editor Sherman Hall associate editor Tim Frederich assistant editor Renee Fairchild design Paula John production manager John Wilson production specialist David Houghton advertising manager Steve Hecker advertising assistant Debbie Plummer circulation manager Cleo Eddie publisher Marcus Bailey

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Ceramics Monthly (ISSN 0009-0328) is published monthly, except July and August, by The American Ceramic Society, 735 Ceramic Place, Westerville, Ohio 43081; www.ceramics.org. Periodicals postage paid at Westerville, Ohio, and additional mailing offices. Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The Ameri­ can Ceramic Society. subscription rates: One year $32, two years $60, three years $86. Add $25 per year for subscriptions outside North America. In Canada, add GST (registration number R123994618). change of address: Please give us four weeks advance notice. Send the magazine address label as well as your new address to: Ceramics Monthly, Circulation De­ partment, PO Box 6136, Westerville, OH 43086-6136. contributors: Writing and photographic guidelines are available on request. Send manuscripts and visual sup­ port (slides, transparencies, photographs, drawings, etc.) to Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081. We also accept unillustrated texts e-mailed to [email protected] or faxed to (614) 891-8960. indexing: An index of each year's feature articles appears in the December issue. You may also visit the Ceramics Monthly website at www.ceramicsmonthly.org to search an index of article titles and artists' names. Feature articles are also indexed in the Art Index, daai (design and applied arts index) and other services available through pub­ lic and university libraries. copies: For a fee, photocopies of articles are available through Customer Service, PO Box 6136, Westerville, OH 43086-6136; e-mail [email protected]; or telephone (614) 794-5890. Authorization to photocopy items for internal or per­ sonal use beyond the limits of Sections 107 or 108 of the U.S. Copyright Law is granted by The American Ceramic Society, ISSN 0009-0328, provided that the appropriate fee is paid directly to Copyright Clearance Center, Inc., 222 Rose­ wood Dr., Danvers, MA 01923, USA; (978) 750-8400; www.copyright.com. Prior to photocopying items for edu­ cational classroom use, please contact Copyright Clearance Center, Inc. This consent does not extend to copying items for general distribution, or for advertising or promotional pur­ poses, or to republishing items in whole or in part in any work in any format. Please direct republication or special copying permission requests to the Senior Director, Publications, The American Ceramic Society, 735 Ceramic PL, Westerville, OH 43081, USA. back issues: When available, back issues are $6 each, plus $3 shipping and handling for first issue and $1 each additional issue (for international orders, shipping/handling is $6 for first issue and $2 each additional issue). postmaster: Please send address changes to Ceramics Monthly, PO Box 6136, Westerville, OH 43086-6136. Form 3579 requested.

Copyright © 2004 The American Ceramic Society All rights reserved

Ceramics Monthly April 2004 2

Ceramics Monthly April 2004 4 APRIL 2004 / Volume 52 Number 4

featu res

36 Gary Hootman by James Kasper A potter's search for an American wood-firing aesthetic 40 Claudi Casanovas Homage to Nature by Nesrin During

43 Ryumonji: The Hidden Dinosaur by Kelvin Bradford An accidental discovery of traditional pottery practices in Japan

46 Earth in Balance by Pamela Dillon Regional exhibition of works by 38 artists at Rosewood Gallery in Kettering, Ohio

51 A Potter's Progress by Carolyn Genders An artist's reflection on the evolution of style

54 The Renwick and Me by irma starr 17th-century slipware plate commemorates a historical gallery

56 Joe Bova's Politics and War by Dorothy joiner Ceramic sculpture lampooning contemporary American culture

60 A Body of Work by John Chalke Experimenting with clay bodies in Canada 65 Walking the Middle Ground The Work of Nazare Feliciano by Joel Betancourt 68 Summer Workshops 2004 Contact information for opportunities in the U.S. and abroad departments

10 letters 16 upfront 28 new books 72 call for entries 80 suggestions 82 calendar 116 questions 118 classified advertising 120 comment: On Selling Out by Rikki Grace 120 index to advertisers

cover: "No. 107 Salina," 66 centimeters (26 inches) in height, stoneware with feldspar and combustibles, by Claudi Casanovas, Catalunya, Spain; page 40.

Ceramics Monthly April 2004 5 upfront

16 Exhibition of Wood-FiredCeramics in Connecticut Works by 12 artists at Seton Gallery, University of New Haven 16 Kyle Carpenter Functional pottery at MudFire Gallery in Atlanta, Georgia 18 Exhibition of Face Jugs Contemporary and historical works by 20 artists at Southern Pottery Workcenter and Gallery in Columbia, South Carolina 18 Group Exhibition in Oregon Wood-fired ceramics at Fifth Element Gallery in Portland 20 Rebekah Diamantopoulos Porcelain vessels at the Contemporary Crafts Museum & Gallery in Portland, Oregon 22 Liz Vercruysse Vessels at Jackson Artworks in Omaha, Nebraska 22 Patz Fowle Animal sculpture at Peter D. Hyman Fine Arts Center at Francis Marion University in Florence, South Carolina 22 Gloria Carrasco Urban sculpture at the Museum of Contemporary Art in Oaxaca, Mexico 24 Anthony Caro Figurative sculpture at Garth Clark Gallery in New York City 24 Fiamma Colonna Montagu Large-scale vessel installation at the Gallery at Windsor, near Vero Beach, Florida 24 Sid Oakley, 1932-2004

Ceramics Monthly April 2004 6 Ceramics Monthly April 2004 7

lege of Ceramics at Alfred). I teach both similar works featured month after month letters drawing, painting, as well as clay sculpture for the past three to four years. I mainly and pottery. I have subscribed to your work with figures, as well as tiles, and most Student Reference magazine since my first year of teaching of the work you feature has been mostly Your publication contains inspirational because of the positive influence the maga­ functional ware—pots and vessels. articles and exquisite visuals. My studentszine had on me during college. I have The sculptural work you do show is constantly refer to the back issues for ideas. shared the ideas in your magazine with my usually abstract and rarely based on the Marlene Astman, North Hollywood, CA students over the years (taking them to masters’ approach. I do feel inspired when I galleries and museums is not normally an see those works of beauty created by mod­ Master Works option, due to our location). Although I ern masters. However, work you have fea­ I have been an art instructor in northern have certainly gained a lot from your maga­ tured recently leans more toward gruesome New York for 16 years, and I am a graduate zine in the past, and still do from time to and poor craftsmanship. I have experienced of Alfred University (New York State Col­ time, I have become bored with seeing many different types of art, and I don’t want you to feel as if I am closed-minded, but, at the same time, it seems to me that the kind of work you feature is becoming too predictable. Again, I have been a longtime subscriber to your magazine—nearly 20 years—and would like to stress the benefit and merit I have found in it. I would like to continue subscribing, but I would ask that you con­ sider highlighting artists who enjoy making realistic, masterful works from time to time as well. Bob Renaud, Carthage NY

Critical Thinking Drop out the clever and decorative work. This will strengthen the credibility of the rest. Keep as broad an approach as you can, and include more critical thinking about the field. Mike Vatalaro, Pendleton, SC

Legwork I think about my pots as I sit at my wheel and dig my own clay—from the pugged, de-aired, premixed, boxed and bagged lump of my favorite combination for plasticity and strength. What mix is this? I forget once in a while. I know I can get it again, and someone else knows the formula. At a workshop a few years ago, a gentle­ man from Colorado explained absorption rates and how to make tools for tests. In several studios I’ve visited, many tiles for many tests line the walls. Applications of glaze formulae on countless clay bodies abound and dizzy me with variety. Who has the time for such resolve? I reminisce about flipping the switches on my own antique kiln, watching clocks and cones. Truly ancient kilns come to mind—the ones from books. Potters stoked flames in a pit or a pile, let it breathe, stoked again, kept the heat up, watched the flame, let it cool. Perhaps they took the time to tell tales of even more ancient days and how it was before everyone was in such

Ceramics Monthly April 2004 10

letters There are many pots I’ve loved throw­ taught a child, then a friend, then someone ing—both ways. They’re stacked in a rubbleorganized a workshop. Pretty soon, classes heap in my backyard. The pots that I keep were being held. I admire those artisans a hurry, and you knew the heat was right come from people who have had heaps of who know the process and flow with it, by the color. their own, and have been disappointed by work at it and write about it for us. I ad­ Sometimes, when I try to squeeze a few the recipe that didn’t quite gel. They have mire those who pass along their more mugs on a shelf, I’m thankful I don’t adjusted, tweaked, righted and then shared perseverence so that, while my kiln is busy have to collect kindling to enjoy a prettier firing, I may sit quietly outside on a brisk cup of coffee. But someone does. To be night and count the stars. sure, someone makes the pots, builds the David Hartshorne, Gurnee, IL kiln, gathers the wood and spends countless hours and days stoking. But at each kiln What Is 21st-Century Ceramics? opening, there is knowledge to be gained. It The “21st Century Ceramics in the United seems that potters take to heart the old States and Canada” exhibition at the Co­ adage that knowledge is useless if it is not lumbus College of Art and Design (CCAD) passed along. was a wonderful opportunity to see many of There is nothing like seeing the well- the “best and brightest” stars of our ceram­ earned glow of triumph on the face of the ics universe assembled [CM, December maker who knows the true value of an 2003]. The works exhibit skill, aesthetic outstanding pot. Those, of course, are born vision, a flash of genius, but are they 21st- of experience. Oh, some of us get lucky century ceramics? I wonder. Familiar names occasionally, but it is seldom luck that gives Cup, 3 inches (8 centimeters) in height, porcelain, and faces frame styles that have made their us the ash run that stops barely short of a fired to Cone 10 in reduction, by David Hartshorne, mark on so many. But, despite the obvious gallop, the purity of a carved line at Cone 6 Gurnee, Illinois. excellence and influence evidenced in this pushing 7, or the sculpture that started as a their experience by passing along their exhibition, is it reasonable to assume that spark on a drawing board. These are the work. They’ve shared their perseverance. this influence will continue or even signifi­ works we love to hold and behold. When Someone attached a flat board to a cantly impact what will, in fact, be 21st- we cradle them, we feel as though they love sturdy stick on a big rock. Someone had the century ceramics? Not if the artists and us right back. patience to figure out the formula. A parent curators quoted in the June 19,New 2003,

Ceramics Monthly April 2004 12 letters ing to William L. Hamilton, the article’s This is not to suggest the end of our author, leading ceramics dealer, Garth world—only change. In the sameTimes Clark, put it more cynically: “The arts and article, Gregory Kuharic, Sotheby’s vice York Times article chronicling the transition crafts argument is over. . . . industry has president for 20th-century decorative arts of the American Craft Museum into the won.” As if to drive the nail deeper, Clark (and a potter), follows the statement, “After Museum of Arts and Design have precisely was further quoted as saying, “the serious our last sale, I’m a little nervous,” with the polished their crystal balls. collecting market for craft is shrinking, too. more optimistic assessment that he knew a Museum of Arts and Design director It’s steadily going out of business.” Evi­ lot of craftsmen who continue to make a Holly Hotchner and chief curator David dence to support this sentiment is filtering living “by practicing what they love to do. McFadden reportedly . talked of the in from the marketplace, where sales of It’s a very active group. I don’t think the trend among craft artists like Jim Makins sculptural ceramics at Guild.com (America’s movement is over.” toward limited productions of what were largest retailer of fine craft) have been Active indeed! Interest among entry-level traditionally one-of-a-kind pieces.” Accord­ eclipsed by glass and home furnishings. enthusiasts has driven circulation of the American Ceramic Society’s (and CM’s sister publication)Pottery Making Illustrated from zero to over 17,000 during the same period of time. Paralleling this growth is the explosion of popular interest in the contem­ porary studio movement, where novices are invited into any of the several thousand studios opened since the early ’90s, to have a hand at decorating professionally pro­ duced bisqueware. As noted in the aforementionedTimes article, ceramists with an eye for sophisti­ cated production techniques and a prefer­ ence for well-designed functional wares are flourishing. Back at Guild.com, notable growth in ceramics continues to be found in tableware and lighting. And success stories abound of record crowds following the pottery trails through the rural backroads of Minnesota, North Carolina, Wisconsin and many other states in search of well-made, beautiful and primarily functional ceramics. As remarkable as it is to see assembled in the 21st-century exhibition so much of the greatness that has excited the passion for ceramics among a now-aging generation, it is very hard to reason that this body of work will, at the same time, be a harbinger of things to come. There are simply too many signs of change to believe that what has been will become again. Congratulations to CCAD and the exhibiting artists in their celebration of the phenomenal aesthetic accomplishment that has been North American ceramics over the past 50 years. And here’s hoping that what­ ever becomes 21 st-century ceramics can carry the flame. Curtis Benzie, Hilliard, OH

In keeping with our commitment to providing an open forum for the exchange of ideas and opinions, the editors welcome letters from all readers; some editing for clarity or brevity may take place. All letters must include the writer’s full name and ad­ dress, but they will be withheld on request. Mail to Ceramics Monthly, 735 Ceramic PL, Westerville, OH 43081; e-mail to [email protected] ; or fax to (614) 891-8960.

Ceramics Monthly April 2004 14

Shawn Ireland finds “beauty in the simplicity and usefulness of folk upfront pottery. To me, pots from preindustrial cultures worldwide embody the spirit of a life less encumbered. This spirit is influential, in that it inspires me, while making, to look and to feel. Also influential is the work of contemporary potters who tap this spirit. I choose to make pots Exhibition of Wood-Fired Ceramics with a foundation in folk tradition, and discover, gradually, how my in Connecticut touch develops.” “The Fire Within: A Presentation of Wood-Fired Ceramics,” a curated “The most important thing for me is the process of making ceramics,” exhibition of works by 12 artists, is on view through April 3 at the Setonstated John Bradford. “It is within this time that I feel the most invigo­ Gallery, University of New Haven, Connecticut. Both functionalrated potsby clay. While I am making, it is the vision of what is going to and nonfunctional vessels by the artists—Susan Beecher, Newhappen York and how the piece is going to turn out that excites me and drives City; John Bradford, Canton, Connecticut; Joy Brown, South Kent,me on. I want my pieces to reflect the energy that I put into them.” Connecticut; Paul Chaleff, Pine Plains, New York; Shawn Ireland, Lisa Stinson, and Will Ruggles and Douglass Rankin, Bakersville, North Carolina; Robin Johnson, Woodbury, Connecticut; Tim Rowan, High Falls, New York; Tim Scull, West Hartford, Connecticut; and Jeff Shapiro, Accord, New York—were represented.

John Bradford platter, 19 inches (29 centimeters) in length, stoneware with slip brushwork, wood/salt fired in a noborigama.

Jeff Shapiro’s “Kite Series #2,” 25 inches (64 centimeters) in height, wood fired with rice-straw markings; at the Seton Gallery, University of New Haven, Connecticut. “I approach the process of making as a creative process, giving myself the freedom to improvise or run with an idea and see where it takes me, to keep the work alive and evolving,” noted Jeff Shapiro. “If I do not approach my work in this way, then the work stagnates and will precipitate the beginning of the end, which leads to a slow death.”

Kyle Carpenter “Rhythm,” an exhibition of functional pottery by Asheville, North Carolina, artist Kyle Carpenter, can be seen through April 10 at MudFire Gallery in Atlanta, Georgia. Inspired by rhythms and shapes in nature, Shawn Ireland’s “Square Vase,” 10 inches (25 centimeters) in height, hand-mixed Carpenter fires his pots using salt, soda and sawdust. “I really enjoy clay and glaze, fired in a wood/oil noborigama with interior firebox. bringing something handmade into a person’s daily life, and like think-

Ceramics Monthly April 2004 16

upfront

Kyle Carpenter’s “Three Tea Cups,” to 3¾ inches (10 centimeters) in height, wheel-thrown stoneware, with underglazes, slip and glazes, salt/soda fired to Cone 9, $60; at MudFire Gallery, Atlanta. ing about someone who uses one of my mugs or bowls every morning for breakfast,” he commented. “They can study it daily, always finding new reasons to love it hidden within the myriad details and atmo­ spheric variations.”

Exhibition of Face Jugs “Southern Face Jugs: Past and Present,” an exhibition of over 100 contemporary and historical works by 20 artists, can be seen through April 8 at the Southern Pottery Workcenter and Gallery in Columbia, South Carolina. “Face jugs were thought to have begun in Edgefield

Andy Nasisse’s “Face Jug,” 13 inches (33 centimeters) in height, fired multiple times at Cone 04 in oxidation, $250; at Southern Pottery Workcenter and Gallery, Columbia, South Carolina. County, South Carolina, by African-American slaves who worked on the plantations as potters,” stated Virginia Scotchie in an accompanying essay. “These potters would work on the face jugs after the work of making functional pottery, such as churns and storage jars, was finished for the day. Many historians believe there may have been a spiritual connection to the face jug for these potters.” Several potters, such as Georgia ceramist Lanier Meaders, became well known for their face jugs. Today, the art form continues in the work of such contemporary artists as Andy Nasisse, also of Georgia.

Group Exhibition in Oregon “For the Love of Fire,” an exhibition of wood-fired work by Rhue Bruggeman, Portland, Oregon; Kirk Mangus, Kent, Ohio; and Stephen Mickey, Brush Prairie, Washington, was on view recently at Fifth Ele­ ment Gallery in Portland, Oregon. Stephen Mickey’s work “is made with both beauty and function in mind. It is my goal to allow the user to have some sense of the pleasure Lanier Meaders face jug, 10 inches (25 centimeters) in height, of the making of the pots as the work is assimilated into everyday use. wood fired to Cone 12-15, $1950. Another concern is form and how the sculptural aspects of the pot

Ceramics Monthly April 2004 18 Ceramics Monthly April 2004 19 upfront deepest respect for clay has come from my attempts to pull it from the earth and use it as its own. My current work does not rely very heavily on hand-prospected material; however, the nature of clay’s interaction with atmosphere and fire defines my work. I am fascinated by the natural processes that create earth’s vast variety of materials. I expose raw clay to a wood or salt flame to record the beauty and power of fire. I hope to share the strength and splendor of this metamorphosis with those who use my pieces.” Kirk Mangus sees his drawings on paper and clay as “part of the record of my life and times. I have several themes that move through my work. When I see something that amuses, confuses or terrifies me, it

Stephen Mickey bowl, 4 inches (10 centimeters) in height, wood-fired stoneware. reveal themselves to the user. In the last few years, the new challenge of working with a wood kiln has probably simplified my glazing tech­ niques. I am using less glaze and more raw clay and slips.” “I continually strive to maintain a sense of intimacy with the mate­ rial,” says Bruggeman, “touching it how it wants to be touched, moving it how it wants to be moved, and spending lots of time along with it. Often I find, dig and use native deposits of ceramic materials. My

Kirk Mangus vessel, 10 inches (25 centimeters) in height, wood-fired stoneware. becomes part of the collection of images I use. I become involved with a rifF and follow it. I try to put down my marks as clearly as possible, often working with a brush and black ink, because I like the unforgiving qualities of the medium. Drawings are like hallucinations—character and caricature become blurred. They are a device for illustrating fears and excorcising prejudices and demons.”

Rebekah Diamantopoulos “Connections,” an exhibition of porcelain vessels by Rebekah Diamantopoulos, was presented through March 7 at the Contemporary Crafts Museum & Gallery in Portland, Oregon. The exhibition is a culmination of Diamantopoulos’ six-month residency at the museum.

Rhue Bruggeman pitcher, 11½ inches (29 centimeters) in height, “With most of my work, the context of function combines with the wood-fired porcelain; at Fifth Element Gallery, Portland, Oregon. aspect of decorative form,” Diamantopoulos commented. “Recently, I

Ceramics Monthly April 2004 20 upfront anagama—a five-day firing—I really enjoy worldng with a smaller kiln and a shorter, 12-hour firing. The combination of the two atmospheres yields a multiple array of surface effects that interact nicely with the introduced color to create patterns and layers that initiate possible heavy textures I incorporate in my work.” pairings within a group of pieces. I prefer working in sets or pairs to explore the visual interaction or connection between the work. Patz Fowle “Humanimals,” an exhibition of ceramic sculpture by South Carolina artist Patz Fowle, was on view recently at the Peter D. Hyman Fine Arts Center at Francis Marion University in Florence, South Carolina. Fowle’s sculptures are handbuilt using stoneware and porcelain, then surfaced with underglazes, oxides, stains and, often, gold luster. “The endless

Rebekah Diamantopoulos’ “Revolutions,” to 5 inches (12 centimeters) in height, porcelain; at the Contemporary Crafts Museum & Gallery, Portland, Oregon. “Vessel forms have always been important to me, and I try to find ways to draw out the inside space. The use of symmetry and the presence of a line enhance the familiar themes of balance and simplicity, and I strive to create a sense of elegance and intimacy within each object.”

