, is very much a part of my life, too. I will have work hometown, and the museum and I became reacquainted. When I featured in the show, with Mike as my mentor. He very generously finished graduate school, the Gropius clay program was entrusted to and unselfishly showed me, by example, the kind of teacher I wanted me, just like the tongs and the glowing orange pot all those years ago. to be. For someone I have mentored, I chose my oldest child. The way In a way, you could say that the museum is one of my mentors, too. he sees things is magical, and it is a privilege to witness the world of his imagination as it unfolds. I know that I have an influence on all the author Kathleen Kneafsey, the Artist-in-Residence at the Hunting- of my children, but what they give to me is far greater. My children ton Museum of Art, received her BFA from Clemson University and MFA have been the sources for my work before they were even born, and from Miami University. She and her family live in Huntington, West they continue to inspire me and give me new ideas every day. Virginia, where her children raku, too. To learn more about the Walter I find it very difficult to speak of the museum and this program Gropius Master Artist Workshop Series, which Kneafsey administers, go and have it not be personal. I had my first introduction to clay at to www.hmoa.org/education/walter-gropius-master-artist-workshops.

www.ceramicsmonthly.org april 2012 41 Mr. Bailey’s M useuM of W onders W by Garth Johnson

The art world has never quite known what to make of Clayton Bailey. It could even been said that the clay world has never known what to make of Clayton Bailey. His menagerie of pinheads, homonculii, gargoyles, “kaolithic fossils,” scientific devices, and novelties aggressively beg the viewer not to take them seriously. Yet over the course of his 50-year career, Bailey has produced a body of work incorporating high craft, low humor, performance, and mischief that can be taken together as one large conceptual work. Sacramento’s Crocker museum, a longtime champion of California ceramic art, has finally mounted a Clayton Bailey retrospective that allows the public to immerse themselves in his prolific career. Bailey has had solo shows in major venues like the M.H. de Young Museum in San Francisco, as well as work in group shows at the Whitney Museum of American Art in New York, the Art Institute of Chicago, the Walker Art Center in Minneapolis, and the San Francisco Museum of Modern Art. Bailey has always been suspicious of flavor-of-the-month art movements, but has also exhibited his suspicion for the aesthetics of beauty that had come to dominate his chosen medium, clay. From his earliest pieces, Bailey showed a facility with clay—a love of tactility that showcased fingerprints, seams, and surface cracks that, along with the use of lusters and hobby glazes, would become a calling card of the Funk movement. When he founded the ceramics department at the University of Wisconsin- Whitewater, one of his students painted the maxim “Think Ugly” directly on the wall, which reflects Bailey’s belief that beauty belongs to the realm of the familiar, and that artists should seek to discover the new and unusual. Bailey’s working methods are often compared to that of an alchemist or a mad scientist. Despite his virtuoso technical abilities, Bailey requires a separate alchemical process to make his work come alive—humor. He has been quoted as saying that the scrap metal robots he has designed for the last 35 years are only finished when they make him laugh. It is no coincidence that Bailey came of age during the halcyon days of Mad Magazine. Mad offered up surprisingly sophisticated satire wrapped in a lowbrow, adult-unfriendly package. Later in life, he had Mad cartoonist Basil Wolverton’s “Lena the Hyena” tattooed on his arm. In the

42 april 2012 www.ceramicsmonthly.org 1960s and ’70s in particular, Bailey brought fevered visions of creatures, insects, and miscreants to life, with a cartoonist’s eye and the perspective of an arch satirist. From the early 1970s onward, Bailey became fascinated not just by experiments like these in his own studio, but the entire system of independent artists experimenting with material and sharing knowledge in publications like Ceramics Monthly. In 1970, Bailey sent a letter to Craft Horizons magazine (under the assumed name of his burgeoning alter-ego, Dr. George Gladstone) announcing that he had invented a mixture of horse excrement and clay, that when dried could be lit on fire, making it the world’s first “self-combustible” clay that required no kiln or pit in which to fire. The letter eventually grew into one of his many infamous NCECA demonstrations that wrapped a kernel of truth in many onion-like layers of “truthiness”—not unlike his mixture of clay and horse manure. Well before David Wilson opened the Museum of Jurassic Technology in Los Angeles and Lawrence Weschler wrote about

above: Firebreathing Demon, 18 in (46 cm) in height, stoneware with glass eyes and electric illumination, 2001. Left: Clinker Explosive Bottle, 12 in (30 cm) in height, expanding clay and porcelain with glaze and screen printing, 2007.

it in his book, Mr. Wilson’s Cabinet of Wonders, Clayton Bailey perfected the art of investing his work with an air of authority through presentation in a museum setting, surrounding it with high-minded narration and didactic display materials. As Dr. Gladstone, Bailey spent the ’70s discovering “kaolithic” fossils (the fossilized bone has been mysteriously replaced by ceramic materials) throughout the US, including a miraculous Bigfoot skeleton unearthed in his backyard. Bailey’s home/studio in Port Costa, California, is the home to his Wonders of the World Museum. Investigations and experiments that date back to the early ’70s are displayed in an organized fashion throughout his studio compound. Ceramic gargoyles keep a watchful eye over the fence. The kiln yard is also packed with work, including his most recent “hyperthermic” experiments with native clay from a defunct Port Costa brick factory that (with a bit of alchemical help) bloats instead of shrinks when fired beyond its normal range. I paid a visit to Bailey’s studio just prior to the arrival of the art handlers and conservators from the Crocker to carefully pack up the exhibits for their temporary relocation to Sacramento.

www.ceramicsmonthly.org april 2012 43 Institute entitled “Inspired by Leonardo” that also featured other conceptual artists from California, including William T. Wiley and Chris Burden. A particularly mesmerizing example is Bailey’s 1993 Solar Pyrosphere, a large ceramic orb equipped with a lens that focuses the rays of the sun onto a wooden board inserted into it. As the sun traces its path in the sky, the lens slowly burns a path across the board, creating dramatic wisps of smoke and a pleasant campfire smell. Bailey’s workshop contains dozens of his robot sculptures, along with novelties like sonic pop guns that shoot corks and a set of squirting cups that Bailey successfully patented. His studio also houses countless machines that he has built—from one that authenticates the “kaolithic” fossils to coin-operated machines with esoteric functions like defeating Satan (presumably when enough coins have been deposited). The Crocker has done an admirable job of translating Bailey’s life’s work into a museum show. As he has proven throughout his career, his work shines most brightly when given a veneer of institutional authority, and the curators at the Crocker are only Squirt Cup Boxed Set, 12 in. (30 cm) in width, ceramic, 1984. too happy to oblige, dividing the more than 180 objects and bits of ephemera into three galleries complete with pedestals, vitrines, and a recreation of Dr. Gladstone’s desk, including his pith helmet The artist himself gave me a genial tour through his studio and and a few half-finished experiments. museum. At the age of 72, Bailey still cuts an imposing figure. No contemporary exhibition His signature mustache gives George Ohr’s facial hair a run for would be complete without an its money. Although he has lived with most of the work in his accompanying interactive exhibit museum for nearly 30 years, Bailey clearly enjoys playing docent, for children. Bailey certainly doling out hokum worthy of P.T. Barnum with a glint in his eye. delighted in helping to create In addition to his “kaolithic” fossil collection, the Wonders of Dr. Gladstone’s Wonderlab, the World Museum is full of devices and alchemical experiments which included four interactive that were showcased in a 1985 exhibition at the San Francisco Art stations that let children create

Left and above: Solar Pyroshere, 28 in. (71 cm) in height, stoneware with glass lens and wooden board charred by sun rays, 1993.

44 april 2012 www.ceramicsmonthly.org Right: installation view of clayton Bailey’s “kaolithic” fossil collection in the crocker Museum of art.

Below: Snake Oil Jug, 36 in (91 cm) in height, stoneware, 1990.

robots and otherwise channel their inner mad scientist. The Crocker has also released a lavish 135-page color catalog for the show, featuring an essay by curator Diana L. Daniels that will illuminate Bailey’s work for newcomers, but also delight the most jaded ceramic enthusiast. Clayton Bailey is a quintessentially American artist, perhaps the quintessential American artist. His whimsical use of elec- tronics and gadgetry prefigured the Maker movement. Bailey was exploring a “steampunk” aesthetic a full generation before the term was coined. His obsession with tabloid culture satirizes the smugness of America’s eternal willingness to embrace flim- flammery and doublespeak in lieu of scientific proof. Bailey has effortlessly incorporated performative and conceptual elements into his work throughout his entire career. Don’t be fooled by Bailey’s use of humor, his offbeat imagery, or his cavalier pursuit of his various whims. He has always taken his clay very seriously. Never content to merely gaze at his own navel in his studio, he creates context for his work—sometimes creating worlds within worlds to make sure that every conceptual angle has been covered. Bailey has always been obsessed with even the most minute details in his work, and the Crocker Museum has spun this attention to detail into an exhibition that should help secure the reputation of one of the modern era’s most important ceramic artists.

the author Garth Johnson is an associate professor at College of the Redwoods in Eureka, California. His weblog, www.ExtremeCraft.com is a compendium of art masquerading as craft, craft masquerading as art, and craft extending its middle finger.

www.ceramicsmonthly.org april 2012 45 Dark Chil D hooD Push Play: The 2012 NCECA Invitational by Matthew Kangas

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1 Clayton Keyes’ Bougie Putti, paper clay, glaze, paint, llama hair, and mixed media, 2011. 2 Margaret Keelan’s Hopscotch, 29 in. (74 cm) in height. Photo: Scott McCue.

Linda Ganstrom and Stefano Catalani’s curatorial theme of “push would have all works selected by one curator or juror, for their big play,” or the playful nature of ceramics, for the 2012 National annual conference show, it might have looked better, and had a Council on Education for the Ceramic Arts (NCECA) invitational clearer curatorial focus. All the same, there are treasures to be seen. exhibition on view at Bellevue Arts Museum (www.bellevuearts.org) Working closely with NCECA exhibitions director Ganstrom, a in Bellevue, Washington, through June 17 as part of the annual professor from Kansas, Bellevue Arts Museum director of curatorial conference, raises a number of provocative questions, but first off, affairs Catalani made his contribution through entry review, inclusions it’s worth noting that this is no longer a strictly invitational show. and exclusions, and, most importantly, design, layout, lighting, and After an initial number of invitations were made by Ganstrom, a wall labels. They are all up to his usual high standards. He mentioned general international call was sent out. Two hundred artists entered in an interview that together, he and Ganstrom oversaw the final selec- 2000 works. Less than 20 artists were selected. If only NCECA tion of 32 artists from 20 states, P.R. China, Sweden, and Germany.

46 april 2012 www.ceramicsmonthly.org 3 4

5 6 7

3 David Linger’s, Troikas, 1968, porcelain with intaglio and underglaze. 4 Tara Polansky’s If I Had Met My Grandma (detail), translucent porcelain lithophane, 2011. Photo: Brittney Denham. 5 Arthur González’s Service at the Villa, from the Cadence of Stupidity series, earthenware in low-fire reduction, 2000. Photo: John Wilson White. 6 Judy Fox’s Nkondi, terra cotta and casein paint, 2004. Courtesy P.P.O.W. Gallery, New York. 7 Kiki Smith’s Sitting and Thinking, porcelain, edition of 13, 2005. Courtesy Pace Prints, New York.

