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

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

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

Copyright © 1984 Professional Publications, Inc. All rights reserved May 1984 3 4 Ceramics Monthly Ceramics Monthly Volume 32, Number 5 May 1984

Feature Articles Three Czech Ceramists by Jiri Setlik...... 26 Hobart Cowles Albany Glazes by Lili Krakowski...... 30 Jack Earl by Bill Buchanan...... 31 George Tinworth by Peter Rose...... 34 New French Ceramics by Nigel Atkins...... 42 Phil Schuster 46 James Lawton...... 49 Mutsuo Yanagihara by Mayumi Tsutakawa...... 52 Mary Frank 54 A High-Production Pottery by Janet Perry...... 55 Low-Fire Surface Effects by Diane Moomey...... 58 British Studio Pots ...... 59

Departments Letters...... 7 Suggestions 15 Where to Show 17 Questions...... 19 Itinerary...... 21 Comment: Potters Never Had It So Good by Gary Hatcher...... 23 News & Retrospect...... 67 New Books...... 83 Classified Advertising 86 Index to Advertisers...... 88

The Cover “Fire Totem” (detail), cast and handbuilt clay (the skull is approximately life size), with low-fire glazes, lusters, acrylic paint, rayon flocking, metal flake glit­ ter, by Toby Buonagurio, New York City. May 1984 5 6 Ceramics Monthly Letters Why Does a Mouse Have Hair? from my accident, but this time there was (B) who pulls on lever (S) as instructed by I found the January article “Kiln Wall numbness and weakness in both wrists. I was sign (R). Pulling on lever (S) by wino (B) Heat Loss” by Robert Schmitz quite inter­ a little worried (my living comes solely from opens gas valve (T) to kiln, thereby auto­ esting. Ten years ago on the windy Hudson selling my work, so if I can’t work I’m in matically increasing kiln temperature. River, I built a 155-cubic-foot, gas-fired, trouble, as I well knew). After reading the “Caution: Use of wino with lab rating in downdraft car kiln with K-2300 B&W in­ article and letters on CTS in CM, I decided excess of 40 proof may result in attack of sulating firebrick backed with K-2000 brick. to take Ruth Duckworth’s vitamin advice and heavy hand syndrome resulting in overheat­ I always fire to Cone 10 flat, and still get since then, my wrists are cured. ing of kiln and disastrous damage to primate within a half a cone anywhere in the kiln. Robyn Rypp (A)’s tail.” The bricks have held up for two reasons: the Toronto Terry Brown K-2300 rating means they can withstand that Anaheim, Calif. temperature 24 hours a day, and I poured 5 Kiln Firing Made Easy cubic yards of reinforced concrete for the base Along with a yearly Christmas card, I sent CM’s Comment Column and made sure every brick was absolutely my “inventor” uncle a copy of my husband’s I like the Comment section. The pieces plumb and level. I can still push the car into article about his “Fuel Saving Timer,” which offer more substantial and provocative in­ the kiln with my thumb. appeared in the April 1983 CM. We received formation than other CM articles. I espe­ One of the biggest factors in heat loss is the following information and drawing in re­ cially liked Dennis Parks’s piece in the March volume in relationship to outside surface area. turn. issue: clearly written, realistic and to the point. My teacher, Robert James, said it is the rea­ son why a mouse has lots of hair and an elephant little. Jay Lindsay Garrison, N.Y. Congratulations? Bravo to Ron Klein for his illuminating article “Legitimizing the Ashtray.” He wins the trivia prize for the March issue. Stephen Ladin Gardiner, N.Y. Hanging Previous to March 1984,1 had never heard of anyone building a salt kiln for greater “visual clarity of surface and form.” If there was any substance to this statement, I’m sure it would have been backed up visually. What could be more clear than the beau­ tiful, historically inspired fish-handled raku “To prepare system for operation attach I do not agree with writers like Bob McKay vase accompanying March’s “Collaboration” garden hose to adapter (M) and plug in ex­ (March Letters) who find articles too eso­ blurb? I realize CM was not the source of tension cord to 115-volt wall outlet. Secure teric. On the contrary, I find too many too this quotation, but I think it is responsible primate (A) into sling (U) and fasten tail thin. I would like to see more rigorous, pro­ for leaving me hanging. into tail screw adapter (D), allowing no more vocative and well-written pieces that ask for Gary Baxter than 3 inches of tail to be exposed. Oil pedal more than a once-over-lightly glance and then Silver Springs, N.Y assembly (E). Place 3½ cups of ice water into are forgotten. pot (C) and place on top of kiln under tail Shirley Johnson Many potters choose salt glazing, partic­ tip screw adapter (D). Excelsior, Minn. ularly light salting, because the glaze is made “Operating sequence: As ice water in pot from/on the surface of the ware, as opposed (C) slowly heats up to boiling point, primate Dennis Parks’s “Letter to a Young Potter” to applying glaze to ware which often soft­ (A) begins cranking on pedal mechanism (E) really bothered me. His assertion that the ens/obscures detail. That's another way to which causes tail screw adapter (D) to slowly only way a potter can support him or herself say why one might build a kiln “to salt glaze rise and thereby reduce the discomfort to the in this society is by teaching, having a hard­ the ware for greater ‘visual clarity of surface primate (A)’s tail. The raising action of the working spouse, a family legacy or making and form.} *—Ed. tail screw adapter (D) pulls on stainless steel a clever real estate deal, is not only unduly cable attached to water valve (F) and slowly negative, but untrue. A lot of my friends are Carpal Tunnel Cure opens, allowing water to enter kettle (G) which in the visual arts—potters, painters, print- About 2½ years ago I had an extremely is balanced on fulcrum (K) by weights (J). makers, jewelers or weavers—and many sup­ bad accident ice skating, where my right arm The platform on fulcrum (K) slowly tilts to­ port themselves doing their work. Some, ad­ was broken and the radial nerve severed, ward the kettle (G) and pushes finger tip mittedly, struggle to make ends meet month causing my arm to be numb and paralyzed. (H) against electric switch (L) which turns after month, but others live quite affluently. After 6 months of traction and weekly doc­ on “super hot plate” steam generator (O). As I myself am a potter who falls somewhere in tor’s visits, the nerve luckily regenerated it­ tilt of kettle (G) increases, it pours water into the middle. I make “what my inner vision self and my arm was good as new. Six months funnel (N) and thusly into steam generator urges,” sell my work and live, if not afflu­ later, I started getting symptoms of what I (O). Generated steam passes through screech ently, at least free from want and worry. later realized was carpal tunnel syndrome. adjuster (P) to steam-operated siren (Q). I would tell a young potter to work hard, At the time I thought it was a reoccurrence Screaming siren (Q) awakens sleeping wino Continued May 1984 1 8 Ceramics Monthly Letters in advance on their participation form wheth­ ists; a previous selection through slides; a er they are willing to compete for the pur­ competition every other year; national com­ be persistent and follow that inner vision. chase prizes or not; in fact these prizes (there missioners in each country; a different ratio The possibility is out there for you to do, be are six, each for the same amount) imply that between Italian and foreign members of the and have all that you strive for. The road the prizewinning work must be assigned to jury. These and other proposals were dealt that Parks has not seen a soul on has people the collection of the Faenza Ceramics Mu­ with during a round-table discussion and a all along it; he must have looked the wrong seum; but on the contrary nothing is required congress in October 1982. However, in the way. of the artist who wins the Faenza first prize end the decision prevailed to keep the for­ Shel Neymark or for the honor prizes. mula that has always distinguished the Faen­ Dixon, N.M. The last part of Spurey’s article contains za competition from other similar exhibi­ some interesting proposals, though they are tions. not new for us: that the show be converted Nevertheless it is our intention to accept Faenza Jurying to a theme competition, a competition/ex­ any suggestion and proposal to improve our With reference to the article written by hibition or just an exhibition for young art­ Continued Kurt Spurey (December issue) which con­ tains a critique of the work of the jury of the International Competition of Ceramics of Faenza, 1983, I should like to make some remarks in my own name and in the name of the committee which organizes the com­ petition. First of all, the presumed interfer­ ence of the president with the jury was but an exhortation to make a “reasonable” se­ lection, on account of the peculiar character of the exhibition, which aims at presenting every year (beyond and above the prizewin- ning artists) a large-as-possible general view of contemporary ceramic art in the various European and non-European countries. We believe still valid the assertion a critic of art made some years ago: that the Faenza exhibition is an olympiad of ceramics in which it is more important to take part than to be awarded a prize. Each jury tends inevitably to operate with its own artistic criteria; this would imply the preliminary exclusion of several countries each year and would re­ quire a different formula of the competition, which in that case would be better realized if it were an invitational exhibition, limited to a few artists selected in each country. But this does not fall within the intentions of the Faenza competition. That is why the selec­ tion made by the jury is to be adapted in such a way as to exhibit the best works com­ ing from each country. Obviously the task of selection falls within the exclusive compe­ tence of the jury. Every year we point out to the jury which artists, among the participants, were admit­ ted in the previous competitions and which prizes, if any, these artists were awarded; but this is done only to facilitate the jury’s job. On this matter I have to add, too, that Kurt Spurey left out the fact that the 1983 selec­ tion was more severe than it had ever been: out of 549 entrants from 35 countries only 193 from 27 countries were admitted (there were 150 Italian participants and 40 of them were admitted). Of 1292 works submitted, 374 of them were exhibited. As Kurt Spurey himself admits, the awarding of prizes was decided unanimously with the utmost honesty. It is not true that in the latest years several artists refused the prizes they had been awarded; this happened only once to Spurey himself who afterwards withdrew his refusal of the prize (it was a medal, an honor prize). The artists declare May 1984 9 10 Ceramics Monthly Letters in not only clay but contemporary art as a whole. The space devoted to wheel work is exhibition and it was right for this reason strong, which is good, but the space devoted that our committee decided to include Kurt to sculptural works needs to be stronger. Spurey in the jury on account of the contri­ Laurie Eldridge bution of ideas and discussion he could give. Indianapolis We had not foreseen that he would say noth­ ing during the jury’s work (though he had a Lets see lots of potters, lots of pots, lots of very good interpreter at his disposal) and that information, lots of bowls, lots of pitchers, after some months he would write unkind lots of teapots, lots of jars, lots of plates, lots articles about the competition of ceramics at of vases, lots of form, lots of function (and a Faenza. little funk). However we hope that Kurt Spurey’s ar­ Darrel Bowman ticle may be useful for increasing our rela­ Eau Claire, Wis. tionship with the ceramists of each country; in fact, notwithstanding the urging he has Thank you for publishing nonfunctional addressed to ceramists not to take part in the pieces. Faenza competition anymore, this year we J. L. Jennings have a greater number than we had last year. Felton, Calif. We shall keep on trying to improve and develop the Faenza exhibition, which has been Production Ideas Requested taking place since 1938, and for some years As a potter in the highly competitive has been supplemented with other exhibi­ southern California area, I find that pro­ tions and initiatives for making the most of duction, as well as form, plays an important ceramic art, both contemporary and past, part in the success of a studio. I would like wherever in the world it may come from. to see some articles that share production Edoardo Dalmonte potters’ ideas on space efficiency and throw­ President of the Competition ing techniques. Faenza, Italy Production potters may well be known as Breaking the Sound Barrier the “black sheep” of the field, but face it, we I would like to see an article about sonic all can’t sell our wares with thousand-dollar ceramics which could introduce Susan Raw- price tags. Negative energy does nothing but cliffe’s ocarinas and Steve Smeed’s stoneware destroy. Let’s all try to remember that we trumpets, and anyone else working with son­ are united by our profession. ic aspects of clay. I would like articles to Michele Carnes respond to more than just the visual aspects El Toro, Calif. of clay; why not the sonic and tactile, and even the senses of smell and taste? Subscribers’ Comments Marlin L. Halverson I’d like more articles on the place of San Bernardino, Calif. “accidents” in creative process, using those things which “come to us.” I enjoy debates Magazine Direction and intellectual discussion on the importance Congratulations on the February issue! Its of the clay medium for the wall as well as feature articles had wonderful full-page pho­ the table. tography, and this is my major interest in the Jewell Brenneman magazine: to see work that otherwise is un­ Anchorage available to me. I hope sincerely that this is My month always begins with receipt of a new magazine direction and not just co­ CM. I am usually split between euphoria incidental. and outrage after reading the copy. My only Melinda Ashley-Masi sadness is that there is always a feeling of Norwood, Mass. deja vu. It is fun comparing my bias with Please keep the content as diverse and the those I read in Letters to the Editor. reporting as objective and impartial as pos­ Ted Halpern sible. Signed articles of opinion (criticism) Cranston, R.I. are fine, but there should be no implication that they reflect editorial bias. Just provide As a collector of pottery (American art the information and let readers determine its pottery and contemporary ceramics) I find CM a must for my personal growth/knowl­ value. edge. Frances Senska Leslie Beddard Bozeman, Mont. Jacksonville, Fla. The most enjoyable aspect of CM is look­ Share your thoughts with other readers. All ing at the photos of current sculptural work letters must be signed, but names will be and all kinds of work from other countries. withheld on request. Address: The Editor, Next I enjoy the wealth of technical infor­ Ceramics Monthly, Box 12448, Columbus, mation and the comments of others interested Ohio 43212. May 1984 11

14 Ceramics Monthly Suggestions from our readers Clean Coils from a Dirty Extruder The threaded rod can be rotated so that the center line is exactly Should you need only a few porcelain shapes and don’t want the placed for balance; the pointed rod ends allow perfect locating of bother of cleaning dark clay from your extruder, place the white the line’s position. For weights, use quarters—a constant 11.125 clay in a plastic bag and lower it into the extruder, open end down, grams each—allowing you to weigh out the proper proportions (i.e.: Superpax, 6 quarters; Gerstley borate, 18 quarters, etc.). —David Green, Morris, N.Y Reclaiming Scrap Clay Line a bucket with a cloth bag. After filling it with dry, scrap clay, add water. When the clay is soaked, remove the cloth bag and suspend it until the clay has dried to the required consistency. With a little experimentation of soaking and drying times, the clay comes out of the bag just right for wedging or pugging—eliminating the until the uncovered end comes to rest against the clean die. Replace messy, liquid slip and plaster bat stage. the plunger, pull the handle, and you should have clean porcelain —Jeremy Fiennes, Itapecerica da Serra, Brazil extrusions. — Judith K. Zieve, Gladwyne, Pa. Screen Saver Making Your Weigh When building or rescreening sieves, a layer of chicken wire or When setting up a studio, the equipment most often needed after coarse (½-inch) hardware cloth placed beneath the screen will great­ a kiln and wheel is a scale. Though necessary for preparing glazes, ly increase its life. —Lois Haatz, Normal, III. this item can cost almost as much as a used wheel. Try making one yourself: take a 36x5/16-inch threaded steel rod and file the ends Dollars for Your Ideas to a point. Ceramics Monthly pays $10 for each suggestion published; submis­ Punch three equidistant holes around the rims of two identical, sions are welcome individually or in quantity. Include an illustration large jar lids, and inverted, hang each with 3 fishing lines to either or photo to accompany your suggestion and we will pay $10 more end of the threaded rod. An additional length of line is tied to the if we use it. Send your ideas to CM, Box 12448, Columbus, Ohio center of the rod, and the apparatus is hung somewhere convenient. 43212. Sorry, but we can't acknowledge or return unused items.