Liz Vercruysse “Salt of the Earth,” an exhibition of wood- and salt-fired vessels by Nebraska artist Liz Vercruysse, was presented recently at Jackson Art- worlss in Omaha, Nebraska. “My work may be best described as a funky, organic meld of the bottle form with botanically inspired tex­ ture,” Vercruysse noted. Interested in the delicate protective and repro­ ductive parts of botanies, she finds that “a natural blend of form and textures emerge when I apply these botanical influences to the surface of a bottle form.” The pieces in this exhibition came from her recently built wood-burning salt kiln. “After firing the bulk of my work in a large

Patz Fowle’s “Domestic. . . Short-Hair,” 14 inches (36 centimeters) in height, handbuilt stoneware and porcelain, with underglazes, oxides, stains and gold luster; at the Peter D. Hyman Fine Arts Center, Francis Marion University, Florence, South Carolina. possibilities of clay are merged,” she commented, “with a vivid imagina­ tion, a deep admiration of animals and a bizarre sense of humor to create a unique world where animal forms and human attitudes are combined to create narratives in clay.”

Gloria Carrasco “About Trees and Other Constructions,” an exhibition of ceramics by Liz Vercruysse vessel, 1VA inches (29 centimeters) in height, stoneware with Grolleg slip and Shino, wood/salt fired to Cone 10; Mexico artist Gloria Carrasco, was on view through March 29 at the at Jackson Artworks, Omaha, Nebraska. Museum of Contemporary Art in Oaxaca, Mexico. “Architect by pro-

Ceramics Monthly April 2004 22

upfront metal sculptures, Caro has worked with clay intermittently since the 1970s. In this recent series, Caro returned to all-clay figures. Previous series had combined mixed media with metal and wood. fession and artist by calling, Carrasco chose to give a new meaning to the use of ceramics as an intimate and warm three-dimensional lan­Fiamma Colonna Montagu guage,” stated art critic Carlos Aranda Marquez. The show is dividedBritish artist Fiamma Colonna Montagu was commissioned recently by into groups. “The first and strongest is related to the creation of habitats the Gallery at Windsor near Vero Beach, Florida, to make three large- scale vessels for the entryway of the gallery as well as the clubhouse. Montagu coil built the vessels—each of which took several months to

Gloria Carrasco’s “Silhouettes,” to 63 centimeters (25 inches) in height, fired to 1240°C (2265 F); at the Museum of Contemporary Art, Oaxaca, Mexico. and environments, and we can gather here her ... trees, vestiges, rituals and silhouettes [shown here] as urban elements that strongly showcase the interrelation among them and allow us to clearly imagine the invisible city.”

Anthony Caro “Pot Ladies,” an exhibition of ceramic sculpture by London artist Sir Anthony Caro, was on view through March 6 at Garth Clark Gallery in New York City. The show consisted of 14 figures that have been cut, Fiamma Colonna Montagu vessels, to 195 centimeters ( 6Y2 feet) in height, coil altered and reassembled from pots thrown and wood fired by New York built; at the Gallery at Windsor, near Vero Beach, Florida. ceramist Paul Chaleff. Best known for his monumental, abstract, painted build—in Germany. Long interested in large-scale ceramics, Montagu built these pieces to create a dreamlike atmosphere of incongruous space and scale.

Sid Oakley, 1932-2004 North Carolina potter and gallery owner Sid Oakley died January 4 of emphysema; he was 71. Oakley was a painter and potter who was known for his copper red and crystalline glazes. In 1968, he and his wife, Pat, bought 10 acres of tobacco field in Creedmoor, North Caro­ lina, where they built Cedar Creek Studio and Gallery. Today, Cedar Creek has grown to include not only the gallery, but artists’ studios for ceramics and glass. In 1980, the Smithsonian Institution commissioned Oakley to make 200 limited-edition crystalline-glazed pots for its sales catalog. A year later, one of those pieces was presented as a gift to then- South Korean President Chun Doo Hwan.

Submissions to the Upfront column are welcome. We would be pleased to consider press releases, artists’ statements and original (not duplicate) slides or transpar­ Anthony Caro’s “Pair,” 30½ inches (77 centimeters) in height, encies in conjunction with exhibitions or other events of interest for publication. Mail to Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081. stoneware, with steel; at Garth Clark Gallery, New York City.

Ceramics Monthly April 2004 24

age of the history of working with clay, as well as rica, indigenous America, Europe, the United new books updated examples of both established and States, plus worldwide interaction. Part two, emerging artists’ works, step-by-step guidelinesShaping the Present, covers technical aspects Hands in Clay for maldng multipart molds, and more color of working with clay: by Charlotte F. Speight and John Toki images throughout the book. handbuilding; wheel throw­ “There is no one way to work in clay,” state Intended for both beginning and advanced ing; molds; texture, color and the authors of this revised and updated fifthstudents, the book consists of two sections—the glaze; firing; installations and edition. “Creativity develops from exploringfirst, Shaping the Past, discusses the styles, as well architectural works; and set­ and experimenting, and we believe that youas will construction, decorating and firing methods ting up your studio. better understand the possibilities inherent inof past cultures. Following an introduction to Accompanying the book the material if you see how human hands shapedclay (characteristics, types, components, early is a technical manual (for­ clay in the past.” New to this edition—which uses and technology), the section covers earlymerly the appendixes) that has been expanded to was first published in 1979—is expanded cover­Western Asia and the Mediterranean, Asia, Af­include clay, slip and glaze recipes; percentage charts for clays, chemicals, frits, feldspars and wood ash; kiln-firing programs and graphs; safety information; equipment; manuals; definitions; etc. 666 pages, including glossary; list of reading materials, videos and websites; index; and tech­ nical manual. 375 color and 348 black-and- white photographs; 255 sketches. Softcover, $57.50. ISBN 0-07-251951-7. McGraw-Hill Companies,, PO Box 182605, Columbus, OH 43218-2605; see www.mhhe.com; e-mail [email protected]; or telephone (800)262-4729.

The Ceramics of China 5000 B.C. to 1912 A.D. by Gloria and Robert Mascarelli “Many people are driven to invest only in items with innate or proven worth such as gold and silver, items that often get locked up in vaults,” state the authors of this nicely illustrated reference guide. “The collector of Oriental ce­ ramics has a different motivation. Either he buys for the delight of the visual appeal of this pur­ chase and is unconcerned with the investment potential, or he buys with an eye for future gain but usually restricts his pur­ chases to items that he can enjoy in the present. “No matter what the motivation is to purchase Chinese ceramics, the col­ lector will find a wide range of types and styles of ceram­ ics from which to choose. There are items that suit the Chinese taste and were created for the court and the wealthy classes of China. There are export porcelains that were primarily decorated to satisfy the tastes of the near East, the Pacific Rim, Europe and the American colonies.” Each dynasty, along with the pottery pro­ duced during that time period, is described in the book. Timelines for each period are also provided. Brief descriptions and estimated prices accompany the images. 256 pages, including

Ceramics Monthly April 2004 28 Ceramics Monthly April 2004 29 new books of selected exhibitions and public collections, select bibliography, and index of works. 91 color and 20 black-and-white photographs. $50. ISBN appendix on an abridged Wade Giles to Pinyin0-85331-883-2. City Gallery, Leicester, 90 Granby conversion chart, glossary, bibliography and in­St., Leicester LEI ID]; in association with Lund dex. 473 color photographs. $59.95, plus $3.95 Humphries, Gower House, Croft Rd., Aldershot, shipping. ISBN 0-7643-1843-8. Schiffer Pub­ Hampshire GUI 1 3HR. Distributed in the U.S. lishing Ltd., 4880 Lower Valley Rd., Atglen, PA byAshgate, PO Box 2225, 82 Winter Sport Ln., 19310; e-mail [email protected]; see Williston, VT 05495; seewww.ashgate.com . www.schifferbooks.com; telephone (610) 593- 1777; or fax (610) 593-2002. Distributed in Europe by Bushwood Books, 6 Marks bury Ave.,Studio Practices, Techniques and Tips Kew Gardens, Surrey TW9 4JF, England; e-mail A Collection of Articles [email protected]; telephone (44) 2083 928 585;from Ceramics Monthly or fax (44) 2083 929 876. edited by Anderson Turner “The articles in this book are, at their root, Carol McNicoll about the desire to do and achieve more,” states “In 1973, the year in which [Carol McNicoll]the editor of this compilation of Ceramics Monthly graduated, the term ‘production potter’ usually articles. “From finding the referred to a maker of functional wares that were motivation to write about their invariably handthrown and, with few excep­ experiences to believing in their tions, part of a wider, often counter-cultural and own abilities enough to try to ruralist move towards craft activity based on make a life in clay, the authors reinvented and rediscovered traditions,” notes of these articles all share a com­ Tanya Harrod in her essay in this nicely illus­ mon energy and enterprising trated monograph. “Most art-school-trained spirit. It is that spirit that is within all of us—the potters at that date, however, turned their faces spirit to make, to learn, to teach—that drives our against this kind of spiritualized ‘production’ inlives in clay forward.” favor of creating ‘one-ofF sculptural and paint­The book consists of over 40 articles, which erly explorations of the vessel form and surface.are divided into three sections: workshop plan­ McNicoll was out of step and out of sympathyning and business practices, materials and equip­ with both camps. ment, and kilns. Article topics include studio “She was in fact ahead of her time, choosing sales, questions to ask a gallery, build a $75 to embark on a kind of batch production. It was electric wheel, modifying a cement mixer for an approach that was to become popular in the mixing clay, insulating existing kilns, and build­ mid 1980s, particularly among young furnitureing a modular kiln. 144 pages. 88 color and 74 designers. . . . Using slip casting meant thatblack-and-white photographs; 52 sketches. McNicoll in effect became a small-scale industrySoftcover, $28.95. ISBN 1-57498-200-1.The of one.” American Ceramic Society, 735 Ceramic PL, The book details McNicoll’s career in Brit­ Westerville, OH43081; [email protected] ; ain, which began in the late 1960s. She contin­see www. ceramics, org; telephone (614) 794-5890; ues to create functional forms made from slip-castor fax (614) 794-5892. clay. “McNicoll’s creations are assemblages, handbuilt from individual cast elements Earthenware and in Southeast Asia found objects,” states Mark edited by John Miksic Prest, acting gallery manager Intended as a reference for archaeologists, of the City Gallery Leicester. this book “germinated from the editor’s frustra­ “Objects are highly deco­ tion with the lack of communication between rated, resulting in exotic andscholars working on the most important mate­ richly patterned surfaces. Herrial in Southeast Asian archaeology,” states current work has many com­Miksic. “In most comparable regions of the plexities, is far more figurative and exploresworld, pottery has been subjected to sustained issues such as cultural identity, material culture,attack by generations of scholars who, after many consumerism and socio-political ideas.” Also discussions, arguments, debates and intensive included is an interview with Carol McNicoll byfieldwork, have constructed general frameworks RoseLee Goldberg. 128 pages, including intro­which enable them to use potsherds, humble as duction by Mark Prest, glossary, chronology, listindividuals but mighty providers of information

Ceramics Monthly April 2004 30 new books 1998, and they cover such topics as PhilippineSGD$75/US$49. ISBN 9971-69-271-6. earthenware pottery from the early prehistoric Singapore University Press, Yusoflshak House, 31 period, history of the study Lower Kent Ridge Rd., Singapore 119078; e-mail when studied in large numbers, to understand of Southeast Asian earth­ supbooks@nus. edu.sg; see www. nus. edu.sg/sup; tele­ cultural developments and linkages both within enware, assessing earthen­phone (65) 776-1148 or fax (65) 774-0652. the region and with other areas. Southeast Asia ware assemblages from sites still lacks such a framework. Not until this ob­ in central Maluku, Indone­Delft Ceramics at the stacle is overcome will Southeast Asian archaeol­ sia, historical period earth­ Philadelphia Museum of Art ogy fulfill its vast potential to answer questions enware from the island of by Ella B. Schaap which are critical to the progress of archaeology.” Sumatra, and the terra-cotta This nicely illustrated catalog features 35 Many of the 22 essays in the book were art of Majapahit. 394 pages, pieces from the Philadelphia Museum of Art’s presented during the “Singapore Symposium includingon bibliography and index. 88 black-and-collection of Delft ceramics made during the Premodern Southeast Asian Earthenware” inwhite photographs plus numerous sketches. 17th and 18th centuries. The author provides a brief history of Delft ceramics at the museum, then an essay by Hans van Lemmen covers the history of Delft pottery in general. “An unusual but popular pottery line made in Delft during the peak years of the ceramics industry was the production of red stoneware teapots,” van Lemmen notes. “Tea drinking had become fash­ ionable by 1670, and brittle, traditional tin- glazed teapots were not well suited to withstand boiling water. “Although sturdier red teapots were im­ ported from China, not enough were available; potters in Delft readily filled the gap, making stoneware teapots from red clay fired to a much higher temperature than usual Delft pottery.” The remainder of the book catalogs the 35 works- —each photo is accompa­ nied by a brief description of the piece or an explanation about that type of work. 92 pages, including foreword by Anne d’Harnoncourt and glossary. 36 color and 15 black-and-white photographs. Softcover, $26. ISBN 0-87633-170-3.Philadel­ phia Museum of Art. Available through the Mu­ seum Store: see website www.philamuseum.org; or telephone (800) 329-4856. Distributed by An­ tique Collectors' Club, Market St., Industrial Park, Wappingers Falls, NY 12590; e-mail info @antiquecc. com; or telephone (845)297-0068.

Glazes: Materials, Recipes and Techniques A Collection of Articles from Ceramics Monthly edited by Anderson Turner “Many pieces, though skillfully crafted in the forming stage, can be ruined with an inappropri­ ate glaze. And while there are many mysteries involved in this final act of creation, many have been solved over the years through diligent research and painstaking trial and error,” notes the editor of this compilation of articles from

Ceramics Monthly April 2004 32 Ceramics Monthly April 2004 33 new books ability to redefine the places in which they choose to be.” The book is divided chronologi­ cally into four chapters: 1900-20, 1920—45, Ceramics Monthly. “Since its inception,Ceram­ 1945-65 and 1965-2000. In each chapter, de ics Monthly has provided a forum for artists to Waal addresses key areas of development. In the share their findings on all aspects of the medium,first chapter, for instance, he talks about Adelaide not the least of which are the glaze recipes and Alsop Robineau, art nouveau, and ceramics and information on how to formulate new ones. painting. Succeeding chapters cover the Bau- “We are fortunate that the authors repre­ haus, women and ceramics, Bernard Leach and sented in this book have shared their work, so we Japan, Pablo Picasso, Lucio Fontana, Peter can take the next step andVoulkos and the Otis Art Institute, pop and push beyond. The infor­funk ceramics, critical commentaries, and in­ mation contained here is a stallation. 224 pages, including select bibliogra­ starting point, and you’llphy and index. 78 color and 114 black-and-white find a world of mysteries photographs. Softcover, $14.95/Can$23. unfold as you alter percent­ISBN 0-500-20371-7. Thames & Hudson ages, swap out ingredients, Books, 500 Fifth Ave., New York, NY 10110; overlap glazes, use differente-mail [email protected]; see application techniques, or come up with some­ www.thamesandhudsonusa.com; telephone (212) thing entirely new.” 354-3763. Over 50 articles are divided into three sec­ tions—materials, recipes and techniques. Top­Glodende ler ics include glaze material substitutions, usingBraendingsskulpturer rare earth colorants, electric kiln copper reds, af J0rgen Hansen Cone 6 oxidation slips and glazes, eight steps to Written in Danish, with some English trans­ stop crazing, and achieving a wood-fired look lation at the end of the book, this catalog depicts from an electric kiln. 144 pages. 82 color and 19 11 “firing sculptures” built by Jorgen Hansen of black-and-white photographs; 9 sketches. Denmark. “With these sculptures, he has moved Softcover, $28.95. ISBN 1-57498-174-9.The from the practical arts into the realm of fine arts,” American Ceramic Society, 735 Ceramic PL, states Lisbeth Bonde, an critic and journalist. Westerville, OH43081; e-mail info @ceramics. org; “Generally speaking, Jorgen see www. ceramics, org; telephone (614) 794-5890; Hansen intentionally veers or fax (614) 794-5892. away, to some extent, from perfection and prefers to sup­ 20th Century Ceramics ply the sculpture with a cer­ by Edmund de Waal tain touch ofincompleteness. “Although ceramics exist in a complex and In this way, there is a refer­ expanded field, each generation has to feel the ence to the process and the complexity and expansion of the field for them­sculpture is endowed with a ruinlike appearance. selves, turning away from the past, doubting the“By and large, Jorgen Hansen is becoming previous generation’s abilities to renew the anincreasingly of more interested in the sculpture’s ceramics,” states de Waal in this survey. “Manyinterior, of and the glowing clay is playing a part the debates that raged at that becomes more and more important in his the turn of the 19th intowork,” Bonde continues. “In viewing the firing the 20th century are stillsculptures, the public comes to play witness to a heated at the turn of the process that normally occurs within a closed 21st. The place of tech­ system, namely inside the ceramic oven, where nique within the art ofthe porous and stiffened clay is transformed into ceramics, the status of something hard and everlasting. The firing sculp­ objects made from clay tures are fired in the open air; the process is laid within contexts definedbare as a spectacular and fascinating sight, which by the worlds of art, the transpires in the course of less than 24 hours.” attraction of clay to sculptors, artists, designersAlso included are detailed captions for each and architects—all are themes that demand installation. 80 pages, including resume. 95 attention today. color photographs. Softcover, DKrl88 ($31). “Like the other arts, ceramics have the power ISBN %7-%922A-70-\.Skippershoved, Skarupvej to move, placate, anger and inspire, and the5, 8400 Ebeltoft, Denmark.

Ceramics Monthly April 2004 34 Ceramics Monthly April 2004 35

“Clay It’s in the Hands Studio. Not only is it in my hands, I’m up to my elbows in it. Please leave a message.” If this phone message said “up to my ears in it,” it would better reflect the reality of Gary Hootman’s devotion to the material. A devotion that is as much philosophical as innate. This single-mindedness serves him well, as he has chosen to work in the challenging arena of wood- fired ceramics. Despite being severely dyslexic, Hootman attended Cornell College in Mount Vernon, Iowa, as a nontraditional student. Following a number of mundane (i.e., nonclay) life experiences, he went to college with the intention of majoring in philosophy. In an effort to bolster his grade point average, he took a ceramics course with Doug Hanson. Like so many of us who have tried clay on the side, he was hooked. He followed his time at Cornell with a brief stint at Bradley University in Peoria, Illinois. Since Bradley had no wood-fire program, which had become his main focus, he transferred to the University of Iowa, Iowa City. Hootman earned his M.F.A. there, working in the wood-fire program started by Chuck Hindes. Wood firing provided a look that complemented and drew to­ gether the types of work he was making. But rather than simply allowing it to finish his pieces, he was driven to accept its direc­ tion in starting the next set of work. This interplay of potter and kiln has been the core of his life since graduation. He built his studio, and the first of its wood-fired kilns, in a rural setting on his grandmother’s land near Cedar Rapids, Iowa. The kiln had over 200 cubic feet of usable volume. He had always Bottle, 6½ inches (17 centimeters) in height, stoneware, with Shino planned to be a one-man studio, so the first firings were grueling glaze and iron wash, fired in an anagama to Cone 11. affairs for his family, who were drawn into the breach to help. In the end, it became apparent that he would need to accept the help of others to fire the kiln. In exchange for kiln space, several people help with the five- to six-day firings. As feedback came from each firing, Hootman altered his clay and glaze recipes and allowed his forms to change. Some of these forms were laid aside and revisited as inspiration dictated, and some were simply discarded. For many college-trained ceramists, this lack of constancy in style would be unthinkable. But, for Hootman, it was the only way to be honest to his sense of what he wanted from the clay. Hootman is constantly aware of his lack of clay roots, outside of the southern folk-pottery tradition and Native American pot­ tery. He has taken this as a challenge, to discover or create a personal American aesthetic. He has allowed himself to borrow freely from whatever best suits his current direction, but only as these influences have had time to ripen in his heart. At times, he has struggled through denial of the use of historical answers to some formal questions. Only when it becomes clear to him that there really is no other way does he take the well-trodden path. Even then, he works to bring his own touch to it. He is always Large planter, 20 inches (51 centimeters) in height, stoneware, willing to give credit where it is due for inspirations he pursues. slab built on the wheel, fired in an anagama to Cone 11.