Installations are given as generous a space as is possible includ- González’s Service at the Villa (2000) is an ambiguous, medi- ing separate rooms, galleries, and corners. Smaller works, like the tative piece that employs a magical material, glass, which is not only functional work, a tea set by Yoko Sekino-Bove, are protected even acknowledged in the label. Glass is the 800-pound gorilla in in well-lit cases, as are individual sculptures such as Any Port in a the room. Seen in the Seattle area, where glass sculpture has long Storm by Derek Reeverts. supplanted ceramic, González’s illuminated orange globe is like a “Dark Childhood” might have been a better catchall exhibit title shimmering thought bubble. Margaret Keelan’s Hopscotch (2011) or subtitle. Of the 32 artists included, only five are widely known is intimate in scale (a child? a doll?) and employs her signature outside the ceramics field: Adrian Arleo, Judy Fox, Arthur González, weathered or aged-skin technique. Margaret Keelan, and Kiki Smith. Four of these deal with sinister, Sitting and Thinking (2005) by New York artist Kiki Smith is not to say creepy, aspects of childhood experience: memory, fears, my favorite piece. A seated girl smoothly emerges from a crudely hopes and desires. As beautiful as her work is, it’s hard to see why formed base—all porcelain—and captures the mythic beauty and Adrian Arleo’s Swan (2011) is included. It’s more an art-historical fairytale references of all Smith’s work. Fin-de-siècle Italian artist footnote to the influence of surrealism on West Coast ceramics than Medardo Rosso is a strong influence here. an example of “push play.” Every feather has an eerie eye peering out. Among the others, several installations stand out, for better or Fox’s two nude male children (Ayatollah and Nkondi, both 2004) worse. All combine other materials with clay, a “new” trend that has are in a darkened, spotlit gallery with other moody pieces such as been around for over 20 years (see Michael Lucero). What a Doll: Clayton Keyes’s reclining male nude child Bougie Putti (2011). The Human Object as Toy (2010) by Christine West hangs life-size With all three figures’ upstretched arms and solemn expressions, cloth-and-ceramic male figures on a wall and piles them in a heap on there is nothing playful about any of them. The child in the Keyes the floor. Judging from the title, like many works in the survey, its is holding a dead rabbit. conceptual baggage is heavier than its fairly straightforward execu-

www.ceramicsmonthly.org april 2012 47 2

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1 Chris Staley’s Sixteen Cups Sixteen Metaphors —Self-Portrait, stoneware with glaze and photograph, 2011. Photo: Laura MacLean. 2 Mark Chatterley’s Nave, stoneware with crater glaze, 2010. 3 Adrian Arleo’s Swan, Awareness Series, handbuilt low-fire clay, glaze, 2011. Photo: Chris Autio.

tion. West uses the wall and floor to extend volume, but the piece Least successful, Come Undone (2012) is, according to artist Beth doesn’t really occupy space like the best installation art does. Still, Cavener Stichter, “a portrait of my secret selves,” but in reality, it the ceramic and cloth cohere in a convincing way. Nave (2010) by is a giant, propped-up wolf spewing scads of pink satin refuse on Mark Chatterley is even bigger, with four rows of stacked male nudes the museum floor. Dark indeed, Stichter’s vision strains to “reclaim in a C-shape formation, huddling around a tiny rabbit. The largest femininity,” but fails on most levels. How the wolf is a symbol of and best installation, Nave uses clay to accumulate a volume that femininity is unclear and the combination of ceramic and cast-off carries his vision especially well. Similar, but far more grotesque, The pink cloth does not hold up. Stichter’s vision has exceeded her mate- Captains Congress (2011) by Berlin resident Anne Drew Potter may rial grasp, perhaps due to its intense subjectivity and overwrought be about childhood bullying. Thirteen malformed nude children psychological origins. The flip side of Connole’sScamper , Rebekah sit in a circle and wear hats of folded newspapers, as if at a birthday Bogard’s lurid installation, Gravitational Pull (2008), juxtaposes party. Outside the circle, a life-size girl sits on a pile of wooden crates, reclining striped lizards with five-pointed pink vulvular construc- awaiting their judgment. Potter’s conglomeration commands its tions on the floor. Two- and three-part bulbous totems encircle the space, drawing the viewer into a secret, horrid world. More benign, whole display. Similarly confused, Bogard’s amalgamation attempts Scamper (2010) by Kelly Connole cleverly toys with two- and three- to blend reptiles with female sexual symbolism in an uneasy mar- dimensional space. Twenty-one rabbits partially or fully emerge from riage. The connection among the elements—totems, creatures, and a white wall with drawings of underbrush. More lively and animated floor-based genitalia—does not gel. than its morbid associates, Scamper looks remarkably dynamic and Somewhere in between, Charlie Cummings’ Returning the not at all corny or cute, considering its cuddly critters. Light (2011) is one of two works that use electronic media to an

48 april 2012 www.ceramicsmonthly.org effective, if not playful, end. Using what he calls “ceramic monoprints,” Cummings projects video imagery over seven ceramic innertubes and onto more than two dozen white rectangles with scenes of vacations in the springs of northern Florida. Tara Polansky’s If I Had Met My Grandma (2011) employs another hybrid of ceramics and printmaking, the “porcelain lithophane.” Light is projected onto a suspended thin sheet of porcelain that has an embossed photo-image of grandmother and granddaughter. Haunting, powerful, and evanescent, Polansky’s and Cummings’ entries find the outer limits of ceramic technique and point toward a future for clay sculpture brighter than the regressive, infantilizing strategies used in many of the other works. Two other artists using photography attract attention. David Linger’s Troikas 1968 (2011) is a five-panel porcelain photo scene of Russian horses and sleigh. This was done first, and perhaps better, by glass artists on glass years ago, but Linger’s segmented scenes chop up memory into fragments, the way we actually experience it. Finally, Chris Staley’s attempts to go conceptual may bear further scrutiny and exploration. Sixteen Cups Sixteen Metaphors—Self-Portrait (2011) may be a satire on Richard DeVore’s “vessel as metaphor” trope from the 1980s. At least it tries to pack in a lot; in the four-shelf box, each shelf has four informally constructed types of containers. Framed beneath the gray, filled shadow box is a photograph of Staley’s frowning head and shoulders drenched in liquid clay. The child is displayed with his toys above. Tightly cropped like a “wanted” poster, Staley’s self-portrait sums up all the contradictory delights and pitfalls of ceramics today and may comment inadvertently on an NCECA invitational-and-juried show that can’t make up its mind either. This kind of indecision about status and symbol is not an entirely bad place for contemporary ceramics to be. 4

In fact, what’s heartening and challenging about “Push Play” is its 4 Charlie Cummings’ Returning to the Light, porcelain, earthenware refusal to follow a traditional functional or sculptural dichotomy. and video projection, 2011. Photo: Randy Batista. 5 Anne Drew Potter’s The Captains Congress, stoneware, wood, acrylic, Far beyond the 1980s fusion of both in the form of “vessel as newsprint, 2011. 6 Rebekah Bogard’s, Gravitational Pull, from the metaphor” or “gallery vessels,” as potter critic Rob Barnard called Twilight series, earthenware, 2008.

5 6

www.ceramicsmonthly.org april 2012 49 1

1 Beth Cavener Stichter’s Come Undone, stoneware and mixed media, 2012. Courtesy Claire Oliver Gallery, New York. Photo: Doug Yaple. 2 Christina West’s What a Doll: The Human Object as Toy (detail), slip-cast and glazed ceramic cone 6 oxidation, 2010. Photo: Colin Conces. 3 Kelly Connole’s, Scamper, ceramic, stains, glazes and drawing, 2010.

them, contemporary ceramic artists in Bellevue take on social and personal issues through the use of myth and symbol, allusion and reference. Though sometimes shaky and incon- clusive, such approaches bode well for the coming decade.

the author Matthew Kangas, frequent contributor to CM, was the sole juror for the San Angelo Ceramic National in 2000 and “Clay on the Wall” at Texas Tech University in 2007. 2 He lives in Seattle.

50 april 2012 www.ceramicsmonthly.org

Taken into

Contextby Keith J. WilliaMs

Some years back I ran across the work of Richard Cooter in the Angry Trout Restaurant on Lake Superior’s North Shore. His solid, wood-fired bottles were new to my experience, but what also impressed me was how they enhanced my dining experience haven been taken into the restaurant context. Currently, Macalester College in St. Paul, Minnesota is redoing its art building which has forced the art gallery (www.macalester.edu/gallery) into a unique interim space. Their gallery schedule will be housed in a converted, turn- of the-century, stucco, duplex house for a little over a year. The house, retaining its domestic architectural elements, features two living room areas, two dining rooms, and two bedrooms, one set on each floor. Like many university galleries, Macalester often selects exhibitions based on media that are taught in the department. Their fall 2010 clay show, “Clay Dwelling,” has reminded me of what context can do for ceramic art and what ceramic art can do for context. The concept for the show came from Greg Fitz, the gallery director, who asked

Mika Negishi Laidlaw’s Correlation 3, 23 in. (58 cm) in height, slip-cast porcelain, fired to cone 5, 2011.

www.ceramicsmonthly.org april 2012 51 Macalaster College ceramics professor Gary Erickson to suggest cals as well as decals designed by Erickson himself. Ceramic tiles other ceramic artists to exhibit work to respond to such a unique are, of course, comfortable in kitchens and baths as well as floors gallery setting in different ways. of many homes. On the living room walls Erickson’s were, at once, Along with Erickson, the five regional artists invited to exhibit comfortable and arresting. The natural light coming through the included Kelly Connole, Adam Gruetzmacher, Kate Maury, Mika window in the afternoon that crossed the tiles added to the visual Negishi Laidlaw, and Todd Shanafelt. Each artist was given their experience, but also highlighted the contrasting experiences of own room and brought different approaches to the use of clay. The daily life in Chinese culture as seen by an American artist. A subtle functional nature of some approaches lent themselves naturally to connection between context and artwork is that late 19th century the environment, while other more sculptural or environmental Arts and Crafts architecture often featured Asian influences, even pieces added rich elements to the experience. focusing on the gingko motif with some frequency. With six very different artists in separate rooms and on two A gentle open arch leads from the downstairs living room to floors, the domestic space created a surprisingly unified exhibition. the dining room where the work of Kate Maury was featured. Clay’s many functions and histories in home environments helped Her work at first glance seemed purely sculptural, but one soon the viewer relate to tiles juxtaposed with sculptures, vessels, and discovered that it is functional in a most ornamentally adorned even an installation. Additionally, the domestic architecture added manner. The work is intentionally beautiful. Ornate centerpieces, layers of interpretation to the sculptural pieces. called epergnes, held bouquets of flowers or candles that were as Erickson was invited to show his tile work and his perfectly flat carefully chosen as the clay objects were composed, so that quiet, 2×4-foot white earthenware tile images greeted the viewer enter- balanced discourse could take place between the organically-formed ing the show. Small by Chinese standards, the work described a clay and the purely organic. The work was created using very dry as- personal view of Chinese life through his lenses. His rich imagery sembly techniques and also employed mold-made elements thanks featured a gingko leaf motif embossed into the clay, layered with to fellow Northern Clay Center artist, David Swenson. Maury’s stenciled images of ubiquitous Chinese cultural icons or Chinese history is as a potter who loved decorating her objects. According individuals. The layering was further developed with Chinese de- to her, “Now the decoration has become the object.” But as techni-

Kate Maury’s Blue Bud Epergne (left), 15 in. (38 cm) in height, handbuilt porcelain, fired to cone 6 oxidation; Grotto (For Marie), collaboration with David Swenson (center), 24 in. (61 cm) in height, handbuilt porcelain, fired to cone 6; Yellow Bud Epergne (right), 11 in. (28 cm) in height, handbuilt porcelain, fired to cone 10; and detail of Blue Bud Epergne (inset), all are 2011.

52 april 2012 www.ceramicsmonthly.org Gary Erickson’s My Eyes that See (left), 4 ft. (1.2 m) in height, and Meditation (right), 42 in. (1.1 m) in height, both are white earthenware, underglaze decals, and glaze, fired to cone 05, 2011.

cally striking as the work is, the viewer was most engaged by how comfortable these pieces were in the domestic setting. Functional art adornments that women in many cultures traditionally collect to shape their home environments, like embroidery, or jewelry, or porcelains inform Maury’s work. The Grotto piece, framed by two epergnes, occupied a location in the dining room where the hutch for porcelains might have once been, echoing the history of the house and the people who once built it and lived in it. Again in Maury’s words, “It is natural for me that my pieces are not meant to live in a gallery.” Mika Negishi Laidlaw exhibited sculptures of stacked ceramic pillows, appropriately located in the downstairs bedroom. Early on, these pieces investigated how Negishi Laidlaw’s parents and grandmother nurtured her in her youth. Now that she is a mother, the comfortably nestled eggs represent her own children. The gentle fabric effects of the clay cloth of the pillows feels warm and very much at home, but again the setting of the pieces near the window looking out onto a snow covered tree on the evening of the opening made the nurtured egg references even more poignant. Negishi Laidlaw also observed that seeing her work in this unique environment made her understand the extended lives Adam Gruetzmacher’s serving set with bowls,12 in. (30 cm) in length, of her sculptures once they have been purchased from traditional pitcher, 10 in. (25 cm) in height, split container, 11 in. (28 cm) in height. All gallery settings. are earthenware with slip and glaze, fired to cone 1 in an electric kiln, 2011.

www.ceramicsmonthly.org april 2012 53 Above left and detail at right: Todd Shanafelt’s Obscure Reality, 20 in. (51 cm) in height, earthenware, fired to 2100°F (1149°C), wood, metal, and rubber, 2010. Above right: Adam Gruetz- macher’s ewer, 9 in. (23 cm) in height, earthenware with slip and glaze, fired to cone 1 electric, 2011.