May 1984 15

Where to Show exhibitions, fairs, festivals and sales

Send announcements of juried exhibitions, fairs, $10. Contact: Toledo Museum of Art, Box 1013, Asheville, North Carolina 28801; or call: (704) festivals and sales at least four months before the Toledo 43697; or call; (419) 255-8000. 254-0070. entry deadline to: The Editor, Ceramics Monthly, May 15 entry deadline Richmond, Virginia “9th Annual Richmond Box 12448, Columbus, Ohio 43212; or call: (614) Moorestown, New Jersey “Clay ’84 at Per­ Craft Fair” (November 8-11) is juried from 5 slides. 488-8236. Add one month for listings in July andkins” (September 21-30) is juried from slides or $6000 in awards. Fee: $10. Contact: Jan Detter, two months for those in August. works. Jurors: Paula Winokur and Larry Don­ Hand Workshop, 1001 E. Clay St., Richmond ahue. Commission: 20%. Awards. Work must be 23219; or call: (804) 649-0674. hand-delivered. For further information send self- LaCrosse, Wisconsin “9th Annual Great Riv­ International Exhibitions addressed, stamped envelope to: Clay ’84 at Per­ er Traditional Music and Crafts Festival” (Sep­ May 15 entry deadline kins, Perkins Center for the Arts, Kings Highway tember 1-2) is juried from slides. $2000 in awards. Zagreb, Yugoslavia “First World Triennial and Camden Avenue, Moorestown 08057; or call: Entry fee: $5. Booth fee: $25. Contact: GRTM&C Exhibition of Small Ceramics/Zagreb” (October Peg Krolak, (609) 461-2051. Festival, Crafts Committee, Pump House, 119 King 7-November 17) is juried from 1 work that does June 15 entry deadline St., LaCrosse 54601; or call: (608) 785-1434. not exceed 6 inches in any direction nor weighs Great Falls, Montana “Centennial Great Falls: June 8 entry deadline more than 2 pounds. May 15 deadline for appli­ A Missouri River Meeting” (November Bloomington, Indiana “4th Street Festival of cation; send $20 entrance fee, a V/iX5-inch black- 5-December 29) is open to current and former the Arts and Crafts” (September 1-2) is juried and-white photograph of the work, price and re­ residents of Montana. Juried from slides of up to from 4 slides. Fee: $45. Contact: 4th Street Com­ sume. June 15 deadline for work. Awards. For 2 entries. Fee: $15. Awards totaling $2500. Con­ mittee, Box 1257, Bloomington 47402. further information contact: ULUPUH, 41000 tact: Paris Gibson Square, 1400 First Ave., N., June 15 entry deadline Zagreb, Starcevivec trg 6/II. Great Falls 59401; or call: (406) 727-8255. Manteo, North Carolina “Third Annual New World Festival of the Arts” (August 17-19) is ju­ ried from 4 slides. Awards. Fee: $50. For further National Exhibitions Fairs, Festivals and Sales information contact: New World Festival of the May 14 entry deadline May 8 entry deadline Arts III, Box 111 -E, Kitty Hawk, North Carolina Downey, California The second annual Manitou Springs, Colorado “Commonwheel 27949; or call: (919) 261-3165. “American Ceramics National” (June 14-July 27) Artists 10th Annual Freedom Fair” (June 3-July Sapphire, North Carolina “High Country Art is juried from slides. Awards. Fee: $10. Contact: 1) is juried from slides. Fee: $25, plus 10% com­ and Craft Show” (July 20-22) is juried from slides American Ceramics National, Downey Museum mission. Contact: Commonwheel Fairs, Box 42, or photos. Fee: $65. Send self-addressed, stamped of Art, 10419 S. Rives Ave., Downey 90241; or Manitou Springs 80829; or call: (303) 685-1008. business envelope to: Virginia Smith, High Coun­ call: (213) 861-0419. May 15 entry deadline try Crafters, 29 Haywood St., Asheville, North May 15 entry deadline Tallahassee, Florida “Celebrate America ’84” Carolina 28801; or call: (704) 254-0070. Radford, Virginia “Clay U.S.A., 1984” an­ (July 4) is juried from 3 slides. Entry fee: $5. Lynchburg, Virginia “Lynchburg Fine Arts nual ceramic competition (June 29-July 28) is Booth fees: $30-$45. For further information con­ Center Fall Craft Fair 1984” (November 2-4) is juried from slides of up to 2 works. Juror: Val tact: 210 S. Monroe St., Tallahassee 32301; or call: juried from 3 slides. Entry fee: $4. Booth fees: Cushing. Awards. Fee: $10. Send self-addressed, (904) 222-8800. $75-$ 150. Contact: Fall Craft Fair, Lynchburg stamped envelope to: Ed Baldwin, Radford Uni­ Lafayette, Indiana “Lafayesta ’84” (Septem­ Fine Arts Center, 1815 Thomson Dr., Lynchburg versity, Department of Fine Arts, Radford 24141; ber 1-2) is juried from 4 slides. Awards. Fee: $35. 24501; or call: (804) 846-8451. or call: (703) 731-5475. Send self-addressed, stamped envelope to: Sue June 16 entry deadline June 1 entry deadline Pashke, 101 S. Ninth St., Lafayette 47901; or call: Saratoga Springs, New York Ninth annual Callicoon, New York “Functional Innovation (317) 742-1128. “Adirondack Green Mountain Craft Fair” (Sep­ in Clay” (June 23-August 5) is juried from slides May 25 entry deadline tember 14-16) is juried from slides. Entry fee: $5. or photos of 3 to 5 works. Awards. Fee: $5. Send Fort Wayne, Indiana “Three Rivers Festival Booth fee: $150. Contact: Charles Dooley, Craft- self-addressed, stamped envelope to: Wainscot Arts and Crafts Show” (July 7-8) is juried from producers Markets, R.D. 1, Box 323, Grand Isle, Galleries, Main St., Callicoon 12723; or call: (914) 5 slides or photographs. Fee: $25. Contact: Abby Vermont 05458; or call: (802) 372-4747. 887-4498. Brooks, 3525 S. Wayne, Fort Wayne 46807. Killington, Vermont “The Killington Foliage June 19 entry deadline May 26 entry deadline Craft Fair” (September 28-30) is juried from slides. Cooperstown, New York “49th Annual Na­ Marietta, Ohio “Indian Summer Arts & Crafts Entry fee: $5. Booth fee: $175 for an 8 X 10-foot tional Art Exhibition” (July 22-August 25) is ju­ Festival” (September 14-16) is juried from 5 slides. space. Contact: Charles Dooley, Craftproducers ried from works. Awards. Fee: $10. Contact: Olga Fee: $60 for a 10x10-foot space. Contact: Susan Markets, R.D. 1, Box 323, Grand Isle, Vermont Welch, 22 Main St., Cooperstown 13326; or call: Kern, Indian Summer Festival, Box 266, Marietta 05458; or call: (802) 372-4747. (607) 547-9777. 45750; or call: (6l4) 374-7146. June 30 entry deadline June 20 entry deadline May 30 entry deadline Minneapolis, Minnesota “Second Annual Naperville, Illinois “Table Trappings” (Au­ Elizabeth, Colorado “8th Annual Eliz- Minnesota Christmas Craft Sale” (November gust 1-27) is juried from 4 slides of dinnerware. abethfolk Festival” (July 28-29) is juried from 22-25) is juried from 5 to 10 photos or slides. Awards. Fee: $12. Send self-addressed, stamped slides or photos. Fee: $3. Contact: Elizabethfolk Contact: Ron Mark or Wilma Wernick, Minne­ envelope to: Ariel Gallery, 15 W. Jefferson Ave., Festival, Box 569, Elizabeth 80107. sota Christmas Craft Sale, 3112 Hennepin Ave., Naperville 60540; or call: (312) 355-4466 May 31 entry deadline S, Minneapolis 55408; or call: (612) 824-5827. August 10 entry deadline Vail, Colorado “First Annual Fine Arts Fes­ Las Vegas, Nevada “KNPR Craftworks Mar­ Gatlinburg, Tennessee “The Garden: New tival at Vail” (July 21-22) is juried from 3 slides ket” (October 27-28) is juried from 10 slides. En­ Form, New Function” (October 12-December 8) or photographs. Fee: $50 for a 10X10-foot space. try fee: $10. Booth fee: $100. Contact: Craftworks, is juried from slides. Works must relate to the gar­ Contact: Eagle Valley Arts Council, Box 1153, 5151 Boulder Hwy., Las Vegas 89122; or call: den concept. Contact: Arrowmont, Box 567, Gat­ Vail 81658. (702) 456-6695. linburg 37738; or call: (615) 436-5860. June 1 entry deadline July 1 entry deadline August 15 entry deadline Huntsville, Alabama “Huntsville Autumn- Gaithersburg, Maryland “9th Annual Nation­ New Haven, Connecticut “Sixteenth Annual fair” (September 8-9) is juried from 3 slides of al Craft Fair” (October 19-21) is juried from 5 Celebration of American Crafts” (November work and 1 of display. Fee: $100. Contact: S & S slides. Entry fee: $8. Booth fees: $150—$250. Con­ 8-December 23) is juried from works. Commis­ Promotions, 1724 Traver Rd., Ann Arbor, Mich­ tact: National Crafts, Gapland, Maryland 21736; sion: 30%. Send self-addressed, stamped envelope igan 48105; or call: (313) 665-5649 or 485-4492. or call: (301) 432-8438. to: Roz Schwartz, The Creative Arts Workshop, Sapphire, North Carolina “High Country Art Saint Louis, Missouri “Six Flags Country Fair 80 Audubon St., New Haven 06511; or call: (203) and Craft Show” (June 29-July 1) is juried from Crafts” (September 8-October 14,Saturdays and 562-4927. slides or photos. Fee: $65. Send self-addressed, Sundays only) is juried from slides or photos. stamped, business envelope to: Virginia Smith, High Craftspersons must demonstrate. Fee: $20per day Country Crafters, 29 Haywood St., Asheville, North for a 10X 10-footspace. Contact: Six Flags Coun­ Regional Exhibitions Carolina 28801; or call: (704) 254-0070. try Fair Crafts, c/o Merchandising, Box 60,Eu­ May 12 entry deadline Scaly Mountain, North Carolina “High reka, Missouri 63025. Toledo, Ohio “66th Annual Toledo Area Art­ Country Art and Craft Show” (July 6-8) is juried Sugar Loaf, New York “Sugar Loaf Fall Fes­ ists’ Exhibition” (June 17-July 8) is open to res­ from slides or photos. Fee: $65. Send self-ad­ tival” (October 6-8) is juried from slides. Entry idents of northwestern Ohio and southeastern dressed, stamped, business envelope to: Virginia fee: $5. Booth fee: $90 for a 1 Ox 6-foot space. For Michigan. Juried from works, up to 3 entries. Fee: Smith, High Country Crafters, 29 Haywood St., Please Turn to Page 74 May 1984 17 18 Ceramics Monthly Questions Answered by the CM Technical Staff Q In the last few months I have been experimenting with sumi-e painting on my pots, but the commercial black stain I've been firing has a rather different quality from ink, and there are problems keeping it in suspension. The gray shades look especially ugly. Ad­ ditionally, the bisqued pot quickly sucks the brush dry, and won't allow the wash to run or bleed as on paper. Any advice?—J.M. Let’s break your problem down into its two parts: the first prob­ lem is with the stain wash, and the second is with the pot to which it is applied. The stain you are using is more coarse than sumi-e ink, and for this reason you might consider grinding the pigment with a mortar and pestle or ball mill before use. The more finely ground the stain, the more likely it is to give you the fully dispersed gray shades you are seeking. Mix 75 grams CMC gum in one gallon of water, and use this as a vehicle for your stain—the gum will help disperse and suspend the colorant. Or try sumi-e style painting on a background of wet slip in order to get any decoration to bleed more around the edges. Another approach to the problem is to switch from insoluble materials such as the stain you are now using to soluble colorants, as these naturally have the dispersed look of sumi-e painting. Sol­ uble colorants, however, are relatively toxic and should be used only by those with a full knowledge of ceramic glaze chemistry. Man­ ganese carbonate could be a good starting point for experimenting with soluble colorants, and this can be mixed with other solubles for furthering altering its overall hue. Or, any colorant, be it stain, oxide or carbonate, can be mixed with a lightweight oil instead of water, and the oil’s viscosity can be regulated by cutting it with turpentine in the same manner as one cuts oil used in overglaze enameling. In this technique, the colorant is typically ground with the oil, and a very inklike quality can result. Oil base decoration will resist water base glaze, however, and rebisquing may be nec­ essary should you desire an overall glaze coat. As to problems with the pot pulling too much decorating liquid: in the case of water-based colorant media, the pot may simply be dipped in water prior to decoration, or the work can be bisqued to a higher temperature, which also may eliminate problems associated with body gases causing pinholing, cratering and other glaze defects. Some combination of these suggestions should fit your working methods, causing the least disruption to processes in which you have invested time and accumulated skill. We live in an area that has a lot of coal, and I would like to use this fuel to fire our kiln. Any suggestions for firing with coal such as type, glazes, grate composition, etc.?—C.C. The best place to learn about coal firing is from someone still firing a traditional coal-fueled kiln. In your region, there may yet be some brickyards firing with coal, and the firemen there can teach you a lot if you can arrange to be around when brick is “burned.” Bituminous coal is usually burned in ceramic kilns, and the firebox grates are modified to withstand the hotter (than wood) burning temperatures—closer spacing of iron bars, or grates constructed of fireclay. Because of the sulfur content in most coal (which causes glaze scumming) and because coal ash leaves coarse deposits on ware, pots fired with this fuel are stacked in saggars (clay boxes) to protect them from the kiln atmosphere. The Kiln Book, by Fred Olsen, contains a variety of references to coal firing, including kiln plans for the Delhi Blue Pottery’s large coal-fired kiln in New Delhi, India. Smaller kilns could be adapted from this design.

Subscribers' inquiries are welcome and those of general interest will be answered in this column. Due to volume, letters may not be answered personally. Send questions to: Technical Staff, Ceramics Monthly, Box 12448, Columbus, Ohio 43212. May 1984 19 20 Ceramics Monthly Itinerary conferences, exhibitions, workshops, fairs and other events to attend Send announcements of conferences, exhibitions, Welsh, sculpture and monotype prints; at Meyer Art Museum of San Francisco, Golden Gate Park. ;workshops, juried fairs and other events at least Breier Weiss, Building A, Fort Mason Center. May 1-June 2 “National Clay Exhibition”; at seven weeks before the month of opening to: TheCalifornia, Stinson Beachthrough May 15 the Elaine Potter Gallery, 336 Hayes St. Editor, Ceramics Monthly, Box 12448, Columbus, Gene H. Pearson, sculpture; at Mountain Sea California, Walnut Creekthrough May 13 Ohio 43212; or call: (614) 488-8236. Add one Gallery, 3605 Shoreline Hwy. “California Clay ’84”; at the Walnut Creek Civic month for listings in July and two months for thoseColorado, DenverMay 4-26 Sherry Loehr, Arts Gallery, 1313 Civic Dr. in August. whiteware; at Artisan Center, 2757 E. Third Ave. California, Westlake VillageMay 4-31 A dual D.C., WashingtonMay 20-June 8 Mineo exhibition with David Greenbaum, burnished pot­ Mizuno; at American Hand, 2906 M St., NW. tery; at the Retreat Gallery, 3865 E. Thousand International Conferences Illinois, ChicagoMay 4-June 15 Deborah Oaks Blvd. Canada, Alberta, BanffMay 7-11 “Canadian Horrell, installations; at Lill Street Gallery, 1021 Colorado, Denverthrough May 5 “Environ­ Clay Conference ’84,” at the Banff Centre School, W. Lill St. ments,” includes Kurt Weiser, slip-cast porcelain will include: “National Issues Day” (May 8) with May 4-30 Bennett Bean, low-fired vessels; at Es­ and earthenware vessels and platters; at Cohen keynote speaker Phillip Rawson, chairman Peter ther Saks Gallery, 311 W. Superior St. Gallery, 665 S. Pearl St. Wienrich, and lecturers Franklin Heisler on Ca­ Massachusetts, Bostonthrough May 15 David Connecticut, Greenwichthrough May 26 A nadian ceramics; Michael McTwigan, publishing; Davison, “Transformations,” ceramic sculpture; at dual exhibition with Jeff Oestreich; at the Ele­ Bruce Fergusen, public and private curating; and Creiger Sesen Associates Gallery, 10 Post Office ments, 14 Liberty Way. John Bentley Mays, critical writing. “Historical Square. Connecticut, GuilfordMay 6-27 “Dreams and Issues Day” (May 9) with chairman Alan Rob­ Massachusetts, Salem through December 4 Other Illusions,” a multimedia juried exhibition; ertson, and speakers Shirley Ganse on China’s Song Hajime G. Kozuru, “Beyond Tradition”; at the at Guilford Handcrafts, Route 77. dynasty, Alan Caiger-Smith, Islamic ware from Peabody Museum of Salem, East India Square. D.C., Washingtonthrough June 17 “Clay for the 12th— 13th centuries; Garth Clark, late 19th- Massachusetts, Worcester through May 8 Walls; Surface Reliefs by American Artists”; at century Great Britain; and Daniel Mato, contem­ Susan Fisher, “Creatures in Architecture in Cen­ Renwick Gallery, Pennsylvania Ave. at 17th St., porary Africa. “The Artist in Society” (May 10) tral Europe and Central New England”; at the Northwest. with keynote speaker Paul Fleck, chairman Jon Worcester Craft Center, 25 Sagamore Rd. Georgia, Atlantathrough May 18 Works by Whyte, and workshop leaders David Green, Minnesota, MinneapolisMay 1-30 Thomas gallery artists; at Gillette-Frutchey Gallery, 1925 “Growth Opportunities for Studio Potters”; Rick Kerrigan, vessels and architectural walls; at Friends and 1931 Peachtree Rd., Northeast. Gomez, “The Future of Art Education: Fact or Gallery, the Minneapolis Institute of Arts, 2400 Hawaii, Honoluluthrough May 27 “Auspicious Fantasy?”; Robin Hopper, “The National Ceram­ Third Ave., S. Spirits,” Korean folk objects; at the Honolulu ic Profile”; Nini Baird, “Community Opportuni­ New Jersey, Trentonthrough June 10 Bennett Academy of Arts, 900 S. Beretania St. ties and Involvement”; and Dave Dorrance, “Fu­ Bean, pit-fired vessels; at the New Jersey State Illinois, Chicagothrough May 5 A group ex­ ture of Ceramics into Mainstream Art.” Plus gallery Museum, 205 W. State St. hibition with Dick Studley, Egyptian paste vessels; exhibitions, tours , slide shows, Canadian clay triv­ New Mexico, AlbuquerqueMay 5-June 30 at American Artforms Gallery; at Neiman-Mar- ia challenge, and social activities. Fee: $100. Con­ Fred Wilson, large sculpture; at the Muddy Wheel, cus, 737 N. Michigan Ave. tact: Leslie Manning, The Banff Centre of Fine 4505-07 Fourth St., NW. through May 25 Susan and Steve Kemenyffy. Arts, Box 1020, Banff, Alberta T0L 0C0. New York, New YorkMay 1-19 Bob Barry, through June 30 “Figurative Sculpture,” includ­ Canada, Ontario, TorontoMay 25-27 Ninth architectural sculpture with nontraditional color­ ing Robert Guttke and Marc Sijan; at the Mind- annual conference of the Ontario Potters Associa­ ants; at Greenwich House Pottery, 16 Jones St. scape Collection, 300 W. Superior. tion, with guest speaker David Shaner. Contact: North Carolina, Winston-Salemthrough May Illinois, Highland ParkMay 5-31 “This is Ontario Potters Association, 140 Yorkville Ave., 20 Susan E. Clellen, large sculpture; at South­ Raku”; at Martha Schneider Gallery, 124 S. Deere Toronto M5R IC2; or call: (416) 923-1803. eastern Center for Contemporary Art, 750 Mar­ Park Dr. guerite Dr. Illinois, NorthbrookMay 10-19 A dual ex­ Ohio, Akronthrough June 10 Jo Kirschen- hibition with Dick Studley, Egyptian paste vessels; Conferences baum, crystalline and oil-spot glazed porcelain; at at American Artforms Gallery at Neiman-Mar- New Jersey, MontclairJune 29-July 1 “Mid the Akron Art Museum, 70 E. Market St. cus, 5000 N. Brook Ct. Atlantic States Craft Conference: Making Con­ Ohio, ColumbusMay 6-31 Sally King; at Iowa, ClintonMay 19-June 3 A dual exhi­ nections,” at Montclair State College. For details, Helen Winnemore’s, 150 E. Kossuth at Mohawk, bition with Tony Menzer, handbuilt and thrown consult CM February Itinerary. Contact: Hor- German Village. works with crystalline glazes; at the Clinton Art tense Green, Crafts Coordinator, New Jersey State Oregon, Warm Springsthrough June 24 Association Gallery, 708 Twenty-fifth Ave. Council on the Arts, 109 West State Street, CN Lillian Pitt, “Out of the Fire,” raku masks; at Kah- Iowa, Iowa Citythrough May 6 “Medieval and 306, Trenton, New Jersey 08625; or call: (609) nee-ta Lodge. Renaissance Ceramics from the Kassebaum Col­ 292-6130. Rhode Island, WesterlyMay 6-26 Frank M. lection,” glazed earthenware; at the University of New Jersey, NewarkMay 12 “Art Pottery in Carrano, porcelain wall forms; at the Center for Iowa Museum of Art, Riverside Dr. America,” a symposium covering: “European Art the Arts, 119 High St. Kentucky, LexingtonMay 15-June 24 “Spot­ Pottery, 1890-1930” with Martin Eidelberg; “Ser­ Texas, DallasMay 5-June 16 Barbara Brault- light ’84: Southeast Crafts” juried exhibition; at endipity and Missed Opportunities: The Growth Jordan, residual salt-fired, slab-constructed earth­ the University of Kentucky Art Museum, Rose of the Art Pottery Collection of the Cincinnati Art enware; at Conduit, 2814 Elm St. and Euclid Sts. Museum, 1881-1983” with Kenneth R. Trapp; Maine, Portlandthrough May 31 “Dinnerware “Collecting Art Pottery: An Historical Overview Extraordinaire”; at Maple Hill Gallery, 367 Fore from Edwin Atlee Barber to 1984” with Todd Volpe; Group Exhibitions Street. “Fulper: New Jersey Art Pottery” with Gordon Arizona, Tempe May 6-July 15 “Ceramic Massachusetts, Bostonthrough May 18 “New Gray; and “The Newark Museum Collection of Festival I: Arizona State University Contemporary England Regional Clay Juried Exhibition”; at American Art Pottery.” Fee: $37, includes lun­ Ceramics”; at Arizona State University, Matthews Boston Visual Artists Union, 77 N. Washington cheon. Contact: The Newark Museum, 49 Wash­ Center. Street. ington St., Box 540, Newark 07101; or call: (201) California, La JollaMay 4-June 9 “Con­ through May 30 “Ban Chiang: Discovery of a 733-6600. temporary Teapots” by Kathy Erteman, Dorothy Lost Bronze Age”; at the Museum of Sciences, Hafner, Nancy Selvin and Mayer Shacter; at Gal­ Science Park. lery Eight, 7464 Girard Ave. through June 3 “Directions in Contemporary Solo Exhibitions California, Los Angelesthrough May 31 A American Ceramics”; at the Museum of Fine Arts, Arizona, ScottsdaleMay 31-June 21 Steve group exhibition with Edna Cataldo, sculpture; at 465 Huntington Ave. Liggett, “Modular Units,” works in paper, clay del Mano Gallery, 11981 San Vicente. Massachusetts, Cambridge through May 7 and rattan; at Wilde-Meyer Gallery, 4151 N. May 3-June 3 A dual exhibition with Anne “Under Fire,” ceramics by Wayne Barron, Steven Marshall Way. Shattuck, salt-glazed baskets; at Rodell/Retreat Branfman, Jamie Fine, Nancy Matzell, Jill Sol­ Arizona, Tucsonthrough June 8 Kevin Os­ Gallery, 11714 San Vicente Blvd. omon, Sandy and Ralph Terry, and David Weiner; born, pit-fired vessels and sculpture; at the Tucson May 4-26 “All LA,” works by 23 contemporary at the Baak Gallery, 59 Church St. Museum of Art, 140 N. Main Ave. area artisans; at Free Hand, 8413 W. Third St. Massachusetts, Lexingtonthrough September California, La JollaMay 14-25 Mayer Shac- California, San Franciscothrough July 30 9 “Unearthing New England’s Past: The Ce­ ter; at the Crafts Center, University of California, “Japanese Ceramics from the Museum’s Perma­ ramic Evidence,” shards and whole objects from San Diego. nent Collection,” includes more than 50 works dat­ the 17th to 19th centuries found in archaeological California, San FranciscoMay 1-June 2 Stan ing from 3000 B.C. to A.D. 1900; at the Asian Please Turn to Page 65 May 1984 21 22 Ceramics Monthly Comment Potters Never Had It So Good by Gary Hatcher