Ceramics Monthly April 2004 37 The well from which all his efforts spring is his quest to get at the core of our human response to form, from the Venus of Wildendorf to the ubiquitous and humble bowl. His sculpture and functional works attempt to get at this Jungian world within. A bowl finished in a long anagama firing is readily assigned to the Asian tradition, and some will not look beyond that to dis­ cover the uniqueness of the work. Figurative sculpture has been with us some 35,000 years. Most can find some pigeonhole in which to place such work and think no more of it. In some respects, Americans have become aware of the art world as prod­ uct, rather than expression. Hootman attempts to produce work that has a sense of age, both with and without the attendant decay, in a manner that evokes a natural responsiveness deep within. He chooses whether or not to glaze based on the complexity of the form or its need to function with food. His glazes are modified after nearly every firing to respond to, and better register, the effects of five cords of wood and perhaps six days of fire. His Shinos trap carbon and flow, giving the impression of movement, or a tenuous veil of gauze. The 14-day cooling allows dark crystals to form like spark­ ling snowflakes. Yet they are stiff enough to show the surface left by the leaves in which he occasionally rolls freshly glazed work. He constantly adjusts the amount of iron and feldspar in his clay in an effort to bring the raw-fired clay to life. As all wood firers know, it is easy to get green and brown. The challenge is to bring as much of the rest of the spectrum as possible to the work. This is aided by keeping careful records of each firing, especially the finishing and closing of the kiln. Hootman has become convinced that almost all of the bare- clay effects that he loves come in the final stages of the firing and, in particular, the way in which the kiln is closed. For years, he has alternated the atmosphere in the kiln between reduction and oxidation late in firing, followed by loading the side-stoke holes with wet charcoal just before sealing the kiln. Following a trip to Australia and Japan in 2001, he also began to use water during the cooling of the kiln. This attention to all aspects of the work requires time. Not only does he have to make the work, it takes him a week to load the kiln. Hootman points out that one must fire the whole kiln, not just a few special pieces. Each piece must be placed to bring out the best in it and its neighbors. There should be little need to refire work. Care is taken even with the wadding. He uses a fireclay-and-sand mixture, brick shards and shells, so as to leave marks most advantageous to the work. Shells weighted with clay Lidded jar, 34½ inches (88 centimeters) in height, slab-built are sometimes placed on the work simply to add balance to the stoneware, fired in an anagama to Cone 11. marks. Tumble stacking is used where it is appropriate to the kiln and the piece. The work is loaded as the kiln dictates so nobody gets all of their pieces in the “best” or “worst” places. In order to fire the amount of work he makes, a month of wood splitting is needed each year. There is always something to

Ceramics Monthly April 2004 38 Flattened vase, 24 inches (61 centimeters) in height, slab-built stoneware, with copper glaze, wood fired in an anagama to Cone 10, by Gary Hootman, Swisher, Iowa.

be done around the studio, in addition to the cleanup followingdesign. Having spent about 20 years firing exclusively with wood each firing, that takes time away from production. has left Hootman with a store of knowledge that he shares freely Pricing of the work must reflect this investment of time. with those who ask. In fact, he thinks it is imperative that wood Hence, it is difficult for Hootman to make bowls that can com­ firers do more to disseminate information, both to improve the pete in cost with gas- or electric-fired work. This is part of the work and to dispel the notion that wood firing is very difficult. It bargain he has made with himself, and he finds ways to deal with does, and should, require commitment, but not always heart­ the financial repercussions. break. So give him a call when you’re in the area and spend some To add flexibility to his schedule, as well as to add to his firing time talking about clay. Just remember to give him a moment to vocabulary, Hootman built two more wood kilns of his ownclean his hands.

Ceramics Monthly April 2004 39 Claudi Casanovas Homage to Nature by Nesrin During

The works of Claudi Casanovas are, at first sight, geodes, basalt essence, making remarkable that which was unremarkable. It is rocks and granite, things straight out of nature. However,neither ceramics nor sculpture. Casanovas aims not to imitate, but to equal nature, to celebrate it. He is a Catalan, born in Barcelona in 1956. One of his By taking a rock out of its proper context and placing it literallygrandfathers was a sculptor, the other a craftsman. He went to art on a pedestal, he opens our awareness and perception, revealingschool in Barcelona to study theater and ceramics. His first en­ the richness and magnificence of the forces of nature. counter with clay was seeing Capuccine monks throw on a wheel. Casanovas is both a ceramist and a sculptor. He has the back­ That experience and the freedom inherent in the life of a ceramist ground and knowledge of a ceramist, but his technique, and to the choose one’s own path compelled him to become a ceramist. At work itself, is very unlike that of a typical ceramist. He callsfirst, he joined a cooperative of potters in Olot, a town at the himself a “ceramiser.” The work he makes is spatial, dynamic, awe foothills of the Pyrenees where he grew up. He still lives outside of inspiring, in a way even narrative, depicting life and capturingOlot on its a hill with a magnificent view. During the first ten years,

“No. 119 Gerri Roig,” 94 centimeters (37 inches) in height, solid stoneware, fired in reduction to 1300°C (2370°F). he made functional ware on the wheel—dinner plates and tea­ pots—but he was also busy making more personal work. He won second prize in Faenza in 1985 and the Grand Prix in Vallauris in 1986. He stopped making utilitarian work around this time, but his work still contained elements of the vessel tradition. He made “No. 46,” 30 centimeters (12 inches) in height, great platterlike wall forms from ribbons of colored clays that various clays, with added combustibles and chunks looked like stratified earth layers. Eroded textures be­ of feldspar, fired in reduction to 1300°C (2370°F). gan to appear. He made urns and amphorae in a potterly fashion, built in sections. These pieces grew in size and became bolder. They looked as if they were not made by human hands. Casanovas was interpreting what interested him, trying to capture the energy in the material by transforming it through fire, solidifying energy to get to its essence. Casanovas now mixes organic materials into his clay, such as straw, sawdust, cork, rice, wheat and pieces of polystyrene—anything that burns. He also adds salt, metal oxides, low-temperature clays, chunks of feld­ spar and volcanic rocks. After firing, his pieces develop fissures and cracks. The low-temperature clays boil and sag. Combustible materials create holes, and his pieces begin to resemble volcanic landscapes. The violent actions of the ele­ ments in nature, the forces that have created past and present, are captured in his pieces like frozen energy. Like nature itself, his pieces are in process, not finished in a conventional fashion. Because they burst open and show the molten interior, one has the feeling of being inside the forms. Inside becomes outside; the material becomes the piece. “I listen to the sound of stone and expand it,” he says. The kiln, firing in heavy reduction (sometimes fired down in reduction), is a place of metamorphosis and transformation, the re­ sults of which are not always foreseeable. Though he recently has begun using porcelain, Casanovas mainly uses St. Amand Gres, a stoneware clay from the Loire in France. He buys it as powder and mixes it in a big baker’s blunger, adding iron oxide. He works on the floor, instead of a worktable. His pieces are no longer built by conventional potter’s meth­ ods. He approaches each new project as an adventure and tries to figure out how to tackle the new problem. He likes taking risks, but finding technical solutions takes time, energy and material. When making the “No. 41,” 27 centimeters (11 inches) in height, “Big Bloc” series, he threw away a whole truckload of stoneware, with various clays and combustibles clay experiments. Once he has his solutions for working in series, added, fired in reduction to 1300°C (2370°F). he takes off “like an airplane,” he jokes. In full flight, he works on five to ten pieces until he runs out of energy. After a piece is done, he keeps it around. He needs time to accept it, to check his instinct, to correct or change. If approved,

Ceramics Monthly April 2004 41 the work goes into a drying room. This is a huge box, about 2.5 cubic meters, that is heated with gas. Pieces are dried for about a week, depending on their size. For Casanovas, a good piece of work is not a desti­ nation that answers a question or gives a satisfactory reply. Instead, it is one that brings up a new question, incites a proposal and leads him to continue. He fires his work in a gas kiln with four burners that he built himself. It’s about 2 cubic meters, made of ceramic blanket folded in layers on an iron-spiked metal structure. He fires in reduction to 1300°C (2370°F) in about eight hours, then holds for many hours, depending on the size of the piece. In a high-temperature firing, physical, chemical and aesthetic changes occur. The energy of this transforma­ tion, the heat, is registered in the clay body. Clay has the memory of this energy; “like that of a film,” says Casanovas. Even though his pieces resemble iron, wood or stone, one knows that they’re clay. This is a very “No. 118 Saloria,” 93 centimeters (37 inches) in height, stoneware, special characteristic and probably the reason Casanovas with various clays, fired to 1300°C (2370°F). still works with clay. His studio, overlooking the Pyrenees, is big and spacious. He has a forklift, all sorts of tools, an enormous drying cabinet, and a huge kiln. Outside, a huge sand blaster and mountains of stacked powdered clay stand under a shed. After the firing, he uses the sandblaster and a grinder to further erode the surfaces of his work. His “Big Blocs,” recently shown in le Musee d’Art Moderne, in Oostende, Belgium, were built solid. This is a new chapter for Casanovas. Though he is still using clay and firing it, he’s entering the sculptor’s terrain. When he tries to solve a problem in his bed in the middle of the night, he sees his pieces intermingle with the works of Henry Moore and Eduardo Chillida, though he doesn’t want any influence from the past. He likes Anthony Caro’s work because Caro doesn’t have a subject, therefore is more alive and open. What speaks to Casanovas is the freedom of the spirit. As his pieces become solid, the weight and gravity increase. His work attains more body, thus more reality. The concept becomes less important and the material more important. He seeks in each piece a new truth, a new significance. He doesn’t want the work to be predictable or recognizable as a Casanovas image. “No. 39,” 32 centimeters (13 inches) in height, stoneware, He aims to move on. He wants to abandon what has been and start with various clays, fired to 1300°C (2370°F). anew, with a new adventure, a new journey.

Ceramics Monthly April 2004 42 Ryumonji is one of only two known cooperatively owned kilns in Japan.

Ryumonji: The Hidden Dinosaur by Kelvin Bradford

I discovered the kiln by chance, with no preconceived notionsized of jars. The glazes and decorative techniques were similar to the history or style of work. I had been exhibiting in Kajiki, what I had seen at Koishiwara, near Fukuoka, or Mashiko. Adja­ Japan, which is located 25 minutes from Kagoshima airport on cent was a huge earthen-floor workshop, approximately 130x30 the island of Kyushu. It’s quite a remote area—internationalfeet. Outside the workshop was some extremely ancient machin­ visitors could possibly drive by without noticing. Near Kajiki ery is with a pulley system powering some type of crusher. I doubted Mount Ryumon, which has a hot spring, a magnificent waterfallif it was in working order. Nearby were a large number of settling and affords a great view of Sakura-Jima, an active volcano. tanks and many recycling molds. At the back of the workshop My host and I were visiting a new complex that had beencomplex were racks of stacked greenware. Adjacent to these racks constructed nearby, which offered family classes in pottery mak­was a large five-chamber noborigama, with the first chamber ing. As we were driving up the narrow mountain road, I suddenlyunder reconstruction. It was fed at the base by three giant oil- noticed what appeared to be a large pottery and commented on it. burner ports. At the top end of the kiln was a battery of outlet I had driven over that same road three times previously and hadports made of large pipes. The supporting beams to the roof were not spotted it. On our way back, I asked to stop and explore the cloaked in carbon. Here, indeed, was a piece of antiquity, like a site. As we drove into the large parking area, it became obvious dinosaur hiding in the woods. One could almost feel its pulse that it was a large pottery, but I was unsure whether or not it wasbeat. Thus was my first introduction to Ryumonji. actually a working pottery. If it was, they didn’t worry aboutWith a history I would later find dated back 350 years, security—there were no doors. The complex appeared empty. We Ryumonji is one of only two known cooperatively owned kilns in walked into a very basic showroom. The pottery displayed was Japan. It was originally opened in 1598 by Korean artisans brought obviouslymingei (folk) style. The forms were extremely simple to Japan after a campaign by Lord Yoshiro Shimazu. The wares and functional, predominantly tableware with a few medium­produced were originally calledko-chosa ware, as it was located near

Ceramics Monthly April 2004 43 Lidded vessel, 13 centimeters 1 (4 /2 inches) in height, with copper overglaze, fired to 1260 C (2300 F).

Chosa. When moved to Koyamada, as the Shimazu family expandedminimal amount of money. There are also two women who work their empire in 1688, the wares were renamed Ryumonji ware. part time. The current manager is Kawahara-Shiro, who has The original kiln, built in 1718, still remains in the area andworked is there for 33 years. He commented, “It is difficult to get similar to the current kiln, except that it is constructed partiallynew students to work at the kiln. The financial rewards are not underground in the side of the mountain. This undergroundgreat, and the work is hard and for long hours.” The potters are, feature was common with many earlier kilns. in a sense, nameless. They are not individually recognized for The conclusion of World War II caused a major rethinking intheir skills. They believe that, as they are at a similar skill level, it philosophy. Up until that time, the wares had been made in is not important that they be known. The important thing is the people’s houses and taken to the central kiln to be fired. It was name of Ryumonji, which is stamped on every piece. The potters decided to centralize the making process for mutual benefit. Inare shy and work in complete silence. I watched one potter raw 1947, the current workshop was constructed and the people were glaze a series of bowls, dipping them while seated at his wheel, brought together for efficiency as a collective group. The conserving space and energy. The kiln rarely advertises and de­ noborigama was added in 1955. The new location was carefullypends on word-of-mouth for survival. My host lived 20 minutes chosen to give access to local materials. The clay is dug and away and was unaware of its existence. separated by hand into various types. Unwanted iron particles areAll work is produced in the huge workshop, similar to the removed, and the ancient machinery does actually work in original pul­ tradition that has been handed down. All wares are raw verizing the clay. Glazes are predominantly made from ash. glazed. They have mastered the art of controlled runs. While Originally, there were eleven people, including seven potters,looking at the raw-glazed ware, I realized that many of the pieces in the group. The former head of the collective was Kawahara- had very thick lines of glaze inside the rims of bowls, which would Gunji, and he was designated a Living National Treasuremelt of and run exquisitely during the firing process. Kagoshima Prefecture in 1964. Now, there are five, which include They use a number of base glazes with a few variations.Sansai two apprentices who will work for three years and receive a is a three-color combination of kuro-mono (deep black glaze simi-

Ceramics Monthly April 2004 44 lar to kuro-satsuma), oxidized copper green and a magnificent samehada (shark skin) glaze. All work is fired in saggars and the large kiln is fired once every four months. It fits a minimum of 3500 pieces. The total firing time is 42 hours to 1260°C (2300°F). To keep costs down, it is initially fired with oil. The central burner takes the temperature up to 500°C (930°F), then the two outside burners are intro­ duced to take the temperature to 900°C (1650°F). That takes about 12 hours, after which 30-year-old pine wood is used. The fact that this place even exists in 2004 is remarkable, particularly when one considers that the downturn in the Japa­ nese economy seriously affected the entire ceramics community. One contributing factor could be that the land is owned by the cooperative group. There is little doubt that the philosophy adopted Bowl, 15 centimeters (6 inches) in diameter, at Ryumonji is similar to that written about by Soetsu Yanagi with in sharkskin glaze, fired to 1260°C (2300 F). The Unknown Craftsman, A Japanese Insight into Beauty. I come from a mingei background, but it has never been my intention to enter the debate on this subject. However, Ryumonji represents a bastion, unknown outside a small town located in a remote corner of Japan. Up the road, the complex we were originally visiting is ultra­ modern, with a lot of glass, tiled floors and polite receptionists greeting visitors. It resembles a modern medical center where one might be afraid of dropping or spilling something rather than enjoying clay. Back at Ryumonji, the potters toil late into the night in archaic conditions and, once every four months, the dinosaur roars, keeping alive a 350-year-old tradition.

the author Kelvin Bradford is a New Zealand potter and fre­ Plate, 19 centimeters ('Vh inches) in diameter, quent contributor to CM; see www.kelvinbradford.co.nz. three-color variation, fired to 1260°C (2300°F).

At Ryumonji, all ware is fired in saggars in a five-chamber noborigama.

Ceramics Monthly April 2004 45

Life is a delicate balance between perception and reality, harmony and conflict, the natural and the manmade. The works featured in the “Earth in Balance 2003” regional clay competition, presented recently at Rosewood Gallery in Kettering, Ohio, reflect these distinctions. Ceramics artists from Ohio, Indiana, Michigan and Kentucky submitted 156 pieces, from which juror Marty Shuter chose 50 works by 38 artists. “All 50 works exhibit a quality of craft, balanced with a mix of imagination, concept and design. The show is a tribute to the creativity and talent residing in the Midwest,” stated Shuter, a ceramics artist and teacher from Columbus, Ohio. Paul Linhares of Fredericktown, Ohio, won Best of Show for his earthenware tea set “Utopian Promise.” He crafted a trio of small pots resting in the palm of a large hand, while a second hand holds aloft an “industrialized” teapot. “All pottery, in a way, can be thought of as a metaphor for civilization,” said Linhares. “Artifacts become a record of how people lived centuries ago. Particularly, objects used in the home reference civilization.” Linhares’ work is derivative of Yixing tea­ pots, which are vitreous without glazes. “Utopian Promise” has a “Platter 204,” 22 1/2 inches (57 centimeters) in diameter, earthenware, very fine slip of dark brown terra sigillata on its surface to achieve by Kaname Takada, Columbus, Ohio; Award of Excellence. this effect. Shuter described this work as “teapots with attitude.” Rootstown, Ohio, artist James Leslie’s “Sea Flowers” is com­ posed of glazed, curved, conical shapes springing forth from highly textured, unglazed bases. He coil builds the basic form, then carves the pieces and fires to Cone 6 in an electric kiln. He achieves a crusty, coral-like surface on the bases by using tools he designs himself. He drills a hole in the end of a piece of wooden dowel, then glues several nails of various sizes into the hole. He also has many used paintbrushes (from painting oil landscapes for the past 30 years), the bristles of which he replaces with wire. “I get my inspiration from nature; I look at trees, bark textures and rocks. And I hate to sound cliche, but a lot of my art is also inspired by my childhood. I originally grew up in Connecticut, and we visited the shore quite a bit. I’ve always been enamored with the New England shoreline,” said Leslie. The feeling of a piece is very important to Kaname Takada. The Columbus, Ohio, artist gets his inspiration from quilt pat­ terns, textures in nature and math. As to the latter, there is precise placement of geometric elements in his work: parallel lines, wave patterns and bubbles. For “Platter 204,” he alternated diagonal lines and rows of large yellow circles, covering them with textured glaze bubbles to create visual depth. “My immediate reaction to a beautiful pot is to touch it. I enjoy holding pots in my hands as much as looking at them. That is the reason why texture is a very important element of my work; it can be enjoyed both visually and tactually,” stated Takada. He uses earthenware with colored slips and glazes fired to Cone 5 in an electric kiln. Shuter commented that by “bringing together “Sea Flowers,” 21¾ inches (55 centimeters) in height, coil-built simple shapes, rich colors and expert craft, [Takada] gives viewers stoneware, fired to Cone 6 in oxidation, by James Leslie, beautiful and dynamic examples of unity in design and color.” Rootstown, Ohio; Award of Excellence.

Ceramics Monthly April 2004 47 Asymmetrical forms and uneven, textured surfaces characterize Berea, Kentucky, artist Walter Hyleck’s work. On his piece “Pangaea and the Third World Platter,” made from black earthenware, bright red glaze slashes represent molten heat seeping through the surface. He uses a low-temperature Egyptian paste with wood ash to give texture to the surface. He fires his pieces three to four times to achieve the final product. This process can include firings to Cones 1, 4, 6 and 10. “‘Pangaea and the Third World Platter’ is a fusion of geological explanations of continental drift, coupled with Native American mythology. The final result is distorted and asymmetrical,” said Hyleck. “It is intended to give you a feeling of shifting continents.” Thompson, Ohio, artist Paul Frazer’s “The Pursuit of Happiness” is an ironic title for this clay rendering of the United States flag, which is embedded with fighting soldiers, tanks, stealth fighters and grenades. “I started the piece soon after September 11, 2001, but I didn’t “Art tillery No. 101,” 13 inches (33 centimeters) in height, bullet hole really complete it until early 2003, after we attacked in clay, by Roger Hopper, Middletown, Ohio; Award of Merit.