The upstairs living room setting housed the sculptural work of Todd Shanafelt who is Negishi Laidlaw’s colleague at Minnesota State Univer- sity—Mankato. Some years ago his works, which at once feel familiar and then slightly off-kilter, represented nostalgia for he and his father working together in the garage or objects as well as imagine their potential uses. The vessels begged to workshop at home. These domestic construction projects resulted be read as forms as well as functional objects. The use of pedestals not only in objects, but in lasting family relationships. Like instead of table top display was a heady choice to maintain the Negishi Laidlaw, his work has also morphed as he has become a educational feel of a university gallery. The balance between home parent. The pieces now investigate the children we are ‘building’ and gallery space was particularly apparent in exhibiting pottery in our homes. The questionable construction material that mass and Gruetzmacher’s vessels had more than enough presence to media brings into our lives is part of the food that influences command their chosen room and work on many levels. our young families. The nearly familiar icons were emotionally Balance was immediately unsettled as one transitioned from the askew in the works and Shanafelt thinks the tiny rooms of the dining room vessels into the final bedroom holding Kelly Con- home/gallery were ideal for his content because media now comes nole’s sculptural installation. The matte black crows tending to directly into our homes. the generous floor nest with its equally large golden eggs struck a The only pottery in the exhibition was Adam Gruetzmacher’s, disquieting chord in contrast to the tiny eggs of Negishi Laidlaw’s found in the second dining room. Pottery exhibited in home works. The nest represented an ironic bedroom within a bedroom environments has a familiar feel, (at least here in ‘Mingeisota’, adding a dream-like quality to the work which was amplified as where holiday sales abound). This room was curated to maintain one became aware of the rest of the murder of crows that emerged the look of an exhibition, rather than a sale. The sophistication of from the interior walls into our periphery. Like distant childhood Gruetzmacher’s neo-modernist, geometric abstraction of the ves- memories, they seemed to fly through the house itself, aimed sel form allowed the viewer to appreciate the works as sculptural either for our space, or the dark tree outside, or beyond—into

54 april 2012 www.ceramicsmonthly.org imagination. The familiar setting of a bedroom that might have ) been from our childhood made the large installation personal, intimate, and shared. Hitchcock was evoked as easily as Sandy ANieLS .CoM Skoglund’s bedroom installation photographs, or children’s day- TTP://BRAD D dreams of free flight or the fabled promise of those golden eggs. h Mr. Fitz talked about how the nature of the pieces self- ANieLS ( selected their rooms and even placements in a way that other media shown in the house have not. Vessel oriented pieces in the : B RAD D dining room made sense, but even sculptural and installation ho ToS LL P work seemed to speak loudly for the rooms that housed them. A What was so striking was that the space itself spawned many more rich allusions and conversations than the work might have produced in a gallery. In this context the works made unexpected references and had unusual conversations with each other and the alternative environment. All six artists’ works reached out to the context whereas the job of a traditional gallery is to erase contextual experience to feature the work. With the long history of clay in domestic environments ceramic art often does well when taken into context. the author Keith J. Williams has been working in ceramics since 1973 and has been teaching ceramics, drawing and art history at the university level since 1989. Along with currently serving as the Above: Todd Shanafelt’s Upside/Downside, 20 in. (51 cm) in height, earthenware, nylon, flocking, 2011. Below: Kelly Connole’s Murder with President of The National Council on Education for the Ceramic a Red Nest, 9 ft. (2.7 m) in length, cone 6 sculpture clay, underglaze, Arts (NCECA), Keith finds time to sing and play jazz—and he golfs. stain, glaze clay, sand, twigs, wool, 2011.

www.ceramicsmonthly.org april 2012 55 2012summer workshops summer workshops 2012

1 2

1 Workshop presenter Christa Assad discusses handbuilding techniques with participant Leah Steinberg. 2 Adrienne Heinbaugh attaches a spout to a teapot. Images 1–2 taken during summer workshops at Anderson Ranch Arts Center, Snowmass Village, Colorado.

Alabama, Fairhope Directions,” with Paul Lewing (July 23–27). niques,” with Bill Van Gilder (June 25–29). Bebe Alexander, Arvada Center for Arts “Handles, Lids, and Spouts,” with Fee: $450. Contact Arkansas Craft School; Fee: $495. “Sticks and Stones: Low-fire and Humanities; [email protected]; Maria Spies (August 3–4). Fee: $225. [email protected]; 870-269-8397; Atmospheric Firing Techniques,” with www.arvadacenter.org; 720-898-7239. Contact Melinda Hicks, Eastern Shore www.arkansascraftschool.org. Christopher Kelly and Preston Saunders Colorado, Arvada Art Center; [email protected]; California, Idyllwild (July 2–6). Fee: $575. “Alternative Firing: “A Formal Tea Ceremony (Chaji),” with www.esartcenter.com; 251-928-2228. “Hot Clay: The Figure,” with Linda Saggar Firing and Fuming,” with James Kazu Oba (June 2–3). Fee: $100. “Carve! Alabama, Fairhope Ganstrom (June 24–30). Fee: $680. “Hot C. Watkins (July 9–13). Fee: $560. “Col- Incise! Resist!,” with Ann Fremgen (June laboration: From the Wild to the Woods,” “The Moment of Contact: Handbuilding Clay: Focus on Form and A Hint of Soda,” 9–10). Fee: $100. “Exploring Cone 6 with Scott Parady and Jason Walker (July and Raku,” with James Brooke (June with Jeff Oestreich (June 24–30). Fee: $680. Glazes,” with Donna Kitchens (June 16–20). Fee: $560. “Utilitarian Sculpture 16–19). Fee: $310. “Soda Pop: Surface “Hot Clay: The Art of Majolica/Painted 30–July 1). Fee: $100. “Scratching the Sculptural Utility,” with Doug Browe Embellishment and Cone 6 Soda Firing,” Pots,” with Posey Bacopoulos (June 24–30). Surface,” with Cristine Boyd (August (July 30–August 3). Fee: $450. “Nature with Lori Phillips (July 20–23). Fee: $310. Fee: $680. “Hot Clay: Glazes Demystified 4–5). Fee: $100. “3rd Annual Exttruder Tradition: Cultivating Inspiration,” with “Transforming the Potter into the Wheel: + Textures + Tools,” with Richard Burkett Extravaganza,” with Donna Kitchens (Au- Adam Field (August 13–19). Fee: $570. Wazumi Coil Building Large Pots,” with (July 1–7). Fee: $680. “Hot Clay: Porcelain gust 18–19). Fee: $100. Contact Connie “Sensuous Encounters: Designing En- Chris Kelly (August 11–12). Fee: $150. Tableware,” with Silvie Granatelli (July Christensen, Arvada Ceramic Arts Guild; gaging Forms,” with Gwendolyn Yop- Contact Susie Bowman, The Kiln Studio 1–7). Fee: $680. “Cahuilla Indian Pottery/ [email protected]; 303-423- polo (August 27–31). Fee: $560. Contact and Gallery; [email protected]; Paddle and Anvil Method,” with Tony 0448; www.arvadaceramicarts.org. Derek T. Hambly, Mendocino Art Center; www.thekilnstudio.com; 251-517-5460. Soares (July 2–6). Fee: $680. “Mata Ortiz Colorado, Bayfield Pottery,” with Jorge Quintana (July 9–14). [email protected]; “Raven Ridge Anasazi Pottery,” with Clint Alabama, Silverhill Fee: $680. “Hopi Pottery,” with Mark www.mendocinoartcenter.org; 800- “Taking the Fear Out Of Mixing Glaze,” Swink (August 13–18). Fee: $1300. Contact Tahbo (July 9–14). Fee: $680. “Ceramics: 653-3328. with Maria Spies (June 9–10). Fee: $180. Clint Swink, Swink Art; [email protected]; The Ways of Clay,” with Greg Kennedy, California, Nevada City “Raku Firing,” with Maria Spies (June www.swinkart.com; 970-563-4624. David Delgado (July 9–20). Fee: $1360. “Architectural Ceramics with Peter King,” 23). Fee: $50. “Saggar Firing Tech- Contact Diane Dennis, Idyllwild Arts Sum- with Peter King and Xinia Marin (June Colorado, Denver niques,” with Maria Spies (July 14–15). mer Program; [email protected]; 18–22). Fee: $850. Contact Rene Sprattling “Flat, Form, Function: Handbuilding Func- Fee: $140. Contact Maria Spies, Maria www.idyllwildarts.org/summer.aspx; 951- and Brad Carter; [email protected]; tional Pots,” with Sandi Pierantozzi (June Spies Pottery; [email protected]; 659-2171. www.studio540.net; 530-277-1510. 2–3). Fee: $250. Contact Jonathan Kaplan, www.maria-pots.com; 251-689-8869. California, Long Beach California, Ojai Plinth Gallery; [email protected]; www.plinthgallery.com; 303-295-0717. Arizona, Flagstaff “The Figure/Work Intensive,” with Cristina “Luster Glazes Unveiled,” with Myra “Woodfire Workshop,” with Jason Cordova, Gerit Grimm, Myungjin Kim, Tae- Toth (June 14–17). Fee: $575. Contact Colorado, Lakewood Hess (July 23–August 3). Fee: $1100. hoon Kim, Chris Miles, Beth Cavener Stich- Kevin Wallace, Beatrice Wood Cen- “Pottery Pit Firing,” with Sumi von Contact Jason Hess, Northern Ari- ter, Tip Toland, Matt Wedel, and Sunkoo ter for the Arts; [email protected]; Dassow (June 23). Fee: $40. “Pit and zona University; [email protected]; Yuh (July 2–11). Fee: $1000. Contact Tony www.beatricewood.com; 805-646-7752. Saggar,” with Bob Smith and Sumi von www.nau.edu/ceramics; 928-699-8984. Marsh, California State University-Long California, Sunnyvale Dassow (August 4–18). Fee: $90. “Wood Arizona, Tucson Beach-Ceramics; [email protected]; “Throwing Large Textures,” with Bob Firing,” with Sumi von Dassow (August “Developing Ceramic Surface,” with www.art.csulb.edu; 562-985-4359. Kinzie (June 9). Contact Orchard Valley 26). Fee: $40. Contact Washington Vince Pitelka (May 30–June 3). Fee: California, Mendocino Ceramic Arts Guild; [email protected]; Heights Center; [email protected]; $390. Contact ArtiFacts Clay and “The Character of a Pot,” with Josh De- www.ovcag.org; 406-295-3352. www.lakewood.org; 303-987-5436. Studio; [email protected]; Weese (June 4–8). Fee: $540. “Sculpture Colorado, Arvada Colorado, Masonville www.artifactstudio.blogspot.com; 520- from the Wheel,” with Anne Currier (June “Surface Development,” with CJ Jilek (June “Anasazi Pottery of Colorado Workshops,” 825-7807. 11–15). Fee: $580. “Celadon, Capital, 23–24). Fee: $160. “Overcoming Brown with Gregory Wood (June 1–July 20). Arkansas, Mountain View Carbon, and Consciousness,” with Sam and Round,” with Rita Vali (July 28–29). Fee: Fee: $80. Contact Gregory Wood, Adams “Slip Decorating on Clay,” with Judi Munn Clarkson (June 18–22). Fee: $510. “The $160. “Glazed and Confused,” with Mark State College; [email protected]; (July 22). Fee: $50. “China Painting: New Functional Pot: Tips, Tools, and Tech- Rossier (August 11–12). Fee: $90. Contact www.ancientarts.org; 970-316-2787.