The following article is a response todoor leading to a life of vitality, creative “Letter to a Young Potter” which ap­ expression and, yes, economic freedom peared in the March 1984 issue.—Ed. and security. What a great life full of opportunity and independence we pot­ The WORLD has never been a better place ters have! for a young potter. I certainly don’t ap­ Potters fail economically for the same preciate those “would be” professional reasons many small businesses fail: poor potters who through misrepresentation planning and lack of professionalism. and negative reinforcement have at­ Certainly if you do not take your busi­ tempted to push back the flood of new ness seriously, you cannot expect anyone potters from the marketplace. Some pot­ else to either. There is nothing myste­ ters fail because they refuse to look real­ rious about setting up a successful busi­ ity squarely in the face, and even as ad­ ness as a potter, but it does require con­ mitted failures, continue that old circle tinuous assessment of economic and of the blind leading the blind. creative action. I have potter friends who Making pots is hard work (there you have succeeded in balancing creative will find no argument), but so many pos­ expression with economics; and, con­ sibilities available today were never even versely, I have friends who are busting imagined by potters of the last century. out all over with creativity, but never In the United States alone, there are seem to get their ideas off the ground. dozens of potters running lucrative busi­ Synthesizing finances with creative nesses; spouses work with them or are expression is the ultimate problem we economically free to pursue their own humans must face, and if we start be­ careers. Yes, there are potters who are lieving that we, as potters, have a harder unable to pursue their creative instincts row to hoe than computer programmers, with clay while eking out a living, but architects, magazine editors, genetic en­ it certainly is not because the opportu­ gineers or college professors, my friends, nities for economic survival do not exist. we end up the fools. I often wonder what the potters of, say, At this moment I can name at least the Song dynasty could do with the wealth ten potters who gross over $50,000 per of technological advancements available year and a couple who make twice that, to the potter of 1984—think of all that which is not saying that dollars are any time spent grinding up rocks and mixing measure where good pots are concerned, clay with their feet. but it can be done. Opportunities and There are those potters who teach full advancements abound in every area of or part time out of a love of teaching, our craft. certainly not because they are backed I have a friend named J. J. Byrd who into a corner by sure financial doom as lives down the road. He is somewhere full-time potters. My deepest gratitude around 90 years old and until 1954 ran goes out to the teachers who gave up the Byrd Pottery set up by his father. precious time in their studios to help me When Daphne and I first moved to Pine along as a potter, for if it were not for Mills, Texas, J. J. would visit us and them I would have never discovered the Continued May 1984 23 Comment tell stories about how potters of the pre­ computer era worked. I will never forget him walking into the pottery, picking up one of my favorite 6-pound pitchers and asking, “Son, when are you going to quit making these little trinkets and throw something with some size?” Then J. J. proceeded to tell me how, after feeding the kids in the morning, his wife would throw a hundred 1-gallon pitchers, while he was throwing 30-pound birdbaths. In the post-industrial era there was no pos­ sibility of selling a pot for any more than its utilitarian worth; pots were priced by the gallon, not by the credentials of the maker. Potters were not artists, but com­ petitors with the manufacturers of the metal bucket and the glass jar. I think the key to the survival of the Byrd Pot­ tery is summed up by one thing J. J. said to me, “Son, if you told me that I couldn’t do something, it was like spit­ ting in my face.” In 1976, we were in New York City for a few weeks, and being potters spent a large portion of that time seeking out galleries exhibiting clay. Needless to say, we were very disappointed to find only a handful of galleries carrying daywork and many of those had it stuck away in some back corridor, with painting and sculpture (their old standbys) featured up front. We went on to England to work for over two years and then straight back to Dallas. It was not until 1982 when we were invited to exhibit in the New York area that we again spent a week in New York City looking at clay every­ where. The change six years later was nothing less than phenomenal. I knew that the economic environment for clay was improving, but I suppose the sig­ nificance of that change was not as bla­ tant to me as it was upon contrasting those two visits to America’s most con­ centrated cultural center. And this change is not isolated to New York City, by any means; the evidence is everywhere. You say you do not like the high-pow- ered art scene? That’s fine, listen to this: many potters sell all they can possibly make through wholesale markets put on by American Craft Enterprises and oth­ er organizations. Buyers for department and specialty stores, craft shops and gal­ leries are excited about clay as they have never been before, and they come to these wholesale events by the hundreds to buy. Many potters never leave their studios, but have sales representatives who sell 24 Ceramics Monthly their work through the vast marketing willing to adapt to the needs of potters. dustry that are now available to potters. centers of Dallas, Chicago, New York, There are many fine people running We can no longer plead ignorance if we Atlanta, etc. Today you cannot find one supply companies who are willing to build hardbrick kilns requiring 30 hours issue of a home or architectural peri­ provide virtually any clay or glaze con­ to fire, or destroy our health by burning odical that does not have clay pictured stituent at your door within days, as well waste oil sucked up from the catacombs in the environments they feature. Dec­ as advice on how best to use it. We have of a gas station. Potters would do well orative ceramics are hot and we have not come a long way from passing secret in­ to wade through the flood of information seen anything like a peak. formation down from generation to gen­ churned out by industry every year, for You say you do not like wholesale? eration as the Chinese did. although much of it is beyond the scope Well, try the least desirable of marketing There is no magic in materials alone. of our needs, some can be adapted on a possibilities: the craft fair. There are It is up to us to blend our own special small scale. hundreds of such events available, and creative energies with the materials now What young potters do not need are some potters do nothing but craft fairs, available to us. In some situations ma­ the isolated sob stories of those who have often selling several thousand dollars terials can spell the death of creativity, failed to resolve economics with their worth of pots in a weekend. Year after but we must always keep in mind that creative instincts. What young potters do year they go to the same events and care­ the potters of old dug their own clay and need is encouragement through the use fully take down the names and addresses glaze materials because they had no oth­ of critical examination in the context of of those making purchases. Then, a few er choice. Today our problem is not one what we desire creatively in the future weeks before that event the following year, of getting and preparing materials, but and what has been available in the past. they send the known buyers post cards one of deciding which ones give life to We must strive to keep our ambitions as to remind them that they will be there our work and which take it away. potters in perspective, for we have all again this year. It works. Scores of new, small manufacturers had our share of failure. But in historical One of the biggest problems potters are willing to provide the most up-to- terms we are currently experiencing the face involves the materials we use; it’s a date technological advances that have most prolific renaissance potters have ever problem of choice. We can dig our own trickled down from industry. Space-age known. The young potter has never had clay, have a truckload dumped in the ceramic fiber, kiln atmosphere analyz­ it so good. back yard or buy plastic clay, delivered ers, heat exchangers, de-airing pugmills blended and de-aired to our specifica­ and pneumatic extruders are but a few The author Gary Hatcher operates tions. Suppliers have never been more of the advancements developed by in­ Pine Mills Pottery near Mineola, Texas.

May 1984 25 Three Czech Ceramists byJ iri Setlik

Sarka, Pravoslav and Jindnska Rada, a family of potters from Prague, Czechoslovakia.

CERAMICS connects and separates, Prav­ during the 1950s defined the conditions marked a major change in his career. oslav and Jindriska Rada and their for their work within that society. From The characteristic element in his work daughter Sarka, a family of Czech artists this basis, their individual styles devel­ is contrast: in composition of form, in who maintain studios in Prague. In a oped on experiences gained day-to-day relationship between the whole and de­ basement room on a city street, Pravo­ in the studio, and from the contradictory tails, in diversity of scale and color. slav and Jindriska work individually and and corresponding nature of their opin­ Combinations of formal and decorative in collaboration on utilitarian and sculp­ ions, feelings and critical exchanges. motifs led him to create a metaphoric tural objects fired up to 2100°F in an Since the end of the 1950s, Pravoslav world of zoomorphic objects and absurd electric kiln. Sarka fires her works in a and Jindriska have concentrated on portraits: walking clocks, flying lions, similar kiln at her own studio. All three making ceramic forms both for interior flat cats and more. also use a studio they built beside their decoration and outdoor environments. Jindriska (born in 1925) graduated summer cottage in a nearby village. There Today their works are in public places, from the Academy of Applied Arts in they fire stoneware and porcelain to schools, industries and gardens in textile design, as evidenced in her stone­ 2550°F in an oil-fueled kiln. Czechoslovakia. ware and porcelain: it is as if she were The example of Functionalism pro­ Born in 1923, Pravoslav studied at the always dressing a form, made of many vided Pravoslav and Jindriska with a Stonecutters’ and Sculptors’ School in thin layers of clay, decorated with fine, standard at the start of their careers Horice (1939-43) and at the Academy plastic detail and completed by the tone around 1950. Free interpretation en­ of Applied Arts in Prague (1943-48). of the glaze. In seeking new methods abled them to develop relationships be­ Both his father and grandfather were of working clay, she adapted the tech­ tween utilitarian aspects and expression painters, but he preferred clay. The move nique of applying lace dipped in slip to of form/decoration. Also, radical struc­ from strict functionality (mostly table­ her forms. One of her favorite motifs tural changes in Czechoslovak society ware), to robust majolica sculpture is a tree—expressed as a spatial object, 26 CERAMICS MONTHLY Photos: Miroslav Hucek, Zdenek Lhotak, Jindrich Otto, Pavel Vacha and courtesy of the artists

Pravoslav and Jindriska produce junctional and sculptural ware at their summer studio/home in a village outside of Prague.

The kiln room at the summer studio houses an oil-fueled, downdraft (fired to 2550°F) and a small electric kiln. high relief or polychrome glaze drawing. The approach of Sarka Rada (born 1949, graduated in 1973 from the Acad­ emy of Applied Arts in Prague) reflects her heritage. In contrast to her parents’ large-scale ceramics, Sarka’s work dur­ ing the past ten years has been with small sculptural objects commenting on con­ temporary life. In clay, she combines the narrative inclination typical of her fath­ er’s expression with the emotionality of her mother’s. Sculpture as well as reliefs are accented with rich color details to express metaphoric images of the world we live in. Playful but at the same time slightly ironic, they comment upon hu­ man behavior. While the Radas’ medium and shared workspace remain a common denomi­ nator, individual expression, execution and consequently their purpose is great­ ly varied. May 1984 27 “The Head 12 inches in diameter, thrown and handbuilt porcelain with screen-printed black-and-white photographic decals, by Pravoslav Rada.

Celadon-glazed vase, 10 inches in “Profile,” 11 inches in diameter, porcelain with height, by Jindriska Rada. photoceramic decals, by Pravoslav Rada.

28 Ceramics Monthly Modular stoneware lion, approximately8 feet in length, installed outside an elementary school in Prague, by Pravoslav and Jindriska Rada.

Left Stoneware sculpture, approximately 10 feet in height, one of a series of seven installed outside a Prague restaurant, by Pravoslav and findriska Rada. Repeated pattern and concentrated decorative elements reflect traditions from historical Czechoslovak ceramics.

“Garden ” stoneware, 11 feet in height, “The Pig,” multipart stoneware “Waking Up,” cast and assembled for a children’s medical facility in North sculpture, 16 inches in length, stoneware sculpture, 18 inches in Bohemia, by Pravoslav and Jindriska Rada. by Sarka Rada. height, by Sarka Rada. May 1984 29 Hobart Cowles Albany Glazes byL ili Krakowski

ALTHOUGH these Albany slip glazes Semitransparent Dark Tan Glaze Opalescent Blue Glaze (developed by the late Hobart Cowles at (Cone 5) (Cone 5) the Rochester Institute of Technology, Gerstley Borate...... 20% Gerstley Borate...... 14.8% and recently tested by friends and for­ Albany Slip Clay...... 80 Spodumene...... 7.4 mer students) afford a range of rich tones 100% Albany Slip Clay...... 66.7 for the Cone 4-6 repertory, what makes Flint ...... 11.1 them exceptional is their refiring capa­ Add: Red Iron Oxide ...... 5% bility. First fired to maturity at Cone 5, Refiring at Cone 04 yields copper (old- 100.0% they can be refired to Cone 04 for dis­ yet-bright-penny color). Refiring at Cone 04 yields dark yellow. tinct color changes. Add 1.5% red iron oxide for a Cone 5 Since experimentation has shown var­ Semitransparent Gold Glaze furry blue/rust recipe that is dark yel­ ious results with different batches of Al­ (Cone 5) low when refired to Cone 04. bany slip on a variety of clay bodies Gerstley Borate...... 17.4% (bodies high in petalite seem to ruin col­ Lithium Carbonate...... 4.3 Deep Gold Glaze or brightness), it is advisable to test the Albany Slip Clay...... 69.6 (Cone 5) full series. Fairly thick application seems Flint ...... 8.7 Bone Ash...... 4.3% to produce the best results, and colors 100.0% Gerstley Borate...... 21.3 can be altered further by layering. Add: Red Iron Oxide...... 4.3% Lithium Carbonate...... 3.5 Albany Slip Clay...... 56.7 Semitransparent Tan Glaze Refiring at Cone 04 yields dark yellow/ Flint ...... 14.2 (Cone 5) gold. 100.0% Gerstley Borate...... 16% Add: Red Iron Oxide ...... 7.1% Albany Slip Clay...... 72 Nutmeg Glaze At Cone 5 this recipe yields a smooth Flint...... 12 (Cone 5) gold haze over blue plum; refired at Cone 100% Bone Ash...... 4.4% 04, it is rusty red. Refired at Cone 04, this recipe yields Gerstley Borate...... 18.4 mustard yellow. Lithium Carbonate...... 3.7 Albany Slip Clay...... 58.8 Breaking Gold Glaze (Cone 5) Transparent Tan Glaze Flint ...... 14.7 (Cone 5) 100.0% Gerstley Borate...... 16.6% Add: Red Iron Oxide ...... 7.4% Lithium Carbonate...... 4.2 Gerstley Borate...... 18.2% Albany Slip Clay...... 66.7 Albany Slip Clay...... 81.8 Refiring at Cone 04 yields rusty red. Flint ...... 12.5 100.0% 100.0% Refiring at Cone 04 yields dark gold. Opalescent Dark Blue Glaze Add: Red Iron Oxide ...... 4.2% (Cone 5) Refiring at Cone 04 yields dark yellow/ Opaque Ginger Glaze Gerstley Borate...... 19.0% gold. (Cone 5) Lithium Carbonate...... 4.8 Albany Slip Clay ...... 76.2 Bone Ash...... 4.6% Breaking Dark Tan Glaze Gerstley Borate...... 19.1 100.0% Lithium Carbonate...... 3.8 Add: Red Iron Oxide ...... 4.8% (Cone 5) Albany Slip Clay...... 61.1 Refiring at Cone 04 yields copper (old- Bone Ash...... 4.7% Flint ...... 11.4 Gerstley Borate...... 15.9 yet-bright-penny color). Lithium Carbonate...... 4.0 100.0% Albany Slip Clay...... 63.5 Add: Red Iron Oxide ...... 3.8% Furry Blue/Rust Glaze Flint ...... 11.9 Refiring at Cone 04 yields cocker spaniel (Cone 5) 100.0% gold. Bone Ash...... 6.2% Add: Red Iron Oxide...... 4.0% Gerstley Borate...... 20.8 Beer Bottle Brown Glaze Lithium Carbonate...... 3.5 Refiring at Cone 04 yields dark yellow/ (Cone 5) Albany Slip Clay...... 55.6 gold. Gerstley Borate...... 12.5% Flint ...... 13.9 The authorA previous contributor to Spodumene...... 12.5 100.0% Ceramics Monthly (see Hobart Cowles Albany Slip Clay...... 75.0 Add: Red Iron Oxide...... 6.9% White Glazes” in the March 1984 is­ 100.0% Refiring at Cone 04 yields shoe polish sue), Lili Krakowski is a studio ceramist Refiring at Cone 04 yields yellow. brown breaking to black and rust. in Constableville, New York. 30 CERAMICS MONTHLY Jack Earl by Bill Buchanan Photos: Harry Duke, Blaine Eldrige, Lee Nordness

Western Carolina University in enough and said, ‘Yes.’ ” and linoleum. Through her life now ear­ Cullowhee, North Carolina, recently An overflow crowd attended Jack’s ly old sits in the lawn chair in the sun exhibited 40 works by Ohio ceramist Jack lecture: “I went to Ohio State for one of another day waving a can of beer, Earl. This artist’s porcelain sculptures year, got an M.A. Went from there and speaking loud about money, sex and are figures which state, often mildly, taught at Toledo School of Design at the honesty. Who could change her? obliquely and with dry humor, his ob­ museum, and that’s where I began mak­ “Smoke. How I hate smoke. I know servations about life. ing things that made some sense to me. a man; I know a woman. They open Sometimes Jack’s people see beyond And people liked them. I like for people their mouths and there is smoke—words our culture to something infinite, but to like my things, and that’s kind of the in a cloud covering their heads, covering when they grasp it they don’t know what way I base my direction—on people’s my head; a clouding vapor dissolving in to do with it, and so they let go. Jack responses and myself enjoying them, en­ disillusionment. Let me loose from words. tells this story: “There was a man patch­ joying making them. “This isn’t a title; this is a story. (I’ll ing the roof of his shed when he looked “I’ve got some titles I haven’t made look my audience over; I don’t want to up and saw the sky and it filled him, pieces for. Do you want to hear? We’ll offend anyone.) I was an artist for a filled him up mind and heart. And he see how far we can go. while. And while I was I met some of stepped back and opened his arms to “If you live in a town that is so big them. I met this one with long hair on receive more, and he did. After a few you can’t take your dog downtown with­ his head, on the top, on the back and on minutes, he got down off the roof and out a rope tied around his neck, you live the front. And he drank a lot of beer and walked to the house. Sitting at the kitch­ in a town that is too big. was real nice, kind and gentle. It was en table sipping a cup of coffee, the wife “Sweet Flora, born the day of weeds the style. And he wore bib overalls, flan­ with her back to him washing dishes at Above Jack Earl (center), his wife and nel shirts and homemade hats. It was the sink, occasionally looking up and out father-in-law. Most of fack’s sculptures the style. He had a wife who always the window above the sink, he finished come from observations of people and wore a permanent in her hair. That his coffee. Rising to leave he said, ‘You events around him: “I see things and they wasn’t the style. They broke up. He said can see all the way to Critersville from remind me of something else. My work is he had to have his freedom, but I think the shed roof.’ His wife waited long generally about very ordinary things ” it was because of the permanents. He May 1984 31 got a different girl who smelled like stale tograph, and I put my own feelings, ex­ finally found a place to park his pickup crackers and was a serious artist going periences into the photograph; I write truck, and he and his dog walked five to art school. I think he’s healed up now. down what’s there. blocks to the art museum because he Don’t worry about his ex-wife ’cause she “This is an experience I’ve had: Hogs learned in high school that that is a place went on to art school too. You can tell make a lot of manure. When the manure you ought to go once in a while and he a guy’s been to college from across the gets deep enough for the hogs to stand hadn’t been yet. When he got home, he street. You can tell by how he walks and on and get over the gate, there’s only one told his friends that the art museum had holds himself. You can tell by how he of two things to do. Clean out the ma­ bigger doors than the courthouse. talks, too, if you want to go over there. nure or put up another gate. I don’t know “It was always summer when I was “This is a title to a piece that I have which way is the best. I think it’s a per­ a child. I don’t remember winter. School made; it’s at home in my garage: Lloyd sonal thing for each hog farmer, deter­ took it, I guess. Bob Kent lived across works and lives in Lima now. The dog mined a lot by different things which I the street from us. He worked at the barked at him when he came home for don’t want to go into. Anyhow I’m just lumberyard for a long time and then he a visit last night. When he went to the saying I know, and I do know, where quit. He spent his days sitting on his warm kitchen, his dad got up out of bed there’s a guy who has to do some gate- front porch in a rocking chair, rocking, and without asking made them some toast climbing to feed and water his hogs, which twirling his cane and chewing tobacco. and coffee. They put their toast in sau­ is all right, but pretty soon he’s going to When it got too hot playing in the sun, cers, poured coffee over it and sprinkled have to clean out the manure, move the we’d go over and stand around Bob Kent sugar on it, ate it with forks and talked. hogs or tear the floor of the haymow out. and watch him rock and twirl and chew It is Sunday now and they are home “This is a title for a drawing: Bill and spit. And if he was in a good humor, from church. Mother is fixing dinner. Above Installation view;Jack Earl he’d pop his false teeth out at us. I won­ There they sit on kitchen chairs in the exhibition at Western Carolina University. der if it would have been summer year warm spring sunshine on the south side “I like for people to like my things, and round if we hadn’t had to go to school.” of the house. that’s kind of the way I base my direction, Also see “A Conversation with Jack “The way I came about this title, and on people’s responses and myself enjoying Earl” in the October 1981 Ceramics generally a lot of titles, is I see a pho­ them, enjoying making them.” Monthly.—Ed. 32 Ceramics Monthly “Miss Sears, 1979,” handbuilt whiteware, 22 inches in height, with glaze, china paint.