“The Pursuit of Happiness,” 32 inches (81 centimeter) in width, clay with acrylic, by Paul Frazer, Thompson, Ohio; Award of Merit.

Ceramics Monthly April 2004 48 “Pangaea and the Third World Platter,” 23 inches (58 centimeters) in diameter, black earthenware with Egyptian paste and ash glaze, by Walter Hyleck, Berea, Kentucky; Award of Merit.

Iraq. It was a visceral reaction to imagery. All these mechanics of For “Art tillery No. 101,” Roger Hopper, of Middletown, war seem to contrast somewhat with what America represents,” Ohio, used a Colt 1911 standard sidearm to create a dynamic said Frazer. He responds to what he feels is a lack of contemporary example of what a bullet can do at close range. When he was a ceramic work dealing with political issues. The work was pro­ teenager, Hopper was accidentally shot by a friend at a shooting duced with a paper-clay body containing 30% paper pulp. Therange. Later in life, he was robbed at gunpoint and had a gun pulp gives the clay a lot of wet strength, and also makes it lighter pulled on him on another occasion in 1990. after it’s fired. The piece was fired to Cone 1 in a gas kiln, then “My motivation was to search for a creative way to use a gun. painted with acrylics. There is a beauty in the forms they make, and a wave of energy “The theme of Earth in Balance speaks to much of what seems around the bullet when it travels. I tried to find a medium to to be missing in world politics today—moderation, harmony andrecord that,” said Hopper. a certain level-headed give and take,” said Shuter. “Frazer illus­ Marti Mocahbee of Cincinnati, Ohio, obtains her inspiration trates such an interpretation in [this] ceramic bas-relief of desper­ from Native American, Greek, Celtic, Japanese and Egyptian ate scenes of war, chaos and destruction.” cultures. The base and neck of her vase “Petals” is delineated by a

Ceramics Monthly April 2004 49 wide gold band. The wavelike petal design she used is loosely based on floral motifs she found in magazines published in the early 20th century. “I work really hard at incorporating designs and forms. It’s a real challenge, with a lot of trial and error. It’s difficult to get a two-dimen­ sional design on paper to work well on a three-dimensional surface,” said Mocahbee. She obtains a smooth surface by using red earthenware with no grog. She prefers to throw classical shapes to reinforce the connection to the past. She applies the surface designs by brushing layers of underglazes and finishes with a clear, high-gloss glaze. “When you’re working with a clay body that has no grog, you don’t have as much ‘tryability’ time. I can’t work with it as long on the wheel. There are also more cracking problems, so the pieces tend to be much smaller. It’s a very unforgiving clay,” said Mocahbee. Tom Bradrick, of Centerville, Ohio, prefers clay because he feels it is the most responsive to the ideas and feelings he wants to express. His sculpture “Bloom,” constructed of heavily grogged earthenware, depicts a great mound of earth cracking under the strain of giving birth to a dome that is bursting with tiny red blooms. “Most of my work comes from nature. My pots take on the feel of things that are growing. My observations of nature all go into the clay,” said Bradrick. These eight ceramists hail from two states and a wide range of influences “Petals,” 14 inches (36 centimeters) in height, earthenware, and backgrounds, but the group has a few things in common—a passion by Marti Mocahbee, Cincinnati, Ohio; Award of Merit. for clay and a good sense of balance.

“Bloom,” 10 inches (25 centimeters) in height, handbuilt red earthenware with grog, fired in oxidation, with acrylic finish and brass wire, by Tom Bradrick, Centerville, Ohio; Award of Merit.

Ceramics Monthly April 2004 50 A Potter’s Progress by Carolyn Genders

Looking back on my work and as soon as I could, I of the past 20 years or so, I specialized in ceramics. I realize that it reflects a have always been happy gradual evolution, an or­ that I took this course, as ganic development guided it had little structure at by my passion for clay. At that time and left me to times, it appears as though find my own direction. I my work changed radically, was free to experiment but the themes and philoso­ and pursue ideas while phy remain the same. I working alongside stu­ search for simplicity of “Eclipse Vessel,” 28 centimeters (11 inches) in height, coiled manganese-stained dents using other media. shape and harmony of sur­ white earthenware, with wax-resist design and vitreous slips. This made me constantly face and form. Color is also aware of the technical re­ vital. I am a very visual person, and respond to things I havequirements seen. of materials other than clay. Although many students The natural world remains my greatest source of inspiration. dropped the two-dimensional aspect of the course early on, I Brought up in the country, I was always aware of naturecontinued and to study both observational and life drawing, which the changing seasons. I discovered clay as a child, playing with becamethe the basis of my three-dimensional work. mud in a ditch at the bottom of the garden. In my teenage years, I Upon leaving college, I planned to travel; however, because I spent my holidays at the Chelsea Pottery on the Kings Road inwas offered a studio, I stayed to make pots. Continuing from London, where I took throwing lessons from a production potter. work made for my final degree show, I developed ideas from my By the time I went to college, I could make a passable teapot. sketchbook and made press-molded earthenware forms based on After a foundation course at Brighton Polytechnic in Sussexthe human figure. I decorated these with layered glazes, scratch­ broadened my horizons by introducing me to drawing and paint­ing through one to reveal the other. Simple combinations of ing, I was keen to try other materials. I completed an honors glazes (blacklwhite, manganese/cream, graylwhite), fired to Cone degree in wood, metal, ceramics and plastics, but quite early on in04 or 03, made emphatic statements that evoked African pots I the course realized that clay was definitely my preferred material,had seen in museums.

Ceramics Monthly April 2004 “Carved Vessel,” 21 centimeters (8 inches) in height, coiled white earthenware, carved and sponged when bone dry, with matt black interior glaze, fired to 1140°C (2080°F). “Blue Reflections Bowl II,” 12 centimeters (5 inches) in height, coiled white earthenware, with vitreous slips and wax-resist design, by Carolyn Genders, East Sussex, England.

Six years later, ready for a change and a break from the con­to exhibitions for several years. I have since continued to nurture straints of supplying galleries, I applied to Goldsmiths College, contacts with overseas galleries, as I find the experience very University of London, to study for a postgraduate diploma rewarding. in Not only do I have a wider audience for my work, I ceramics. That year at Goldsmiths gave me the opportunity to also get to travel—a major source of inspiration for both my work reassess my work, and also the time to explore new materials and and well being. to develop handbuilding skills. In the last couple of years, I have also started submitting work Coiling large vessels from smooth white earthenware gave me for international competitions, which has increased my awareness a three-dimensional canvas for painterly decoration. Dislikingof the international ceramics scene. Now, I am better able to large areas of shiny, colored glazes, I searched for a matt surface. I consider my place in this context. increased my firing temperature to Cone 02-1 and started to use Four years ago, my husband and I moved to a house in the vitreous slips. Through intensive testing, I developed a palettecountry. of Because it was built in 1760, it was very rundown. Along about 40 slips of different shades and hues, and when I addedwith fixing it up, we built a studio that is light and airy, with resisting with wax to my repertoire, nothing could hold me back. wonderful views over the Ashdown Forest. This change of scenery On returning to my studio after Goldsmiths, I continuedmay to have precipitated a change in my work, as I am increasingly make coiled vessels decorated with vitreous slips. Form was used drawn to the fundamentals of sculpture. Form has become im­ as a vehicle for decoration. Scale was an important consideration. portant to me in its own right, and is no longer just a vehicle for I filled the broad expanse of white unfired clay with bold brush-decoration. I have returned to a more muted and natural palette work combined with the use of wax resist, building up layers of of color, and look for surface treatment to emphasize and en­ color to create depth. The brushwork of such painters as Gustav hance rhythmic shape. Balance is a continual preoccupation, as is Klimt, Egon Schiele, John Singer Sargent and Georges Rouaultthe creation of an impression of lightness and fragility. Landscape proved the impetus to tackle the surface of my pots in a painterlyis the current theme. fashion. Other sources of inspiration came from my sketchbook, Recently, a regional arts grant allowed me time to research, and my photographs of colors, textures and patterns. read, and explore new materials and ways of working. I have In the mid 1980s, I was keen to expand the market for mystarted using texture, colored clay and inlay as a way of emphasiz­ work and exhibited at the Chelsea Crafts Fair, the principal di- ing form. I add oxides to the clay in a random sprinkling, and rect-selling event in England, where I made valuable contactscreate texture by carving and sponging. The fired surfaces are with other makers and galleries, both British and international. finished with a light sanding and natural wax. I am very grateful Learning about other potters’ markets held on the mainland, I for this time and also very excited—clay offers so many possibili­ applied to and participated in two in the Netherlands—Swalmen ties and it is that limitless opportunity to discover that keeps me and Milsbeek. At these events, I made additional contacts that led on the edge of my seat artistically.

Ceramics Monthly April 2004 53 The Renwick and Me by Irma Starr

the Smithsonian American Art Museum, and met with its direc­ tor, Kenneth R. Trapp. The result of the meeting was what I considered an exciting and prestigious commission: to create a commemorative plate for the Renwick’s 30th anniversary. The idea was to celebrate not only an architectural landmark, but also the Renwick’s commitment to the American crafts movement. Since my specialty as a potter is 17th-century English slipware, a craft that crossed the ocean to America with the early colonists, I felt it was appropriate to create a commemorative plate for this famous museum devoted to crafts using the old techniques of early English and American potters. At the director’s suggestion, I began to study the exterior of the building. Renwick Jr., also the architect of St. Patrick’s Cathe­

The Renwick Gallery in Washington, D.C., now houses dral in New York City and the Smithsonian Castle, loved symme­ the crafts collection of the Smithsonian American Art Museum. try and intricate decoration. He incorporated elegant details into the face of the Renwick, such as wreaths and swags of fruit, columns topped with tobacco leaves and corn husks, and human faces looking out from window arches. I knew all of these would challenge my skill at carving slip. This would be the first time I had done a building. Most slipware designs are loose and flowing. There is nothing loose about the Renwick. I shot rolls of film, trying to capture every possible detail from every angle, while I pressed the image of the Renwick into my brain. Knowing that photographs can be deceiving, I also made sketches of the build­ ing as a whole and drawings of details, such as the unique bricks and cement blocks. The wrought-iron fence in front of the Renwick merited te­ dious sketches, since I knew it would be a challenge to create the fence with slip work. Eventually, it would be the most difficult After the plate was formed from slabs on a hump mold, a footring was thrown. challenge. I had to move from a painting technique to building up the slip higher than I ever had before in order to achieve a Just as architect James Renwick Jr. surely used every skill atthree-dimensional his appearance. command to design the historical Renwick Gallery in Washing­ When I returned to Kansas City, I made a scale drawing to ton, D.C., I used every technique I’ve developed in 32 yearssubmit of for approval in August 2001. I began work on the plate in making slipware pottery to reproduce this French Second Em- September, but not before a second trip to D.C. for a few more pire-style building on a commemorative plate. photographs and a discussion with Trapp about the colors to be The Renwick was built to house the original Corcoran Galleryused. To my surprise and delight, he felt that the traditional colors of Art, and was the first museum in D.C. Construction took 13used by the 17th-century potters would be appropriate. years to complete (1861-1874), because work was interrupted by To make the 32-inch plate, I applied lessons learned from Kurt the Civil War. Having no such interruptions, my project Weiser, was professor of ceramics at Arizona State University in Tempe. shorter. From making the first drawing in my Kansas City studioI rolled out two ¾-inch-thick slabs of clay on two pieces of cotton to shipping the final object to D.C., my precious plate occupied canvas that were cut in the shape of the plate. Once rolled, the me for 21 months. slabs were placed on a hump mold with a canvas cover and the My adventure began in December 1999. I went to the capitoltwo sections were paddled together. One inch of clay was left to to see the Christmas ornament I’d been invited to create, a ce­ hang over the rim and later paddled back into the plate, making ramic covered wagon with cotton-canvas cover sitting underneaththe rim thicker to prevent it from cracking. I then placed the plate the White House Christmas tree. During the trip, I visited the on a potter’s wheel and threw a foot on the bottom. After the back Renwick Gallery, which is now home to the crafts collection of side of the plate had dried enough to flip the plate over, the canvas

Ceramics Monthly April 2004 54 “New Millenium Woman,” 26 inches (66 centimeters) in height, “Mr. CEO (Avarice),” 27 inches (69 centimeters) in height, glazed stoneware, fired in reduction, with overglaze lusters, $5000. stoneware and porcelain with glaze, fired in reduction, $7000.

they also resemble the projecting ears on representations of the replete with coiffed pubic hair. The only exceptions to the classi­ Egyptian Pharaoh, conventional symbols of the monarch’s atten­cal nudity are a golden crown and magnificent magenta cowboy tion to the pleas of his people. On the other hand, is this politi­ boots, appropriate attire for “The Crown Prince.” cian simply alert to the strategic instructions of his “trusted” Shifting his focus to those in close proximity to their com­ advisors as the puppet was repeatedly led astray by his “friends”?mander—both with regard to shared proclivities and personal The long, pointed nose simulates that of the Italian puppet, relationships (Pinocchio’s sinister friends?)—Bova entertains with growing according to his lying. Adding vivacity to his diminu­“Mr. CEO,” a hybrid creature with a boar’s head and humanoid tive, in-charge but obtuse orator, the doll-like arms are positioned body, whose hips bow out from a pinched-in chest, leaving little slightly fore and aft, as though he’s swinging them, and the head roomis for a heart. To underscore the figure’s national identity, the angled to indicate that he has turned to confront an opponent. artist gives him a white collar and red tie, completing the national Bova’s second interpretation of the leader is also that of a colors with an off-blue, purplish head. No doubt about the marionette, but the puppet body is in the heroic altogether, entrepreneur’s purpose: he holds up green hands, palms out, and

Ceramics Monthly April 2004 57 wears a gold-hued suit. And, finally, a tell-tale bulge near Act, the is perhaps inspired by Millais’ “Death of Ophelia,” a 19th- inseam of his trousers proclaims a ribald visual puna la frangaise. century depiction of Hamlet’s lover floating in the water, having The French wordbourse means both a purse and genitals. drowned herself. Bova lays a miniature recreation of the Statue of As the female counterpart to “Mr. CEO,” “New Millenium Liberty in a funerary boat. Eyes closed, torch held down, almost Woman” dons a sleek, ebony power suit and shiny pumps. extinguished, Her Liberty has succumbed. Scattered around her legs face is covered with an amazingly detailed miniature gas mask.are bones—some broken—and 50 tiny skulls, each fashioned One hand is an intricately conceived cell phone, the other,from a white porcelain. On the clasp securing her cloak, the artist Beretta 9 millimeter. With biting irony, a tiny cross around has her placed his initials. As an ominous substitute for the American neck identifies this contemporary lady with religious principleseagle, a dark raven clutches the prow with metal claws, an allusion that enjoin adherents to turn the other cheek. to the chant of Edgar Allan Poe’s famous bird: “Nevermore.” With hollow-eyed, grinning skulls, girl and boy soldiers form Military vessels add the final grim touches to Politics and War. a second pair. Pants pulled tight to create wrinkles that radiate A simian creature drives “Tank,” its surface camouflaged, its suggestively out from the crotch, the buxom “American Daugh­angled gun a “manly pointer,” to borrow Flannery O’Connor’s ter” aims a gun in each hand. Paradoxically less belligerent, inspired her phrase. helmeted partner, “Prosthetic Warrior,” holds his fancy automatic Professor Emeritus of Louisiana State University and currently assault rifle down at his side, the armament having become hisprofessor at Ohio University, Bova’s work is not only admirable in arm in a caustic visual pun. The other arm—a phallus—swingsconception but also ingenious in execution. Firing both stone­ almost playfully. As with his female counterpart, it’s sex and war. ware and porcelain to Cone 10, he achieves remarkable detail and In two works, Bova’s humor darkens, becoming stark, indeed, chromatic range. Using a practical kind of modular technique, he disquieting. “10126,” the date of passage of the U.S.A. Patriot dresses his figures in a variety of hues and provides them with

“Prosthetic Warrior,” 28 inches (71 centimeters) in height, “American Daughter,” 27 inches (69 centimeters) in height, stoneware and porcelain, fired in reduction and salt, $5000. stoneware and porcelain with glaze, fired in reduction, $5000.

Ceramics Monthly April 2004 58 “10/26,” 56 inches (142 centimeters) in length, stoneware and porcelain with glaze, soda fired, then painted, $7000. intricate accoutrements. “The Politician,” for example, required three firings: arms, head and legs with salt; indigo tunic and hat with soda; the black shorts and shoes fired in reduction. Some techniques, moreover, derive from the artist’s knowledge of ce­ ramics history, such as the hands of “Mr. CEO,” which fit neatly into his jacket cuffs and can be removed at will, just like those on the celebrated Xi’an warriors. And whereas Bova usually anchors arms and body with a threaded rod, other parts often fit together, he says, like “a lid on a cookie jar.” “Mr. CEO’s” suit coat simply lifts off his pants; and the legs of all the figures function like sockets resting in their trend-setter shoes, even the smashing Western boots worn by “The Crown Prince.” Bova’s historical antecedents are many: the lively satirical ce­ ramics of the Han dynasty; the hollow figures of the Moche “Tank,” 27 inches (69 centimeters) in length, stoneware, fired in reduction, tradition, with their ballooning bodies; Daumier’s fatuous bour­sandblasted and painted, $5000, by Joe Bova, Guysville, Ohio. geois; the Pueblo Indian figures of the late 19th century, mocking Americans; and certainly the work of Robert Arneson who, in thepossible. The people and situations he satirizes are too immedi­ 1980s, held up to ridicule the culture’s self-destructive tendencies.ately real and too emotionally charged. Local reviews of the Though time-honored in its traditions, satire is often greeted exhibition—one from a weekly paper, the other a daily—epito­ with a problematic response. Distanced by history, today’s viewermized the expectedly antithetical judgments of the show. The can laugh at Daumier’s flaccid ruler, appreciating the artist’s inci­weekly praised the work; the daily panned it. For about half the sive wit without an almost automatic reaction based on whetherpopulation, Bova’s art is a delight. This section of America’s he is either a Bourbon supporter or a liberal French Republican. citizens applauds the unrelenting humor with which he alleges With Bova’s art, no matter how inspired the burlesque or accom­ the government and its concomitant culture to be a lethal mix of plished the craftsmanship, such aesthetic distance is virtually im- power, money and sex.