56 april 2012 www.ceramicsmonthly.org Colorado, Pagosa Mendes (June 8–10). Fee: $325. “Paul Shaw, and Holly Walker (July 13). Fee: $150. Montana, Helena Springs/Durango Andrew Wandless: Clay, Printmaking, and Contact Reeder Fahnestock, Watershed “Relief Tile Design and Production,” with “Anasazi Pottery at Chimney Rock Raku Hands-on,” with Paul Andrew Wand- Center for the Ceramic Arts; 207-882- Richard Notkin (May 28–June 1). Fee: Archeological Area,” with Gregory less (August 3–5). Fee: $325. Contact Luba 6075; [email protected]; $525. “Plaster Moldmaking/Ceramic Wood (August 3–5). Fee: $175. Con- Sharapan and Erik Haagensen, MudFire www.watershedceramics.org. Casting—Session 1,” with Richard Not- tact Gregory Wood, Adams State Clayworks & Gallery; [email protected]; Maryland, Arnold kin (June 18–29). Fee: $975. “Plaster College; [email protected]; www.mudfire.com; 404-377-8033. “Slabs, Slabs, and More Slabs: Creating Moldmaking/Ceramic Casting—Session www.ancientarts.org; 970-316-2787. Idaho, Ketchum Platters, Square Bowls, Footed Plates, 2,” with Richard Notkin (July 30–August Colorado, Snowmass Village “To Cast or Not to Cast,” with Marilyn Lyso- and Fine Bistro,” with Jayne Shatz 10). Fee: $975. Contact Richard Notkin, Richard Notkin Moldmaking Institute; “Thinking Through Making,” with Sam hir (August 3–5). Fee: $250. Contact Susan (June 9–6). Fee: $75. “Spouts, Stems, [email protected]; 406-442-4382. Harvey and Alleghany Meadows (June Ward, Boulder Mountain Clayworks; 208- and Pedestals: A Prototype of Form,” 4–15). Fee: $1075. “Cold Surface Alter- 726-4484; [email protected]; with Jayne Shatz (July 14). Fee: $75. Montana, Missoula natives,” with Tyler Lotz (June 4–8). Fee: www.bouldermtnclay.com. Contact Jayne Shatz, Jayne Shatz Pot- “Local Clay: Can You Dig It?,” with David $1025. “The Animal Form,” with Russell Illinois, Chicago tery; 410-757-6351; [email protected]; Peters (June 30–July 1). Fee: $185. “Alluring Wrankle (June 11–22). Fee: $1375. “Wood- “Plaster on Plaster: Prototyping and Mold- www.jayneshatzpottery.com. Surfaces: Tricks and Techniques,” with Da- fired Pots: Ideas and Making,” with Linda making Systems for Function, Sculpture, Maryland, Frederick vid Regan (July 21). Fee: $100. “Achieving Christianson (June 18–29). Fee: $1375. and Installation,” with Heather Mae “East Asian Coil Technique,” with Joyce New Forms: Assembling Parts,” with Seth “Spoken Figures,” with Debra Fritts (June Erickson (July 14–15). Fee: $125. “Pot- Michaud (June 2–3). Fee: $175. “Wheel,” Green (August 4–5). Fee: $185. Contact 25–July 6). Fee: $1375. “Manipulating tery as Expression,” with Josh DeWeese with Brad Birkhimer (June 18–28). Fee: Jill Oberman, The Clay Studio of Missoula; Form, Discovering Surface,” with Lorna (August 11–12). Fee: $125. Contact $700. “Ceramic Sculpture,” with Joyce [email protected]; Meaden (July 2–13). Fee: $1375. “Ceramic Emily Schroeder, Lillstreet Art Center; Michaud (June 18–29). Fee: $700. “Throw- www.theclaystudioofmissoula.org; 406- Head Constructions,” with Stan Welsh [email protected]; www. ing Large Forms,” with Kevin Crowe (July 543-0509. (July 9–20). Fee: $1375. “Mixed-media lillstreet.com/department/visiting-artist- 9–14). Fee: $700. “Masters’ Throwing Nevada, Incline Village Ceramic Sculpture,” with Angelica Pozo workshop; 773-769-4226. II,” with Joyce Michaud (July 19–22). “Volumetric Image Transfer: A New Twist (July 16–27). Fee: $1375. “Impossible Illinois, St. Charles Fee: $300. “Masters’ Throwing,” with on Surface Decoration,” with Forrest Lesch- Projects: Envisioning Art on a Grand Scale,” “Exploring Naked Raku,” with Wally Joyce Michaud (August 2–5). Fee: $300. Middelton (June 4–8). Fee: $630. “Altering with Kim Dickey (July 23–August 3). Fee: Asselberghs (June 29–30). Fee: $255. “Glaze Application,” with Joyce Michaud Forms on the Wheel,” with Dick Lehman $1375. “Drawn to Fauna,” with Ayumi Contact Adam Robersmith, The Fine Line (August 11–12). Fee: $175. “Understand- (June 11–15). Fee: $630. “Altering and Horie (July 30–August 10). Fee: $1375. Creative Arts Center; [email protected]; ing Pottery Glazes,” with Phil Berneburg Carving Porcelain and Celadons,” with “Handbuilt Vessels,” with Andrea Gill www.fineline.org; 630-584-9443. (August 18–19). Fee: $175. Contact Karen Amy Kline (June 18–22). Fee: $630. “Paint- and John Gill (August 6–17). Fee: $1375. Taylor, Hood College; [email protected]; ing with Clay,” with Sharon Virtue (June “Painted Plates and Tiles,” with Holly Iowa, Strawberry Point www.hood.edu/ceramics; 301-696-3526. “Woodfiring Ceramic Work- 23–24). Fee: $290. “Fast Fired Pottree,” Hughes (August 13–17). Fee: $1025. “Fire Minnesota, Grand Marais with Randy Brodnax and Don Ellis (June Up!,” with Jan McKeachie Johnston and ship,” with Mike Knox (June 2–8). Fee: $300. Contact Knox Studios 2; “Wood-fire Raku,” with Dorian Beaulieu 25–29). Fee: $630. “Altered Pots,” with Randy Johnston (August 13–24). Fee: (July 20–22). Fee: $313. “Japanese Clay Tara Wilson (July 9–13). Fee: $630. “Japa- $1375. “Exploring Pottery Form and Sur- [email protected]; 563-608- 5997; www.mikeknoxstudio.com. Techniques,” with JD Jorgenson (July nese Throwing and Slip Decoration,” with face,” with Gail Kendall (August 20–31). 28–29). Fee: $172. “Adventures in Wheel- Gregory Hamilton Miller (July 16–20). Fee: summer workshops 2012 Fee: $1375. “Coil Building,” with Takashi Maine, Deer Isle throwing,” with Dorian Beaulieu (August $630. “Make Your Mark: Brushmaking,” “Working to Make the Pots You Want Nakazato and Ralph Scala (August 27–31). 6–10). Fee: $505. “Majolica Tile: Explore with Glenn Grishkoff (July 21–22). Fee: to Make,” with Scott Goldberg and Gay Fee: $1025. Contact Anderson Ranch Arts the World of Color,” with Karin Kraemer $290. “Gesture and Meaning: The Figure Smith (May 27–June 8). Fee: $820. “The Center; [email protected]; (August 18–19). Fee: $162. “Ceramic Tea- in Conversation,” with Michele Gregor, Sensory Language of the Hand: Build- www.andersonranch.org; 970-923-3871. pots,” with JD Jorgenson (August 25–26). Susannah Israel (July 23–27). Fee: $630. ing and Glazing with Earthenware,” Connecticut, Canton Fee: $170. Contact Amy Demmer, Grand “The Figure that Walked the Earth,” with with Holly Walker (June 10–22). Fee: “Clay Baskets, Extruded and Hand Built,” Marais Art Colony; [email protected]; Arthur Gonzalez (July 30–August 3). Fee: $820. “Testing Theories: Models and with Gail Sellers, Phil Sellers (July 22). Fee: www.grandmaraisartcolony.org; 218- $630. Contact Sheri Leigh O’Connor, Sierra Prototypes,” with Paul Sacaridiz (June $125. “Ash, Flash, and Fire: Firing a Nabor- 387-2737. Nevada College; [email protected]; 24–July 6). Fee: $820. “Risk, Learning, agama with Wood and Salt,” with Tim Scull www.sierranevada.edu/workshops; 775- and Creativity,” with John Bielenberg, Mississippi, Natchez (July 27–29). Fee: $435. “Wheel Throwing 881-7588. Judith Burton, Liz Lerman, and Sugata “Dynamic Pieces for the Tabletop,” with Clinic,” with Tim Scull (August 18–19). Annie Chrietzberg (June 23–24). Fee: Nevada, Las Vegas Fee: $225. Contact Canton Clay Works; Mitra (July 8–12). Fee: $365. “Creative $150. “Thinking Outside the ‘Smooth’,” “Sculptural Shinos,” with Tom Coleman [email protected]; 860-693- Throwing,” with Takeshi Yasuda (July with Rachael DePauw (July 21–22). (June 4–10). Fee: $1000. “Altering and 1000; www.cantonclayworks.com. 15–27). Fee: $820. “The Dimensional Figure,” with Andrea Keys Connell (July Fee: $150. Contact Donna Jones, Nat- Carving Porcelain and Celadons,” with Connecticut, Putnam 29–August 10). Fee: $820. “Exploring chez Clay; [email protected]; Amy Kline (July 16–20). Fee: $630. “Strictly “Form and Contrast: Exploring Porcelain Sculptural Ideas,” with Anton Reijnders www.natchezclay.com; 601-807-9797 or Functional,” with Tom Coleman (August and Stoneware Together,” with Tom (August 12–24). Fee: $820. “Making 601-660-2375. 1–5). Fee: $750. Contact Amy Kline, O’Malley (June 2–3). Fee: $135. “Complex It Work: The Pots and Life as a Studio Missouri, Ellsinore Pottery West; [email protected]; Surface Design on Simple Forms,” with Potter,” with Sarah Jaeger (August “Pottery Online,” with David Porter (June www.potterywest.com; 702-685-7573. Ruchika Madan (July 7–8). Fee: $155. 26–September 1). Fee: $435. Contact 4–7). Fee: $300. “Clay Shapes in the Spirit of New Jersey, Belvidere “Abstracting the Vessel,” with Kate Og- Haystack Mountain School of Crafts; Bonzi,” with David Porter and Marcus Bush “Clay Pitch,” with Brian Ransom (June gel (August 18–19). Fee: $155. Contact [email protected]; (June 8–10). Fee: $200. “Firing a Big Wood 23–24). Fee: $250. “Hands-on Paper Sawmill Pottery; [email protected]; www.haystack-mtn.org; 207-348-2306. Kiln,” with David Porter (June 18–28). Fee: Clay,” with Rosette Gault (July 7–8). www.sawmillpottery.com; 860-963-7807. Maine, Monroe $450. Contact David Porter, Raven Center Fee: $250. Contact Peter Callas, Peter Connecticut, South Kent “Introduction to Pottery,” with Squidge L. for the Arts; [email protected]; Callas Studio; [email protected]; “Gay Smith Workshop,” with Gay Smith Davis (June 15–17). Fee: $500. “Summer www.ravencenter.org; 573-998-2611. www.petercallas.com; 980-475-8907. (June 16–17). Fee: $200. “Michael Kline Solstice Side-by-side,” with Squidge L. Missouri, Independence New Jersey, Layton Workshop,” with Michael Kline (July Davis (June 22–24). Fee: $500. “Process “Atmospheric-like Effects for Electric 14–15). Fee: $200. “Kathy King Work- “The Allure of the Altered Pot,” with Immersion: the Full Cycle,” with Squidge Firing,” with Steven Hill and Mike Stum- Susan Beecher (June 1–5). Fee: $600. shop,” with Kathy King (August 3–5). Fee: L. Davis (June 29–July 4). Fee: $900. “Ges- bras (June 1–4). Fee: $350. Contact Kim $200. Contact Alison Palmer, The Alison “China Painting: New Directions,” with ture into Form: Chikung and Clay,” with Walsh, 323 Clay; [email protected]; Paul Lewing (June 8–12). Fee: $575. Palmer Studio; [email protected]; Squidge L. Davis (July 27–29). Fee: $500. www.323clay.com; 816-853-9620. www.alisonpalmer.com; 860-927-4680. “Surface Textures: Personal and Lively,” “Teltane Celebration: Sorting the Seeds,” Montana, Helena with Susan D. Harris (June 15–19). Fee: Georgia, Cave Spring with Squidge L. Davis (August 3–5). Fee: “Become a Master of Plaster,” with $575. “Woodfiring in the Noborigama “Cave Spring Pottery Workshop,” $500. Contact Squidge L. Davis, Starflower Nicholas Bivins (June 1–3). Fee: $325. Kiln,” with Tara Wilson (June 22–26). Fee: with John Johnston (August 15–18). Farm & Studios; [email protected]; “Mash and Mingle: Exploring Form and the $600. “Developing Form and Surface,” Fee: $150. “Cone 6 Studio Methods: www.starflowerfarmstudios.com; 207- Decorative Impulse,” with Liz Quackenbush with Brenda Quinn (June 29–July 3). Fee: Wheel, Slab, Extruder,” with John 525-3593. (June 11–22). Fee: $750. “New Forms to $590. “Familiar Beginning: Mysterious Johnston (August 15–18). Fee: $150. Maine, Newcastle Finish: Soda Firing,” with Brad Schwieger End,” with Matt Kelleher (July 6–10). Contact John Johnston, Cave Spring “Invite + Ignite Demonstrations,” with (July 9–13). Fee: $475. “Cut and Construct Fee: $615. “Exploring the Proportions of Arts Center; [email protected]; Barry Bartlett, Eddie Dominguez, Lynn Intensive,” with Christa Assad (August the Teapot Form,” with Fong Choo (July www.burtonvision.com; 706-777-8546. Duryea, Chris Gustin, Patrick Loughran, 24–26). Fee: $325. Contact Emily Free 13–17). Fee: $565. “Build a Fast Fire Kiln Georgia, Decatur and Don Reitz (July 12). Fee: $150. “In- Wilson, Archie Bray Foundation for the and Fire it Fast,” with John Dix (July 20–24). “Just Add Color: Imagery, Color, and vite + Ignite demonstrations,” with Scott Ceramic Arts; [email protected]; Fee: $610. “Firing Cone 10 Electric Glazes Terra Sig Intensive Hands-on,” with Jenny Chamberlin, Annabeth Rosen, Richard www.archiebray.org; 406-443-3502. in Oxidation,” with Ryan J. Greenheck (July