“His Girl,” handbuilt whiteware, 20 inches in height, with glaze, china paint, by Jack Earl. May 1984 33 George Tinworth byP eter R ose

34 Ceramics Monthly George Tinworth’S art and charac­ was given money by his father—the first Doulton to start up an art pottery at ter were formed from a volatile mixture sixpence he had ever possessed. He had Lambeth, which provided Tinworth with of ingredients. In childhood, lack of ba­ seen two china figures in a pawnshop the lifelong opportunity of practicing as sic education and extreme family pov­ and when he produced his sixpence the a sculptor. erty were joined to fierce religious con­ pieces were sold to him. “It would be a Doulton and Company had, in ad­ viction and a sturdy working-class pride. good thing for art if the children of rich dition to their utilitarian wares, mar­ Pride tempered by humility character­ men could be trained to love art, and keted a range of fanciful salt-glazed izes many of the episodes in his life re­ buy art objects when young,” the old stoneware bottles—mainly Toby jugs and counted in an unpublished autobiogra­ George Tinworth declared, no doubt bottles formed as caricatures of politi­ phy, written in the last years of his life: thinking of the many unsold sculptures cians and other prominent people. In “These visitors come into my room when gathering dust in his studio. Germany over many centuries a tradi­ modeling the York Minster panel. George While assisting his father in the tion of elaborately decorated salt-glazed Elliot and Mr. G. Lewis and Sir H. Cole wheelwright shop, George contrived to ornamental ware had flourished known of South Kensington with Sir H. Doul- experiment with woodcarving when his as “Gres de Flandres.” However, chang­ ton. H. Cole set down in front of this father was out; a boy assistant keeping ing social circumstances and, in partic­ panel and said it is not very original, not a lookout for his return. If this should ular, the imposition of a salt tax, had an original subject. Then G. Elliot come happen unexpectedly, he would pull his largely destroyed the industry. The and spoke to me, she had rather a plain carving from the vise and fling it into a proposition was to revive the art at Lam­ face but you forgot all about her face distant corner of the workshed. Occa­ beth and in consequence provide em­ when you had been in her company 5 sionally he would show his father what ployment for Sparkes’s pupils. minutes. Mr. G. Lewis was looking at he had done; the response was charac­ In 1866 with the death of his father a sketch of mine, raising of Lazarus, and teristic: “Ah, my boy, you may thank me who had, according to Tinworth, be­ he said I had given power to one of the for that, and you have got enough wood come a reformed character in his last figure which I could not get from a mod­ in your head to make another one.” His months, George now had to take over el. Sir Henry said that George Elliot mother, on the other hand, was consis­ responsibility for the wheelwright’s was the Shakespere among woman.” [sic] tently encouraging and it was through business and support his mother and Tinworth was born on November 5, her showing a local master plasterer a younger brother from the proceeds. This 1843 at No. 6 Milk Street, Walworth, figure which George had carved that the waste of talent appalled Sparkes. He in South London. His childhood and early first suggestion that he ought to go to therefore persuaded Henry Doulton to manhood were spent in Walworth, Lam­ art school was made. offer Tinworth a job at Doulton and beth and Stockwell, areas which had al­ Armed on the first visit with that copy Company, paying him 30 shillings a week ready degenerated from their pre-In- in wood of the infant Samuel and ac­ initially—which they had previously as­ dustrial Revolution charm to become that companied by a young companion, he certained was approximately what he disorderly amalgam of factories, offices sought and found the newly established earned from the wheelwright business. and terraced houses which survives to Lambeth School of Art. “So I went the “I was told to be at the pottery on this day. His parents were ordinary next night and a boy lifted me up to look Monday morning at seven o’clock. I got working-class folk. They met in George through the window and Percy Ball was there before the gates opened and all the Clayton’s Dissenters’ Chapel and shared modeling from one of the statues with men and boys were standing outside the extreme fundamentalist faith which hardly anybody there. It was modeling waiting for the bell to ring. . . . The men had such a crucial influence on George night and I said if there were no more were bringing out one of their vans, and Tinworth’s art. people in the room the next night I would they said to me: ‘Now then, pretty feet, The family fortunes, always shaky, go in. The next night I had another lift get out of the way.’ I could put up with degenerated further during Tinworth’s up to look in. It was full of people, as that for I had been knocked about in childhood. Real poverty reduced their it was painting night. I had brought the Walworth before I went to Lambeth.” lives to a dull grind of seemingly endless bust of Handel that I had carved in Port­ He had been told to report to the man­ work for little reward. In spite of much land Stone at Hope Street. I had carved ager and was surprised to find him in­ suffering and discomfort, his childhood it in my lap. I went round to the side volved in the practical work, with his was not an unhappy one. door and Mr. Sparkes the headmaster shirt sleeves tucked up, pouring slip into His mother, fortified by faith, gave him was coming out and I showed it to him. a plaster mold. No special provision had unwavering support. His father, said to Someone must have told me who he was. been made and Tinworth was put to work be “the most industrious man about the I asked him if I could come and be taught on touching up filters; he felt let down neighborhood till disappointment came,” modeling and he said come in and see and unwanted: “I seemed to get no en­ lost his greengrocery business at the time what we are doing and introduced me couragement and I was in misery all that of the Irish Famine in 1845 and set up to Mr. Ball, the modeling master, saying: time.” as a wheelwright. But failure dogged him. ‘Here’s a new student for you, Mr. Ball.’ But behind the scenes John Sparkes A machine he constructed to aid his So that was all right, but how was I to continued to support him. He persuaded business failed to work, but he converted get the four shillings to pay the entrance Doulton’s to shorten his working day to it into a barrow for George with the fee? My mother got it from somewhere. the surprisingly lenient hours of 9 A.M. wheel from the machine incorporated into We did not tell my father anything about to 5 P.M., and he was set to work mod­ it. The young George loved his wheel­ it until a long time afterward, then I had eling in terra cotta huge medallions cop­ barrow but “my father took to drink and to tell him for he said: T give you money ied from ancient coins. One of these rep­ so went down and we with him.” but you never have got any.’ ” resenting Hercules wearing a lions-head They moved to a small house in Locks John Sparkes played a vital part in hood was admired by John Ruskin, who, Fields, Walworth, with a wheelwright’s training and later in establishing Tin- on the occasion of giving prizes at the shop nearby. There was a temporary worth at Doulton’s. Through friendship Lambeth Schools, used it as his text for improvement in their fortunes and George and persistence he persuaded Henry demonstrating the true principles of re­ May 1984 35 lief. Circumstances began to work in first terra-cotta sketch was included in man gets up from the greatest poverty Tinworth’s favor. The firm decided to a frame of three studies, he declared that and by his talent and industry enriches develop their interest in terra cotta and Tinworth is “full of fire and zealous fac­ his country and then the Government James Doulton, a cousin of Henry, was ulty, breaking his way through all con­ steps in and takes from him part of that brought in to manage it. ventionalism . . which he has honestly earned.” At the same time Tinworth began to John Sparkes, by now recognized as With the success of the Conduit Street decorate pottery which was exhibited for a leading educationalist, continued to exhibition behind him, Tinworth, now the first time in 1867 at the Paris ex­ proselytize—notably at the Society of age 40 and in artistic terms still a young hibition and at Kensington. In 1868 he Arts. In 1874 and again in 1880 he read man, continued to consolidate his rep­ exhibited for a second time at the Acad­ papers on the history of the revival of utation with major works and commis­ emy. salt-glazed ware and described the work sions. John Doulton, father of Henry, sat of the leading artists involved in the en­ Yet the year 1888 is of special signif­ for a terra-cotta bust portrait. A working terprise, including in his lectures a lyr­ icance in developing understanding of potter like his son, he was direct and ical account of Tinworth’s method and Tinworth’s personal life. His wife, Al­ down to earth: “I never see you sweat,” decorative style: “He prefers the clay soft ice, kept a diary of her husband’s profes­ he said to Tinworth. “When I was a from the thrower’s wheel, so soft as to sional and personal activities in that year. young man the sweat used to run off my be too tender to handle. His delight is It was becoming clear to them both that, nose.” The bust passed the acid test of a spiral band or ornamental ribbon, in spite of George’s celebrity, his work being a likeness, for one lunchtime the sometimes deeply interdigitated, or elab­ was not selling well. In February 1888, old man brought his granddaughter, a orately frilled. The ornament usually Alice wrote: “George often feels dread­ child of 14 or so, to see it. A game was covers as much surface as the ground fully discouraged, his panels not selling played with her; the cloth covering the and creeps or flies over the surface in directly after he finishes them. He often unfired clay model was whisked away: wild luxuriance; bosses, belts or bands says what a difference with him and “ 4Who is that, my dear?’ She said, 4Why, of plain or carved molding keep this wild painters. When a noted man paints a you, Grandpa.’ It was an anxious mo­ growth to its work, put it in its place, picture it is sold directly, but God orders ment for me,” Tinworth recalled. and subject it to its use. No two pots are all for the best and we must wait His The mid-seventies marked the begin­ alike, and, although he had done many own good time.” ning of Tinworth’s period of greatest thousands, all different, he will still pro­ At the start of the year Tinworth was achievements. It was also for Doulton duce them in endless variety out of the completing the Shaftesbury memorial and Company a time when their atten­ same materials.” panel which consisted of a relief portrait tion turned toward America. Following The Academy exhibition of 1877 con­ with three panels set underneath. Trou­ the success of the first International Ex­ tained a secular work called “The Foot­ bles over breakages during firing beset hibition in 1851, similar displays of ball Scrimmage,” and at this stage in his him and contributed to his depression. manufactured goods and the fine and ap­ career there is a clear trend toward ex­ By present-day standards, however, plied arts were mounted every few years ploring contemporary and nonreligious Tinworth was engaged in an impressive in Europe and America. themes. The light-hearted pieces por­ variety of work. These trade fairs, as they would now traying children, mice, frogs and occa­ In December fire destroyed the main be called, offered manufacturers a splen­ sionally other creatures in amusing or part of Doulton and Company. The first did opportunity for introducing their latest bizarre situations became a recurrent indication George Tinworth had was a products to a world market. Success de­ preoccupation when he needed relaxa­ poster on the station platform on his way pended upon the winning of medals and tion from the serious business of mod­ to work. When he arrived he discovered other citations awarded by panels of eling the large-scale, prestigious reli­ that many of his molds had been de­ leading experts in the field. Manufac­ gious pieces. stroyed in the flames. The fire was ex­ turers and customers laid great store by Contemporary accounts understand­ tremely large and destructive, but Tin­ these judgments which undoubtedly ably chronicle the major exhibition pieces. worth’s studio was apparently undamaged played a considerable role in the com­ In 1878, 1880 and 1881 he exhibited and the following Monday he was buy­ mercial success of products. Much effort large-scale terra-cotta friezes of great ing photographs of the ruins of the pot­ was put into creating a lavish setting for technical virtuosity. In 1882 he submit­ tery works. the display. Workmen devoted their fin­ ted an even larger panel, “Preparing for Immediately after Christmas he re­ est skills to creating special exhibition the Crucifixion,” 144 inches wide and ceived an order to carry out a large panel pieces far beyond any possible practical 62 inches high, which the Academy re­ to commemorate the life of Samuel Mor- application except as objects for mu­ jected on the grounds of its size. The ley, an educationalist, for the newly built seums—which frequently they became. main galleries were reserved for paint­ Morley College. This lunette in both size The Philadelphia Centennial Exhi­ ings, and sculpture was by tradition ex­ and shape resembled the overdoor panel bition of 1876 provided Henry Doulton hibited in the Vestibule. which Tinworth had modeled for the new with a superb opportunity of demon­ The rejection of the panel virtually Doulton Art Pottery headquarters in strating the talents now in his employ­ marked the end of Tinworth’s associa­ Lambeth and, similarly, it was designed ment and, in particular, those of George tion with the Academy. However, the to go over the entrance. Both works con­ Tinworth. reverse also had good consequences. “We tain contemporary portraits and dem­ Between 1874 and 1876 Tinworth ex­ had an exhibition of my work in Con­ onstrate how rewarding a greater con­ hibited at the Royal Academy a number duit Street, Regent Street, which turned centration on sculpture based on modern, of terra-cotta panels of biblical subjects out a success. The Prince and Princess nonreligious subjects would have been. which received considerable critical at­ of Wales opened it. Mr. Doulton gave John Sparkes chose the Samuel Morley tention, notably from John Ruskin in his me £20 out of it and the income tax lunette as the first masthead illustration Academy Notes of 1875. Writing about people took £17 out of it so I got £3 for in his manual Potters: Their Arts & “The Release of Barabbas,” of which the myself. It is a hard nut to crack that a Crafts. 36 CERAMICS MONTHLY Three views of “The Swimming Bath ” salt-glazed stoneware, 11 inches in length, perhaps a vivid recollection of childhood. Light-hearted sculpture was a form of release from a difficult life for George Tin worth, who worked as an artist for Doulton and Company, England, from 1868 until his death in 1913. May 1984 37 The next few years continued the pat­ tern revealed in Alice Tinworth’s diary. Major commissions were rare in spite of discrete advertising by Doulton and Company. An 1890 pamphlet issued by the firm entitled “Sculpture in Terra Cotta by George Tinworth” contained selected critical comments, lists of illustrations which had appeared in journals, the title and location of major works, and finally a statement to customers that: “Archi­ tects and others who are contemplating the use of terra-cotta sculpture can ob­ tain further particulars of Mr. Tin­ worth’s work from:—Messrs. Doulton and Co.” The death of Sir Henry Doulton in 1897 marked the end of the most inten­ sive and productive period in Tinworth’s career. “Sir Henry was a great lover of art, and gave encouragement to me many a time.” After the funeral Tinworth suf­ fered what he describes as a nervous breakdown: “I used to sit before my work and my arms would drop at my side and, although I wanted to work, I could not.” His response to this state of depression Above “I Will Draw was to book a Cooks’ tour to Rome at Water for the Camels a cost of about £17. Fortunately his re­ Also,” salt-glazed covery from depression was complete and stoneware plaque, he was immediately back at work. 6 inches in diameter. In June 1902 the Pottery Gazette “We had an exhibition published an interview with Tinworth of my work in in which he described his method of work: Conduit Street, “Sometimes I make sketches on paper Regent Street, which turned out a success. and sometimes sketches in clay, but then The Prince and again I sometimes work without sketch­ Princess of Wales es. Here is a small clay sketch of that opened it. Mr. panel. You see I have altered these fig­ Doulton gave me £20 ures in the composition itself. But when out of it and the I sketched my ‘Release of Barabbas’ in income tax people clay, I never moved a figure afterward. took £17 so I £3got I often think of my work at night as I for myself” go to sleep, and have done so for 30 years, and it is with me when I wake.” An Australian, John Shorter, an en­ thusiastic collector of Doulton ware, in a lecture delivered in the year following Tinworth’s death, makes a special point of stressing the uncommercial attitude of Doulton to Tinworth and his indepen­ dence from direct commercial pressures: “The last thing that Tinworth ever did was to perform any ‘set definite task.’ ” No panel he ever conceived was ordered unless Tinworth himself accepted the commission after consultation with his individual patron, and the fact that nearly all his best-known panels were still at Lambeth is direct evidence that they were in no way commercial, nor would he al­ low commercialism to influence him. 38 CERAMICS MONTHLY Left (side view) and above “The Menagerie ” handbuilt, salt-glazed stoneware clockcase,9 1/2 inches in height, by George Tinworth. May 1984 39 Lemonade jug, approximately 10 inches in height, and beaker, Salt-glazed stoneware vase, 12 inches in height, thrown, incised, salt-glazed stoneware, with incising, colored slips. with slip trailing and colored slips.

The full title of the autobiography plaining of cold and keeping a fire in behavior. The Times obituary was an which occupied Tinworth for the last his room: “He would sit in front of the exception. Following a summary of Tin­ years of his life is “The Life of G. Tin- fire of an evening covered with a shawl.” worth’s life and major works, the art worth, a London boy that became He had characteristically refused to see critic (who was in those days anony­ wheelwright and sculptor and for many a doctor. In early September his health mous) delivered a devastating evaluation years worked as an artist to the Doultons deteriorated further. Ignoring advice, he of his qualities and limitations, which at their pottery High St Lambeth Lon­ insisted on taking the train to his studio remained unchallenged until 1960 when don from 1866.” At the bottom of the at Doulton’s and was found dead when Charles Handley-Read, the pioneer page he declares acidly: “I want evil the train arrived at Putney Station. reappraiser of things Victorian, in two tongue people to know that I have writ­ Obituaries followed in most of the na­ articles in Country Life, stripped prej­ ten this book without the suggestion of tional newspapers, mainly recounting udice away and looked afresh at Tin­ the Doultons to do so.” the familiar story of Tinworth’s early worth’s quality as sculptor and potter. Tinworth had lived since his marriage struggles: his recognition by Ruskin and in the commuter suburb of Kew, trav­ Edmund Gosse, his work for Doulton’s Excerpted and adapted from the bi­ eling to work by train from Kew station and, for light relief, spiced with hu­ ography of George Tinworth, published until the day he died. He was ailing morous anecdotes of his marvelous di­ by CDN, Inc., 4011 West Chandler Av­ throughout the summer of 1913, com­ rectness of speech and unconventional enue, Los Angeles 92704.

Wheel-thrown plate with folded rim, 7 inches in diameter, incised Jardiniere, 6V2 inches in height, salt-glazed stoneware, with stoneware with colored slips. incising, polychrome slip decoration.

40 Ceramics Monthly “Jack in the Green” salt-glazed Handbuilt sculpture, inches in height. stoneware sculpture, 5 inches in height. Left “The Public Library ’s Act” 5 inches in height, refers to an amendment Below and below right “The Football covering relationships between libraries, Scrimmage,” 5 inches in height. art museums and schools of art.