Ceramics Monthly April 2004 59 Bowl, 4 inches (10 centimeters) in height, stoneware with Helmer crackle slip, by Sarah Frederick, Louisville, Kentucky, made during an UpCountry Wood Kiln workshop in Alberta, Canada. Body: a collection or gathering, as in, a body of men. Pertaining to ceramics, however, The Potters Dictionary of Materials and Techniques (Hamer, 1997) says that “a body is the result of man’s technology. A clay is the natural product I heard it put far more romantically in the 1960s when, in my native England, I encountered the studio rustic favorite, St. Tho­ mas’ Body from Potclays (still around, I hear). We all smiled that first time, us treadle-wheel wannabe medievalists, at this inchoate yet tangible sacred relic of pilgrimage. It was a slightly gritty, plastic and friendly pink. Time and countries changed and then I saw, stamped on a box of clay many years later, Katrina’s Body. I allowed another smile. And a more pagan pang. Even after immigrating to Canada, my wood-fired pots re­ mained innocent. Appropriate clay-body composition never en­ tered as a factor—only getting the right balance of fuel and air for the kiln did. So much to juggle then—the throwing, the glazes, the packing, the chimney height, the size of wood. Slowly though, I started to travel to different countries. Trips to Asia gave me aromas and shards and a kaleidoscope of 17th- and 20th-century realities. Returning again and again to southern Alberta, I grew more and more aware of, and attached to, my adopted homeland. There came a need to name the seamless seasons of the northern prairies, point to the clarity of the air, the interlock of the earth itself, that which prowled on the ground and that which flew up into the sky. I wanted my pots to own this spot—or I wanted this spot to own my pots. I had discovered I now came from . . . here. The pots were offshoots of my constant thoughts: the new small glistening tips on the cottonwoods, the shiny turned fresh cut of the black plowed land, the bluebirds returning always (my neigh­ bor insisted) on the 28th of April. Understandably, the source of my clay started to become more and more important. Like a crop, clay was harvested each year and stored. It was always wonderfully plastic; understanding and care in soaking and sieving saw to that. Fired, like most others’, it looked commonplace, merely adequate in a gas kiln. In a wood kiln, it acquired a dark, rich blush. Blush or bloom or flash, there were times when even in my present wood kiln the clay was too quiet, happening mostly in tighter corners, where the flame couldn’t finger it. It was still possible to refire pots like these back home in a gas kiln, often getting lucky and revitalizing those shy vapors“Scored Vase,” 9 inches (23 centimeters) in height, porcelain, back onto the surface. We’ve all done that. But I began to wishwood/salt fired, by Tom Fossier, McKinleyville, California, made more and more for a clay that might reveal this fire bloom the first during an UpCountry Wood Kiln workshop in Alberta, Canada. time around, and started to look at what ingredients I thought might add or subtract to make this happen. What follows is a general description of clay body encounters, particularly some more recent results observed during the recent wood firing course we taught at our Sundre, Alberta, wood kiln. Southern Saskatchewan and southeastern Alberta offer quite a variety of native clays, but—apart from fireclays—perhaps only three or four of interest to the high-temperature potter. Stone-

Ceramics Monthly April 2004 61 Mugs, to 4 inches (10 centimeters) in height, stoneware (Helmer, 50 parts; Cedar Heights Redart, 10 parts; Custer Feldspar, 25 parts; Kentucky OM 4,10 parts). The mug on the left was exposed more to soda, while the mug on the right was exposed more to wood flame. Both mugs made by Robin DuPont, Calgary, Alberta, Canada, during an UpCountry Wood Kiln workshop.

ware clays and secondary kaolins from the Willowbunch andcentury’s rustic favorite, Helmer kaolin, is mined from a vertical Whitemud formations in southern Saskatchewan were producedface. To call it a kaolin is a bit of a misnomer—a bit like calling during the Upper Cretaceous to Lower Jurassic periods, roughlyLincoln 60 a fireclay instead of a bonding clay. Helmer is a low- 50-70 million years ago. A good blend of them can produce a grade kaolin. Not very plastic (or not in an obvious way), slightly granular, plastic body with a coefficient of expansionHelmer of is kind of an odd clay to throw and needs company. around 32 and an impressive green strength. Local experiments here have generally leveled off around 40- Their appearance after a short-to-medium cycle (14-16 hour) 60% Helmer, plus 15-25% silica which it seems to require (the wood firing takes on an unremarkable brown-to-green tinge, andfiner the mesh, the better), plus around 20-35% feldspar and an even more distinct but distasteful globular-green deposit 10-25% in ball clay, depending on how you like your plasticity. salt. The convenient alternative has been to use local commercialPlus, any granular material should be added cautiously. At Cone composites, which, when departing from the familiar greylbrown 9 (our preferred temperature in the Sundre kiln), Helmer alone production Cone 10 bodies, use blended kaolins from farawayis immature and barely responsive to flame. It’s what you could Florida andlor Georgia in order to achieve white-burning results.call a shy clay. Helmer has gained semi-legendary status, though, For some of us, these blended bodies are simply bland (in throw­ supposedly having the same kiln responsive qualities as the real ing as well as in fired characteristics). So we look slightly farther legend in the wood kiln, Avery kaolin. Now unavailable, Avery, afield from home to Idaho, Oregon and California, so that we from Avery County, North Carolina, was a mix of two or three might add what these areas have to offer. waste clays left behind after Consolidated Feldspar Corporation Idaho is not so far away and has attractive micaceous sandhad removed what they were after. Added to a body, or as the and feldspar deposits. Near the town of Lewiston, the late 20th main ingredient of a flashing slip, Avery had the ability to blush

Ceramics Monthly April 2004 62 a rich orange when touched by flame. Its demise understandablymica or dark red speckled Saskatchewan native clay at 3%, starts to sent wood-firing potters scrambling. make B-Mix a clay more at home with rusticity. One evening a few years back, ceramics consultant Ron Roy,After many years of not using Plastic Vitrox, I tried it again in who was in Alberta for a conference, sat up with me at the the following recipe: kitchen table back in the Calgary house, comparing and dissect­ Chalke PV Body ing Helmer and Avery analyses. But even after hours of figuring, Plastic Vitrox...... 60 parts the numbers remained only numbers and the connective magic Kona F-4 Feldspar...... 15 stayed away. Helmer never became Avery, no matter how much I 6 Tile Clay...... 30 wanted it to. We had heard of a clay, maybe a halloysite, mined Native Speckled Clay...... 5 near the Helmer deposit. It was supposedly the same sedimentary 110 parts layer, the web literature told us, but without the solubles. So I It is still an interesting ingredient. This body’s grainy, dense messed with this Helmer relation, eventually adding an arbitrarycharacter appealed to me but it wasn’t enhanced by wood flame. 0.5% ferric chloride and using it as a slip. Placed in a strong flame Here, for fear of reprisal, I want to state the obvious: These are path, it looks like Helmer to me now. Better still, it starts to look all just personal taste definitions, nothing more; however, I have rather like a darker Avery. If, as it might seem, iron solubles of an always learned from sharing experiences. I’m discussing these elusive nature are what makes a clay react with alkalies in a woodclays as I believe they should be, in context. But of course we flame, then of course it wouldn’t appear in our comparativecould ignore this whole responsive clay issue and just use a flashing analysis. Roy, being quicker than I, guessed it was probably some­slip on anything. Right, that’s what we should do. thing like that. Something omitted so far is how hostile soda or salt can be, Other attempts here in Calgary are starting to successfullyeven lightly, toward a good fire bloom. I’ve watched how some combine Helmer with native northern prairie clays, such as 50%high-grade kaolin bodies tend to look very bland fired in shortl Helmer, 30% somewhat siliceous Saskatchewan balllstoneware medium cycle, accompanied by an all-over, flattening, industrial clay, the rest made up of feldspar blends and sometimes a little coating of vapor. For example, we fired a good white clay (a Veegum T. Coleman porcelain) during the first wood-firing course we held California’s Lincoln clays have been part of our mix here that for ended up like that, even though I thought we were sparing over 25 years now. More recently, we tried McManee kaolin-with the spray. The same thing happened with Australian South­ based blends, also from California, adding up to 20% of either ern Ice, which wonderfully lived up to its name in soda but Helmer or a native prairie clay. If one can get the right balance ofremained blush free while others around it blushed. Some porce­ soda vapor and wood vapor together, Laguna B-Mix can approachlains swallow blushes, we suspect, after a critical level of silica is acceptability. Otherwise, it generally catches a rough deposit of reached. It’s times like these when even a little cobalt (impure, of fine, rusty coffee grounds in our kiln. (Again, I’m talking about acourse) might look good as rings around the form to split it up, 16-hour firing cycle.) I probably don’t have to convince manydefine of things. Better still, wedge in 2-4% of a speckled iron body. how beautifully it performs for a clay as white as it is, but still itGood blush can still get bleached out by excess sodium volatiles. leaves a little too much slick on the form for me. An addition of Then again, it just might look wondrous, at least in that first Helmer helps to unsanctify the B-Mix purity, a satisfying door-down errant kiln gloom. blemish floating in the matrix here and there. Here is a variation: Lincoln 60 is added up to 10% for plasticity when using the Idaho clay, partly for plasticity, but also for color response. Argu­ Chalke B-Mix Variation ably not as plastic as Kentucky-Tennessee OM 4, at this amount Laguna B-Mix...... 50 % it imparts a helpful iron tinge, which the ball clay doesn’t offer. Helmer Kaolin...... 37 Lincoln is a cheap clay out West, which is why we use a lot of it. FeldsparlNepheline Syenite...... 13 We feel we should try to use whatever materials we might already 100% have and let good wet soaking take up the slack. This gave a responsive, tight, light gray body, an early KoreanThere is always pause time if anything colloidially inert is Yi dynasty appearance. Now a dirty porcelain, it fired agreeablyadded to the mix, contributing zero plasticity. Therefore, we fuss hard and flame marks showed nicely. a little when adding in our feldspars. Mesh size being equal, We also have filled the wood kiln with various porcelains. If it Custer or G-200 are slightly more preferable in a proto- weren’t for the high shrinkage and fussiness, I could get used to porcelainous mix as a more cautious melter than, say, Kona F-4. porcelain. But that kind of white is a little too urban for an They also give us more silica. We do boost it on occasion with a untamed flame—like coming across a newly washed car in a forest.small amount of nepheline syenite, but have to bear in mind that It could use a little country. A touch of 40-mesh kyanite and a hitwe’re of getting no useful extra silica this way.

Ceramics Monthly April 2004 63 Should you ever use it, ferric chloride is a little weird. Appar­ ently anhydrous, it beads up with moisture from the air (even in Alberta) shortly after hitting the scale pan, making everything— even your spoon—a bit gummy. Weigh it fairly quickly, and keep the lid screwed down on the parent jar. Our cobalt decorative mix fires to an acceptable muted bluel black, lacking the scream of contemporary cobalt. (Up here in Canada, this is mostly a by-product of the nickel-smelting process out of Sudbury, Ontario.) However, the result is only true in a pure wood flame, which is what it was designed for.

Cobalt Decorative Mix Cobalt Carbonate...... 3.00 parts Manganese Dioxide...... 0.75 Ferro Frit 3110 ...... 1.50 Kentucky Ball Clay (OM 4) ...... 0.50 5.75 parts

Add more sodium to the atmosphere and the MnO2 disap­ pears and bright blue dominates once again. Maybe just a hit of black stain would quiet things down in this situation. The frit is there to adhere the pigment when fired to bisque, making it easier to handle in our case when transporting it to the country in the bisque stage. If your tendency is to apply pigment thickly, then you might need to increase the frit to prevent smearing. In winter, why continually stick your tongue to something unappetizing at 10° below? We make a fair amount of plates, and regular ball wadding placed under a vitreous clay just doesn’t cut it. Instead, we use the following:

Chalke Wadding Nepheline Syenite...... 35.0 parts 6 Tile Clay...... 50.0 Bentonite...... 10.0 Alumina Hydrate...... 250.0 Lane Mountain (Idaho) Sand...... 30.0 375.0 parts Add: Red Iron Oxide...... 2.5 parts We roll this slightly dampened mixture out as flat and thin as possible into more or less circular shapes, or use a small funnel to Spiral form, approximately 8 inches (20 centimeters) in height, cut circles from a larger slab, then blow. One could use a cookie Laguna B-Mix, with carbon trapped under glaze, by Christine Pedersen, cutter, too. When they are slightly more dry, we cut them into Calgary, Alberta, Canada, made during an UpCountry Wood Kiln workshop. three equal segments, then use a spatula to separate them from the table. We bisque fire them for storage and transportation. By moving the segments back and forth when setting ware, we can comfortably accommodate varying sizes of plates without chang­ ing the cookie size. The nepheline syenite is to hold them together when removing them from the fired pots. The small amount of iron is to prevent that dastardly white mark. The sand is impor­ tant for friability. The cookies hold up for at least five firings, often much more. the authorJohn Chalke and Barbara Tipton ojfer UpCountry Wood kiln workshops at their Sundre, Alberta, Canada kiln.

Ceramics Monthly April 2004 64 Walking the Middle Ground THE WORK OF NAZARE FELICIANO by Joel Betancourt

At Palm Beach Community College in Palm Beach Gardens,Feliciano said. “I feel that I’ve been influenced so much from the Florida, the summer semester was coming to a close and Nazare architecture and the art of my childhood.” Feliciano was finishing up with the classes she was teaching. The Feliciano contacted the cultural center in December of 1999, end of the semester rush and preparing for a one-woman show with the hopes of showing in her native country. “I waited about a had taken a slight toll on her, but she was very excited. The showyear and a half, almost two years, before I was accepted.” The was scheduled for July 5 through September 1, 2003, at the Casa center will usually only showcase the work of Portuguese artists da Cultura Jaime Lobo e Silva in Mafra, Portugal. “I’ve alwaysliving and working in the country. Feliciano was considered a wanted to show my work in the country where I was born,” foreign artist because she lives and works in the United States.

“Lullaby,” 36 inches (91 centimeters) in width, cast porcelain, with decals, fired to Cone 04, strung with steel wire and needles. “Plains III,” approximately 36 inches (91 centimeters) in length, terra cotta with slip.

The news of her acceptance came as a surprise, and she felt create something new just with clay. Every night I would dream honored by the opportunity. something and then I would want to build it the next week.” Feliciano was born in Torres Vedras, Portugal, in 1960. When Feliciano began making functional ware. “I was doing more she was 19, she left her homeland and immigrated to New York utilitarian work: bowls, vases, cups, mugs—functional In pieces.” with the hopes of continuing her education. In Portugal, “the1991, when she decided to pursue a ceramics degree at Florida political, social and economic opportunities were very few for Atlantic University in Boca Raton, her work became more sculp­ someone my age. There was a coup d’etat in 1974 and afterwardstural. In 1997, she received a scholarship for the Art Institute of a new government formed every six months.” Chicago and finished there, with an interdisciplinary degree con­ The life of an artist was never an option for Feliciano as she centrating on sculptural ceramics. After graduate school, her work was growing up. “Since childhood, art was not a thing that youchanged again. “It became almost two dimensional.” Her work did for a living. Art was never introduced to me as a viable job,”now revolves around the surface of clay. “I really enjoyed the slips Feliciano explained. It was actually in her last year as an under­and the earth colors of clay. I wanted to show clay and ceramic graduate student at Mary Mount Manhattan College in work New in a totally different way than I had seen before. When York that she became involved with clay. While she took the people see my paintings on clay, they want to touch them because required courses for a Bachelor of Arts degree in internationalpeople don’t believe it’s clay. They think it’s paint. I enjoy this relations, several electives allowed her to stray into a ceramicsvisual deception of the work appearing to be one material when studio. “It was when I was taking my electives that I stumbledit’s actually another.” She calls these works “paintings of clay on upon ceramics. Since then, I’ve just been very passionate clay. about I use the bisqued slabs of clay as a canvas and then apply slip it.” From that time on, Feliciano worked toward the goal of colors just like paint.” The other element that intrigues her is making a living as a ceramics artist. It was a dream that took a what happens in the firing, the unexpected transformation of clay while before becoming a reality. “It took me ten years to fulfill in the kiln. “If you were painting with oils or acrylics, you would that dream. I worked for six years at an interior-design companyimmediately see what you have. When you paint with slips and in New York. At the time, I was just doing ceramics part time, then the pieces are fired, you still have that other dimension of the twice a week.” She shared a studio with other ceramics artists and kiln and the firing that might change your piece.” hobbyists. She was fascinated with “the three-dimensional possi­ “Tempo” is a collection of square terra-cotta slabs that were pit bility of building things from scratch. I was never very goodfired, at with magnets then attached to the backs of each square. The drawing or at doing two-dimensional works, but I felt I could work allows the viewer to create a new composition by moving

Ceramics Monthly April 2004 the magnets around on a metal slab. Feliciano’s intention is American to quilt in a single piece. She first began by making a solid “get the viewer more involved in the work. You are able to changecube of clay, which was then used to create a mold. Several cubes the imagery on the piece. I like that interaction with the public; were cast and small holes opened on the sides for the wire to be that they can manipulate the piece. threaded through. After bisque firing, the pieces were glazed and “Everything in Portugal has a tile. It’s not just in the bath­fired to Cone 4. Then, computer decals were created and applied, rooms or the kitchens, but there are tiles that are decorative for and the pieces were fired again, this time to Cone 04. the outdoors. The exterior of your house could be all tiled.” Feliciano currently divides her time between teaching ceram­ Several homes may have the sides of the house decorated with one ics at Palm Beach Community College’s north campus and work­ color tile but then the front of the house may have tiles that areing on her own art. “I have my studio in Boynton Beach where I painted with different colors or images. do my own work. I enter my studio at least twice a week, In her work “Lullaby,” she repeats this tile checkerboard effect sometimes more. Since I’m teaching full time now, my hours at influenced by her memories of Portugal. “I’m at that stage that Ithe studio are less than last year. I probably put in 12 hours a have actually lived a little bit longer here than in Portugal. week, Still, divided between two or three days. Most of the work that I every time people meet me for the first time they’ll ask me where do now is actually teaching ceramics at the elementary and begin­ I’m from. It’s a new culture in a way, to be in the middle. I’m notning level.” Feliciano’s studio is a sanctuary for her in a way. She Portuguese anymore and, although I’m living in the United tells States, me, “It’s wonderful to have the studio. I see it like those guys I’m still not considered an American. People like me who have that love to fix cars. They have their garage that they spend their

“Tempo,” 53 inches (135 centimeters) in length, pit-fired terra-cotta tiles, with magnets and metal, by Nazare Feliciano, Palm Beach Gardens, Florida. lived in the United States and have immigrated and becomeweekends in. That’s how I see my studio.” She feels her works are citizens still live in a different culture. We have the culturebecoming we more about the natural color found in the environ­ were brought up with and now we also have the American culturement and as minerals in the earth. “I see them as these large that we have adapted to.” Her use of metal wire and needles that horizons that you can look into and get lost in as a meditation.” hold the tiles together comes from the quilts of her new home­ Although Feliciano is a citizen of the United States and con­ land, the United States. “The quilt is not a thing made in southsiders herself American, she still feels very comfortable within the Europe. The quilt is something that I was fascinated with in thePortuguese culture. Caught between America and Portugal, she United States.” Feliciano wanted to bring elements of both cul­ has found a world of her own and an art of her own somewhere in tures together by marrying the Portuguese tile structures andthe middle. the

Ceramics Monthly April 2004 67 Summer Workshops 2004

Handbuilding: The Animal Narrative" with Jeff Down­ ing (June 28—July 2). "Thrown Sculpture" with Ingrid Lilligren; or "Site, Time and Space: Ceramic Installa­ tion" with Rebecca Murtaugh (July 5-9). "Clay: Archi­ tectural Expression" with Kathryn Allen; or "Handbuilding: Tricks of the Trade" with Vince Pitelka (July 12-16). "Spin, Stack, Press, Paint, Fire" with Jane Dillon; or "Brushes with a Flair: Painting on Ceramic Surfaces" with Glenn Grishkoff (July 19-23). "Wood Firing" with Catherine Hiersoux (July 26-30). "Handbuilding: Part 2" with Tom Orr; or "Working with the Figure" with Denys James (August 2-6). "It's All About Form and Texture" with Bob Kinzie (August 9-13). "Form, Surface and Source" with Ted Vogel; or "The Figure in Clay: Fire, Form and Surface" with Keith Schneider (August 16-20). "Geo­ logic Time. In Five Days" with Stephen DeStaebler (August 23-27); fee: $400; members, $375; includes materials. Fee (unless noted above): $340; members, $315; includes materials. Contact Mendocino Art Center, PO Box 765, 45200 Little Lake St., Mendocino 95460; e-mail [email protected] ; see www.mendocinoartcenter.org ; telephone (707) 937- 5818; or fax (707) 937-1764.