www.ceramicsmonthly.org april 2012 57 27–31). Fee: $575. “Majolica,” with Linda City Clay Festival; [email protected]; New York, Port Chester Studio Stew,” with Catherine White (June Arbuckle (August 4–5). Fee: $375. “Load- www.clayfestival.com; 575-538-5560. “Volumetric Image Transfer,” with Forrest 24–July 6). Fee: $898. “The Metaphorical ing and Firing the Peters Valley Anagama,” New Mexico, Taos Lesch-Middelton (July 21–22). Fee: $200. Portrait,” with Arthur Gonzalez (July 8–20). with Dan Murphy (August 10–19). Fee: “Cone 6 Glazing and Firing,” with “Focus on Form: Drawing in 3 Dimensions,” Fee: $898. “Pots in Process,” with Martina $1185. Contact Peters Valley Craft Andrew Haley (July 20–22). Fee: $225. with Jane Shellenbarger (August 6–10). Lantin (July 8–20). Fee: $898. “Low-relief Center; [email protected]; “Slips/Atmosphere/Clay: Making Pots for Fee: $415. Contact Leigh Taylor Mickelson, Tile Production,” with MaPo Kinnord-Pay- www.petersvalley.org; 973-948-5200. Salt Firing,” with Blair Meerfeld, Logan Clay Art Center; [email protected]; ton (July 2–August 7). Fee: $1147. “Raku, New Jersey, Loveladies Wannamaker (June 4–10). Fee: $425. www.clayartcenter.org; 914-937-2047. Saggar, and Throwing Large,” with James Watkins (July 22–August 7). Fee: $1147. “Building and Firing,” with Jennifer Martin “Betsy Williams: Wheel and Handbuilding New York, Schuylerville “Assembling the Figure,” with Tom Bartel (June 11–14). Fee: $475. “Cut and Con- Development,” with Betsy Williams (June “6 Day Participatory Workshop,” with (August 12–24). Fee: $898. “Shape Shift: struct,” with Christa Assad (July 16–20). 22–24). Fee: $225. “Charcoal and Wood Steven Hill (July 16–21). Fee: $695. The Pot,” with Jim Lawton (August 12–24). Fee: $525. Contact Candice MacLusky, Firing: Atmospheres to Induce Color with Contact Saratoga Clay Arts Center; Fee: $898. “Easy Glaze Calculations,” with Long Beach Island Foundation of the Arts Clay and Slip,” with Logan Wannamaker [email protected]; 518-581-2529; Jeff Zamek (August 26–September 1). and Sciences; [email protected]; (July 30–August 6). Fee: $375. Contact www.saratogaclayarts.org. Fee: $515. “Printing on Clay,” with Kate www.lbifoundation.org; 609-494-1241. Logan Wannamaker, Wannamaker Gallery; [email protected]; 575-770-4334; North Carolina, Asheville Missett (August 26–September 1). Fee: summer workshops 2012 New Mexico, Abiquiu www.loganwannamaker.com. “Naked Surfaces and Alternative Firing,” $515. Contact Gretchen Travers, Penland “Raku: Pottery with Decorative Firing with Charlie Riggs and Linda Riggs (May School of Crafts; [email protected]; Techniques,” with Barbara Campbell (July New York, Chautauqua 30–June 1). Fee: $375. “Interpreting the www.penland.org; 828-765-2359. “Intensive Summer Ceramics Program,” 9–15). Fee: $350. “Playing with Fire: Clay Figure,” with Cynthia Constentino (June with Frederick Bartolovic, Peter Beasecker, Ohio, Cleveland from Start to Finish,” with Barbara Camp- 4–8). Fee: $550. “Diminutive Teapots,” and Sana Musasama (June 25–August 10). “Exterior Tile: Mosaic Garden Project,” bell (July 16–22). Fee: $380. “The Quintes- with Fong Choo (June 11–15). Fee: $550. Fee: $2315. Contact Chautauqua School with Angelica Pozo (June 2–10). Fee: $200. sential Teapot,” with Barbara Campbell “Soft and Shiny Slabs,” with Sang Rober- of Art; [email protected]; 716-357-6233; “Creative Tile Making,” with Angelica (July 23–29). Fee: $360. “Mastering Mica: son (June 18–22). Fee: $550. “Imperfect www.ciweb.org/school-of-art. Pozo (June 23–24). Fee: $260. “Exterior Traditional, Whimsical, and Contemporary Beauty,” with Akira Satake (June 25–29). New York, Corning Tile: Bench Project,” with Angelica Pozo Micaceous Pottery,” with Jennifer Zona Fee: $550. “Going Vertical,” with Suze (August 3–5). Fee: $300. “From Paper “Anagama Firing Workshop,” with (July 30–August 5). Fee: $370. “Building an Lindsay (July 9–13). Fee: $550. “Sculpting to Clay Sampler: Underglaze Drawing Lindsay Oesterritter (June 19–25). Fee: Affordable and Efficient Wood-fired Kiln,” the Human Psyche,” with Curt LaCross and Painting Techniques on Bisque,” $200. Contact Fred Herbst, Corning Com- with Barbara Campbell (August 6–12). (July 16–20). Fee: $550. “Graphic Clay: with Angelica Pozo (August 11). Fee: munity College; [email protected]; Fee: $350. Contact Gail Anderson, Ghost Cut, Copy, and Paste,” with Jason Bige $90. “Tile: What a Relief!,” with An- www.corning-cc.edu; 607-962-9354. Ranch Abiquiu; [email protected]; Burnett (July 23–27). Fee: $550. “Porcelain: gelica Pozo (August 25–26). Fee: $225. www.ghostranch.org; 505-210-1092. New York, Maplecrest Form and Finesse,” with Susan Filley (July Contact Angelica Pozo, Earthen Angel “Begin, Refresh, and Refine,” with 30–August 3). Fee: $550. Contact Brian Ceramics; [email protected]; New Mexico, Santa Fe McCarthy or Marlena Wimsett, Odyssey “Earth, Wind, and Fire,” with Diego Michael Boyer (June 29–July 1). Fee: www.angelicapozo.com; 216-241-6936. Gallery; [email protected]; Romero (June 11–15). Fee: $625. “Throw- $285. “Sensational Salt Fire,” with Susan www.OdysseyCeramicArts.com; 828- Ohio, Kent ing the Human Figure,” with David Regan Beecher (July 6–8). Fee: $325. “Elegant and Ornate: Form and Surface,” with Kris- 285-0210. “Kent Blossom Summer Ceramics,” with (June 18–22). Fee: $650. “Wall Figure: Wall Chuck Hindes, Kirk Mangus, and Anat Relief,” with Tim Taunton (June 25–29). ten Kieffer (July 12–16). Fee: $450. “Form North Carolina, Bailey and Surface: Pots Worth Their Salt,” with Shiftan (June 11–23). Fee: $1233. Con- Fee: $625. “Structuring Compositions: Ex- “Bodacious Experiences with Clay and Fir- tact Kirk Mangus, Kent State University; ploring Wheel-thrown Forms,” with Shawn Jack Troy (July 19–24). Fee: $450. “Form- ing,” with Randy Brodnax and Don Ellis (Au- ing Clay with a Sculptural Dynamic,” with [email protected]; www.art.kent.edu/ Spangler (July 2–6). Fee: $625. “Tricks of gust 2–5). Fee: $475. Contact Dan Finch, programs/KBA/kba.html; 330-672-2192. the Trade,” with Deborah Schwartzkopf Mikhail Zakin (July 21–22). Fee: $275. Dan Finch Pottery; [email protected]; (July 9–13). Fee: $625. “Graphic Clay,” “Animals Go Tactile,” with Bernadette www.danfinch.com/events.htm. Ohio, Port Washington with Diana Fayt (July 16–20). Fee: $625. Curran (July 26–30). Fee: $450. “Size “Throwing Large Vessels and Saggar Firing,” Matters,” with Tony Clennell (August North Carolina, Cullowhee with Brenda McMahon and Tom Radca (July “Excavated Structures,” with Patricia Sannit “Happiness Is: A Warm Extruder and a (July 23–27). Fee: $625. “Form and Volume: 2–7). Fee: $450. “Flashing and Fuming,” 14–15). Fee: $320. Contact Tom Radca, with Randy Brodnax and Don Ellis (Au- Sassy Slab,” with Hayne Bayless (June Radca-McMahon Ceramic Art Gallery; Slab Built Pots,” with Margaret Bohls (July 24–29). Fee: $495. “Working to Make 30–August 3). Fee: $625. “Conjuring the gust 9–14). Fee: $450. “Let’s Fire: Slips, [email protected]; Glazes, and Soda Fire,” with Gay Smith the Pots You Want to Make,” with Gay www.radcamcmahonceramicartgallery. Figure,” with Dana Major Kanovitz (August Smith (July 8–13). Fee: $495. “Pots/Pos- 6–10). Fee: $625. “Sculpting the Full (August 16–21). Fee: $450. “Fun with com; 740-498-4303. Vessels that Pour,” with Susan Beecher sibilities,” with Nick Joerling (July 15–20). Figure,” with Claudia Olds Goldie (August Fee: $495. “Dynamic Anatomy,” with Ohio, Westerville 13–17). Fee: $625. Contact Avra Leodas, (August 23–27). Fee: $425. Contact “Summer Ceramic Institute,” with Fran Imperiale, Sugar Maples Center for Melisa Cadell (July 29–August 3). Fee: Santa Fe Clay; [email protected]; $495. Contact Cullowhee Mountain Scott Bennett (August 6–17). Fee: www.santafeclay.com; 505-984-1122. Creative Arts; [email protected]; $650. Contact Jim Bowling, Otter- www.sugarmaples.org; 518-263-2073. Arts; [email protected]; New Mexico, Silver City www.cullowheemountainarts.org; 828- bein College; [email protected]; New York, Middlesex www.otterbein.edu; 614-823-1268. “Wren’s Nest Mural Installation Demonstra- 227-7210. “Overview of Ceramic Glazes: A Focus Oregon, Gresham tion,” with Linda Brewer (August 1–2). on Cone 10 Reduction Firing,” with John North Carolina, Mars Hill “Soda Workshop,” with Joe Davis (June “Fundamentals of Mata Ortiz Pottery,” Britt (August 3–5). Fee: $250. Contact “Two Day Demo,” with Don Pilcher, Norm 25–August 29). Fee: $867. Contact Joe with Luz Elva and Edmundo Lopez (August Annie Schliffer, Rochester Folk Art Guild; Schulman, and Tom Turner (June 23–24). Davis, Mt. Hood Community College; 3–4). Fee: $150. “Community Earth Oven [email protected]; www.rfag.org; Fee: $200. Contact Tom Turner, Tom Turner [email protected]; www.mhcc.edu; Building,” with Sheila Menzies (August 585-554-5463. Porcelain; [email protected]; 3–5). Fee: $150. “Relief Tile and Mold 503-491-7149. New York, New York www.tomturnerporcelain.com; 828- Workshop,” with Stephani Stephenson 689-9430. Oregon, Portland “Mold Making and Slip Casting: Explor- (August 3–4). Fee: $160. “Design, Create, “Cold Surfaces: Post-firing Finish Tech- ing Form, Design, Context, and Use,” North Carolina, Install Ceramic Tile,” with Shel Neymark niques,” with Roxanne Jackson (July (August 3–4). Fee: $160. “Clay Tile for with Andrew Martin (July 11–15). Fee: Little Switzerland “Clay Studio: Beyond the Craft,” with 21–22). Fee: $285. “Thrown, Altered, Mirrors,” with John McNulty (August 3–5). $525. “Munemitsu Taguchi Workshop,” Annette Sidner (July 15–21). Fee: $754. and Decorated,” with Jennifer Allen (July Fee: $150. “Sculpt a Ceramic Ocarina: An with Munemitsu Taguchi (July 13–15). “Clay Studio: Beyond the Craft,” with 30–August 3). Fee: $440. Contact Oregon Ancient Flute-like Wind Instrument,” with Fee: $375. “Step Right Up,” with Mi- Annette Sidner (July 22–28). Fee: College of Art and Craft; [email protected]; Zoe Wolfe (August 3). Fee: $45. “Party... chael Kline (July 20–22). Fee: $375. $754. Contact Ringling College of www.ocac.edu/register; 503-297-5544. with Clay!,” with Zoe Wolfe (August 3). “Handbuilt Vessels,” with Joe Pintz Art and Design; [email protected]; Fee: $45. “Clay Slip Decorating Techniques (July 20–22). Fee: $375. Contact Lisa Pennsylvania, Huntingdon www.ringling.edu/cssp; 941-955-8866. Demonstration,” with Kate Brown (August Chicoyne, Greenwich House Pottery; “Youth Ceramics Camp,” with Bethany 4). “Bas Relief Custom Window Surround [email protected]; 212-242- North Carolina, Penland Benson (July 30–August 3). Fee: $100. Con- Installation Demonstration,” with Kathryn 4106; www.greenwichhouse.org. “Altered Pots,” with Dan Anderson (May tact Juniata College; [email protected]; Allen (August 4). “Pinch Pots: Enclosed and New York, Otego 27–June 8). Fee: $898. “Objects and Im- www.juniata.edu/camps/ceramics; 814- Beyond,” with Zoe Wolfe (August 4). Fee: “August Clay Workshop,” with Elizabeth ages,” with Israel Davis (May 27–June 8). 641-3604. $45. “Surface! Think Beyond the Glaze,” Nields (July 30–August 26). Fee: $1700. Fee: $898. “Drawing Conclusions,” with Pennsylvania, Little Meadows with Zoe Wolfe (August 4). Fee: $45. “Build- “Raku Workshop,” with Elizabeth Nields Kevin Snipes (June 10–22). Fee: $898. “Fig- “Big Pots and Tea Bowls: Ying and ing Sculptures with Architectural Foam,” (August 13–21). Fee: $175. Contact ure Narrative: Clay as Process,” with Kelly Yang,” with Kevin Crowe (July 21–22). with Cecilia Stanford (August 6–7). Fee: Elizabeth Nields, Elizabeth Nields Clay Phelps and Kyle Phelps (June 10–22). Fee: Fee: $275. Contact Ruth Cohen and $350. “Applying Mosaic to Foam/Concrete Workshop; [email protected]; www. $898. “Fork in the Road: Clay and Glass,” Archie Johnson, Mud and Fire Potters; Sculptures,” with Cecilia Stanford (August elizabethnieldsclayworkshop.com; 607- with Deborah Horrell and Tom Spleth (June [email protected]; 570-623- 8). Fee: $250. Contact Lee Gruber, Silver 783-2476. 24–July 6). Fee: $898. “Woodfiring: A 3335; www.mudandfirepotters.com.