May 1984 41 New French Ceramics byN ioelATK1NS

So MUCH HAS CHANGED in France. Ten The selected artists all have their roots cookware on the one hand; and on the years ago nothing comparable to what firmly in France even though they may other an increasingly esoteric group of was shown in “New French Ceramics” have sought ceramic education else­ glazers, the appreciation of whose work (recently presented at the Craftsmen where. In fact many were chosen pre­ implied contemplation of the surface of Potters Association in London) could have cisely because they have retrieved from the pot alone. These poles still exist, but been found in the length and breadth of America or Japan, Tunisia or England, between them is our group. the country. One could have found ten the elements of styles, and knew how to One half of the show examined their competent potters, but never the variety blend them with native traditions. way of reassessing clay’s expressive po­ of techniques, the complexity of vision Previously French pots could be di­ tential, what the French love to call “re­ that we present today. vided in two: folk tradition, the world of cherche.” 42 CERAMICS MONTHLY Above left Wheel-thrown earthenware platter, 10 inches in diameter, with light slip overall, slip-trailed decoration, lead glaze, wood fired to Cone 04, by Claire Bogino. Above Slab-built box, 9 inches in width, stoneware, ash and local clay glaze, with brush decoration, wood fired to Cone 10, by Michel Pastore. 1. Handbuilt box, 9 inches in height, Wheel-thrown earthenware vase, low-fire salt at Cone 04, by Jean Biagini. approximately 16 inches in height, with slip-trailed decoration, lead glaze, wood 2. Thrown and altered bowl, 5 inches in fired to Cone 04, by Paul Salmona. diameter, wood fired, by Claude Champy. 3. Handbuilt platter, 14 inches in diameter, by Jean Biagini. 4. Covered jar, 7 inches in height, earthenware, with slips, by Claire Bogino. 44 Ceramics Monthly Photos: Jean Biagini, Alain Carre, Anne Gaillard, Evelyne Porret fired toCone04inanoil-fueledkiln, then smokedwitholdinnertubes, by MarcEmeric. width, handbuilt,heavilygroggedclay, “Fragments ofBronze”17inchesin

May 1984 45 Phil Schuster

Relief sculpture for architectural and est box-type sculptures have extended garden design by Phil Schuster was fea­ past the frame, adding inches to the tured in a recent one-man show at Jen­ length, height and depth.” nifer Pauls Gallery in Roseville, Cali­ The tiles and boxes are dried slowly, fornia.—Ed. covered with damp cloth to prevent cracking. After bisquing, the forms may JUST OUTSIDE of Sacramento on what be colored with underglazes, stains and/ used to be a chicken ranch is Phil Schus­ or matt glazes. “I enjoy the spontaneity ter’s studio—one small end of a long, of underglazes,” Phil remarked. “The low coop of which there are several on colors come off in a .very carefree atti­ the property. It has a large sliding door, tude, and I like that.” Phil also rubs which when opened exposes the yard, Boraxo soap on the murals that are “so it’s easy to move work outdoors.” pressed with a wooden tool to simulate Once a horticulture major, Phil is “Self-Portrait in Greenhouse ” a mosaic. In the Cone 1 oxidation firing, particularly interested in gardens and 3 feet in height, with it blackens the indentations, thus en­ gardening. In fact, “everything I do is underglazes and stains. hancing the mosaic illusion. for the outdoors. People who collect art Completed works are displayed in the have their houses filled, but their yards His tile murals often depict life-size yard and the greenhouse next to the stu­ have plenty of room. figures in scenes from daily life, while dio. “I have always raised cactuses and “Sculpture has always been my first the “shadow boxes” have images scaled succulents, so three years ago I decided priority. I began working with clay down. “I find the smaller forms have as to build a greenhouse and propagate them through pottery, but once I discovered much visual and psychological impact as with the intention of having a little fi­ sculpture, I never did pots again.” In­ the larger murals,” Phil commented. nancial cushion,” Phil recalled. “Three troduced to clay at Penn State Univer­ “Besides, the shadow boxes (approxi­ years later I have expanded the green­ sity, Phil went on to graduate school at mately 14 inches square) are practical house to 1500 square feet and added a the University of Kentucky before a and comfortable. I can prop them up on lounge area to facilitate presenting the summer job in a greenhouse brought him a chair and work on them in the garden. murals. Fortunately the nature of the to California State University at Sac­ Right now I’m working on larger mu­ succulent plants enables me to leave them ramento. rals composed of shadow boxes. I enjoy unattended for months seasonally. I have From a mixed-by-eye body of fireclay, working with illusions, and try to create designed low, oblong planters with relief sand, perlite and (for flux) colemanite, that feeling of depth. I can work and carving on one side to be made with press Phil shapes tiles for a large mural, or rework a piece repeatedly before settling molds and planted with succulent ar­ presses the base into a frame constructed on the image that’s happening there. I rangements harvested from the many of two-by-fours for a shadow box. He also enjoy lessening detail in some areas. parent plants. Sounds pretty good. If I then loosely sketches a scene with a wire Those loose faces in the background . . . could just put the sculpture aside long tool and begins modeling the clay. I discovered that they work. And the lat­ enough to do it.” Phil Schuster in his North Highlands, California, studio. Photos: Claude Duplat, Greg Kinder, Kay Mackey The artist's studio/greenhouse is in a former chicken ranch just outside Sacramento. “Sculpture has always been my first priority ” he says, though for some time he has maintained side interests in growing cactuses and succulents. Three years ago Phil built the greenhouse to “provide a little financial cushion,” an ideal arrangement for this sculptor since these plants can be left for months unattended. The greenhouse also offers a pleasant working environment and display area for architectural and garden sculpture.

May 1984 47 “Self-Portrait in Kiln * handbuilt sculpture, 16 inches in height.

Left “Studio Portrait,” handbuilt tile mural,1A 5 feet in height, with underglazes, fired to Cone 1 in oxidation, by Phil Schuster. Belowr Phil recently expanded his studio/greenhouse to include a display space for finished ceramic murals. The work at the left was repeatedly pressed with a wooden tool to simulate a mosaic; Boraxo soap in the recesses blackens during the Cone 1 firing, thus accentuating the effect.

48 Ceramics Monthly Photos: Dan Bailey James Lawton ae Lwo, eiet otr t Pen- at potter resident Lawton, James h pt o t ‘oshl’ ie casual) (i.e. ‘household’ its to pot the ori­ conceptual a toward embellishment IMAGERY “The Te net f h gaig s o orient to is glazing 24. the March of through intent “The City York New in Greenwich at featured were vessels raku commented object,” the with entation beyond ‘decoration’ elevate to desire and urge a graphic a of out grows surface surroundings; inasense,givecontextto Gallery Hartsook Jane Pottery’s House whose Carolina, North in School land ht id isl o the on itself finds that by JamesLawton,Penland,North with slipandglazedecoration,rakufired, thrown andaltered,11inchesinlength, Carolina. “Twisted CoveredDishwithArmchairs” May 1984

49

the form that a coolly aloof gallery ped­ After bisquing at Cone 08, James Crackle Clear Raku Glaze estal does not.” draws on the forms with graphite or glaze Gerstley Borate...... 65.0% On the surface of this work, Queen pencils. Liquid latex is applied to isolate Nepheline Syenite ...... 20.0 Anne chairs, teapots, sofas and the like the decorated area, then pattern details Kaolin...... 5.0 float in space—creating a sort of ani­ are airbrushed with color variations of Flint ...... 10.0 mated still life there. “A great deal of the following slip: consideration goes into the selection of 100.0% the imagery: how it relates to the form G-Raku Slip Add: Veegum Cer...... 0.5% itself and the way in which the objects Color variations are achieved with ad­ interact to make a visual statement.” Soda Ash...... 11.11% ditions of 5-20% Mason stain. Taking an “architectural approach to Talc...... 22.22 the vessel,” James begins by combining Frit G-24 (Glostex) ...... 16.67 Sandy Scot Raku Glaze thrown-and-altered and handbuilt ele­ Nepheline Syenite...... 16.67 Colemanite...... 40% ments from the following thermal-shock- Tennessee Ball Clay...... 27.78 Lepidolite ...... 20 resistant body: Flint ...... 5.55 Lithium Carbonate...... 20 100.00% Spodumene...... 20 Lawton Raku Body To this white base, 5-20% Mason stains 100% are added for various intensities of color, Add: Ultrox...... 20% Talc...... 15.0 parts or 3% yellow iron oxide for salmon red. Copper Carbonate...... 4% Kyanite (35 mesh) ...... 15.0 While the vessels are firing to ap­ Spodumene ...... 10.0 More slip may be brushed on to high­ proximately Cone 010-08, an old re­ A. P. Green Fireclay ...... 55.0 light certain elements before the pattern frigerator lying on its back is preheated Bentonite...... 0.5 is airbrushed with clear glaze. Finally, as a chamber for raku reduction. A hay, Kentucky Ball Clay a coat of wax is applied to the slip-dec­ sawdust and/or newspaper fire is al­ (OM 4)...... 10.0 orated area, the liquid latex mask re­ lowed to burn about ten minutes inside XX Saggar Clay ...... 5.0 moved, and the form glazed with the fol­ the refrigerator to first bring the tem­ 110.5 parts lowing recipes: perature to approximately 200°-300 °F.

“Red Scalloped Teapot ” 18 inches in length, thrown and altered, with handbuilt additions, raku fired. Left “Bowl and Trivet with Furnishings ” 14 inches in length, with airbrushed slip decoration over latex resist. Above right “Covered Dish with Armchair16 inches in length. Right “Teapot with Floating Teapot and Table,” 16 inches in length, thrown and altered, with handbuilt additions, polychrome slips and glazes, raku fired, by James Lawton.

50 CERAMICS MONTHLY May 1984 51 52 Ceramics Monthly

Photos: T. Hatakeyama, Mary Randlett “SOMETIMES I feel physically uncom­ history, in addition to ceramics, Yana­ Base Slip fortable from the weight of something gihara went on to finish a master’s de­ (Cone 9) heavy on my shoulders,” Japanese potter gree in ceramic sculpture, working with Mutsuo Yanagihara confesses when dis­ Tomimoto. “I got the idea for sculpture Feldspar...... 50% cussing Japan’s ceramic tradition. “I al­ when we were destroying our pots at the Edgar Plastic Kaolin ...... 25 ways have to question, ‘What is ce­ end of the third year,” he reflected. “I Flint...... 25 ramics?’ And it is a question with much picked up a piece of broken bowl and 100% confusion and contradiction.” lost my interest in traditional shapes. I He notes that in most Western coun­ decided to pursue other possibilities.” Color variations are produced with ad­ tries ceramic work is separated into “craft” For almost ten years following grad­ ditions of cobalt or stains; CMC gum is and “sculpture” categories; whereas in uation the fledgling potter worked under added to harden the slip enough to allow Japan all ceramics are now placed in the strict Japanese system of master and subsequent applications and removal of latex. one category, despite differences in ap­ student, producing precise pots for Tom­ After the first colored slip has dried, proach. “Since the Edo period, artist- imoto to decorate with his highly geo- the latex mask is peeled off and another potters have not received attention like resist pattern delineated with liquid la­ the traditional pottery families who cre­ tex according to a penciled design. A ate tea ceremony utensils and bowls for medium-color-value slip is brushed onto flower arrangement,” Yanagihara com­ the unresisted areas and the latex is again mented. Potters who carry on famous removed. Latex is then applied over slip traditions still receive astoundingly high areas for further patterning. prices for their ware—thousands of dol­ The bisqued ware is glazed with a lars for a single teabowl. transparent recipe, then fired to Cone 9 Another difference he recognizes be­ in an electric kiln. Often the forms are tween Western and Japanese pottery is refired with lusters. that often the non-Japanese potter does Yanagihara prefers to work at high not understand the importance of per­ temperatures, partly because it is the fecting glaze or ornamentation. Despite Japanese tradition and additionally be­ their widely divergent decorating meth­ cause he feels that the glazes are richer ods, all Japanese potters pay strict at­ and of greater depth. Firing with an tention to this aspect, he said. Mutsuo Yanagihara of Kyoto, Japan. electric kiln prevents reduction and thus Yet Yanagihara observed that there are retains the colors of the stains used in many good Western ceramic artists and metric overglaze designs. “I also kept my his underglaze slips. “they are all so happy. They don’t seem own corner of the shop where I did In the early ’70s he went all out in a to carry the burden of nearly a millen­ sculptural forms,” Yanagihara recalled, pop/funk vein, using large white dots nium of ceramic history on their backs.” “but Tomimoto hated to look there.” on dark blue, with gold or silver luster Born in 1934, the second son in a fam­ One Tomimoto idea which Yanagi­ accenting the geometric forms. Yet the ily of Shikoku Island doctors, Yanagi­ hara has pursued several times over is well-crafted traditional shapes belied that hara was profoundly influenced by “na­ that it is necessary for the artist to travel Japanese preference for formality and tional treasure” Kenkichi Tomimoto. outside his country to be able to look attention to detail. Adopted as Tomimoto’s apprentice in the back at and truly understand tradition. Yanagihara’s later sky/landscape se­ mid ’50s, he worked with that master “He said you have to live in a foreign ries, with white clouds and blue sky on until his death in 1965. country. I didn’t pay any attention to it incongruent shapes (some curvilinear, Trained as an architect, Tomimoto had then,” Yanagihara said, “but year by year some geometric), was based on his idea spent four years in London before re­ I understand it.” that “after all, sky and earth (clay, that turning to western Japan where he was Since 1966 he has traveled and taught is) should go together.” to build a long working relationship with in the United States several times. As a From about 1976 to 1981, his com­ Shoji Hamada, Bernard Leach and faculty member at Kyoto Fine Arts Uni­ binations of blue sky with white cloud Kanjiro Kawai. versity, he was offered a chance to teach imagery on clay shapes slowly captured Tomimoto did not accept the writing at the University of Washington in Se­ the attention of the Japanese art public, off of pots as “utensils.” He founded the attle for two years under a Fulbright but by then he had tired of the phase. ceramic art department at Kyoto Fine grant. Thus began a special relationship Working in a new direction at his studio Arts University, where against his par­ with artists and friends in Seattle. His in Kyoto (after a full day teaching at ents’ wishes Yanagihara enrolled in art. most recent stint there was as artist-in- Osaka Fine Arts University), Yanagi­ After finishing four years of training, residence at Pottery Northwest where he hara is now trying to “find a shape for including calligraphy, painting and art introduced area potters to his efficient sky,” while experimenting with new and adaptable liquid latex technique for colors: yellow, pale pink and deep blue. Above left Work is decorated with slip decoration on greenware. On his trips to America, Yanagihara progressive applications of colored slip and First the design is penciled onto the often works with and discusses tech­ liquid latex resist. form and liquid latex is brushed on to nique with potters. “We compete and ar­ Left “Sky Series/’ handbuilt clay resist specific areas. Several coats of a gue, then I always get great stimulation sculptures, with polychrome slip, clear dark variation of the following slip rec­ and my mind is opened to do further glaze, metallic luster. ipe are then applied: work.” May 1984 53 Photos: Ralph Gabriner Mary Frank atewr cltr,2 nhsi egt builtearthenware,17inches inlength. earthenware sculpture, 20inchesinheight. 54 CERAMICS MONTHLY Sadn iuewt os o , nlzd “HeadwithCrouchingManNo.6,”hand- "Standing Figure withHorseNo.4,”unglazed Gallery in San Francisco earlier this year. this earlier Francisco San in Gallery gence andinstinct.” hn os h dvso bten intelli­ between division the does than ua big ad hi ntrl sur­ more any natural her for exist their not do and roundings beings human Hayden reviewer meta- As images. sometimes morphic gestural, portray forms red-clay dreamlike, the SI2,000), to etrd n sl ehbto a Quay at exhibition was solo Frank a Mary in SCULPTURE featured ceramist York FIGURATIVE New SMALL agn t 2 ice i hih (priced height in inches 22 to Ranging err ntd “onais between “Boundaries noted, Herrera by Photos: William Jackson A High-Production Pottery A High-Production ln a Calte Te, n 98 hav­ 1978, in Then, Charlotte. at olina ehr hy akt 0 ifrn forms, different 50 market To­ they decorates. gether and glazes trims Su and ware; throws the Tom Price. of munity com­ Texas East small the produc­ in studio a tion operated have Holder Su and ing a full-time studio potter. ing afull-timestudio he becom­ of classroom, ambition his the fulfill to of decided weary grown ing o ec—is a Qen Clee in for College thereafter Carolina, Queens North at Charlotte, teach—first instead to decided but potter studio a come student a while ago years 20 some gan est o Goga t tes n an and Athens at Georgia of versity o te at ie years five past the For six years at the University of North Car­ North of University the at years six be­ to wanted Tom graduation, lowing City Iowa at Iowa of M.F.A. University an the and at State Austin Stephen at to California, Guerneville, to traveled in University State Austin F. Stephen at canister teapots, andlamps. sets dinnerware, including ii wt fins n ot Crln in Carolina North in friends with for visit consultant marketing she a printmaking, as study to worked Italy to trip Uni­ the at sculpture in B.F.A. a ceived am tdo Ltr e opee a B.A. a completed he Later studio. Farm he So throw.” couldn’t I with but hands, anything my do draw, could “I called. re­ most he life,” the my of experience was frustrating “It Texas. Nacogdoches, ios nvriy t abnae Atr a After Carbondale. Il­ at Southern University at linois printmaking in M.F.A. wee e osrce egt in) Fol­ kilns). eight constructed he (where Pond her at Wildenhain Marguerite lios zrs rf Gid Drn a During Guild. Craft Ozarks Illinois and onekiln;theynowhavefourbuildings,threekilnsemploy sevenpart-timeworkers. td wt Buastand potter Bauhaus-trained with study Potters SuHolderandTomMasonofPrice,Texas,beganfiveyears agowithonebuilding 1978, shewasintroducedtoTomand Tom’s interest in throwing pottery be­ pottery throwing in interest Tom’s n h matm Ssn odr re­ Holder Susan meantime the In o Mason Tom and applieshandlesThursdayFriday. ae Tm dis e a n ie what idea no Stone­ had he admits Mason/Holder Tom ware. of tablishment throws MondaythroughWednesday;trims two glazestofive. their business has grown from one build­ one from grown has business their done have could we than together more approximately throws now he the ample, been ex­ an has As productivity.” increased to “practice key they that when and doing began of capable were they es­ the and Texas East native Tom’s to assistant. he offeredherapositionashisstudio et, rm n kl t tre ad from and three, to kiln one square from 6000 feet), (encompassing four to ing years, five In explained. Su separately,” 00 us ya, n diin o other much so to doing “We’re addition forms. in production year, a mugs 3000 With amindtoefficiency,TomMason ht etn ld o arae a move a marriage, to led meeting That New colors and forms are often in the in often are forms and colors New

of their own experimentation, others from others experimentation, own their of growth ofworkingeveryday.” as developing such and slips work, with her experimenting in changes gradual It’s fluid. more relaxed, more is work said. Tom well-defined,” becomes tion customer requests. eight hours. Propane costs average $1200 average costs Propane hours. eight be and tested be range must it then firing crazing; to resistant wide a have must no magic “There’s said. Tom tedious,” and tech­ firing and body clay suit to oped different patterns, as “just a natural out­ natural a “just as patterns, different about attitude my but hours, longer ap­ hard­ er, work his probably “I in work: change to proach a notices also subconscious.” Tom more lot a It’s form. ing chang­ of aware consciously aren’t “You func­ and cleaner get forms day, to day h mrig a yia frn lss about lasts firing typical a morning, the light constant thereafter 04; Cone at tion with begins cycle firing The year. the of this out.” work to year a about takes “It istics. glaze A error.” and trial simply It’s it. to result a as some added, being of process tl ectn t d. S epan the explains Su do.” to exciting still euto i mitie t Cn 10-11. Cone to maintained is reduction reduc­ by followed overnight, flame low character­ its determine to times several slow very is glaze a “Developing niques. devel­ recipes with glazed is stoneware ters. Theyemphasizetheimportanceof days, 12-hour work frequently Su and rm h tm te in s und p in up turned is kiln the time the From five days a week, like many studio pot­ studio many like week, a days five per monthduringproductionperiods. Js wt te xeine f throwing of experience the with “Just Arriving at the studio by 7 A.M., Tom A.M., 7 by studio the at Arriving in ae ie wel fr 0 weeks 30 for weekly fired are Kilns ih mhss n ucin their function, on emphasis With by J anet May 1984 Perry 55 Su decorates pots in bands of polychrome slip and with abstract imagery taken from elements of Texas landscape.