California, Napa Valley "Wood-Fired Noborigama, Salt/Soda Glazing" with Willie Hulce and Eric VanderMolen (June 28—July 4); fee: $325, includes firing. "Anagama Firing Work­ shop" with Richard Carter (August 9-22); fee: $500, includes firing. Participants should bring 8 cubic feet of Instructor Lisa Clague carving details into a figure during a workshop at Santa Fe Clay, Santa Fe, New Mexico. bisqueware. All skill levels. Contact Richard Carter, Pope Valley Pottery, 1570 Ink Grade, Pope Valley, CA 94567; e-mail [email protected] ; see www.popevalleypottery.org ; or telephone (707) Various types of workshops are offered each summer. dation: e-mail [email protected]; see 965-2383. Most are hands-on experiences; however, sessions of www.tileheritage.org ; or fax (707) 431-8455. one-half to two days may be demonstration only—a California, Orangevale few are strictly lectures or discussions. Skill levels are California, Encinitas "Altars and Fountains Using Handmade Tiles" with "Glaze Formulation: Unraveling the Mystery . .." with ranked beginning, intermediate, advanced and pro­ Ron Roy (August 14-18); fee: weekend, $ 195; five-day fessional. While nearly all workshops are good expe­ Diane Stacey (July 24-25). Contact the Tile Heritage Foundation: e-mail [email protected]; see hands-on, $395. "Advanced Throwing Techniques" riences, the quality of presentation varies widely. If with Eric Struck (August 21-22); fee: $95. Skill www.tileheritage.org ; or fax (707) 431-8455. possible, ask others who have attended previous requirements vary. Contact Morgan Britt, FireArt sessions for their feedback, then contact the orga­ California, Healdsburg ClayWorks: see www.fireartclayworks.com ; or tele­ nizers for specifics. "The Pleasures of Pebble Mosaic" with Donna Billick phone (916)715-6113. and Sheila Menzies (June 23-25). "Mastering Tile Con­ Arizona, Flagstaff California, Penryn servation and Documentation" (August 27-29). For a "Salt/Soda Glaze Workshop," wood, salt/soda and gas "Woodstoke 2004" with Rodney Mott, including firings (July 6-19). "Wood-Fire Workshop," wood, syllabus, contact the Tile Heritage Foundation: e-mail [email protected]; see www.tileheritage.org ; handbuilding and throwing demonstrations with Rudy soda, anagama and train kiln, plus reduction cooling Autio, John Balistreri and Paul Soldner (June 10-14); or fax (707) 431-8455. (July22-August4). Fee/session: $650, includes materi­ fee: $325; $75/day. All skill levels. Contact Rodney als and firing. Participants should bring bisqueware. California, Idyllwild Mott, Penryn Workshop, 1394 Orange Hill Ln., Penryn Instructor: Jason Hess. All skill levels. Contact Jason "Zuni Pueblo Pottery," traditional methods of poly­ 95663; telephone (916) 663-2815; or e-mail Erin Hess, Northern Arizona University, PO Box 6020, Flag­ chrome Zuni pottery, handbuilding, burnishing, veg­ Jackson: [email protected] . staff 86011; e-mail [email protected] ; telephone etal and mineral paints, and traditional outdoor firing (928) 523-2398; or fax (928) 523-3333. California, Point Reyes Station with Milford and Randy Nahohai (July 5-10). "Hopi- "Magic Fire," handbuilding, burnishing, beach pit firings Tewa Pottery," traditional methods of polychrome Arizona, Tucson with Molly Prier (July 16-23 or July 30-August 6); fee: pottery, handbuilding, burnishing, vegetal and mineral "Intensive Tile Making Santa Theresa Style," lecture, $450, includes materials and firing. Some scholarships paints, and traditional firing with Mark Tahbo (July 12- demonstration and hands-on workshop making mo- available. All skill levels. Limit of 8 participants. Contact saic-style art tile with Susan Gamble, Donna Stoner and 17). "Santa Clara Pueblo Pottery," traditional methods Molly Prier, PO Box 337, Point Reyes Station 94956; for black-carved pottery, handbuilding, burnishing, Kristine Stoner (July 12-16); fee: $550, includes mate­ e-mail [email protected] ; or telephone (415) carving, slipping and traditional firing with Rosemary rials and firing. All skill levels. For further information, 669-7337. contact Santa Theresa Tile Works, Inc., 440 N. Sixth Lonewolf (July 19-24). Fee/session: $475, includes Ave., Tucson 85705; e-mail [email protected] ; see materials and firing. Beginning through advanced. California, Tahoe City www.santatheresatileworks.com ; telephone (800) For further information, contact Diane Dennis, "Handbuilding for Children" with Sonja Knox (July 5- 862-2198 or (520) 623-1856; or fax (520) 882-0868. Idyllwild Arts, PO Box 38, Idyllwild 92549; e-mail 16); fee: $65. Beginning and intermediate. For further [email protected] ; see www.idyllwildarts.org; information, contact Norma Fowler, North Tahoe California, Cloverdale telephone (909) 659-2171, ext. 365; or fax (909) Arts, PO Box 6354, 380 N. Lake Blvd., Tahoe City "Constructing Relief on Tiles" with Kenyon Lewis (June 659-5463. 96145; e-mail [email protected] ; see 19-20). For a syllabus, contact the Tile Heritage Foun­ www.northtahoearts.com ; telephone (530) 581-2787; dation: e-mail [email protected]; see California, Mendocino or fax (530) 581-2747. www.tileheritage.org ; or fax (707) 431-8455. "Large-Scale Handbuilding" with Krista Grecco; or " Raku-Fired Metal and Clay" with Andree Singer Thomp­ Colorado, Arvada California, Davis son (June 14-18). " Putting it All Together: Vessels and "Extruded Pots" with Jim Klingman (June 26-27); fee: "Tile Mold Making and Mosaic Assembly" with Donna Sculpture" with Marc Lancet; or "Color and Terra $130, includes bisque firing. "Sources, Form and Sur­ Billick (August 21-22). Contact the Tile Heritage Foun­ Cotta" with Sana Krusoe (June 21-25). "Action face," handbuilding with Ted Vogel (July 10-11); fee:

Ceramics Monthly April 2004 68 $130, includes firing, "say a little/SAY A LOT," sculp­ Colorado, Slater Nance (June 9-16). "Porcelain and Soda Firing" with ture with Marie E.V.B. Gibbons (July 14-August 11, "Get Fired Up," hands-on raku and saggar firings Matt Long (June 20-27). "Functional Form for Daily Wednesday evenings); fee: $110, includes firing. "Tex- with Terry Shepherd (June 18-21); fee: $485. "Come to Life," teapots, teabowls, etc., plus Shino glazes, with turing Clay," handbuilding with Nalfa Querubin- the Mountains," traditional pinch and coil, and pit Malcolm Davis (July 1-8). "Stoneware: Form and Inven­ Tompkins (July 17 and 24); fee: $90, includes firing. firings with Michael Wisner (June 25-28); fee: $525. tion, A Study in the Tradition of the Leach Pottery "Throwing Intensive" with David Wright (July 31- "Handbuilding with Spirit and Imagination," hands-on Approach to Form, Function and the Artistic Life" with August 1); fee: $ 130, includes bisque firing. "Miniature workshop with Nina Williams (August 20-23); fee: Clary lllian (July 12-19). "Advanced Throwing, Surface Teapots," lecture and demonstration with Fong Choo $485. Includes materials, firing, lodging and meals. and Firing Techniques," including salt, raku and saggar (August 7-8); fee: $130. Skill requirements vary. Con­ All skill levels. Location: Saddle Pocket Ranch. For with Randy Brodnax (July 23-30). "Different Strokes tact Bebe Alexander, the Arvada Center, 6901 further information, contact Terry Arnold, Potters for the Sculptural Functional Form: Mastering the Art Wadsworth Blvd., Arvada 80003; e-mail Wheel Plus, 835 Colorado Ave., Grand Junction, CO and Personal Expression of Functional Forms," empha­ [email protected] ; see www.arvadacenter.org ; 81501; e-mail [email protected] ; see sis on brushstrokes, surface applications, colored slips telephone (720) 898-7239; or fax (720) 898-7217. www.saddlepocketranch.com ; telephone (970) 254- and layered Shinos with Tom Coleman (August 3-10). " Raku Saggar Firing and Special Effects: Surface Visuals Colorado, Carbondale 9409; or fax (970) 255-8657. and Textures" with Charlie and Linda Riggs. (August " Handbuilt Pouring Pots—Investigating Form and Func­ Colorado, Snowmass Village 14-21). "Crossing Borders, Pushing Limits, Altering tion" with Sam Chung (June 7-11); fee: $395, includes "A Life of Art" with Paul Soldner (June 7-11); fee: Pots: Exploring Alterations by Cutting, Scoring, Stamp­ materials and firing." Domestic Pottery," wheel-thrown $440. "Exploring Basic Forms: Handbuilding Tech­ ing and Manipulating to Create Shapes and Ideas" and altered forms with Frank and Polly Ann Martin niques" with Anna C. Holcombe (June 7-18); fee: with Meira Mathison (August 24-31). Intermediate (August 9-15); fee: $550, includes materials and firing. $770, includes materials and firing. "Basic Pottery through professional. Fee/session: $1565, includes some "Salt-Fired Stoneware" with Blair Meerfeld (August Techniques" with Lynn Munns (June 14-25); fee: $790, materials, some firing, lodging and meals. Contact 16-27); fee: $750, includes materials and firing. All skill includes materialsandfiring. "The Natural Object: Basic Judith Carol Day, Laloba Ranch Art Center, 33516 levels. For further information, contact Beth Robinson, Handbuilding" with Eva Kwong (June 21 —July 2); fee: County Rd. H3A, Steamboat Springs 80487; e-mail Carbondale Clay Center, 135 Main St., Carbondale $840, includes materials and firing. "Lidded Pots" with [email protected] ; see www.lalobaranch.com ; 81623; e-mail [email protected] ; see Mary Law (June 28—July 9). "Telling Tales: Figurative telephone (970) 870-6423; or fax (970) 870-6452. www.carbondaleclay.org ; telephone (970) 963-2529; or fax (970) 963-4492. Connecticut, Brookfield Colorado, Grand Junction "Sculptural Vessels" with Karen Copensky (June 5-6). "Image Making and Ceramic Sculpture" with Lynn "Soldner—A Lifetime of Clay: Up Close and Intimate" Peters (June 12); fee: $150. "Small Gifts from the with Paul Soldner (July 17-18); fee: $200; members, Earth," handbuilding with Barbara Allen (June 13); $175; includes materials and firing. "Thrown and fee: $150. "Latex Mold Making" with Barbara Allen Touched," demonstration with David Wright (July 24); (June 19-20). "Mosaics" with Kathy Love (June 26- fee: $45; members, $35. "Sculptural Clay and Steel," 27). "Introduction to Throwing" with Chris combining metal and ceramics with Michael Kilgore Alexiades (July 10-11). Fee (unless noted above): (August 21-22); fee: $180; members, $155; includes $240. Skill requirements vary. For further information, materials and firing. All skill levels. Contact Terry contact Dee Wagner, Brookfield Craft Center, Shepherd, the Western Colorado Center for the Arts, PO Box 122, 286 Whisconier Rd., Brookfield 06804; 1803 N. Seventh St., Grand Junction 81505; e-mail e-mail [email protected] ; see [email protected] ; see www.gjartcenter.org ; tele­ www.brookfieldcraftcenter.org ; telephone (203) phone (970) 243-7337; or fax (970) 243-2482. 775-4526; or fax (203) 740-7815. Colorado, Ignacio Connecticut, Canton "Anasazi Pottery, Authentic Replication," handbuild­ ing, painting and trench-kiln firing with Clint Swink "Crystalline Glazes" with Tim Scull (May 23 and June (July 10-17); fee: $1200, includes materials, firing, 19); fee: $200. "Wood Firing Doesn't Mean Brown" lodging and meals. All skill levels. Contact Clint Swink, with David Hendley (June 25-28); fee: $385. "Fire and Swink Art, 688 Raven Ridge, Bayfield, CO 81122; Smoke," saggar, pit, raku, sawdust and fuming tech­ e-mail [email protected]; see www.swinkart.com ; tele­ niques with Tim Scull (July 10-12); fee: $275. "Throw­ phone (970) 563-4624; or fax (970) 563-3141. ing and Individualizing Large Functional Forms II" with Bob Crystal (July 17-18); fee: $220. Colorado, Mesa Verde "Ash, Flash and Fire," slip decorating for the noborigama "Anasazi Pottery at Mesa Verde," handforming, bur­ with Mark Peters (July 30-August 1); fee: $385. "Re­ nishing, painting, decorating and trench-kiln firing sponding to Touch II" with Leah Leitson (August 14- (using only native materials that were available to 15); fee: $220. "Fearless Electric Firings" with Tim Scull Pueblo potters) with Gregory S. Wood (June 12-18); (August 22); fee: $110. Skill requirements vary. Con­ fee: $395, includes materials, firing, campsite, and Instructor Chris Gustin building up a form during a tact Canton Clay Works lie, 150 Cherry Brook Rd., trips to archaeological sites and museums. All skill Canton 06019; see www.cantondayworks.com ; or workshop at Santa Fe Clay, Santa Fe, New Mexico. levels. For further information, contact Ancient telephone (860) 693-1000; or fax (860) 693-4800. Arts®, PO Box 27, Masonville, CO 80541; e-mail [email protected] ; see www.AncientArts.org ; or Connecticut, Guilford Ceramics and the Human Condition" with Tim Taunton telephone/fax (970) 223-9081. "Shino Magic: The Search for Soot" with Malcolm (July 5-16). "Porcelain Pots: Beyond Process" with Davis (June 14-18); fee: $435. Intermediate through Colorado, Pagosa Springs Bobby Silverman (July 12-23). "Designing and Devel­ professional. For further information, contact Lisa "Anasazi Pottery at Chimney Rock," hand forming, oping Ceramic Sculpture" with John Toki (July 19-30); Wolkow, Guilford Handcraft Center, 411 Church St., burnishing, painting, decorating and trench-kiln firing fee: $840, includes materials and firing. "Making Pot­ Guilford 06437; e-mail [email protected] ; see (using only native materials that were available to tery" with Doug Casebeer and David Pinto (July 26- www.handcraftcenter.org ; telephone (203) 453-5947; Pueblo potters) with Gregory S. Wood (July 20-23); August 6); fee: $1040, includes materials and firing. or fax (203) 453-6237. fee: $195, includes materials, firing and archaeological "Handbuilding Vessels" with John and Andrea Gill tour. All skill levels. For further information, contact (August 2-13); fee: $990, includes materials and firing. Connecticut, Middletown Ancient Arts®, PO Box 27, Masonville, CO 80541; "Pottery Through the Culture of Food" with Sylvie "Developing New Forms and Surface Textures" with e-mail [email protected] ; see www.AncientArts.org ; Granatelli(August9-20). "Ceramorama:ClayforTeens" Barbara Knudson (June 27-28); fee: $110. "Altering telephone/fax (970) 223-9081; or e-mail Dave with Kristen Cliffel (August 16-20); fee: $345, includes Form and Surface of Freshly Made Pots" with Gay Smith Jackman, Chimney Rock Archaeological Area: materials and firing. "Mata Ortiz Pottery" with Juan (July 30-August 1); fee: $275. "Forms and Surfaces in [email protected] ; or telephone (970) Quezada and Michael Wisner; fee: $1060, includes Soda Firing" with Thomas Ladd (August 8 and 28-29); 264-6698. materials and firing; or" Form and Surface" with Victoria fee: $175. For further information, contact Melissa Christen (August 23-September 3). Skill requirements Schulke, Wesleyan Potters, 350 S. Main St., Middletown Colorado, Penrose vary. Fee (unless noted above): $860, includes materials 06457; e-mail [email protected] ; see "Earth, Water, Wind and Fire" forming, decorating, and firing. For further information, contact Doug www.wesleyanpotters.com ; telephone (860) 347-5925; and firing focusing on traditional materials/methods Casebeer, Anderson Ranch Arts Center, PO Box 5598, or fax (860) 343-1096. used by the ancient Anasazi and Pueblo potters with 5263 Owl Creek Rd., Snowmass Village 81615; e-mail Vern Roberts (June 7-15); fee: $295, includes most [email protected];see www.andersonranch.org ; Connecticut, Stamford materials and firing. Graduate credit available for addi­ telephone (970) 923-3181; or fax (970) 923-3871. "Teapot: The Sum of its Parts," hands-on workshop tional fee. Beginning through advanced. Contact Vern with Georgia Tenore (June 13); fee: $185, includes Roberts, Coyote Arroyo Studios, 1753 13th St., Penrose Colorado, Steamboat Springs materials and lunch. Intermediate through profes­ 81240; e-mail [email protected] ; or telephone "Writing and Photographing Art," emphasis on writing sional. For further information, contact Morty Bacher, (719) 372-6846. articles for periodicals and artist's statements with John Lakeside Pottery, 543 Newfield Ave., Stamford

Ceramics Monthly April 2004 69 06905; e-mail [email protected] ; see http://chat.wcc.cc.il.us/~djeppese/ ; or telephone (630) Louisiana, Monroe www.lakesidepottery.com ; telephone (203) 323-2222; 466-7900, ext. 2505. "Crystalline Porcelain Workshop," glazing, firing and or fax (203) 406-9999. photographing crystalline ware with Donald Holloway Indiana, Indianapolis (July 12-17); fee: $250, includes materials. Intermedi­ Florida, Sopchoppy "Color and Line," including low-fire, high-fire and ate/advanced. Limit of 5-6 participants. Contact Donald "An Apprenticeship to Clay: The Handcrafted Life," multi-fire processes, underglazes, engobes, lusters Holloway, Crosscraft Originals, 18 Jana Dr., Monroe functional stoneware, single-fire oxidation, fast-fire and china paints with Rimas VisGirda (June 14-20); 71203-2736; e-mail [email protected]; ortelephone wood and business as an art form with George Griffin fee: $250, includes materials, firing and lodging. In­ (318) 343-9220 or (318) 343-7658. (June 1-6 or 15-20); fee: $400, includes materials and struction in English and Lithuanian. "Low-Fire Clay firing. Intermediate. Limit of 2 participants. Contact and Glaze" with David Gamble (June 21-26). "Ad­ Maine, Deer Isle George Griffin Pottery, One SunCat's Ridge, Sopchoppy vanced Low-Fire Clay and Glaze" with David Gamble "The Handbuilt Vessel: Its Contents and Meaning" 32358; or telephone (850) 962-9311. (July 12-17). Fee (unless noted above): $427.50; with Tony Marsh (June 6-18). "Developing the Artist $855 includes credit hours; includes lodging. All skill Within Through Practice and Observation" with Lisa Georgia, Atlanta levels. Contact Patty Duval, University of Indianapolis, Orr (June 20—July 2). "Improvisational Construction of "Throwing and Altering" with Rick Berman (June 21- 1400 E. Hanna Ave., Indianapolis 46227; e-mail Organic Architectural Forms" with Mapo Kinnord- July 2); fee: $300; 1 week, $ 175; includes 1 bag of clay, [email protected] ; telephone (317) 788-3253; or fax Payton (July 4-16). "Form, Surface and Other Pottery glazes and firing. All skill levels. Contact Chastain Arts (317) 788-6105. Related Stuff" with Ron Meyers (July 18-30). "Pots— Center, 135 W. Wieuca Rd., NW, Atlanta 30342; e-mail Working in Series" with Suze Lindsay and Kent [email protected] ; telephone (404) Indiana, New Harmony McLaughlin (August 1-20); fee: $850, additional fee 252-2927; or fax (404) 851-1270. Handbuilding, throwing, glazing and different firing for clay and studio. Meals and lodging: $390-$2075. techniques with LesMiley(June21-July23);fee: $500. "Designing for Sets and Series" with Scott Goldberg Georgia, Cave Spring College credit available. Intermediate and advanced. and Paul Heroux (August 22-September 3). Fee (unless Pottery workshop with John Johnston (June 12-15); Contact Les Miley, University of Evansville, Dept, of Art, noted above): $635; additional fees for clay and fee: $40/day, includes materials. All skill levels. Contact 1800 Lincoln Ave., Evansville, IN 47722; e-mail studio. Meals and lodging (unless noted above): $280- Johnston Pottery, Box 133, Old City Hall Blvd., Cave [email protected] ; see www.evansville.edu; or telephone $1410. Skill requirements vary. Forfurther information, Spring 30124; e-mail [email protected] ; tele­ (812) 479-2043. contact Stu Kestenbaum, Haystack Mountain School phone (706) 777-8546; or fax (706) 777-2204. of Crafts, PO Box 518, Deer Isle 04627; e-mail Iowa, Riverside [email protected]; see www.haystack-mtn.org ; Georgia, Rabun Gap "Persian and Turkish Tile Design" with Jafar Mogadam telephone (207) 348-2306; or fax (207) 348-2307. "Low-FireTechniques: Glazing and Forming" with Andy (July 6-9). For a syllabus, contact the Tile Heritage Nasisse(June26-27);fee: $125. "Anagamaand Salku" Foundation: e-mail [email protected] ; see Maine, Monroe with Rick Berman (July 11-18); fee: $500. Contact the www.tileheritage.org ; or fax (707) 431-8455. "Introduction to Pottery" (June 4-6). "Family Clay Hambidge Center, PO Box 339, Rabun Gap 30568; Weekend" (June 25-27). "An Introduction to Pottery: e-mail [email protected] ; or telephone (706) Establishing Reliable Foundation Skills in Handbuilding, 746-5718. Wheel Work and Glazing, with Primitive Raku and Stoneware Firings" (July 11-17). "Roots of Style/Fruits Georgia, Watkinsville of Practice: Exploring What Makes Your Work Yours" "Salt of the Earth," salt, wood and gas firing, plus (July 30-August 1). "Clay Breathing," emphasis on construction of a soda/salt kiln with Roger Jamison, process rather than production (August 22-28). In­ Michael Schmidt, Jim Wunch and more (August 28- structor: Squidge Liljeblad Davis. Fee: $750 per week; 29); fee: $25. All skill levels. Contact Oconee Cultural $350 per weekend; includes materials, firing, lodging Arts Foundation, PO Box 631,34 School St., Watkinsville and meals. All skill levels. Contact Squidge Liljeblad 30677; e-mail [email protected] ; or telephone (706) Davis, Starflower Farm and Studios, 941 Jackson Rd., 769-4565. Monroe 04951; e-mail [email protected] ; see www.starflowerstudios.com ; or telephone (207) Hawai'i, Makawao, Maui 525-3593. "Throwing and Altering" with Reid Ozaki (July 29- August 1); fee: $137; members, $116; includes Maine, Newcastle materials. Intermediate to advanced. Contact Hui "Artists and Teachers Workshop," building day-work­ No'eau Visual Arts Center, 2841 Baldwin, Makawao ing skills, exhibition design/planning and figure model­ 96768; see www.huinoeau.com ; or telephone (808) ing (August 15-21); fee: $450, includes materials, 572-6560, ext. 1. firing, lodging and meals. All skill levels. For further information, contact Tyler Gulden, Watershed Center Idaho, Ketchum for Ceramic Arts, 19 Brick Hill Rd., Newcastle 04553; "Clay Camp for Children," handbuilding for ages e-mail [email protected]; see 7-12 (weekly, June 6-24 and August 2-6); fee: $100/ www.watershedceramics.org ; telephone (207) 882- week. "Making Pots in the Leach Tradition" with 6075; or fax (207) 882-6045. Elmer Taylor (July 16-18); fee: $200. "Clay Makers," throwing for ages 13-18 with Julie Singer (July 20-23); Maine, St. George fee: $140. "From Soup to Nut Bowls" with Susan "Handbuilding Intensive" with Randy Fein (July 9-11); Ward (July 20-23); fee: $165. "Shino Glazing" with fee: $185, includes materials. "The CardewTradition," Malcolm Davis (July 28-30); fee: $200; bring bisque- emphasis on history and tradition with Ara Cardew ware. All skill levels. Contact Boulder Mountain Instructor Leah Leitson finishing a spout during a (July 23-25); fee: $225, includes materials. All skill Clayworks, PO Box 3725, Ketchum 83340; e-mail levels. Contact Joyce Houston, Clayworks North, 68 workshop at Clay Art Center, Port Chester, New York. [email protected] ; or telephone (208) Boulder Hill Rd., St. George 04860; e-mail 726-4484. [email protected] ; ortelephone (207) 372-6286.