58 april 2012 www.ceramicsmonthly.org Pennsylvania, New London Washington, Shelton $605. “Special Effects Glaze,” with France, La Borne “Printing with Colored Clay,” with Mitch Ly- “Woodfiring the Salt Kiln,” with John Benn Gordon Hutchens (June 4–8). Fee: $445. “Discovering Ceramics in La Borne,” with ons (June 18–22). Fee: $500. “Printing with and Colleen Gallagher (June 7–10). Fee: “Kiln Maintenance and Firing,” with Alan Christine Pedley (July 2–6). Fee: $690. Colored Clay,” with Mitch Lyons (August $225. Contact John Benn, Harstine Island Burgess (June 4–8). Fee: $445. “Ceramics “Discovering Ceramics in La Borne,” with 11–12). Fee: $235. Contact Mitch Lyons, Wood Kilns; [email protected]; and Print,” with Laura McKibbon (July 2). Christine Pedley (August 27–31). Fee: Mitch Lyons Studio; [email protected]; www.benngallagher.com; 360-426-3918. Fee: $445. “Handbuilding with Molds and $690. Contact Christine Pedley, Atelier www.mitchlyons.com; 302-545-4839. Washington, Tacoma Extruders,” with Vincent Massey (July 2–6). Christine Pedley; [email protected]; Fee: $445. “Glaze Basics,” with Chic Lotz Pennsylvania, Petersburg “Summer Raku Celebration,” with www.chris-pedley.eu. (July 2–6). Fee: $445. “Exuberant Clay: “Stack, Stamp, Bump, and Smack: Altering Lynne Antone, Paul Antone, Joe Bre- Greece, Skopelos Segment Moulds,” with Carol Goouthro and Combining Thrown Forms,” with Jack cha, Boni Deal, and Dave Deal (July “Ceramics in Skopelos, Greece,” with (July 2–6). Fee: $445. “Throwing with Troy (June 28–July 1). Fee: $495. Contact 14). Fee: $115. Contact Joseph Brecha, Pavel Amromin and Tammy Marinuzzi Design,” with Rob Froese (July 2–6). Fee: Alan Schaffranek, C. Barton McCann Clay Art Center; [email protected]; (June 4–21). Fee: $4000. Contact Jill $445. “Decals and Other Glaze After- School of Art; [email protected]; www.clayartcenter.net; 800-952-8030. Somer, The Skopelos Foundation for the thoughts,” with Mariko McCrae (July 7–8). www.mccannart.org; 814-667-2538. West Virginia, Elkins Arts; 30 24240 24143; [email protected]; Fee: $185. “Clay Sculpture: Building and www.skopartfoundation.org. Pennsylvania, Philadelphia “Majolica Pottery I,” with Brett Kern (July Integrating the Surface,” with Debra Sloan “Local Artist Workshop Series,” with 29–August 3). Fee: $450. “Majolica Pottery (July 7–8). Fee: $185. “Stretched Forms Greece, Thessaloniki Kensuke Yamada (June 17). Fee: $50. II,” with Brett Kern (August 5–12). Fee: and Surface Embellishment,” with Rick “Intensive Throwing with an Introduc- “Local Artist Workshop Series,” with $450. Contact Augusta Heritage Center; Mahaffey (July 7–8). Fee: $185. “Firing: tion to Raku, Pit/Barrel Firing, and Paper Heeseung Lee (July 15). Fee: $50. “Local [email protected]; 800-624- Chasing the Elusive Flame,” with Don Kiln,” with Hector Mavridis (June 4–14). Artist Workshop Series,” with Michael 3157; www.augustaheritage.com. Ellis (July 9–13). Fee: $505. “Figurative Fee: $1450. Contact Hector Mavridis, Connelly (August 19). Fee: $50. Contact Wisconsin, Dodgeville Sculpture,” with Billy Ray Mangham (July [email protected]; 30 231 0450451; www.hectormavridis.com. The Clay Studio; [email protected]; “Yoga and Pottery Centering Retreat,” 9–13). Fee: $445. “Throwing Form and www.theclaystudio.org; 215-925-3453. with Krista Loomans and Robin Schnitzler Surface,” with Julia Galloway (July 9–13). Indonesia, Bali, Ubud Tennessee, Sewanee Nathan (June 8–10). Fee: $195. “Develop- Fee: $445. “Graphic Clay,” with Diana “Constructed Shapes,” with Deb Schwartz- “Personal Pots through Soft Slabs,” with ing Expression in Clay,” with Andrea Valley Fayt (July 9–13). Fee: $445. Contact Meira kopf (June 10–23). Fee: $2300. “Anagama Liz Zlot Summerfield (June 10–16). Fee: (June 17–22). Fee: $525. “Communing Mathison, Metchosin Intl. Summer School Wood Kiln Build,” with Gyan Daniel Wall $775. “Kiln Building Simplified,” with with Clay I,” with Phil Lyons (June 24–29). of the Arts; [email protected]; (July 1–7). Fee: $1100. “Inauguration Kent McLaughlin (June 10–16). Fee: Fee: $450. “Communing with Clay II,” with www.missa.ca; 250-391-2420. by Fire: Deep Study in Wood-firing,” $775. “Making Pots/Thinking Pots,” with Geof Herman (July 8–13). Fee: $450. “Fam- Canada, Ontario, Brockville with Hillary Kane and Gyan Daniel Wall Mark Shapiro (June 17–23). Fee: $775. ily Clay Camp,” with Linda Schrage (July “Hand Building Clay Teapots,” with Tim (July 8–21). Fee: $2300. Contact Hill- “Understanding Glazes and Firing,” 13–15). Fee: $175. “Narrative Forms,” with Storey (July 2–6). Fee: $279.90. “Pottery ary Kane, Gaya Ceramic Arts Center; with John Britt (June 17–23). Fee: $775. Ryan Myers (July 22–27). Fee: $525. “Wis- for Beginners,” with Darlene Keefer (July [email protected]; 62 0 361 Contact Shakerag Workshops; 931-598- consin Wood-fire 2012,” with David Smith 9–13). Fee: $279.90. “Out of Round: New 7966769; www.gayaceramic.com. 5651 x3165; [email protected]; (July 27–29). Fee: $375. “Communing with Forms Through Darting, Cutting, Stretch- Italy, Certaldo www.shakerag.org. Clay III,” with Stephanie O’Shaughnessy ing,” with Carol-Ann Michaelson (July “The Human Figure in Clay,” with Thomas Texas, San Marcos and Aaron Weaver (July 29–August 3). Fee: 16–20). Fee: $279.90. “Pottery: Saggar Welti (June 17–23). Fee: $1252. “Pattern “Big Texture Hand Building,” with Annie $450. “Family Clay Camp 2,” with Linda Firing,” with Alison Brannen (July 23–27). and Color Using Vitreous Slips,” with summer workshops 2012 Chrietzberg (June 2–3). Fee: $225. “Big Schrage (August 10–12). Fee: $175. Con- Fee: $279.90. “Smoke Firing and Terra Sigil- Carolyn Genders (June 24–30). Fee: $1110. Clay: Figurative Sculpture,” with Billy Ray tact Krista Loomans, Bethel Horizons-Art lata,” with Lyse Fleury (July 30–August 3). “Mold Making and Slip Casting with Bone Mangham and James Tisdale (June 4–8). Ventures; [email protected]; Fee: $279.90. Contact Wiliam Leroux, St. China,” with Sasha Wardell (July 1–7). Fee: Fee: $475. “Paper Clay,” with Graham www.BethelHorizons-ArtVentures.org; Lawrence College; [email protected]; 613- $1111. “Jewelry in Porcelain,” with Luca Hay (June 23–24). Fee: $350. “Big Clay 608-574-8100. 345-0660; www.stlawrencecollege.ca. Tripaldi (July 8–14). Fee: $1111. “Saggar Fir- 2: Figurative Sculpture,” with Billy Ray Wisconsin, Herbster England, Suffolk, Ipswich ing,” with Patty Wouters (July 15–21). Fee: $1111. “Paperclay with Porcelain,” with Mangham (June 25–29). Fee: $45. “Coils, “The Best Little Wood-fire Workshop,” “Throwing and Wheel Related Tech- Luca Tripaldi (July 22–28). Fee: $1111. “The Slabs, Wheelwork, and More,” with Rimas with Mike Weber (June 10–24). Fee: $545. niques,” with Deborah Baynes (June Art of the Wheel,” with John Coldbeck, VisGirda (July 30–August 3). Fee: $350. Contact Mike Weber, Weberwoodfire; 1–5). Fee: $752. “General Pottery Skills Pietro Elia Maddalena (July 29–August Contact Billy Ray Mangham, Eye of the [email protected]; 715-774-3707; Including Handbuilding, Throwing, and 11). Fee: $2009. “Traces and Decoration Dog Art Center; [email protected]; www.weberwoodfire.com. Raku,” with Deborah Baynes (July 1–7). Techniques,” with Pietro Elia Maddalena www.eotdac.com; 512-754-8171. Fee: $912. “General Pottery Skills Includ- Wyoming, Buffalo and Orietta Mengucci (August 12–18). Fee: ing Handbuilding, Throwing, and Raku,” Virginia, Faber “Discover Multiple Alternative Fir- $1115. “Sculptural Forms for the Garden,” with Deborah Baynes (July 8–14). Fee: “Throwing and Surfacing,” with Kevin ing Techniques in Raku and Creative with Donna Polseno (August 19–Septem- $912. “General Pottery Skills Including Crowe and Nan Rothwell (August 3–9). Handbuilding Methods,” with Genie ber 1). Fee: $1917. “Terra Rossa,” with Handbuilding, Throwing, and Raku,” Fee: $680. “Throwing Intensive,” with Nan Thomsen (August 6–10). Fee: $395. Richard Hensley (August 19–September with Deborah Baynes (July 22–28). Fee: Rothwell (August 31–September 2). Fee: Contact Bonnie Schlesselman, Potters’ 1). Fee: $1917. Contact La Meridiana $912. “General Pottery Skills Including $360. Contact Nan Rothwell, Nan Rothwell Depot LLC; [email protected]; International School of Ceramic Art; Handbuilding, Throwing, and Raku,” Pottery; [email protected]; www.pottersdepot.com; 307-684-4555. [email protected]; 39 0571 660084; with Deborah Baynes (July 29–August www.nanrothwellpottery.com; 434- Wyoming, Jackson www.lameridiana.fi.it/uk/index.asp. 4). Fee: $912. “General Pottery Skills 263-4023. “Pots and Sculptural Vessels: Low and Including Handbuilding, Throwing, and Italy, Tuscany High Fire Soda,” with Bede Clarke Virginia, Gainesville Raku,” with Deborah Baynes (August “Italy: Art, Culture, and Wood-fired Ter- (June 21–24). Fee: $420. Contact Sam “Building Traditional West African Pots,” 12–18). Fee: $912. “General Pottery racotta,” with Don Davis (June 18–July Dowd, Art Association of Jackson Hole; with Winnie Owens-Hart (June 9–10). Skills Including Handbuilding, Throw- 2). Fee: $2800. Contact Don Davis; 423- [email protected]; 307-733-6379; Fee: $155. “African Crafts Travel Summer ing, and Raku,” with Deborah Baynes 557-5008; [email protected]; www. www.jacksonholeworkshops.org. Ghana Experience,” with (July 24–August (August 19–25). Fee: $912. Contact spannocchia.org/education/program. 15). Fee: $3716. Contact ILE AMO Research Canada, British Deborah Baynes, Deborah Baynes Pot- cfm?id=75. Center; [email protected]. Columbia, Burnaby tery Studio; [email protected]; Spain, Conil-Cadix Virginia, Lorton “Developing Ceramic Surface,” with www.potterycourses.net; 44 1473 788300. “Shapes and Glazing,” with J. Luis Ara- “Non-traditional Ceramic Surfaces,” with Vince Pitelka (July 18–22). Fee: $390. gon (July 9–23). Fee: $1300. Contact Contact Sharon Reay, Shadbolt Centre France, Cordes sur Ciel Pam Eisenmann (June 23). Fee: $75. “Raku “Raku and Paperclay,” with Otakar Sliva La Tacita; [email protected]; for the Arts; [email protected]; Firing,” with Dale Marhanka (June 30). (May 27–June 2). Fee: $576. “The Wonder- 0034956445912. www.shadboltcentre.com; 604-291-6864. Fee: $90. “Overglaze Decorating,” with ful World of Porcelain,” with Susanne Koch Wales, Swansea, Gower Erika Radke (July 14). Fee: $75. “Raku Fir- Canada, British Columbia, and Eva Koj (July 1–7). Fee: $576. “Throw- “Throwing,” with Micki Schloessingk (July ing,” with Joe Dailey (July 21). Fee: $90. Salt Spring Island ing and Making Glazes,” with Katrin Konig 21–22). Fee: $240. “Large Pot Making,” Contact Dale Marhanka, Workhouse Arts “Handbuilding in Clay,” with Pat Web- and Frank Theunissen (July 8–14). Fee: with Joanna Howells and Micki Schloess- Center; [email protected]; ber (June 10–22). Fee: $600. “Throw- $576. “Throwing and Salt-fire,” with Frank ingk (July 24–26). Fee: $500. “Throwing,” www.workhousearts.org; 703-584-2982. ing on the Wheel,” with Pat Webber Theunissen (July 15–23). Fee: $576. “Glaz- with Micki Schloessingk (July 30–August Virginia, Roanoke (June 25–July 7). Fee: $600. Contact es and Throwing,” with Frank Theunissen 3). Fee: $390. “Throwing,” with Micki “Women Working with Clay Symposium,” Pat Webber; [email protected]; (August 12–18). Fee: $576. “Paperclay Plus: Schloessingk (August 7–9). Fee: $355. with Mary Barringer, Lisa Clague, Donna www.patwebber.ca; 250-537-8871. Porcelain and Paperclay,” with Heide van “Throwing,” with Micki Schloessingk Polseno, and Tip Toland (June 11–14). Canada, British Veen and Peter van Veen (August 19–25). (August 11–12). Fee: $240. Contact Micki Fee: $395. Contact Christine Powell, Columbia, Victoria Fee: $576. Contact Frank Theunissen, Schloessingk, Bridge Pottery; 0044 0 1792 Hollins University; [email protected]; “Aesthetics of Ceramic Form,” with Robin LaCéramique; [email protected]; 386499; [email protected]; www.hollins.edu/tmva; 540-362-6021. Dupont and Les Manning (June 1–8). Fee: www.laceramique.com; 33 56353 7297. www.mickkisaltglaze.co.uk.