A large chart, with ceramic forms listed vertically and glazes Each softbrick kiln is fired about 30 times a year; listed horizontally, helps keep track of customer orders. zuith propane for all averaging $1200 per month. self-discipline and strict adherence to an air compressor, wax pots, wipe off wholesale to shops, galleries and de­ schedules. Tom throws Monday through excess glaze, keep inventory, match and partment stores. Wednesday, working methodically from consolidate pots on storage shelves. Su Twice a year they make deliveries to large to small forms, then trims and ap­ said, “Everybody’s job is important. the East and Midwest (other orders are plies handles on Thursday and Friday. Without each one, the whole process shipped commercially), spending ap­ He prefers throwing larger ware, such would fail.” proximately five weeks on the road each as ginger jars and pitchers, but concen­ Most production tasks are performed trip. Preparations for delivering con­ trates more on the rhythm of the work in the large central building, housing the sume two weeks, with Tom packing pots itself than on the individual object. potter’s wheel, glazing and decorating himself and supervising loading of their Su glazes on Monday and Tuesday, materials, cleaning equipment, ware carts truck so that boxes can be easily iden­ applies slips and signs ware on Wednes­ filled with pottery in various stages, ceil­ tified for unloading along the way. day, loads kilns on Thursday and com­ ing-high storage shelves, office, bath­ The most critical problem facing pro­ pletes the week with more glazing. In­ room and makeshift kitchen. Three oth­ duction potters, they believe, is burnout. fluenced by their surroundings, she er buildings contain the bisque kiln, two They are careful to schedule weeks of decorates the pottery with abstract im­ glaze kilns, clay materials and equip­ work followed by stretches of time off, agery patterned after Texas landscape ment, and storage space. either for deliveries, exhibitions, work­ elements. “I will do a series of bowls and Tom and Su also share bookkeeping shops or vacation. But at 43, Tom ac­ work on an image,” she commented. and marketing responsibilities, includ­ knowledges that it probably will be nec­ “Each series has a different approach ing customer contacts, account orders, essary to modify their working habits in and all deal with color relationships. supply purchases, brochure preparation, another few years. “I’m looking at the When I stripe ware, I do the size of advertising and shipping. During their future all the time,” he said. In the stripes and color combinations very con­ first two years of operation, they devel­ meantime their goal is to produce pots sciously.” She decorates approximately oped markets by participating in whole­ in quantity that are consistent in quality. 15 pots in a series, then moves to another sale shows, and by telephoning potential “We are not trying to create art—just form, searching for “efficiency of move­ buyers suggested by friends and trade functional pottery,” he explained. “It’s a ment so that individual time and atten­ advertisements, then sending a brochure matter of survival. The chance of 1 in tion to the pottery are not diluted.” describing their ware. Today they fill or­ 10,000 pieces surviving is greater than Efficiency has been improved by the ders for approximately 100 accounts, in 1 in 100. In 100 years, it’s not going to hiring of seven part-time employees who addition to those originating through a make much difference how much time clean greenware, load and unload bis­ representative at the World Trade Cen­ was spent on one pot. The survival of que kilns, blow dust off bisqueware with ter in Dallas. Most of their business is the pot is what is important.” 56 Ceramics Monthly Recipes

Blackbird Blue Glaze F8020 Glaze Blue Slip (Cone 10, reduction) (Cone 11, reduction) Dolomite...... 12.42% Talc...... 9.84% Dolomite...... 22.44% Gerstley Borate...... 4.58 Whiting ...... 17.97 Whiting ...... 3.50 Soda Feldspar ...... 26.36 Custer Feldspar...... 28.28 G-200 Feldspar...... 48.94 Albany Slip Clay...... 29.63 Albany Slip Clay...... 12.50 Kaoloid...... 25.12 Edgar Plastic Kaolin...... 6.10 Kaoloid'1'...... 14.38 100.00% Flint...... 20.91 Flint...... 17.03 100.00% 100.00% Sagebrush Glaze Add: Cobalt Oxide ...... 8.71% Add: Rutile...... 7.34% (Cone 10, reduction) A shiny Mediterranean blue glaze. Barium Carbonate...... 0.44% White Stoneware Bone Ash...... 1.11 (Cone 10-11, reduction) Spodumene Glaze Dolomite...... 2.05 Wollastonite...... 1 pound (Cone 11, reduction) Gerstley Borate...... 5.65 G-200 Feldspar...... 10 Dolomite...... 22.22% Whiting ...... 7.75 A. P. Green Fireclay Whiting ...... 5.56 Custer Feldspar...... 51.38 (30 mesh)...... 35 G-200 Feldspar...... 33.33 Nepheline Syenite ...... 2.66 Kosse Kaolin P* ...... 25 Spodumene ...... 11.11 Soda Feldspar ...... 0.89 Texas Ball Clay* ...... 25 Edgar Plastic Kaolin ...... 27.78 Ball Clay...... 2.16 Mulcoa Grog §...... 10______100.00% Edgar Plastic Kaolin ...... 10.19 106 pounds Add: Tin Oxide...... 4.44% Flint...... 15.72 100.00% Two high school students mix each Add: Red Iron Oxide .. . 2.44% clay batch with 25 pounds water and Green Slip ½ cup vinegar in a commercial mixer. Dolomite...... 11.77% Sagebrush is a glossy gray-green glaze After storage in bags for at least a Gerstley Borate...... 5.88 with rust, orange and blue. month, the clay is put through a pug Soda Feldspar ...... 23.53 mill, divided by weight and stacked Albany Slip Clay...... 31.37 Yellow-Brown Slip on a table for throwing. Kaoloid...... 5.88 +Kaoloid is available from Kickwheel Pottery, 1428 Mayson Flint...... 21.57 Feldspar...... 50% Street, NE, Atlanta, Georgia 30324. *Kosse kaolin P is available from Texas Industrial Minerals, Ball Clay...... 50 Kosse, Texas 76653. 100.00% ♦Texas ball clay is available from Southern Clay Products, Gonzales, Texas 78629. Add: Chrome Oxide .... 3.92% 100% ^Mulcoa grog is available from CE Minerals, Andersonville, Cobalt Oxide ...... 23.53% Add: Red Iron Oxide ...... 50% Georgia 31711.

Stoneware casserole, V/-quart2 capacity, wheel thrown, with cobalt and iron slips, F8020 glaze. The flat top of the lid allows it to be used as a serving dish also. Right Most of Mason/Holder stoneware is sold wholesale to shops, galleries and department stores. Twice a year Su and Tom make mass deliveries to the East and Midwest; on other occasions work is shipped commercially. Low-Fire Surface Effects byD iane Moomey

In THE BEGINNING, I drenched every is no longer molten. Carbon black will On bare clay, ferric chloride gives me­ form in turquoise or temmoku, in crys­ fill the crackle lines, and there will be tallic reddish browns reminiscent of old tals or in tritonal drips. reduction effects on part or all of the pennies. The color is affected by the Next, came years of desert-sparse sur­ glaze. temperature of the clay; areas sprayed faces where only a hint of some modest To smoke only a portion of the sur­ while red hot will be more yellow than oxide might be found. Color was subtle face, spread sawdust on a pad of fire­ those treated after the form has cooled to the vanishing point—surface had ab­ brick, and position the hot ware appro­ somewhat. dicated. priately. Further smoking can be achieved When ferric chloride is applied over And then, following a chance meet­ by sprinkling sawdust onto a specific area, glaze, the colors are more intense; fur­ ing in a raku yard with a man who (amid then covering it with a shard or piece of thermore, the same color/temperature smoke and the stench of hydrochloric acid fiber refractory. correlation (as on clay) holds true. vapor) calmly sprayed a liquid on red- Metallic oxides (such as iron oxide or Stannous chloride applied on bare clay hot forms, I began exploring techniques copper carbonate) produce a variety of is quite unremarkable; however, over a for various surface effects on ware fired effects when smoked. Under a glaze, iron glaze it results in iridescent mother-of- outdoors to Cone 012-08 in a gas kiln: and copper give luster effects. On bare pearl effects. There seems to be little, if Burnishing On nearly dry greenware, clay, iron oxide will show through the any, correlation between temperature and spread a thin coat of vegetable oil, let it black with a subtle reddish cast. For an color. dry until dull, then rub with a smooth oil-spot effect, use a propane torch to Some of these low-fire techniques can object in long, even strokes in a single heat the cold surface of a smoked form be combined; others are mutually exclu­ direction. Do not scrub. treated with copper carbonate; the best sive, but could be used on different parts Tumbled stones from a lapidary sup­ results seem to come from holding the of the same form: ply make excellent burnishing tools; torch at a 45° angle to the surface, with Burnishing plus smoking is used fre­ choose stones rated above 6 on the Mohs the hottest part of the flame touching the quently by Indians of the American hardness scale: agate (6), quartz (6½), clay for about three seconds. Southwest for their well-known black- beryl and garnet (7), and corundum (9). Salting Bisqueware can be salted before on-black ware. Do not use glaze on a burnished area. a Cone 010 firing by spraying it with a Burnishing plus fuming with ferric Although the vegetable oil will burn off saturated salt-water solution (about ½ chloride gives brilliant glazelike results in the bisque firing, glaze still tends to to ½ cup of sea salt or rock salt per 2 and accents the difference between bur­ crawl on the ultrasmooth surface. cups hot water). Results depend on clay nished and unburnished areas almost as For the best results, fire burnished ware properties. Salted buff clay will yield or­ much as smoking; stannous chloride, below Cone 012. anges and salmons where shielded from however, has little effect. Smoking Unglazed ware can be smoked the flame; flame contact produces darker Smoking plus salting is mutually exclu­ by placing a red-hot form in an airtight tones. On clays with higher iron content, sive, because smoke does not adhere to container lined with wood wool (a spa- pinks, blues and mauves may result. salted areas. ghetti-like packing material that can be If used in combination with glaze, low- Fuming plus salting is also mutually ex­ shaped to receive the clay object) or other fire salt effects seem to diminish. clusive, because fuming tends to mask combustible. Use as much wood wool as Fuming Ferric chloride or stannous salt effects. would equal the form’s volume. If you chloride is mixed in an inexpensive plas­ Smoking plus fuming with ferric and/ use too much, it will still be burning tic sprayer (1 to 2 tablespoons chloride or stannous chloride yields subtle luster after the clay has cooled to below the tar per 1 cup water). The resulting solution effects, especially over a burnished form. point, leaving scummy, sooty deposits. is very corrosive; wear rubber gloves and But it is very tricky to accomplish as The combustible material will leave a avoid contact with expensive equip­ both the smoking and fuming are done shiny mark wherever it touches the sur­ ment—do not use with an airbrush. at the same time. Quickly lift the lid of face. If this is not desired, the form can Red-hot ware pulled from the kiln is the smoking container, spray with the be elevated on a firebrick inside the con­ set on a firebrick, then sprayed with the chloride solution, then close the lid im­ tainer, and chunks of red hot brick or desired solution. Spray in short bursts, mediately. Repeat until the desired de­ shelf can be tossed in to keep the wood allowing a few seconds for the clay to gree of iridescence is achieved. wool burning. The lid may be raised every adjust to the temperature change. The When dissatisfied with results from few minutes to admit oxygen. resulting vapor is toxic; check the wind these techniques, simply bring the form Follow the same procedure to smoke direction, stand back as far as possible to red-orange heat again for a second a glazed form, but wait until the glaze when spraying, do not breathe the spray. chance. 58 CERAMICS MONTHLY British Studio Pots

The Craftsmen Potters Association's ity, it is for craftspeople to try to influ­ skill fashion. There is a limit to the 25th anniversary exhibition at the Vic­ ence their owners. Through the work number of flat teacups one wants on one’s toria and Albert Museum in London fea­ they do, and by forming or joining groups, mantelpiece. The history of ceramics has tured 182 objects (juried from approx­they can let people know what alter­ taught us that what clay can be used for imately 300 works made within the last natives are available. We, in the rich par excellence is making vessels. As a year). During the past quarter century, countries of the world, are about to see sculptural medium, it is very expressive there have been considerable changes in great changes in our way of life. I think on a domestic scale, but has always proved interest on the part of potter and pur­ we still need objects which are part of lightweight, and down-market. Contra­ chaser alike. In the following text, An­ a cultural continuity, made for us now, ry trends are temporary. drew McGarva, Upton Bishop potter; but made taking note of what has gone Pottery is similar to gardening or mu­ comments on the current status of ce­before. A pot, whether we like it or not, sic. Pots, like plants, come up the same ramics (from “Studio Ceramics Today,” is a statement of attitudes and a reflec­ each year; if they are healthy they will published by the Craftsmen Potters As­ tion of culture. It is so commonplace it always be fresh. Occasionally new va­ sociation).—Ed. might be thought irrelevant; it is not, rieties are introduced; if there is an im­ because it is so commonplace. balance in the soil, one kind of plant will Not many people seem to want hand­ “Craftsmen Potters”?—of course, there dominate. But then, that is what makes made objects of high quality. Pottery and are none of these left, and now we must it continually interesting. Musicians know other craft traditions have faded through all be more or less artists working with that however often the same piece is changing circumstances. Society moves clay. Compared to traditional potters, the played, it is never the same. They also on, and thankfully leaves behind the aw­ present level of skill is low, due largely know that to learn to improvise one must ful working conditions of most tradi­ to the lack of demand for handmade pots. have a great depth of knowledge and skill. tional craftworkers. So is pottery an anachronism? I believe Me—I just keep practicing, and I hope So if today’s homes seem to lack qual­ not, despite the current anti-pot anti­ others will continue to do the same.

Photos: courtesy of the Craftsmen Potters Association

Stoneware garden planter, 18 inches in height, with incised (mishima) decoration, by Peter Stoodley. Left Earthenware teapot, 9 inches in height, wheel thrown, with incising, unglazed exterior, plastic handle cut from high-pressure hose, by David Scott.

Far left Storage jar, 15 inches in diameter, thrown, inlaid slip, wood- ash glaze, oil fired to Cone 9, by Michael Cas son. Left Carafe, 9 inches in height, thrown, altered, salt-glazed stoneware, by Walter Keeler. May 1984 61

Left “Tall Sentry* (left), handbuilt semiporcelain, and “Tail Sentry” 16 inches in height, stoneware, by Val Barry.

Teapot, 10 inches in height, thrown, with handbuilt additions, blue/tan slip, salt glazed, by Peter Starkey. Stoneware teapot, 8 inches in height, Platter, 12 inches in diameter, glazed by Geoffrey Whiting. stoneware, finger-wipe decoration, by Ray Finch.

May 1984 63 64 CERAMICS MONTHLY Itinerary through September 5 “New Yorkers’ Taste: Arts.” May 23-July 1 “The May Show”; at the Chinese Export Porcelain, 1750-1865,” ware cus­ Cleveland Museum of Art, 11150 East Blvd. Continued from Page 21 tom-made for prominent New York families; at Ohio, MiddletownMay 4-11 “Fifth Annual the Museum of the City of New York, Fifth Ave. Gala Fine Arts and Crafts Exhibition”; at the excavations; at the Museum of Our National Her­ at 103rd St. Middletown City Bldg., 1 City Centre Plaza. itage, 33 Marret Rd. May 10-June 2 Andrea Gill, figurative and geo­ Ohio, Toledothrough May 20 “Ceramic Stu­ Massachusetts, Lincolnthrough May 13 “Con­ metric vessels; and Chris Staley, wall platters; at dents’ Exhibition”; at the School of Design Gal­ temporary Australian Ceramics.” through May Elements Gallery, 90 Hudson St. lery, Toledo Museum of Art. 27 “A Passionate Vision: Contemporary Ce­ May 31-June 8 “Young Artists of Greenwich Ohio, Valley ViewMay 1)-13 Nicole Bastide ramics from the Daniel Jacobs Collection”; at De House Pottery Exhibition”; at 16 Jones St. and Moira Beale, porcelain and stoneware; at the Cordova and Dana Museum, Sandy Pond Rd. New York, ScarsdaleMay 5-June 23 “For the Hothouse Pottery Gallery, 6744 Hathaway Rd. Massachusetts, Worcester May 18-June 1 Bride and Groom”; at the Craftsman’s Gallery, 16 Ohio, Woosterthrough May 7 “Functional “Professional Craft Studies,” student work; at Chase Rd. Ceramics 1984”; at the College of Wooster Art Worcester Craft Center, 25 Sagamore Rd. North Carolina, CharlotteMay 1-30 “Clay Museum, University St. Michigan, BirminghamMay 11 -June 9 An Matters ’84,” regional competition exhibition; at Oregon, Portlandthrough May 26 A three- exhibition including John Donoghue; at Robert Spirit Square Art Center, 110 E. Seventh St. person exhibition with Kurt Weiser. May 31-June L. Kidd Associates/Galleries, 107 Townsend St. Ohio, Clevelandthrough June 3 “Highlights 23 “Young Ceramists,” works by Michael Bli- Michigan, DetroitMay 18-June 20 “New of the Rococo: Norweb Ceramics and Related Please Turn to Page 68 Vistas in Ceramic Art”; at Pewabic Pottery, 10125 E. Jefferson. Michigan, HoltMay 5-28 A group exhibition with Robert Martin, porcelain forms; at DeMatt Gallery, Old Town, 2415 Cedar St. Missouri, Kansas Citythrough May 26 A dual exhibition with Patti Warashina, sculpture; at Morgan Gallery, 1616 Westport Rd. through June 3 “Mimbres Pottery: Ancient Art of the American Southwest”; at the Nelson-Atkins Museum of Art, 4525 Oak St. Missouri, Saint Louisthrough May 20 “By Heart and Hand: American Folk Art from Mis­ souri Collections,” includes slip- or sgraffito-dec- orated redware and stoneware; at the Saint Louis Art Museum, Forest Park. through May 31 “Spotlighting,” a dual exhibi­ tion with Greg Krepps, pit-fired forms; at Saint Louis Contemporary Crafts Gallery, 55 Maryland Plaza. Nevada, Las VegasMay 6-30 “Las Vegas Small Sculpture National”; at the Las Vegas Art Mu­ seum, Lorenzi Park, 3333 W. Washington. New Jersey, FreeholdMay 5-23 “Coast Cen­ tral Crafts Exhibition ’84”; at the Right Angle, Pond Road Shopping Center, Rte. 9. New Jersey, Newark through February 28, 1985 “American Art Pottery,” over 200 objects made between 1880 and 1940; at the Newark Mu­ seum, 49 Washington St. New Jersey, TenaflyMay 12-June 15 “Duets-Couples in Crafts,” includes works by Jerry Berta and Madeline Kaczamarczyk, Victoria and Richard MacKenzie Childs, and Jean Pierre Hsu; at America House, 24 Washington Ave. New Jersey, TrentonMay 18-30 “Art: Func­ tional Ceramics”; at Mercer County Community College, West Windsor Campus. New Mexico, HobbsMay 3-25 “May Festi­ val 84—NMJC/LEAA Juried Six State All Me­ dia Exhibition of Arts and Crafts”; at the New Mexico Junior College, Lovington Hwy. New Mexico, Santa FeMay 4-June 8 “Southwest/Midwest Exchange,” works by 12 Il­ linois ceramists; at the Museum of Fine Arts, 107 W. Palace Ave. New Mexico, Taosthrough May 19 Jim Wag­ ner and Hank Saxe. May 26-June 23 A dual exhibition with Katherine Howard, burnished, pit- fired vessels; at Clay and Fiber, N. Pueblo Rd. New York, New Yorkthrough May 12 “Silk Roads/China Ships,” approximately 400 objects illustrating 2000 years of commerce between Asia and the West; at the American Museum of Natural History, Central Park W. at 79th St. through May 13 Olga Bravo, Patricia Fahie and Lisa Waters, earthenware vessels and sculp­ ture. May 15-June 15 Maryanne Cain, por­ celain sculpture; and Sema Kamrass and Susan Kiok, inlaid wall platters; at Convergence Gallery, 484 Broome St. through May 15 “Newcomb College Pottery, A Retrospective,” works produced in New Orleans during 1880-1920; at the Jordan-Volpe Gallery, 457 W. Broadway. through June 7 1 “Design in America: The Cran- brook Vision, 1925-1950,” includes ceramics; at the Metropolitan Museum of Art. May 1984 65 66 Ceramics Monthly News & Retrospect