Illinois, Antioch Kentucky, Harrodsburg Maine, Thorndike Eight-week sessions on wheel throwing, glazing "Handbuilding, Raku and Pit Fire" with Vicki Cassidy "Pinch Pots: Functional and Sculptural—Inspired by and raku firing with Suzi Goldstein, Nancy Hawfield and Wyman Rice (July 16-18 and 23-25); fee: Nature and the Garden" with Barbara Walch (August and Jill Grau Tortorella (June 2 1 -August 13,2 hrs/wk); $300, includes materials, firing, lodging and meals. 21); fee; $85, includes materials and lunch. Contact fee: $265, includes materials and firing. All skill Beginning through advanced. Contact Don Boklage, Barbara Walch, 33 Knox Station Rd., Thorndike 04986; levels. For further information, contact Jill Grau Open Ground, 981 Rye Ln., Harrodsburg 40330; e-mail [email protected] ; or telephone Tortorella, Antioch Pottery Works, 25942 Heart O'Lakes e-mail [email protected]; see (207) 568-3736. Blvd., Antioch 60002; e-mail [email protected] ; www.openground.info ; or telephone (859) 375-2411. see www.antiochpottery.com ; telephone (847) 838- Maryland, Baltimore 1040; or fax (847) 838-6546. Kentucky, Lexington "Build Your Own Raku Kiln" with Ramon Camarillo "Glaze Mixing and Testing 101" with Link Henderson (June 12-13); fee: $320; members, $300; includes Illinois, Sugar Grove (July 19-20); fee: $85, includes materials, firing, meals materials and breakfast. Bring your own propane "Ceramics Master Class" with Linda Christianson (Au­ and handout. "Saggar Firing in a Raku Kiln" with tank. "Showing It All," throwing large and small pots gust 9-14); fee: $375, includes materials and firing. Wyman Rice (August 7); fee: $40, includes materials, with Mark Hewitt (June 26-27). "Miniature Teapots" Participants must bring Cone 10 bisqueware. Interme­ firing and meals. All skill levels. Contact Link Henderson, with Fong Choo (July 24-25); Fee (unless noted diate through professional. For further information, Kentucky Mudworks LLC, 238 Jefferson St., Lexing­ above): $180; members, $160; includes materials, contact Doug Jeppesen, Waubonsee Community ton 40508; e-mail [email protected]; see bisque firing and breakfast. Skill requirements vary. College, Rte. 47 at Waubonsee Dr., Sugar Grove www.kentuckymudworks.com ; or telephone/fax (859) Contact Leigh Taylor Mickelson, Baltimore 60554; e-mail [email protected] ; see 389-9681. Clayworks, 5707 Smith Ave., Baltimore 21209; e-mail

Ceramics Monthly April 2004 70 [email protected] ; see Saggar-Fired Pottery" with Bob Green (June 6-12); fee: Duluth 5581 1; e-mail [email protected] ; see www.baltimoreclayworks.org ; telephone (410) 578- $550. "Nerikomi: Handbuilding with Colored Clay" www.lsc.mnscu.edu ; or telephone (218) 733-5972. 1919; or fax (410) 578-0058. with Naomi Lindenfeld (June 25-27); fee: $420. "Sum­ mer High-School Program," ages 14-18; handbuilding, Minnesota, La Crescent Maryland, Frederick throwing, glazing and firing with Jared Branfman and "Wood-Fire Ceramic Workshop" with Mike Knox and "Masters II Throwing Workshop" (June 3-6); fee: Bob Green (July 3-17 and/or July 18-August 1); fee: guest artist Chuck Aydlett (June 7-13); fee: $250, $240. "Ceramic Decoration" (July 5-16); fee: $695. $2450. "Wheel Time: Beginning to Intermediate Ce­ includes materials and firing. Participants must bring "MastersThrowing" (August 5-8); fee: $240. "Throw­ ramics" with Bob Green (August 2-8); fee: $980. bisqueware. For further information, contact Mike ing Large Forms" (August 9-13); fee: $350. Instructor: "Earthenware and Majolica: Terra-Cotta Pottery" with Knox, 2510 Chicken Ridge Rd., La Crescent 55947; Joyce Michaud. Skill requirements vary. Contact Sharon Pollock (August 8-14); fee: $550. "Wheel Throw­ e-mail [email protected] ; or telephone (507) Joyce Michaud, Hood College, 401 Rosemont Ave., ing, Handbuilding and Primitive Firing" with Bob Green 895-3370. Frederick 21701; e-mail [email protected] ; see (August 22-28); fee: $550. Includes materials, firing, www.hood.edu/academiclart ; telephone (301) 696- Mississippi, Biloxi 3526; or fax (301) 696-3531. "Mud Daubers Camp Summer 2004," five one-week sessions of art, including ceramics and field trips (June Maryland, Westminster 14-18, 21-25, 28—July 2, 12-16 and 19-23); fee/ "Fast-Fired Clay," raku, pit, sawdust and cow dung session $150. Ages 5-13. Contact Holly Zinner, Ohr- firings with Ken Hankins (July 5-9); fee: $280, O'Keefe Museum of Art, 136 G.E. Ohr St., Biloxi 39530; includes materials and firing. "Acoma Pueblo Potters," see www.georgeohr.org ; or telephone (228) 374-5547. hands-on workshop with Emma and Delores Lewis Mississippi, Natchez (June 27—July 2); fee: $300, includes materials and firing. Beginning. Contact Walt Michaels, Common "Creating and Reaching Your Vision," hands-on work­ Ground on the Hill, McDaniel College, Main St., shop with Conner Burns (June 6-12); fee: $400, in­ Westminster 21157; e-mail [email protected] ; see cludes materials and firing. Intermediate through www.commongroundonthehill.org ; or telephone professional. Contact Conner Burns, Burns Pottery, (410) 857-2771. 209 Franklin St., Natchez 39120; or telephone (601) 446-6334. Massachusetts, Boston Mississippi, Tougaloo Two-, four-, eight- and twelve-week sessions on "2004 Tougaloo Art Colony, The Humble Bowl," wheel throwing, handbuilding, figure, tiles and murals, and throwing, decorating and altering with David varying firing techniques (June 13-September 4); fee: MacDonald (July 23-30); fee: $360, includes materials $550-$785, includes materials and firing. Instruction and firing. Intermediate. For further information, con­ in English, Japanese and Korean. "Photo Images on Clay" with Warren Mather (June 14-25, Mon., Wed., tact Jane Hearn, Tougaloo Art Colony, 2458 Wild Valley Fri.); fee: $550, includes materials and firing. "The Dr., Jackson, MS 39211; e-mail [email protected] ; see www.tougaloo.edu/artcolony ; telephone (601) 982- Art of Practice; The Practice of Art," developing per­ 5428; or fax (601) 977-1361. sonal direction with Susan York (July 12-23, week­ days); fee: $550, includes materials and firing. Skill Participants digging clay during a workshop at Missouri, Ellsinore requirements vary. For further information, contact Community Arts Center, Wallingford, Pennsylvania. "Move That Clay," emphasis on the wheel, digging Shawn Panepinto, Ceramics Program at Harvard Uni­ for local clays and raku firing (June 6-12); fee: $450, versity, 219 Western Ave., Boston 02134; e-mail includes materials, firing, lodging and meals. "Wood [email protected] ; see www.fas.harvard.edu/ Firing in the Ozarks" (June 14-28); fee: $650, includes ~ofa/programs/ceramics; telephone (617) 495-8680; lodging and meals. Skill requirements vary. Contact Karen Totman, Snow Farm: The New England Craft materials, firing and meals; participants may bring or fax (617) 496-9787. bisqueware. "A Combined Workshop" with Robert Program, 5 Clary Rd., Williamsburg 01096; e-mail Carlson, Phil Mundtand David Porter (August 16-21); Massachusetts, Stockbridge [email protected] ; see www.snowfarm.org; tele­ fee: $550, includes materials, firing and meals. Instruc­ "Raku Kilnbuilding, Firing and Quick-Firing Intensive" phone (413) 268-3101; or fax (413) 268-3163. tor (unless noted above): David Porter. Skill require­ with Sandy Miller (June 21-25); fee: $455, includes Massachusetts, Worcester ments vary. Contact the Raven Center for the Arts, materials. "The Fine Art of Producing Repeat Forms: 514 County Rd. 418, Ellsinore 63937; e-mail Mold Making and Slip Casting for Everyone" with "Wood-Fire Intensive" with Louise Harter (August [email protected] ; or telephone (573) Mary Ann Davis (June 24-25); fee: $205, includes 6-8); fee: $340. Intermediate and advanced. For fur­ ther information, contact Robbie Lobell, Worcester 998-2611. materials. For further information, contact IS183, Art Center for Crafts, 25 Sagamore Rd., Worcester School of the Berkshires, PO Box 1400, Stockbridge Missouri, Kansas City 01605; e-mail [email protected] ; see 01262; e-mail [email protected] ; see www.is183.org ; "Functional Stoneware/Single Firing," emphasis on telephone (413) 298-5252, ext. 100; or fax (413) www.worcestercraftcenter.org ; telephone (508) 753- SI 83; or fax (508) 797-5626. covered jars (June 6-13); emphasis on teapots (August 298-5257. 15-22); fee/session: $600, includes materials and Michigan, Kalamazoo firing. Intermediate through professional. For further Massachusetts, Truroassachusetts, Truro "Single-Fire Slip and Glaze Decoration on Porcelain" information, contact Steven Hill or Tara Dawley, Red "Making Teapots/Personal Pots" with Gay Smith (June with Tom Kendall (June 12-13); fee: $90; members, Star Studios Ceramic Center, 821 W. 17th St., Kansas 28—July 2). "Handbuilding with Slabs" with Crystal $82; sustaining members, $70; includes materials and City 64108; e-mail [email protected]; see Ribich (July 5-9). "Introduction to Pottery, Session I" firing. Beginning through advanced. Contact Paul www.redstarstudios.org ; or telephone/fax (816) with Lin DiManno (July 5-9); fee: $275. "Introduction Flickinger, Kalamazoo Institute of Arts, 314 S. Park St., 474-7316. to Pottery, Session II" with Lin DiManno (August 2-6); Kalamazoo 49007; e-mail [email protected] ; see fee: $275. "Smoke or Saggar: Garden Sculptures and Montana, Helena www.kiarts.org; telephone (269) 349-7775; orfax(269) Ceremonial Forms" with Susan Raber Bray (July 12-16). 349-9313. "Geometry Re-Configured: Revisiting the Basics of Clay "Throwing: The Wheel is Only a Tool" with Keith Construction," hands-on workshop exploring form Kreeger (July 21-23). "Tableware: Taking Your Pots to Michigan, Saugatuck and shapes with Anne Currier (June 11-13); fee: $175, a New Level" with Mark Shapiro (July 28-30). "Ceramic "Vessel Construction" with Rob McClurg (June 20- includes materials and firing. "Ceramic Science for the Surfaces" with Ron Geering (August 2-6). "Throwing July 3). "Wheel Throwing" with Eva Kwong and Kirk Artist," glaze and clay chemistry with Bill Carty (June Porcelain" with Diane Heart (August 9-11). "Carbon­ Mangus (July 4-17). "The Figure in Ceramics" with 19-20); fee: $150. "Utilitarian Pots," hands-on work­ ized Clay" with Mikhail Zakin (August 16-20). "High- Tom Bartel (July 18-30). "Wheel Work: Clay Inter­ shop, including salt/soda/wood firings with Michael Fire Glaze Day" with Kristin Dennison (August 21); preted " with Delores Fortuna (August 1 -14)."Ceramic Connelly and Alleghany Meadows (June 21 —July 2); fee: $100. "Glazing Techniques" with Gail Turner; or Tiles: Majolica Glazes" with Ed Brownlee (August 15- fee: $575, includes firings. "ClayltsWay," handbuilding "Cooking and Serving" with Robbie Lobell (August 21). Fee/session: $1110, includes lab fees and 24-hour workshop with Stephen DeStaebler (July 31 -August 1); 23-27). "Primitive Raku Workshop" with James studio access. Meals and lodging available for an addi­ fee: $175, includes materials. All skill levels. Contact Brunelle, Jr. (August 30-31 and September 3-4). Fee tional fee. Beginning through advanced. Contact Megan Josh DeWeese, resident director, Archie Bray Founda­ (unless noted above): $300, includes bisque firings. Powell, Ox-Bow, 37 S. Wabash, Chicago, IL 60603; tion, 2915 Country Club Ave., Helena 59602; e-mail Beginning through advanced. Contact Cherie e-mail [email protected] ; see www.ox-bow.org ; tele­ [email protected] ; see www.archiebray.org ; Mittenthal, Director, Truro Center for the Arts at Castle phone (800) 318-3019; or fax (312) 899-5139. telephone (406) 443-3502; or fax (406) 443-0934. Hill, 10 Meetinghouse Rd., PO Box 756, Truro 02666; e-mail [email protected] ; seewww.castlehill.org ; Minnesota, Duluth Montana, near Whitehall telephone (508) 349-7511; or fax (508) 349-7513. "Anagama Kilnbuilding with Taiwan Masters" with "Indigenous Ceramics," includes digging and process­ Chung-Ho Chen and Ming-Chao Chzen (June 21-30); ing clay, making and firing work in bonfires or kilns Massachusetts, Williamsburg fee: $500, includes materials. Beginning through ad­ created at the site with Michael Peed (July 14-19); fee: "Beginner Wheel Throwing" with Sharon Pollock (June vanced. Instruction in Chinese and English. Contact 4-6); fee: $420. "Painting with Fire: Primitive and Gary Nelson, Lake Superior College, 2101 Trinity Rd., Please turn to page 102

Ceramics Monthly April 2004 71 Naked Truth." For prospectus, contact Gary June 15 entry deadline call for entries Hootman, PO Box 301, Swisher, IA 52338; or Cedar Rapids, Iowa "Gems from the Fire" (August e-mail [email protected] . 24-September 27), open to wood-fired ceramics Application Deadlines for Exhibitions, Fairs, May 30 entry deadline to 20 centimeters (8 inches). Juried from up to 2 Festivals and Sales Greensboro, North Carolina "2005 Clay Lover's slides. Fee: $25. This exhibition will run concur­ Calendar Exhibition" (October). Juried from up to rently with the international wood-fire confer­ 4 images on CD/RW. For further information and ence, "The Naked Truth." Contact Conifer Smith, International Exhibitions prospectus, send SASE to Lisa Skeen, Living Tree Kirkwood College, 6301 Kirkwood, Cedar Rapids Pottery, 8406 Hudson James Rd., Summerfield, NC 52404; or e-mail [email protected] . May 15 entry deadline 27358; or e-mail [email protected] . August 23-October 15 entry deadline Cedar Rapids, Iowa "International Juried Wood- Saint Quentin la Poterie, France " First European Icheon, South Korea "The Third World Ceramic Fire Exhibition" (September 16-November 28), Ceramic Arts Festival" (July 21 -25), open to emerg­ Biennale 2005 Korea" (April 23-June 19, 2005), open to works fired in a wood kiln and completed ing, professional ceramics artists working less than open to works in 2 categories: ceramics for use and within the past 2 years. Juried from slides (gray or 10 years, residing in Europe. Awards. Contact the ceramics as expression. Preliminary selection juried black background for catalog). Jurors: Ryoji Koie, Office Culturel de St. Quentin la Poterie, Maison de from 2 slides and 1 photograph per entry; up to 3 Janet Mansfield and Don Reitz. Fee: $25 for up la Terre, rue de la Fontaine 30700; e-mail entries. Final selection juried from actual works. to 2 works. This exhibition will run concurrently [email protected] ; telephone (33) 4 66 22 Cash awards; grand prize KRW 60 million with the international wood-fire conference, "The 74 38 7; or fax (33) 4 66 22 46 06. (US$50,000). For further infromation, contact the Office for International Competition, Exhibition Department, Icheon World Ceramic Center, Gwango-dong San 69-1, Icheon, Gyeonggi-do 467-020; e-mail [email protected] ; see www.ceramicbiennale.orgorwww.worldceramic.kr ; telephone (82) 31 631 6512;orfax(82)31 631 1614.