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Doug Casebeer Ayumi Horie Alleghany Meadows Linda Christianson Holly Hughes Takashi Nakazato Kim Dickey Jan McKeachie David Pinto Johnston Debra Fritts Angelica Pozo Randy Johnston Andrea Gill Ralph Scala Gail Kendall John Gill Stan Welsh Tyler Lotz Chris Gustin Russell Wrankle Lorna Meaden Sam Harvey

Jamaica Field Workshop Chris Gustin Visiting artist: april 20-28, 2012 andersonranch.org 970/923-3181 [email protected] Post Office Box 5598, Snowmass Village, CO 81615

68 april 2012 www.ceramicsmonthly.org If you can’t stand the heat... get a Vent-A-Kiln!

not only important to exhaust fumes from kilns. I need “It’sto remove the excess heat that rises and escapes from kilns to keep my studio comfortable without wasting money cranking up the air conditioner.” “I installed Vent-A-Kiln over 5 years ago because a downdraft system does not remove excess heat like Vent-A-Kiln does. My studio remains comfortable, and I’ve also found that Vent-A-Kiln helps my kilns reach the right temperature faster – another money saver.” New Report on Kiln Ventilation Facts & Figures Get your FREE copy of the test GeGetttthehefrfreeeemobile appfpfororyoyoururphphonone e results. Gehhttpttttphe:/://gfr/geeetetmotatag.bilemoapbibipfor your phone http:/ /gettag.mobi

Greg Link, Owner of Cone Five Pottery, Buffalo, 877-876-8368 • [email protected] NY, on why he uses the OSHA-compliant Vent-A- Kiln canopy-hood system instead of a downdraft Visit us at www.ventakiln.com system to remove heat, fumes and odors.

2012

The Folk School changes you.

2012 Ceramics Worskhops at The Bascom Nationally Acclaimed Instructors

Alice Ballard Jim Connell Shadow May Rick Berman Barry Gregg Donna Polseno engaging hands and hearts since 1925. Fong Choo Suze Lindsay Frank Vickery come enjoy making crafts and good friends on 300 natural, scenic acres in western north carolina. Additional Workshops Offered in Various Media. For complete information, visit TheBascom.org. John C. Campbell Folk SChool Highlands, NC 828.526.4949 folkschool.org 1-800-Folk-Sch BraSSTown norTh carolina

www.ceramicsmonthly.org april 2012 69 POTTERS COUNCIL Worldwide Membership Organization for Ceramic Artists

{Est.2001} JOIN or RENEW and receive our new FREE DVD O er ends April 30, 2012 Great Tips and Techniques from the Masters Volume III features ten demonstrations of techniques from such artists as Linda Arbuckle, Erin Furimsky, Mark Peters, and Amy Sanders. These artists, and more, share a wide range of techniques on throwing, decorating, tilemaking and more.

Our member beneftis touch every aspect of your life–from money saving discounts, and eligibility for group health insurance, to learning new techniques at conferences.

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70 april 2012 www.ceramicsmonthly.org www.ceramicsmonthly.org april 2012 71 THE BEST IN CONTEMPORARY AMERICAN FUNCTIONAL CERAMICS 2011 BEST OF SHOW KIP O’KRONGLY MINNEAPOLIS, MN

SFPN JURORS HALL OF FAME 1st, 10th & 20th Juror CELEBRATING YEARS JACK TROY 2012 Mary Barringer 2011 Bill van Gilder 2010 Pete Pinnell 2009 Linda Arbuckle 2008 Malcolm Davis 2007 Tom Coleman 2006 John Glick 2005 Susan Peterson 2004 EXHIBIT DATES Wayne Higby 2003 SATURDAY, SEPTEMBER 15 — SUNDAY, NOVEMBER 4, 2012 JACK TROY 2002 CALL FOR ARTISTS NEW THIS YEAR Linda Christianson 2001 • Ken Ferguson 2000 ONLINE APPLICATION Warren Mackenzie 1999 Applications must be submitted by mail or online by Cynthia Bringle 1998 June 1, 2012 or by midnight June 10 with a late fee. For more information and the 2012 SFPN application: Val Cushing 1997 www.strictlyfunctionalpotterynational.net Phyllis Blair Clark 1996 Call for further information: 717-560-8816 Chris Staley 1995 Exhibit is held at Kevin Lehman’s Pottery at Bill Daley 1994 560 S. Prince Street in downtown Lancaster. © 2012 Strictly Functional Pottery National. All rights reserved. • Design – Joanne Cassaro Design JACK TROY 1993

colour in glazes By Linda Bloomﬁ eld

A complete guide to getting sible. The practical aspects a fantastic spectrum of col- of mixing, applying, test- orful glazes, Linda Bloom- ing, and adjusting glazes field looks at a full range are explained, and a large of materials and options for selection of oxidation glaze creating colors in glazes. recipes are included for use Packed full of glaze reci- on earthenware, stoneware pes, the book is illustrated and porcelain. A very use- with finished work as well ful book aimed at making as an extensive collection glazes to achieve the colors of sample test tiles, to show you want, and to help you the variety of colors pos- expand your palette.

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72 april 2012 www.ceramicsmonthly.org W O M e n W ORk ing WitH cLAy SyM POSi U M

Join us for the Women Working with Clay Symposium at Hollins University, June 11-14. Observe the presentation of various working methods in pottery, art vessels, and sculpture and participate in discussions that examine and explore the connections of the history of women in cultures all over the world as vessel makers, artists and artisans. Surrounded by the Blue Ridge Mountains, you’ll find inspiration as you explore the creative process from every level. Led by remarkable ceramic artists, you will gain valuable insight from demonstrations, lectures, and panel discussions. Space is limited, so visit www.hollins.edu/tmva or call (540) 362-6229 to register today.

Hollins University | P.O. Box 9552 | Roanoke, VA 24020-1552 | [email protected] June 11-14, 2012

www.ceramicsmonthly.org april 2012 73 Call for Artists: “Tea” Ceramics Exhibit Juror: John Neely Entry is open to all wares associated with drinking, serving, and presenting tea. CD submissions due by April 17 presented by theartleague Alexandria, VA

CALL for RUNYAN’S NEW 2012 CATALOG or

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Developing BETH CAVENER Ceramic Surface STITCHER with Vince Pitelka Workshop in Tuscany Tennessee artist, Vince Pitelka leads Sept 30th - Oct. 13th 2012 this intensive exploration of surface design and decoration. Wednesday-Sunday, July 18-22 9am-5pm $370 + tax (earlybird to June 1) $390 + tax (after June 1) Barcode 263905

Teappot by Vince Pitelka

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76 april 2012 www.ceramicsmonthly.org call for entries deadlines for exhibitions, fairs, and festivals

international graduate students, undergraduate June 1 entry deadline 22nd St. S., St. Petersburg, FL 33712; 727- students, and alumni within a year of Missouri, Kansas City “KC Clay Guild 896-2529; [email protected]; exhibitions graduation. Juried from digital. Fee: Teabowl National 2012” (August 17– www.stpeteclay.com. April 6 entry deadline $25 for three entries. Juror: Matthew September 28) open to teabowls primarily September 20 entry deadline Arizona, Flagstaff “Across the Di- Metz. Contact Kate Whorton, Genesee made of clay. Juried from digital. Fee: Texas, Houston “NCECA 2013 vide” (June 2–July 28) open to ceramic Pottery, 713 Monroe Ave., Rochester, $30 for three entries. Juror: Bede Clark. National Student Juried Exhibition” sculpture and installation work. Juried NY 14607; [email protected]; Contact Susan Speck, KC Clay Guild, 200 (February 15–March 23, 2013) open to from digital. Fee: $35 for three entries. www.geneseearts.org; 585-271-5183. W. 74th St., Kansas City, MO 64114; work created by students. Juried from Juror: Steven Schaeffer. Contact Robin April 17 entry deadline [email protected]; 913-384-1718; digital. Fee: $30 non-members; $15 Cadigan, Flagstaff Cultural Partners, Virginia, Alexandria “Tea: Ceram- www.kcclayguild.org. members. Jurors: Bonnie Seeman and PO Box 296, Flagstaff, AZ 86002; ics Exhibit” (May 2–June 2) open to June 6 entry deadline Kevin Snipes. Contact Linda Ganstrom [email protected]; 928-779- ceramic work. Juried from digital. Fee: California, Stockton “Visions In or Kate Vorhaus, NCECA, 77 Erie Village 2300; www.culturalpartners.org. $25 for three entries. Juror: John Neely. Clay 2012” (August 16–September Square, Ste. 280, Erie, CO 80516-6996; June 1 entry deadline Contact Blair Meerfeld, The Art League, 20). Juried from digital. Fee: $30 for [email protected] or [email protected]; Illinois, Chicago “5th Annual Lillstreet 105 N. Union St., Alexandria, VA 22314; three entries; $5 each additional up www.nceca.net; 866-266-2322. International: The Perfect Plate” (August [email protected]; 703-683- to six. Contact Jan Marlese, LH Horton 17–September 14) open to plates. Juried 1780; www.theartleague.org. Jr Gallery, San Joaquin Delta College, regional exhibitions from digital. Fee: $35. Juror: Sandy Si- April 27 entry deadline 5151 Pacific Ave., Stockton, CA 95207; April 13 entry deadline mon. Contact Emily Schroeder Willis, Lill- Colorado, Carbondale “’Sculptural [email protected]; 209-954- Rhode Island, Kingston “39th Annual street Art Center, 4401 N. Ravenswood, Ceramics’ Clay National VIII 2012” (June 5507; http://gallery.deltacollege.edu. Earthworks Exhibit” (April 19–May 12) Chicago, IL 60640; [email protected]; 1–July 2) open to ceramic and mixed- June 12 entry deadline open to New England and mid Atlantic lillstreet.slideroom.com; 773-769-4226. media sculpture where clay is the primary Kansas, Topeka “Material Mastery state artists. Juried from actual work. Fee: August 1 entry deadline medium. Juried from digital. Fee: $25 for and KACA Members Exhibition” (Oc- $17 per entry, up to five. Juror: Monica Texas, Houston “2013 NCECA Bien- up to three entries; $20 for one entry. tober 5–November 3) open to all craft Ripley. Contact Rhonda Shumaker, nial” (January 26–May 5, 2013) open Jurors: Erin Furminsky and Tyler Lotz. media. Juried from digital. Contact Ron South County Art Association, 2587 to ceramic work created in the last two Contact K Rhynus Cesark, Carbondale Michael, Kansas Artist Craftsmen As- Kingstown Rd., Kingston, RI 02881; years. Juried from digital. Fee: $40 non- Clay Center, 135 Main St., Carbondale, sociation, 1515 Southwest 10th Ave., 401-783-2195; [email protected]; members; $20 members. Jurors: Cristina CO 81623; [email protected]; 970- Topeka, KS 67456-0348; 785-580-4515; www.southcountyart.org. Cordova, Richard Notkin, and Namita 963-2529; www.carbondaleclay.org. [email protected]; www. April 21 entry deadline Gupta Wiggers. Contact Linda Ganstrom May 1 entry deadline kansasartistcraftsmenassociation.com. Washington, Seattle “Art in the or Kate Vorhaus, NCECA, 77 Erie Village Kentucky, Louisville “Kentucky June 13 entry deadline Columbarium” (May 4–December 31, Square, Ste. 280, Erie, CO 80516-6996; Bourbon: By the Bottle, By the Ounce” New Mexico, Santa Fe “Ecumene: 2012) open to 2D and 3D media includ- [email protected] or [email protected]; (November 2, 2012–January 5, 2013) Global Interface in American Ceram- ing drawing, installation, mixed media, www.nceca.net; 866-266-2322. open to bottles and cups. Juried from ics” (August 29–September 20) open painting, photography, and sculpture September 13 entry deadline digital. Fee: $30 for up to 3 bottle entries to ceramic work. Juried from digital. work by WA artists. Juried from digital. No Pennsylvania, Wayne “Craft Forms or sets; $30 for up to 3 shot glass entries Fee: $40 non-members; $20 members. fee. Contact Allison Brundage, Evergreen 2012” (November 30–January 26, 2013) or sets; $45 to enter both. Juror: Matt Jurors: Clark Baughan, Linda Ganstrom, Washelli, 11220 Aurora Ave. N, Seattle, open to all craft media. Juried from digital. Long. Contact Dolita Dohrman, Louisville James Marshall, and Jane Sauer. Con- WA 98133; [email protected]; Fee: $40. Contact Karen Louise Fay, Wayne Clay, 1811 Edenside Ave., Louisville, tact Linda Ganstrom or Kate Vorhaus, www.washelli.com; 206-362-5200. Art Center, 413 Maplewood Ave., Wayne, KY 40204; [email protected]; NCECA, 77 Erie Village Square, Ste. 280, June 1 entry deadline PA 19087; [email protected]; www.louisvilleclay.org; 502-593-0905. Erie, CO 80516-6996; 866-266-2322; California, Costa Mesa “OC Fair Vi- 610-688-3553; www.wayneart.org. May 2 entry deadline [email protected] or [email protected]; sual Arts Competition” (July 13–August Virginia, Lorton “Workhouse Clay www.nceca.net. 12) open to 2D, 3D, ceramics, photog- united states National 2012” (July 25–August 26) June 25 entry deadline raphy, woodworking by CA residents. open to functional or sculptural ceramic Ohio, Nelsonville “Starbrick Clay Juried from digital. Fee: $10. Juror: Kirk exhibitions work. Juried from digital. Fee: $30 for National Salt & Pepper Shaker Show” (July Delman. Contact Barbara Thompson, OC April 2 entry deadline three entries. Juror: Peter Held. Contact 27–August 28) open to ceramic salt and Fair, 88 Fair Dr., Costa Mesa, CA 92626; Connecticut, Guilford “Going to Dale Marhanka, Workhouse Arts Cen- pepper shakers. Juried from digital. Fee: [email protected]; 714-708-1624; the Dogs (and Cats and Birds...)” (May ter, 9601 Ox Rd., Lorton, VA 22079; $10 per entry. Contact Ann Judy, Starbrick www.ocfair.com/competitions. 4–June 24) open to all media. Juried from [email protected]; 703-584- Gallery, 21 W. Columbus St., Nelson- June 15 entry deadline digital. Fee: $20 for unlimited entries. 2982; www.workhousearts.org. ville, OH 45764; [email protected]; Virginia, Lynchburg “East Coast Bat- Contact Maureen Belden, Guilford Art May 15 entry deadline www.starbrick.com; 740-753-1011. tle of the Bowls” (October 5–November Center, PO Box 589, Guilford, CT 06437; New York, Westfield “Painters Who July 31 entry deadline 1) open to all interpretations of bowls. [email protected]; 203- Pot/Potters Who Paint” (August 1–26) Tennessee, Smithville “Call for Juried from digital or slides. Fee: $25 453-5947; www.guilfordartcenter.org. open to sets of pots and paintings. Exhibition Proposals for 2013–2014 for 3 three entries. Juror: Jon Jessiman. April 12 entry deadline Juried from digital. Fee: $20 per entry; and 2014–2015 Academic Years” Contact David Emmert, Academy of Fine Pennsylvania, Philadelphia “36th up to two. Juror: Audrey Kay Dowling. (2013–2014 and 2014–2015) open to Arts and ACPS, 139 Lancer Ln., Amherst, Annual Philadelphia Museum of Art Craft Contact Audrey Kay Dowling, Portage proposals for exhibitions of all media VA 24572; [email protected]; http:// Show” (November 8–11) open to craft me- Hill Art Gallery, 6439 South Portage Rd., including ceramics. Juried from digital. No eastcoastbattleofthebowls.blogspot. dia. Juried from digital or slides. Fee: $75 Westfield, NY 14787; 716-326-4478; fee. Contact Kimberly Winkle, Joan Der- com; 412-215-3843. for five entries. Jurors: Lewis Knauss, Mar- [email protected]; ryberry Art Gallery, Tennessee Tech Uni- the Le Van, David McFadden, Alleghany www.portagehillgallery.com. versity, Box 5194, Smithville, TN 38505; fairs and festivals Meadows, and Ruth Snyderman. Contact May 25 entry deadline 931-372-6578; [email protected]; April 15 entry deadline Audrey Julienne, PMA Craft Show, PO Oklahoma, Tulsa “Red Heat: Con- www.tntech.edu/centerstage/exhibits. Colorado, Evergreen “Evergreen Fine Box 7646, Philadelphia, PA 19101- temporary Work in Clay” (September August 1 entry deadline Arts Festival” (August 25–26, 2012) open 7646; [email protected]; 27–October 25) open to ceramic work. Ju- Florida, St. Petersburg “Last Call” to fine arts and crafts. Juried from digital. www.philamuseum.org; 215-684-7930. ried from digital. Fee: $25. Juror: Virginia (October 1–31) open to function and Fee: $30 for three images. Contact Beth April 15 entry deadline Scotchie. Contact Whitney Forsyth, Uni- sculptural ceramic work. Juried from digi- Erlund, Evergreen Artists Association, New York, Rochester “College versity of Tulsa, 800 S. Tucker Dr., Tulsa, tal. Fee: $25 for three entries. Juror: Mack- 22528 Blue Jay Rd., Morrison, CO 80465; Clay Collective” (June 8–July 21) open OK 74104; [email protected]; enzie Smith. Contact Matt Schiemann, [email protected]; 303-618-9834; to functional and sculptural work by www.utulsa.edu/art; 918-631-3700. St. Petersburg Clay Company Inc., 420 www.evergreenartists.org.