In Paris with Takeo Sudo in the pottery town of Ma- master if you leave to work for someone else. Ceramic reliefs by Anne Barres and sculp­ shiko. However, if you find yourself in an intoler­ ture by Charles Viguie were featured re­ A little research is needed before applying able situation, it is possible for you to change cently at Galerie Alain Oudin in Paris. As for an apprenticeship in Japan. I cannot stress masters, and the master to save face, by say­ exemplified by this installation at Angles near enough the importance of shopping for the ing you are going on a vacation. This is ac­ ceptable conduct. Most masters expect a person asking for an apprenticeship to be committed to it for a minimum of two years, but you contract for only a year at a time. The apprentice stipend is always small: $100 to $300 per month. This amount varies between work­ shops and even within a studio. You can ex­ pect hard work if you accept a stipend: six to seven days a week, eight to ten hours a day. You will progress through the ranks— wedger, glazer, thrower, etc.—slowly. It is somewhat difficult assuming the role of an apprentice having once been independent, but this is the Japanese formula for producing skilled potters. An alternative is to work without pay. This allows more freedom and faster progression through the ranks. Many studios in ceramic villages, where they are accustomed to for­ eigners, offer this option. A thorough study of the book Earth ’n’ Fire by Amaury Saint-Gilles (distributed by ISBS, Inc., Box 555, Forest Grove, Oregon 97116) will provide an overview of what to see and where areas of particular interest are likely to be found. It helps to have a business card with English on one side and Japanese on the other when touring studios; it is the custom to exchange cards as well as a small gift when you visit someone’s workplace. Al­ ways ask permission to view the studio and kiln areas, as some potters are very restrictive as to what you can see. In addition to visiting various studios, sev­ eral good sources to assist you in locating a master are the Japanese Pottery Center, Ja­ pan Tourist Organization, local schools, and acquaintances who are from or have been to Japan. Mashiko currently has the widest va­ riety of ware produced and the greatest num­ ber of foreign apprentices and students, many of whom speak English. A visa is needed to enter Japan. You must provide proof of a round-trip ticket for any 20-foot-tall porcelain relief by Anne Barres visa application. A tourist visa, effective for Avignon, Anne wants no scale limitations on “right” place to work. Situations vary and it two to three months, can be renewed in To­ her work; knotted, crumpled and “blown up” is a waste of the master’s time, not to mention kyo and may extend your visit to as long as porcelain elements are combined to express your own, if you do not like the methods or six months. A cultural visa requires a spon­ the possibility of undefined expansion. style of production. The Japanese have a sor who will be responsible for your actions, standard of reliability; you would insult your an income tax declaration to document the dependability of your sponsor, and papers of To Apprentice in Japan You are invited to send news and photo­ intent. Most of these tasks are easier to ac­ Japan offers a variety of experiences for graphs about people, places or events of complish after your arrival in Japan. A cul­ the ceramist: touring the many ceramic cen­ interest. We will be pleased to consider tural visa is usually issued for six months to ters; visiting the museums, galleries and de­ them for publication in this column. Mail a year but can be renewed several times. partment stores (where most potters display submissions to: News and Retrospect, If you wish to alter your visa from tourist their works); or becoming an apprentice. In Ceramics Monthly, Box 12448, Colum­ to cultural, it is necessary to temporarily leave the spring of 1983 I visited many of the Jap­ bus, Ohio 43212. Japan. Korea is the closest country, and a anese ceramics centers and was able to work Continued May 1984 67 “Raku and Smoke North America”; at the New­ Vermont, Middleburythrough May 5 “Studio Itinerary port Art Museum, 76 Bellevue Ave. Potter,” works by Richard Aerni, Cynthia Bringle, Continued from Page 65 Rhode Island, Providencethrough June Frank Boyden, Tom and Elaine Coleman, Mi­ 24 Chris Gustin, Andrew Lord, Philip Maberry, chael Frasca, John Glick, Randy Johnson, Jenny ven, Larry Eisner, Robert Harrison, Roberta Mark Pharis, Adrian Saxe, Ian Symons and Arnie Lind, Todd Piker and David Shaner; at Vermont Lampert and Beth Lo-Hamilton; at Contempo­ Zimmerman, “RISD Clay Invitational.” May State Craft Center at Frog Hollow. rary Crafts, 3934 S.W. Corbett Ave. 17-June 3 “RISD Graduate Students”; at the Virginia, Alexandriathrough May 26 The 16th Pennsylvania, Philadelphiathrough May Museum of Art, Rhode Island School of Design, biennial “Creative Crafts Council Exhibition,” re­ 13 “Dutch Tiles”; at the Philadelphia Museum 224 Benefit St. gional juried show; at the Athenaeum Gallery, 201 of Art, Parkway at 26th St. Tennessee, Gatlinburg through June 1 “Ten­ Prince St. May 6-June 3 A dual exhibition with Marek nessee Artist-Craftsmen’s Association’s 10th Bien­ Washington, Seattlethrough May 5 “Con­ Cecula, porcelain sculpture; at the Works Gallery, nial”; at Arrowmont School of Arts and Crafts. temporary Mexican Ceramics”; at Pottery North­ 319 South St. Texas, Dallasthrough May 27 “The Shogun west, 226 First Ave., N. Pennsylvania, PittsburghMay 24-July 1 Age,” Tokugawa artifacts; at the Dallas Museum May 3-June 3 “Asian Art,” includes Japanese “Soup Soup Beautiful Soup,” an exhibition of tur­ of Art, 1717 N. Harwood. ceramics from 1700 to 1850; at Foster/White Gal­ eens; at the Pittsburgh Center for the Arts, Mellon Texas, Houstonthrough July 9“Treasures from lery, 311½ Occidental Ave., S. Park, 6300 Fifth Ave. the Shanghai Museum: 6000 Years of Chinese Art”; Wisconsin, West Bend May 2-27 “Men & Rhode Island, Newportthrough May 21 at the Museum of Fine Arts, 1001 Bissonnet. Women in the Arts VIII” national juried exhibi­ tion; at the West Bend Gallery of Fine Arts, 300 S. Sixth. Fairs, Festivals and Sales Connecticut, WestportMay 26-21 The 18th annual “Westport Handcrafts Fair”; at Staples High School, North Ave. Georgia, EatontonMay 26-27 “Georgia Folk Festival”; at Rock Eagle Center, 350 Rock Eagle Rd., NW. Georgia, GainesvilleMay 5-6 “Georgia Mountains Jubilee Arts and Crafts Festival”; at Georgia Mountain Center and on the square, downtown. Illinois, SkokieMay 19-20 “Eleventh Annual Midwest Craft Festival 1984”; at Old Orchard Center. Indiana, EvansvilleMay 12-13 “Arts on the Walkway,” part of the “Ohio River Arts Festival”; at the Walkway, downtown. Indiana, Indianapolis May 19-20 “Broad Ripple Village Art Fair”; at the Indianapolis Art League grounds, 820 E. 67 St. Iowa, Dubuque May 19-20 “DubuqueFest ’84 Art Fair”; at Washington Park, Sixth and Locust. Kentucky, LouisvilleMay 12-13 “The Old Brownsboro Road Arts and Crafts Festival”; at the Thomas Jefferson Unitarian Church grounds, 4938 Old Brownsboro Rd. Maryland, TimoniumMay 4-6 Seventh an­ nual “Spring Crafts Festival”; at the Maryland State Fairgrounds. Massachusetts, CambridgeMay 24-27 “An­ nual Spring Show and Sale,” works by 30 potters and sculptors; at Radcliffe Pottery Studio, 245 Concord Ave. Massachusetts, WorcesterMay 18-20 “Four­ teenth Annual Craft Fair”; at the Worcester Craft Center, 25 Sagamore Rd. Michigan, Detroitthrough May 15 “Michigan Potters’ Association Annual Sale”; at Pewabic Pot­ tery, 10125 E. Jefferson. Mississippi, Laurel May 12 “A Day in the Park”; at Mason Park. New York, Great Neck May 6 Sixth annual “Great Neck Celebrates Crafts”; at Middle Neck Rd., Old Village. New York, New Palt»May 25-28 “Woodstock- New Paltz Art and Crafts Fair/Spring Show”; at the Ulster County Fairgrounds. New York, New YorkMay 18-20 and June 1-3 “The WBAI Spring Crafts Fair”; at Colum­ bia University, Ferris Booth Hall. New York, Spring ValleyMay 4-6 The 16th annual “Green Meadow Invitational Pottery Show and Sale”; at Green Meadow Waldorf School, Hungry Hollow Rd. and Rte. 45. New York, Sugar LoafMay 19-20 “Sugar Loaf Craft Festival ’; at Sugar Loaf Craft Village. Ohio, DaytonMay 26-27 “Art in the Park”; at the Riverbend Art Center, 142 Riverbend Dr. Pennsylvania, KingstonMay 5-6 “Fourth Annual Northeast Craftworks” exhibition; at Kingston Armory, Market St. Pennsylvania, WallingfordMay 4-5 The Continued 68 Ceramics Monthly News & Retrospect trip there gives you a chance to see the roots of Japanese ceramics. The length of stay in Korea is limited to no more than 120 hours without a visa, but this is enough time to visit several pottery centers and get a feeling for their work. If an extended stay in Japan is in your plans, be prepared to live small. Most apart­ ments consist of two small rooms with a com­ munity bath and toilet. The cost will vary with location, but generally ranges from $60 to $100 per month. Amazingly, you can sal­ vage stoves, refrigerators, bicycles and other comforts of home from the junkyards! There are no second-hand stores (except for an­ tiques). Everything is either handed down from father to son or thrown away. Take only the bare essentials because, until you find a permanent place to stay, transporting and storing your luggage will be a problem. The main modes of transportation (bus and train) have very small storage areas or none at all. The standard locker sizes are 16x12x22 inches and 21x10x22 inches. Rail passes make traveling via the national railroad easy, but the one-, two- or three- week passes may be purchased only outside of Japan. A pass becomes effective anytime you start to use it. It is a good idea to buy two or three rail passes good for a week at a time. This allows you more freedom and gives you a chance to rest between excur­ sions. A used motorbike (available for about $100) is an inexpensive mode of transportation and can extend your ability to travel. The inter­ national license, which you can acquire in­ expensively in the United States, is accepted; but if you do not have one, a Japanese license can be purchased at the local prefectural of­ fice for $30-$40 and is valid for three years. After a three-month stay, a foreigner’s reg­ istration card may be obtained. With it you can purchase medical insurance (including dental coverage) for about $50 per year. The problems encountered during an ex­ tended stay are mainly cultural. My expe­ riences from traveling and working in Japan (where I was not well versed in the language) were more rewarding than I had expected. However, I did miss out on many of the in­ terpersonal experiences you can have only through complete understanding of the lan­ guage. The Japanese language is unlike the more direct English. Only about half of what is meant is said and the listener must assume the rest. I recommend a class in Japanese through a local college. If a formal class is unavailable, purchase a good English-to- Japanese dictionary, as well as a Japanese (Kanji)-to-English one. Also, the Japanese Pottery Handbook by Penny Simpson, Lucy Kitto and Kanji Sodeoka (Kodansha Inter­ national, Ltd., 10 East 53 Street, New York City 10022) offers a fair translation of pot- Continued May 1984 69 tact: Tony Marsh, Mendocino Art Center, Ce­ Bob Shay, Bennett Bean, George Tompkins and Itinerary ramics, Box 765, Mendocino 95460; or call: (707) Dan Angel Martinez. Contact: Summervail Work­ 937-5818 or 937-0946. shop, Box 177, Minturn, Colorado 81645; or call: Potters Guild of the Community Arts Center spring California, Walnut CreekMay 6 “Clay Cin- (303) 827-5703. sale; at 414 Plush Mill Rd. ema-Fest.” May 12-13 “Clay and Plaster Connecticut, BrookfieldMay 5-6 Laurie Tennessee, Nashville May 4-6 “Thirteenth Sculpture Workshop” with John Toki. Contact: Klein, “The Creative Balancing of Goals.” Fee: Annual Tennessee Crafts Fair”; at Centennial Park. Walnut Creek Civic Arts Education, 1313 Civic $75 for Craft Center members, $85 for nonmem­ Dr., Walnut Creek 94596; or call: (415) 943-5846. bers. May 19 Judy Glattstein, “Forms and Colorado, CortezMay 10-15 “Primitive Pot­ Patterns in Nature.” Fee: $35 for Craft Center Workshops tery” with Bruce Bradley. Participants will study members; $45 for nonmembers. Contact: Brook­ California, La JollaMay 18-19 Mayer Shac- Anasazi ceramics and reproduce primitive forms. field Craft Center, Box 122, Brookfield 06804; or ter, workshop and slide lecture. For further infor­ Fee: $275. Contact: Admissions Office, Center for call: (203) 775-4526. mation contact: Crafts Center B-023D, University American Archaeology, Box 1499, Evanston, Il­ Illinois, ChicagoMay 15 Michael McTwigan, of California, San Diego, La Jolla 92093; or call: linois 60204; or call collect: (312) 492-5300. lecture. Fee: $3. Contact: Lili Street Gallery, 1021 (619) 452-2021. Colorado, VailJune 18-August 3 Colorado W. Lili St., Chicago 60614; or call: (312) 248-4414. California, MendocinoMay 19-20 Sandra Mountain College is offering several 1-week ses­ Illinois, EvanstonMay 5 Bennett Bean, lec­ Johnstone, “Salt-Fired Ceramics.” Fee: $45. Con­ sions with Rod Tsukashima, Robert Piepenburg, ture and demonstration. Fee: $25. Contact: Mi­ chael Blair, Evanston Art Center, 2603 Sheridan Rd., Evanston 60201; or call: (312) 475-9139. Iowa, Des MoinesMay 14-June 1 “Kiln- building/Salt Glaze Workshop,” with Rimas VisGirda, involves constructing a 30-cubic-foot, downdraft, gas-fired, atmospheric burner, salt kiln. For advanced students and professionals. Contact: Art Department, Drake University, Des Moines 50311; or call: Rimas VisGirda, (515) 271-3186. New Hampshire, Goffstown June 18-29 “Porcelain Workshop” with Gerry Williams. Fee: $190. July 2-4 “Brush Printing on Ceramic Forms” with Ed Nelson. Fee: $65. July 2-6 “Intensive Throwing and Production Tech­ niques” with Rudy Houk. Fee: $95. July 9-13 “Techniques of Low Temperature Pottery” with Rudy Houk. Fee: $95. July 11-12 “Clinic on Electric Kilns, Gas Burners and Kiln Equip­ ment” with Harry Dedell. Fee: $55. July 30-August 3 “Low and High Relief Ceramic Wall Plaques” with Armand Szainer. Fee: $95. July 31-August 10 “Master Class,” a session for ad­ vanced potters, professionals and teachers. Limited enrollment. Send slides of work, two letters of rec­ ommendation and statement. Instructor: Gerry Williams. Fee: $300. Contact: Phoenix Work­ shops, R.D. 1, Dunbarton, Goffstown 03045; or call: (603) 774-3582. New Jersey, Demarest May 19-20 Dutch potter Jaan Mobach, slide lecture and demon­ stration on throwing big pots; at the Old Church Cultural Center. Contact: Adriana Chilton, 46 Church Lane, Scarsdale, New York 10583; or call: (914) 472-4912. New Mexico, Ghost RanchMay 30-June 3 “Larger Than Life,” a demonstration and hands- on session on throwing and handbuilding large vessels, tile murals and structural ceramic tech­ niques. Fee: $75 for members of the New Mexico Potters Association, $85 for nonmembers. Camp­ ing and live-in accommodations available. Contact: Bill Armstrong, Box 706, Corrales, New Mexico 87048; or call: (505) 898-7471. New York, New YorkMay 11 and 18 Barbara Beck, “Porcelain and Paper Workshop.” June 22 or 24 “Basketry Techniques for Potters” with Nancy Moore Bess, fee: $25. Contact: Janet Bryant, 92nd Street Y, 1395 Lexington, New York 10128; or call: (212) 427-6000, ext. 172. May 12 “Glaze Techniques for Firing in an Electric Kiln,” with Arthur Gerace, will include glaze on glaze, wax resist, mishima and Oriental brush techniques. Fee: $40 for YWCA members, $50 for nonmembers. Contact: Craft Students League, 610 Lexington Ave., New York 10022; or call: (212) 755-4500. May 19 A participatory workshop with Rina Pe- leg on constructing clay baskets from extruded coils, using traditional basket-weaving techniques. Con­ tact: Greenwich House Pottery, 16 Jones St., New York 10014; or call: (212) 242-4106. New York, West NyackJune 11-22 Dorothy Greenwald is offering two 1-week sessions on ad­ vanced wheel throwing. Contact: Rockland Center for the Arts, 27 S. Greenbush Rd., West Nyack 10994; or call: (914) 358-0877. North Carolina, BrasstownMay 13-26 Throw­ ing and glazing with Bill Gordy. Contact: The Continued 70 CERAMICS MONTHLY News & Retrospect tery and chemical terms for an English- speaking potter apprenticing in Japan. Text: James Neupert. Patrick Crabb Tensions between the primitive and the contemporary, the Oriental and the Occi­ dental, the carefully planned and the “happy accident” are seen in the series of ceramic baskets by Patrick Crabb (Tustin, Califor­ nia) recently featured at Rodell/Retreat in Los Angeles. In the basket, Patrick recog­ nizes a pure, primitive form, utilitarian in origin, yet capable of infinite and sophisti­ cated artistic expression. He states, “I find my sources of inspiration evolving from an historical context, specifically from pretech- nological or ‘primitive’ artifacts. Ancient ves­ sels have a timeless quality, a simplicity of shape, a display of boldness in technique that I seek in my own forms. My container shapes

Low-fire “Pictogram Basket,” 19 inches in height are metaphorical expressions of the roots, the lineage of the ‘first vessels,’ specifically ves­ sels derived from clay-reed basketry.” Many of the rough, irregular textures that enhance the “ancient” quality of the baskets are produced by such unprimitive surfaces as pegboard, corrugated cardboard or cracks in sidewalks. While alluding to the utilitarian antecedents of the baskets, they are obviously, in Patrick’s words, “not replicas, but take­ offs.” Text: Keith Neilson. In Jerusalem “Everyone’s Sitting,” an environment con­ sisting of 25 truncated pillars on which are positioned nine larger-than-life, armless, male figures, each one dying or dead of battle wounds; and “A Human Shadow Is Not Hu­ man,” seven flat figures braced against the wall and floor, by Siona Shimshi (Old Jaffa, Continued May 1984 71 New England Summer Workshops, 353 Washing­ May 4-27 Penny Kokkinos, pottery exhibition; Itinerary ton St., Brighton, Massachusetts 02135; or call: at the Amsterdam Cafe, York Quay Centre, 235 (617) 782-3008 or 782-4184. Queens Quay, W. John C. Campbell Folk School, Route 1, Brass- England, Bath, AvonMay 25-June 15 Tobias town 28902; or call: (704) 837-2775. Harrison, lusterware; at Saint James’s Gallery, 9 North Carolina, Chapel HillJune 17-29 “Man­ International Events Margarets Bldgs., Brock St. aging the Arts,” fifth executive program for arts Canada, Alberta, Calgarythrough June 10 England, Bath, Great PulteneyMay 18-July administrators. Fee: $1100, includes living ex­ “Between Continents/Between Seas: Pre-Colum­ 8 “The Oxshott Pottery: Denise and Henry penses. Scholarships available. Contact: Leslie H. bian Art of Costa Rica”; at the Glenbow Museum, Wren”; at the Crafts Study Centre, Holburne Mu­ Garner, Managing the Arts, School of Business 130 Ninth Ave., SE. seum, University of Bath, Great Pulteney St. Administration, The University of North Carolina May 12-13 Alan Caiger-Smith, slide lecture on England, OxfordMay 21-June 20 Daniel at Chapel Hill, Chapel Hill 27514; or call: (919) his work and Aldermaston Pottery with discussion Mumby, mixed earthenware and stoneware sculp­ 962-3123. of Islamic ceramics and Persian lusters, plus dem­ ture; at Oxford Gallery, 23 High St. North Carolina, RaleighMay 11-12 Dutch onstration of techniques and brushwork. Contact: Italy, FaenzaMay 12-August 21 The 42nd potter Jaan Mobach, slide lecture and demon­ Ceramics Canada, 7056 D Farrell Rd., SE, Cal­ annual “International Competition of Artistic Ce­ stration on throwing big pots; at the North Car­ gary, Alberta T2H 0T2; or call: (403) 255-1575. ramics”; at the Palazzo delle Esposizioni, Corso olina State University Craft Center. Contact: A- Canada, British Columbia, KelownaMay Mazzini 92. driana Chilton, 46 Church Lane, Scarsdale, New 14-15 Chuck Wissinger, intensive workshop on Italy, FlorenceJuly 2-September 14 Ceramica York 10583; or call: (914) 472-4912. ceramic sculpture. Contact: Mary McCulloch or Riparbello is offering several 2-week sessions on Oregon, OtisJuly 21-22 “Raku Pottery and Gerry Garneau, Fine Arts Department, Okana­ throwing with Pietro Maddalena and Franco Primitive Firing Methods,” with Judy Teufel, will gan College, 1000 Klo Rd., Kelowna, British Co­ Rampi. For beginning through advanced students. include building a rudimentary kiln. Bring bisqued lumbia VIY 4X8; or call (604) 762-5445. Fee: $350, includes room and board. Contact: Ce­ work. Fee: $35. For further information contact: Canada, Ontario, BramptonJuly 2-13 “Dec­ ramica Riparbello, 50020 Marcialla, Florence; or Sitka Center for Art and Ecology, Box 65, Otis orative Techniques in Porcelain,” a workshop with call: 0571-660084. 97368; or call: (503) 994-5485. Harlan House. Fee: $160. July 20-29 “Raku,” North Wales, Clwyd, DenbighJuly 16-August Pennsylvania, SomersetMay 7-June 30 two weekend sessions with Anne Cummings. Fee: 18 Brookhouse pottery is offering five 1-week Hidden Valley Pottery is offering 1- to 4-week $80. Contact: Sheridan College, Brampton Cam­ sessions on porcelain and stoneware, reduction fir­ sessions on throwing and handbuilding, and re­ pus Continuing Education, McLaughlin Rd., Box ing and salt glazing, and kiln construction. In­ duction, oxidation, raku and anagama firing. In­ 7500, Brampton, Ontario L6V 1G6; or call: (416) structor: David Frith, plus visiting potters Derek structors: Randy Myers and Don Hedman. Con­ 364-7491. Emms, Jane Hamlyn and David Leach. Contact: tact: Randy Myers, R.D. 4, Box 195, Somerset Canada, Ontario, DundasMay 5-6 “The Pot­ Margaret Frith, Brookhouse Pottery, The Malt- 15501; or call: (814) 443-4347 or 443-6454. ters’ Guild of Hamilton and Region Spring Sale”; house, Denbigh, Clwyd LL16 4RE; or call: 074 Vermont, BenningtonJuly 29-August 18 “Art at the Dundas Town Hall. 571 2805. New England Summer Workshops” at Bennington Canada, Ontario, MississaugaMay 27-June Wales, Carmarthen, AbergwiliMay 19-June College will include 1-week sessions on clay sculp­ 8 “Fireworks 1984,” fifth biennial juried exhi­ 23 “Buckley Pottery,” an exhibition of ceramics ture from a live model with Andrew McMillan bition of works by members of the Ontario Potters from the 1300s to the 1940s; at the Carmarthen and Michael Morris; throwing and decorating Association; at the Erindale College Art Gallery. Museum. porcelain with Tom White; and colored clays with Canada, Ontario, TorontoMay 4-6 “1984 West Germany, Essenthrough June 30 “Peru: Makoto Yabe. Fee: $385 per week, includes room Spring Open House and Sale”; at the Potter’s Stu­ Through the Millennia,” includes Nasca burial and board. For further information contact: Art dio, 2 Thorncliffe Park Dr., Unit 16. objects and domestic pottery; at the Villa Hiigel.