www.ceramicsmonthly.org april 2012 77 classified advertising Ceramics Monthly welcomes classifieds in the following categories: Buy/Sell, Employment, Events, Opportunities, Personals, Products, Publications/Videos, Real Estate, Rentals, Services, Travel. Accepted advertisements will be inserted into the first available print issue, and posted on our website for 30 days at no additional charge! See www.ceramicsmonthly.org for details.

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Submission Guide- awesome art. Studio includes two wheels Porcelain and Celadons Workshop at tion pottery in northwest Montana seeks lines: www.salamonipottery.com or email and a kiln. www.ThisSideRetreat.com. motivated individual for one-year position Sierra Nevada College, June 18-22nd. For [email protected]. starting end of August. 40 hours/week more information visit potterywest. Ceramic studio opening up in beautiful Private studios, in exchange for studio space (includes com. Call Ruth Kline at (702) 685-7573; Fort Collins, Colorado. classes and gallery. Artists have access materials and firing), room and board, Email [email protected] . products to gas and electric kilns. Call Sue for more monthly stipend, gallery sales. Check information. (612) 987-3162. www.whitefishpottery.com for more Greece, Thessaloniki , Summer 2012. GREAT NEW HANDBUILDING TEM- Ten day, all inclusive, intensive throwing details about applying. PLATES! Developed by Sandi Pier- workshops with an introduction to raku, pit antozzi. A set of 24 durable, flexible, real estate Resident Potter: Full time, salary, fur- firing and paper kiln. Details : +30 (2310) laminated templates to create Circular For Sale: Established Pottery, Powell nished apartment. Established gallery 450451; [email protected]; & Conical Forms. Perfect for Potters or River, British Columbia. We need and studio, gas, salt, raku kilns, wheel www.hectormavridis.com. Teachers! www.CircleMatic.com. to retire! Includes building, prop- and slab, use of all facilities. North Geor- erty, equipment, stock, gas car kiln, Exciting new gia Mountains, close to NC, GA pottery POTTERY ON THE HILL! garden. Some rental possibilities. FLOWER FROGS (pin-type flower centers. Apply at hickoryflatpottery.com. event coming to Washington, DC (our www.cranberrypottery.bc.ca. nation’s capital) this autumn. Sixteen holders originally made by Bonnie Mfg.) events of America’s finest functional pot- made in the USA. Superior quality; POTTERY STUDIO, GALLERY, LIV- ters. October 26-28, 2012. Check out many sizes (¾” to 5½”). Pin cups also ING SPACE in the north woods of Worcester Center for Crafts Pottery $265,000. Wood kiln, soda in Worcester, MA, April 5-29 www.potteryonthehilldc.com for more available. Call (570) 226-3239 or visit Wisconsin. Invitational kiln and all studio equipment. Details at 2012. Preview Exhibition, curated by details...and stay tuned! www.dorothybiddle.com. portwingpottery.com or (715) 774-3222. D.Hayne Bayless and Hannah Niswonger, “Heart of Echizen”, a two-day workshop opens April 5-20 featuring 21 nationally Since 1985, well-established, hand- with Japanese pottery artist Uichiro Oya, Ceramics Studio, 430+ sq.ft., Skutt known New England Potters. Pottery In- on the beautiful Production Kiln 1227PK, Envirovent 2, Saturday, April 21 and Sunday, April 22, made Art Tile Factory vitational opens Friday through Sunday, Central Coast of California. Sale includes Brent Wheel, other studio equipment April 27-29, with interactive demonstra- 10am to 4pm, in cooperation with the 40 ton hydrolic press, all dies, all related and supplies, and Home, 2 BR, 2 BA, tions by exhibiting artists held on Saturday, University of South Alabama Baldwin 1500 sq. ft. contemporary ranch on 1.84 equipment, copyrighted designs, glaze April 28 at 10:30 & 2:30; and Sunday, Campus, 111 St. James, Fairhope, AL. acres in hardwood forest, wood floors April 29 at 1:30. For more information $10 per day. Seats are limited. RSVP: recipes and national customer contact and Lucid Lighting fixtures throughout. visit www.worcestercraftcenter.org or call ESAC (251) 928-2228 ext. 106 or list. Email [email protected] for more Located in Chapel Hill, NC. $260,000. 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www.ceramicsmonthly.org april 2012 79 SPOTlighT clay is back at otis After a ﬁfteen-year break in the ceramic action at Otis College of Art and Design in los Angeles, clay is back, bridging the gap between tradition and innovation. The school’s communications director, Margaret Reeve, helped us shed some light on the reasons and the timing.

Ceramics Monthly: Margaret Reeve: increased enrollment in letterpress Briefly, what was the In 1997, when and bookmaking classes along with reasoning for discon- Otis re-located its ceramics. Students in Otis’ oldest tinuing clay at Otis? campus from the department, Fine Arts, and newest MacArthur Park department, Product Design, explore site to the current location near LAX, the the properties and methods of right physical and curricular conditions were working with clay as well as with lacking to relaunch a ceramics program that wood, metal, textiles, and plastics. had a distinguished past, which included Peter Experimentation, new forms, and Voulkos, Ken Price, and John Mason. pushing clay’s boundaries continue a rich ceramic history. Otis offers 3-D CM: Why bring it back MR: Clay has new technology, combining ceramics’ now, after 15 years? meaning and allure handmade qualities with computer- for students in the generated designs. Today’s students 21st century. Current students’ lives are so use traditional handbuilding, 1 immersed in the digital world that they long wheel throwing, extrusion, slab to make things with their hands, reflected by construction, coil, plaster mold making, slip casting, glazing, and firing techniques, and use 3-D software, laser cutters, and rapid prototyping technology to create 3-D models, which are cast in plaster and slip cast, glazed, and fired. Today, in the Bronya and Andy Galef Center for Fine Arts that opened in 2001, classes in clay are once again an integral component at Otis and attract both art and design students. Leading this effort is veteran faculty member Joan Takayama Ogawa, who studied with the late Ralph Bacerra (Director of Otis Ceramics 1980–1996, whose students included the second wave of Otis ceramic 1 Adam Silverman, from Heath artists such as Keiko Fukazawa, Kevin Myers, Robert 2 Ceramics Studio in Los Angeles, instructs Miller, Porntip Sanvanich, and Cindy Kolodziejski). several Otis students. 2 Recent product-design graduate Sara Sherman’s Cremation Cat Urns, 6 in. (15 cm) in height, slip cast in a mold made from a CM: Given the pro- MR: Ceramics at Otis rapid prototype model, fired to cone 04. 3 Product-design graduate Sonia Battist’s oil lamp, gram’s focus on clay and extends beyond the 12 in. (30 cm) in length, handbuilt and extruded earthenware, fired to cone 04. technology, how do you clay studio. In one of see the program impact- the Liberal Arts and ing clay culture and the Sciences courses, larger culture? student teams are researching, writing, interviewing, archiving, and online publishing the story of Otis’ rich clay legacy. Carol Sauvion, Executive Producer of the PBS series “Craft in America” and mentor faculty member Jo Lauria are working with the students on this project. Last year, the Boardman Family Foundation sponsored “Clay in LA” at Otis, which included panel discussions, demonstrations, lectures, and exhibitions. This year, they sponsored Otis faculty development workshops by ceramists Marlo Bartels on public art and tile installations, Michael Sherrill on mixed media sculpture, and John Balistreri on rapid prototype forms for sculpture. Students have also visited exhibitions at the American Museum of Ceramic Art and Scripps College, both part of the Getty–initiated “Pacific Standard Time: Art in L.A. 1945–1980” exhibitions [see page 24 for more information].

3 For more about Otis, see www.otis.edu.

80 april 2012 www.ceramicsmonthly.org

Front Loader Get a peek at Tom’s new glazes and see what he has to say about Skutt’s New Front Loading Kiln at: skutt.com

Artist: Tom Turner Photos: Gary Rawlins

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For more information on Skutt Kilns or to find a distributor, visit us at www.skutt.com or call us directly at 503.774.6000

tom Turner Rough Final Revised.indd 1 2/23/12 12:48:55 PM