72 CERAMICS MONTHLY News & Retrospect Israel) were shown recently at Herzelia Mu­ seum in Jerusalem. “In my work there are always groups—always story telling,” Siona commented. “ ‘Everyone’s sitting, 5 patiently

Larger-than-life figure from “Everyone's Sitting” and tolerantly awaiting judgment. The car­ apace is still comely and well but inwardly the collapse has begun—the drying up and the loss of memory.” The high-fired clay forms were built in sections “not as a technical device but as an ‘artistic’ one. Numbers, marks and signs for fittings are part of the design as well. I tried to get the feeling of sagging skin by pushing the clay almost to its limit; there are many places where it almost cracks. The polished aluminum elements that burst out of the ‘sit­ ting’ bodies (representing fluids) were cast in Styrofoam after the unglazed sculptures were fired to approximately 2190°F (1200°C).” With each “Shadow of Man” figure, the artist displayed a cryptic detail, from beer cans to a laurel wreath. “In these works,” she

Siona Shimshi with clay “Shadows” observed, “the feet no longer carry the weight of their burden. The human shadow is not Continued May 1984 73 Where to Show Continued from Page 17 further information contact: Sugar Loaf Craft Guild, Box 125, Sugar Loaf 10981; or call: (914) 986- 8628 or 469-9740. Nags Head, North Carolina “Compass Rose Art and Craft Fair” (August 3-4) is juried from 6 slides. Fee: $65. Send self-addressed, stamped envelope to: Jan Mann, Route 1, Box 195-A, God­ win, North Carolina 28344; or call: (919) 567- 2978. Scaly Mountain, North Carolina “High Country Art and Craft Show” (August 3-5) is juried from slides or photos. Fee: $65. Send self- addressed, stamped, business envelope to: Virginia Smith, High Country Crafters, 29 Haywood St., Asheville, North Carolina 28801; or call: (704) 254-0070. July 6 entry deadline Denver, Colorado “Foothills Festival” (August 11-12) is juried from slides. Contact: Joyce He- pokoski, Washington Heights Community Center, 6375 W. First Ave., Lakewood, Colorado 80226; or call: (303) 237-7407. July 10 entry deadline Manitou Springs, Colorado “Commonwheel Artist’s 10th Annual Labor Day Festival” (Sep­ tember 1-3) is juried from slides. Contact: Com­ monwheel Fairs, Box 42, Manitou Springs 80829; or call: (303) 685-1008. July 15 entry deadline Asheville, North Carolina “High Country Summerfest Art and Craft Show” (August 9-11) is juried from slides or photos. Fee: $85. Contact: Betty Kdan, 40 Hyannis Drive, Asheville 28804; or call: (704) 253-6893. Sapphire, North Carolina “High Country Art and Craft Show” (August 17-19) is juried from slides or photos. Fee: $65. Send self-addressed, stamped, business envelope to: Virginia Smith, High Country Crafters, 29 Haywood St., Asheville, North Carolina 28801; or call: (704) 254-0070. July 30 entry deadline Lowell, Michigan “The Fallasburg Fall Fes­ tival” (September 29-30) is juried from slides. Fee: $35. Contact: Chris VanAntwerp, Lowell Area Arts Council, Box 53, Lowell 49331. August 1 entry deadline Cashiers, North Carolina “High Country Art and Craft Show” (August 31-September 2) is ju­ ried from slides or photos. Fee: $65. Send self- addressed, stamped, business envelope to: Virginia Smith, High Country Crafters, 29 Haywood St., Asheville, North Carolina 28801; or call: (704) 254-0070. August 10 entry deadline New York, New York “13th Annual WBAI Holiday Crafts Fair” (December 6-9) is juried from 5 slides. Entry fee: $12. Booth fee: $410. Contact: Matthew Alperin, WBAI Crafts Fair, Box 889, Times Square Station, New York 10108; or call: (212) 279-0707. August 11 entry deadline Suffern, New York “Rockland Holiday Craft Marketplace” (December 15-16) is juried from 5 slides. Entry fee: $5; booth fees: $175-$200 for a 10x10-foot space. Send self-addressed, stamped envelope to: Scott and Neil Rubinstein, Quail Hol­ low Events, Box 825, Woodstock, New York 12498; or call: (914) 679-8087. Pittsburgh, Pennsylvania “Pittsburgh Art and Crafts Expo” (November 23-25) is juried from 5 slides. Entry fee: $5; booth fees: $175-$200 for a 1 Ox 10-foot space. Send self-addressed, stamped envelope to Scott and Neil Rubinstein, Quail Hol­ low Events, Box 825, Woodstock, New York 12498; or call: (914) 679-8087.^ August 31 entry deadline Herkimer, New York “9th Annual Herkimer County Arts & Crafts Fair” (November 10-11) is juried from 5 slides. Awards. Entry fee: $5. Booth fee: $55. Contact: Grace McLaughlin, Herkimer County Community College, Reservoir Rd., Her­ kimer 13350. 74 CERAMICS MONTHLY News & Retrospect human, and our memories [are] too heavy to bear.” By presenting this exhibition in the Her- zliya Museum, which is also a memorial to fallen soldiers, Siona is protesting Israel’s continuing involvement in Lebanon and the resultant loss of life. “Identities,” a series of sculptural pots by Israeli ceramist Rayah Redlich, was featured recently in a faculty exhibition at Haifu Uni­ versity and in a group show at the Jerusalem Theater. Thrown from red, white and black clays, decorated with slips, underglazes and matt ivory glaze, then fired to 2156°F (1180°C), the whole and halved vessels

“Brides & Grooms” “Mothers & Daughters” were grouped as allegorical images: moth­ erhood, infancy, childhood, bridegroom-bride, parenthood, family, etc. Photo: R. Redlich. Avra Leodas A solo exhibition of stoneware vessels and wall reliefs by New Mexico ceramist Avra Leodas was featured at Saint John’s College in Sante Fe through April 21. Among the

14-inch coil-built bowl by Avra Leodas works shown was this rough-textured bowl, coil built from stoneware, with dry wash, fired at Cone 7. Alfred Glaze Warning The New York State College of Ceramics at Alfred University is warning that pots Continued May 1984 75 76 CERAMICS MONTHLY News & Retrospect glazed with the following green matt recipe may not be safe for use with food or drink: Ratzee Glaze (Cone 5) Barium Carbonate...... 21.7% Whiting...... 10.9 Kona F-4 Feldspar...... 60.9 Edgar Plastic Kaolin ...... 6.5 100.%0 Add: Titanium Dioxide ...... 2.4% Zinc Oxide...... 8.7% Copper Carbonate...... 3.2% Developed in 1982 by an Alfred student, Ratzee was subsequently used on classroom work given as gifts and sold at local markets. Recently, when another student noticed her coffee cup had discolored, the glaze was tested by an outside laboratory. Test results showed small amounts of barium were leaching from the glaze. Dean W. Richard Ott says there appears to be little danger from long-time consump­ tion of small quantities of barium because, unlike lead, it does not accumulate in one’s body. The worst situation, he explains, would be if an acidic liquid such as lemonade were kept in a glazed pitcher for several weeks so that larger amounts of barium leached out, then someone drank the entire contents of the pitcher. Currently, students are testing this recipe at higher temperatures to see if it would then be safe for food surfaces; preliminary results indicate it is safe (vitreous) at Cone 9. American Ceramics in Iceland “Crafts U.S.A.,” an exhibition featuring works by approximately 80 American arti­ sans, was displayed recently at Kjarvalsstadir Art Center in Reykjavik, Iceland. Among the ceramic objects shown was this slab-built

Sara Gast’s stoneware basket with reed handle basket, 8 inches in diameter, terra-cotta col­ ored stoneware, with airbrushed glazes, fired to Cone 3 in an electric kiln, by Sara Gast, Bloomington, New York. Jim Leedy In work shown recently at the Morgan Gallery in Kansas City, Missouri, Jim Leedy Continued May 1984 77 78 CERAMICS MONTHLY News & Retrospect (faculty artist at Kansas City Art Institute) integrated forms of brightly colored animals, totems, masks and plates. His is a tough art, hard to live with because it refuses to fade into the background like Muzak. The inten­ tion is to skirt rhapsodic decorum, to link the primitive virility of clay to the immediacies and idiosyncrasies of primordial emotions. He crumples, twists and overextends the clay to suggest seismic energies which result in a temperamental transformation of the mate­ rial. The resultant sculpture is rooted in the idea that art is a matter of personal content and feeling before it is form, theory or his­ tory. His work is further involved in the rep­ resentation of animals actively snarling, twisting or crying out in agony, not unlike

42-inch “Horse” by Jim Leedy the famous “Guernica.” Like Picasso’s horse these animals suffer a disquieting visceral anguish. In addition some of them appear to be decaying or collapsing in on themselves, perhaps subject to a disjunctive or regressive natural force, a prelude to death. The artist, by combining the forces of growth with their opposite, completes the cycle of life and death. Text: Michael Cadieux; photo: E. G. SchempJ.

Phyllis Green “Delphi Launching Pad,” a 7V2-foot clay and mixed-media sculpture by Los Angeles artist Phyllis Green, was presented recently at the Charles H. Scott Gallery in Vancouver, British Columbia, and at the Turnbull, Lutjeans, Kogan Gallery in Costa Mesa, California. In commenting on the work, Phyllis ex­ plains: “Delphi is the site of the Shrine of Apollo, the oldest as well as the most holy of Greek shrines. Long before the shrine was built, Delphi was the fabled home of a Mi- noan earth goddess, and was an important Continued May 1984 79 80 CERAMICS MONTHLY News & Retrospect site of pre-Greek religious activity. Accord­ ing to myth, Apollo had to battle a female dragon-snake before he could enter Delphi. Some scholars maintain that the Apollo myth dramatizes the new Greek order of men and their Olympian gods, and of rationality, overtaking the Minoan earth-centered way. To the Greeks, Delphi seemed the place where the conflict between the old way and the new was most violently manifest. “I am attracted to Delphi because of this history. But ‘Delphi Launching Pad’ is not a model of the shrine of Apollo. The basic structure is eclectic, and is derived from var­ ious Greek monuments and architectural forms. The tiled platform is a hexagon. The

71/2-foot “Delphi Launching Pad” six figures resemble the carytids, or female pillar figures, that support the roofs of cer­ tain Greek temples. They stand on the tra­ ditional parapets, which are ceramic ‘boxes’ decorated in relief and chronologically rep­ resenting six places where I have lived. As part of its composition (combinations of day, wood and steel), each life-size figure has a realistically rendered ceramic skeletal unit: the Winnipeg figure has bone feet; the next has tibiae; the next, femurs; the next, a pel­ vis; the next, a rib cage; and the next, sca­ pulae. My intention is to express growth and change through this developing figure. The heads are represented by dangling helmets that suggest a link to the extraterrestrial.” New American Craft Museum A new American Craft Museum with more than four times the gallery space is under construction at its previous location at 44 West 53 Street in New York City. Meanwhile, the American Craft Council reports that exhi­ bition programs will continue at the mu­ seum’s sister institution, Museum II, at In­ ternational Paper Plaza, 77 West 45 Street. Please Turn to Page 85 May 1984 81 82 Ceramics Monthly New Books

The Ceramic Spectrum by Robin Hopper For professional ceramists to students, this text offers a simplified approach to the theory and practice of glaze/color development, ex­ ploring materials and processes to suggest the range of potential results. Rather than pre­ senting a series of chemical/mathematical calculations (“none of them tells us the com­ plete story, because the subtle trace elements, which are perhaps the most important part, seldom show up in analyses”), the author aims at providing the reader with a practical understanding of “the individual materials involved, their expected behavior under var­ iations of temperature and atmosphere, and their interaction with each other.” After a basic introductory section covering history, types of clay bodies and firing procedures, ensuing chapters present raw materials and approaches to testing, ranging from single ingredient “lump” tests to quadraxial blends. A chapter on fluxes shows how to alter a stoneware glaze color by changing the fluxes in the recipe, while other chapters discuss wood ash, luster and crystalline glazes. The section on color covers the full range of con­ temporary materials and sources (including soluble colorants, watercolors, spray paints and commercial ceramic stains), methods of color testing and provides a chart of 42 colors with 134 variations on ways to achieve them. Of particular interest are a series of 12 color images each illustrating 24 variations from a common colorant in various glaze bases. Concluding the text is a portfolio of inter­ national ceramics, with accompanying state­ ments on artists’ intent and process. 224 pages including appendix (table of Orton standard cones; comparative list of common frits; ex­ planations of illustrated glaze tests; effective range of oxides; Oriental iron glazes for Cones 8-10, reduction; list of ceramic stains), bib­ liography and index. 58 color plates, 150 black-and-white illustrations. $37.50. Chil­ ton Book Company, Radnor, Pennsylvania 19089.

Mimbres Pottery: Ancient Art of the American Southwest Published in conjunction with the American Federation of Arts traveling exhibition, this text illustrates 135 representative examples of the decorated pots produced from A.D. 550 to 1150 near the Mimbres River in New Mexico, when “during its nine-hundred-year history, Mimbres pottery evolved from a plain brown undecorated ware to spectacular fig­ urative black-on-white bowls.” Essays by Tony Berlant, J. J. Brody, Steven A. Le- Please Turn to Page88 May 1984 83 84 CERAMICS MONTHLY News & Retrospect connectedness is facilitated between the view­ er and the sculpture through the use of the Continued from Page 81 life-size disembodied, void figures present in The space, owned on a condominium ba­ each work.” Photo: Hobart Swiggett. sis, will be on the ground floor and lower level of an office building, with 72-foot front­ Diduk / Wosika age on 53 Street. The approximately 18,000 “Functional and Affordable,” an exhibi­ square feet will be divided into museum of­ tion of stoneware thrown by Barbara Diduk, fices on three separate levels and galleries for Carlisle, Pennsylvania, and handbuilt by Ka­ the permanent collection, one-man shows and thy Wosika, Fresno, California, was pre­ thematic exhibitions. Completion is sched­ sented at Craft Alliance in Saint Louis, late uled for spring 1986. last year. Among the elongated pitchers, Karen Koblitz An April exhibition at Swope Gallery in Los Angeles featured new ceramic still lifes by Karen Koblitz, Columbia, South Caro­ lina. Among the works shown was this wall

“Message in the Bottle Still Life” 78-inch lidded jar by Barbara Diduk relief, 20½ inches in height, handbuilt low- teapots and watering pots shown by Barbara fire clay with brushed polychrome glazes. Diduk was this lidded jar, 18 inches in height, Photo: Larry Cameron. ash glazed. Nan Smith Cohen/Mather “Inner Dimensions,” a solo exhibition of A dual exhibition of functional porcelain clay and mixed-media work by Nan Smith, by Jean Cohen, Baltimore, and Tim Mather, faculty artist at the University of Florida, Athens, Ohio, was on view at the American Gainesville, was presented at McQuade Gal­ Hand in Washington, D. C., through March lery, Merrimack College, North Andover, 30. Jean’s work explores the potential of cut­ Massachusetts, through April 13. Included ting rims to achieve the hard-edged feeling in the show were several installations reflect­ of art deco, while Tim’s thrown ware, such ing “concepts of the inner self,” Nan com-

‘Inner Garden,” mixed-media installation Porcelain basket with wood handle by Tim Mather mented. “Each allows the viewer to experi­ as this basket, approximately 12 inches in ence environments which can be entered vis­ diameter, with handbuilt additions and wood ually, physically and spiritually. A special Continued

iviuy oj 86 Ceramics Monthly News & Retrospect handle, is accented with brush decoration or a range of copper red glazes. Connell and Young A dual exhibition featuring carved por­ celain vessels by Jim Connell, Champaign, Illinois, and figurative sculpture by Suzanne Young, Northville, Michigan, was presented recently at DeMatt Gallery in Holt, Mich­ igan. Jim’s thickly thrown forms, such as this matt black covered jar, are deeply carved us-

19-inch sandblasted jar by Jim Connell ing a variety of Surform blades. Glazed and fired to Cone 10 in reduction, they are “then sandblasted to reveal the matt crackle pat­ terns underneath,” he explains. Suzanne’s porcelain reliefs are raku fired. She sees these figures, “with their complex and endless associations, as posing a chal-

/8-inch unglazed relief by Suzanne Young lenge to the viewer. After being placed within a spatial design or color camouflage, the fig­ ures begin to relate their social commentary.” May 1984 87 New Books Continued from Page 83 Blanc and Catherine J. Scott discuss the peo­ ple, their way of life and the changing role of their pottery. Many of the forms are dec­ orated with representational images—ani­ mals, humans and objects which often inter­ act to tell a story. Other works bear lively geometric patterns. Most of the pots with painted figures were used for funerary purposes: “In early burials, pottery bowls and other grave offerings were placed adjacent to the body. Later, a bowl was usually broken and scattered in pieces throughout the grave, but by the end of the period this practice had been almost entirely abandoned. Instead, a single small piece was broken out of the bottom of the funerary bowl, and the bowl was then placed over the head of the deceased. Today, the small puncture hole in the bottom of Mimbres bowls is re­ ferred to as the ‘kill’ hole. While we are in­ clined to assume that it must have had some ideological significance, whether it was made to release the ‘spirit’ of the bowl, as some investigators have suggested, remains un­ known.” But because of the pictorial nature of much Mimbres ware, more is known about these people and their culture than about any of their contemporaries. 128 pages, including bibliography. 42 color plates, 127 black-and- white illustrations and maps. $35, plus $2 for shipping and handling. Hudson Hills Press, Inc., Suite 301, 220 Fifth Avenue, New York City 10001.

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