United States Exhibitions

April 5 entry deadline Federal Way, Washington "Pacific Rim Bonsai Col­ lection Special Exhibition" (August 13-September 29), open to all durable media. Juried from 3 slides of work and 1 of pedestal/display stand. Jurors: Amy McBride, public art administrator for the city of Tacoma and David De Groot, Curator of the Pacific Rim Bonsai Collection. For prospectus, con­ tact Adina Lake, Pacific Rim Bonsai Collection, PO Box 9777, Federal Way 98063-3777; see www.Weyerhaeuser.com/bonsai; telephone (253) 924-3153; or fax (253) 924-3837. April 7 entry deadline Mount Holly, New Jersey "Mugalomania" (April 24-May 8), open to mugs and cups made primarily of clay. Juried from actual works. Jurors: Lynn Lemyreand Isaac Witkin. Fee: $15 for 3 entries; $5 each for up to 3 additional works. Awards. For prospectus, send SASE to Mill Race Village Arts & Preservation, 37 White St., Mount Holly 08060; or e-mail [email protected] . April 16 entry deadline Kewaunee, Wisconsin "Barnsand Farms" (June 5- July 18), open to all media. Jurors: Craig Blietz and Joseph Mendez. For prospectus, send SASE to Barnsite Art Studio, 109 Duvall, Kewaunee 54216; see www.barnsiteartstudio.com ; or telephone (920) 388-4391. April 27 entry deadline Bemidji, Minnesota "It's Only Clay" (July 2-31), open to clay vessels. Juried from up to 3 slides. Fee: $25. Awards: $2000. Contact Suzi Rhae, Bemidji Community Arts Council, 426 Bemidji Ave., N, Bemidji 56601; e-mail [email protected] ; see www.bcac-mn.org ; or telephone (218) 444-7570. April 30 entry deadline Ipswich, Massachusetts "Art Design Competition" (2004-2005), open to artists qualified to make a permanent, large-scale installation. Juried from drawings or photos. Awards: $1000 each for winner and first and second runner-up, plus bud­ get for installation. Contact Sanjay Kumar, NEB Art Design Competition, New England Biolabs, 32 Tozer Rd., Beverly, MA 01915; e-mail [email protected] ; or see www.neb.com/adc . May 15 entry deadline Water Mill, New York "Ceramic Sculpture" (June 24—July 19). Juried from slides. Fee: $10. For fur­ ther information, send SASE to the Clay Art Guild of the Hamptons, Inc., 51 Round Pond Ln., Sag Harbor, NY 11963; e-mail [email protected] ; or telephone (631) 725-4605. May 17 entry deadline Windham, New York "Greene County Council on the Arts—Journeys in Clay IN" (June 19-August 1).

Ceramics Monthly April 2004 72 Ceramics Monthly April 2004 73 call for entries

Juried from up to 5 slides. Fee: $25. Jurors: Susan Beecher and Ruth Sachs. For prospectus, contact Elaine Scull, Greene County Council for the Arts, 398 Main St., Catskill, NY 12414; e-mail [email protected] ; see www.greenearts.org ; telephone (518) 943-3400; or fax (518) 943-5502. June 1 entry deadline Stockton, California "2004 Visions in Clay" (Au­ gust 3-September 4), open to functional and nonfunctional ceramics. Juried from up to 3 slides. Juror: Robert Brady, ceramics artist and professor of art at California State University. Fee: $12 per slide. Commission: 25%. For prospectus, send SASE to Visions in Clay, 2437 Pheasant Run Cir., Stockton 95207; e-mail [email protected] ; download from www.pacific.edu/reynoldsgallery ; or telephone (209) 933-9373. June 5 entry deadline Saratoga Springs, New York "Mugs, Jugs and Bottles" (July 15-September 6), open to func­ tional and nonfunctional ceramics. Juried from slides. Juror: Jill Fishon-Kovachick. Fee: $20. For prospectus, send #10 SASE to the Saratoga Clay Company, PO Box2295, Wilton, NY 12831; e-mail [email protected] ; ortelephone(518) 587-8265. June 15 entry deadline Chicago, Illinois "Form Follows Function" (Sep­ tember 3-October 16), open to ceramic works related to architecture, modernism or the writings of Louis Sullivan. Juried from up to 3 slides. Juror: Dan Anderson. Fee: $30 for 3 slides; $25 for 2; $20 for 1. Cash awards. For prospectus, contact Aviva Alter or Shannon Stratton, Lillstreet Art Center, 4401 N. Ravenswood Ave., Chicago 60640; e-mail [email protected]; see www.lillstreet.com; telephone (773) 769-4226. July 1 entry deadline La Crosse, Wisconsin Juried one-person three-di- mensional show and demonstration: Viterbo Uni­ versity (September 8-October 5). Juried from 10-20 slides. Jurors: Gerard Justin Ferrari and Viterbo University faculty. Fee: $20. Responsibilities include installation, attendance at opening, removal of installation and a one-day workshop. Awards: $ 1000 honorarium. E-mail Gerard Justin Ferrari: [email protected] ; ortelephone (608) 796-3737. July 15 entry deadline Water Mill, New York "For the Table" (August 26- September 26), open to ceramic tableware. Juried from slides. Fee: $10. Send SASE to the Clay Art

Guild of the Hamptons, Inc., 51 Round Pond Ln. ( Sag Harbor, NY 11963; e-mail [email protected]; or telephone (631) 725-4605. September 27 entry deadline Wayne, Pennsylvania "Craft Forms 2004, 10th An­ nual National Juried Exhibition and Sale of Fine Contemporary Crafts" (December 3,2004-January 20,2005), open to all media. Fee: $25. Cash awards and exhibitions. For prospectus, send SASE to Wayne Art Center, 413 Maplewood Ave., Wayne 19087; e-mail [email protected] ; seewww.wayneart.org ; telephone (610) 688-3553; or fax (610) 995-0478. Regional Exhibitions April 10 entry deadline Santa Barbara, California "The Blues: Tonality II" (May 4-June 29), open to ceramics artists residing in Arizona, California, Idaho, Nevada, New Mexico, Oregon, Utah or Washington; works must incor­ porate the color blue. Fee: $5. Cash awards. Con­ tact Lisa Rowlinson de Ortiz, Tierra Solida: a clay art gallery, 1221 State St., #8, Santa Barbara 93101; e-mail [email protected] ; see www.tierrasolida.com ; telephone (805) 884-8224. April 15 entry deadline Central City, Colorado "57th Annual Gilpin County Arts Association Juried Show and Sale" (June 12-

Ceramics Monthly April 2004 74

Fairs, Festivals and Sales Jersey City, New Jersey "Fine Art and Crafts call for entries at Newport's Town Square Park" (June 12-13), open April 5 entry deadline to handcrafted work. Juried from 4 slides. Booth fee: Chautauqua, New York "Crafts Festival 2004" (July $290 for a 10x10-foot space. Contact Rose Squared August 7), open to artists residing in Arizona, 9-11 or August 13-15). Juried from 3 slides of work Productions, Inc., 12 Galaxy Ct., Hillsborough, NJ Colorado, Idaho, Montana, Nevada, New Mexico, and 1 of booth. Jury Fee: $15 per show. Show fee: 08844; e-mail [email protected] ; see Utah and Wyoming. Awards. Contact Sandy $240 per show. Send a business-size SASE to Devon www.rosesquared.com ; telephone (908) 874-5247; Early, 5081 Decatur St., Denver, CO 80221; e-mail Taylor, Festivals Director, Chautauqua Crafts Alli­ or fax (908) 874-7098. earlyclay@comcast. net; or telephone (303)455-4142. ance, PO Box 89, Mayville, NY 14757-0089. Montclair, New Jersey "Spring Brookdale Park June 1 entry deadline May 1 entry deadline Fine Art and Crafts Show" (June 19-20), open to Pittsburgh, Pennsylvania "WAD Clay Institute Juried Cranford, New Jersey "Spring Nomahegan handcrafted work. Juried from 4 slides. Booth fee: Clay Annual" (September 3-25), open to ceram­ Park Fine Art and Crafts Show" (June 5-6), open to $290 for a 10x12-foot space. Contact Rose Squared ists residing in Washington D.C., Maryland, New handcrafted work. Juried from 4 slides. Booth fee: Productions, Inc., 12 Galaxy Ct., Hillsborough, NJ York, Ohio, Pennsylvania, Virginia and West Vir­ $290 for a 10x12-foot space. Contact Rose Squared 08844; e-mail [email protected] ; see ginia. Juried from slides. Juror: Elvira Peake, owner, Productions, Inc., 12 Galaxy Ct., Hillsborough, NJ www.rosesquared.com ; telephone (908) 874- the Clay Place. Cash and purchase awards. 08844; e-mail [email protected] ; see 5247; or fax (908) 874-7098. For prospectus, e-mail Gerry Dinnen: www.rosesquared.com ; telephone (908) 874- May 16 entry deadline [email protected] ; or telephone (412) 279-9956. 5247; or fax (908) 874-7098. Mendocino, California "Fourth Annual Mendocino Street Fair" at Heider Field (July 3 and 24). Contact Mendocino Street Fair, PO Box 141, Casper, CA 95420; e-mail [email protected] ; or telephone (707) 964-5975. May 30 entry deadline Augusta, New Jersey "34th Annual Peters Valley Craft Fair" at Sussex County Fairgrounds (Septem­ ber 25-26), open to all media. Juried from 5 slides. Fee: $25. For prospectus, send SASE to Peters Valley Craft Center, 19 Kuhn Rd., Layton, NJ 07851; see www.pvcrafts.org ; or telephone (973) 948-5200. July 1 entry deadline St. Petersburg, Florida "CraftArt 2004" (October 30-31), open to fine crafts. Awards: $20,000. Con­ tact Florida Craftsmen Gallery, 501 Central Ave., St. Petersburg 33701; or telephone (727) 821-7391. August 1 entry deadline Upper Montclair, New Jersey "Fine Art and Crafts at Anderson Park" (September 18-19), open to handcrafted work. Juried from 4 slides. Booth fee: $290fora 10x12-foot space. Contact Rose Squared Productions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844; e-mail [email protected] ; see www.rosesquared.com ; telephone (908) 874- 5247; or fax (908) 874-7098. Cranford, New Jersey "Fall Nomahegan Park Fine Art and Crafts Show" (October 2-3), open to handcrafted work. Juried from 4 slides. Booth fee: $290 for a 10x12-foot space. Contact Rose Squared Productions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844; e-mail [email protected] ; see www.rosesquared.com ; telephone (908) 874-5247; or fax (908) 874-7098. Montclair, New Jersey "Fall Brookdale Park Fine Art and Crafts Show" (October 16-17), open to handcrafted work. Juried from 4 slides. Booth fee: $290 for a 10x12-foot space. Contact Rose Squared Productions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844; e-mail [email protected] ; see www.rosesquared.com ; telephone (908) 874-5247; or fax (908) 874-7098. Kingston, New York " International Second Annual Friends of Rondout Historic Bluestone Festival" (Octo­ ber 10). Juried from up to 3 photos. Fee: $ 10 per photo. Best-in-show will be given multiple solo exhibitions. Contact Ed Pell, Bluestone Festival, 24 Spruce St., Kingston 12401; e-mail [email protected] ; or see www.friendsofrondout.org . October 30 entry deadline Winder, Georgia "Harvest of Arts Juried Show and Sale" (November 13-14), open to fine crafts. Com­ mission: 20%. Contact the Georgia Piedmont Arts Center, 105 E. Athens St., Winder 30680; e-mail [email protected];ortelephone (770) 788-9267.

For a free listing, submit information on juried events at least four months before the entry deadline. Add one month for listings in July; two months for August. Regional exhibitions must be open to more than one state. Mail to Call for Entries, Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081; e-mail [email protected] ; submit online www.ceramicsmonthly.org/submissions.asp; or fax to (614) 891-8960.

Ceramics Monthly April 2004 76 Ceramics Monthly April 2004 77

bowl or I pour off the top water and use the slip suggestions at the bottom. If I change from white clay to a From Readers colored clay, I save the water for use as terra sigillata or decorating slip.—Peter Sheremeta, Inverness, CA Making a Good Impression I have made numerous clay stamps for im­Doctored Wax Resist pressing pottery. Since making stamps takes A small amount of alumina hydrate mixed time, I have begun using many items fromwith my the wax-resist emulsion (1 level teaspoon to kitchen or sewing box for stamping clay. 1 cup) can be applied to lids, flanges or the feet of your pots to prevent them from sticking during the glaze firing. This is a problem with vitreous clay bodies—porcelains in particular. After the firing, the alumina hydrate dust can easily be brushed off.—Wayne Cardinalli, Mississauga, Ontario, Canada

Low-Tech Clay Reclamation Line the inside of a 5-gallon bucket with an old pillowcase. Add dried clay scraps that have been broken into small pieces so they can absorb water more easily. Add enough water to com­ Cookie cutters are easy to use as basic pletely cover the clay scraps. Set aside until the patterns. I have used icing tips to make circles,clay has become a thick slurry. The amount of wooden spools for doughnut shapes, a child’s time this takes will vary, depending on heat and wood block for square shapes and various sizes humidity and how much water is used. of wooden dowels for dots. One of my favorite Take the pillowcase out of the bucket, twist patterns is created by rolling an onion slicer orin tie it closed, then lay it down where it can several different directions. A honey dipper,drain, preferably away from direct heat or sun. pressed sideways into the clay, also makes anTurn it over every once in a while and check the interesting impression. Remember to think consistency. After the clay starts to stiffen, it can about your pattern in reverse as you lookbe at wedged and used again.—Bonnie Smith, different items you find in your Liz home.— Kingston, NY Guiheen, Brewster, MA A Tool for Faceting I decided to practice faceting thrown pots, Hold On To Your Pots but none of the tools in my studio were produc­ The last time I unloaded our stoneware kilning the effect I desired. I used about 1 foot of and had a lot of grinding, I decided to try wearing some garden gloves I use for weeding. The palms have a solid coating of rubber (not just dots), and they fit tight. I couldn’t believe how well they gripped the pots, in addition to protecting my hands. Now I use them when­ ever I have to handle a lot of pots, whether unloading a cool kiln, grinding pots or just moving things around. They make it practi­ cally impossible to drop something.—Sarah banding (strapping) steel, bent one end into a Judson, Livermore, CO loop and the other at right angles. I then fastened it with a sheet-metal screw, grinding down the Throwing with Slip I’ve never understood why potters discardpoint for safety. I taped a piece of foam to the their throwing water at the end of the day, or points where I apply pressure to make it easier to why others feel it’s necessary to change it foruse.— Robert Brown, Miami, FL fresh water during a throwing session. Throwing water contains a suspension of fine clay, whichShare your ideas with others. Previously un­ published suggestions are welcome individu­ provides lubrication without saturating the pieceally or in quantity. Ceramics Monthly will pay as much as clean water would. $10 for each one published. Include a drawing or photograph to illustrate your idea and we will When throwing, I don’t discard my throw­ add $10 to the payment. Mail to Ceramics ing water, nor do I change it for fresh water. Monthly, 735 Ceramic PI., Westerville, OH 43081, When it gets low, or too thick for my liking, I e-mail to [email protected] or fax add more water. If I need slip, I use what’s in the to (614) 891-8960.

Ceramics Monthly April 2004 80

totypes, architectural and health considerations. Fee: Georgia, Atlanta through April 10 Kyle Carpen­ calendar $350. For further information, contact the Torpedo ter, "Rhythm"; at MudFire Gallery, 1441 Dresden Dr., Events to Attend—Conferences, Factory Art Center, 105N. Union St., Alexandria 22314; Ste. 250. e-mail [email protected] ; or see Hawai'i, Honolulu through May2 "Claude Horan: Exhibitions, Workshops, Fairs www.torpedofactory.org/conference A Retrospective of Ceramic Works"; at the Contempo­ Australia, Gulgong May2-8 "Clay Modern 2004" rary Museum, 2411 Makiki Heights Dr. will include lectures, demonstrations, participatory Illinois, Chicago April 9-May 10 Dennis Lee Conferences events and exhibitions. Fee: AU$420 (US$300); stu­ Mitchell; at Dubhe Carreno Gallery, Contemporary dents, AU$300 (US$215). Contact Clay Modern 2004, Ceramic Art, 5415 W. Grace St. California, Davis April 30-May 2 "CCACA2004: Ceramic Art, 120 Glenmore Rd., Paddington NSW Illinois, Geneva April 1-30 Connie Gurley, "Or­ The Ceramic Sculpture Conference." For further infor­ 2021; e-mail [email protected] ; see ganic Forms—Soda-Fired Porcelain." May 1-31 Doug mation, contact John Natsoulas Gallery, 521 First St., www.ceramicart.com.au ; telephone 61 2 9361 5286; Jeppesen, "Wood-Fired Stoneware"; at Down To Earth Davis 95616; e-mail [email protected] ; see or fax 61 2 9361 5402. Pottery, 21IV2 S. Third St. www.natsoulas.com ; or telephone (530) 756-3938. Canada, Alberta, Red Deer June 11-13 "The Indiana, Indianapolis through April 10 Brad Delaware, Winterthur April 23-24 "Ceramics in Consequence of Material, 2004 Ceramics Confer­ Schwieger, "Cut Construction: Architectural Vessels"; America 2004, Fables, Pharaohs and Fancy: Sources ence," will include demonstrations, exhibitions and at ARTIFACTS, 6327 Guilford Ave. and Inspiration for Ceramic Design, "will include tours, presentations. For further information, e-mail Trudy through April 18 James C. Watkins, "A Meditation films, lectures and hands-on workshops. Fee: $275; Golley: [email protected] ; or telephone (403) of Fire"; at Eiteljorg Museum, Gerald and Dorit Paul members, $225; students, $175. To register, contact 342-3453 or (403) 342-3251. Gallery, 500 W. Washington St. Winterthur, An American Country Estate, Winterthur China, Jingdezhen May28-30 "Jingdezhen 1000 through May 2 Margaret Hsu Stout, "Porcelain 19735; see www.winterthur.org ; or telephone (800) Years Celebration of Porcelain" an international ce­ Dragons." Barbara Zech. Ron Kovatch; at the India­ 448-3883 or (302) 888-4600. ramics conference including lectures, demonstrations, napolis Art Center, 820 E. 67th St. Iowa, Cedar Rapids September 15-18 "The Na­ wood firing, exhibitions and tours. For further infor­ Iowa, Iowa City April 2-15 Mary Barringer. May ked Truth," an international wood-fire conference, mation, contact Jackson Li, Planning Office for Ce­ 7-20 Mark Shapiro; at AKAR, 4 S. Linn St. will include panels, workshops and exhibitions. Fee: ramic Art, Jingdezhen 1000 Years Celebration of Maryland, Cockeysville May 7-June 13 Carolyn $225; after June 15, $275. For further information, Porcelain, PO Box 1000, Jingdezhen City, Jiangxi Prov­ Eddins, "Survivors: Anagama-Fired Porcelain Vessels"; contact Gary Hootman, PO Box 301, Swisher, IA 52338; ince, 333001; e-mail [email protected] ; at Clay Orbit, 10918 York Rd. e-mail [email protected] ; or telephone (319) see www.jingdezhenl000.com ; or fax 86 798 Massachusetts, Concord May 1-25 Christine 857-4873. 8496513. Viennet; at Lacoste Gallery, 25 Main St. Louisiana, New Orleans May 20-23 "Craft Orga­ Hungary, Kecskemet April 5-26 "Sound of the Michigan, Detroit through May 8 Neil Forrest, nization Development Association (CODA) Confer­ Clay, Ceramic Musical Instrument Symposium." For "Wurzelwerk." May 21-July 3 Heeseung Lee; at ence, " will include networking sessions, panels, auction. further information, contact Steve Mattison, Interna­ Pewabic Pottery, 10125 E. Jefferson Ave. To register, contact Linda Van Trump, CODA, PO Box tional Ceramics Studio, Kapolna Str. 13, Kecskemet Minnesota, Minneapolis through April 11 Nino 59, Onia, AR 72663; e-mail [email protected] ; or H-6000; e-mail [email protected] ; see www.icshu.org ; Caruso, "2004 Regis Masters Series"; at Northern Clay telephone (870) 746-4396. or telephone 36 76 486 867. Center, 2424 Franklin Ave., E. Mississippi, Biloxi October 22-24 "My Name Is Switzerland, Zurich August 20-28 "FeuerFest Mississippi, Biloxi through January 29, 2005 "On Mudd, The First Annual George Ohr Clay Conference," (Fire Festival)," includes wood-firing techniques, pa- the Midway: George Ohr at the Fairs"; at the Ohr- featuring Randy Johnston. Contact the Ohr-O'Keefe per-clay kilnbuilding, workshops and exhibition. Con­ O'Keefe Museum of Art, 136 G. E. Ohr St. Museum of Art, 136 G. E. Ohr St., Biloxi 39530; see tact Keramik & Animation, Zweierstrasse 111, 8003 Missouri, St. Louis April 16-25 Eric R. Nichols; at www.georgeohr.org ; or telephone (228) 374-5547. Zurich; e-mail [email protected] ; or tele­ Mad Art Gallery, 2727 S. 12th St. New Hampshire, Concord April 24 "Craft in the phone (41) 1 463 47 13. May 7-July 3 Melody Ellis; at Xen Gallery, 401 N. Digital Age: Exploring Technology's Role in Fine Euclid Ave. Craft," will include panels, demonstrations and an Solo Exhibitions Nebraska, Lincoln through May 16 "The exhibition. Presented by the League of New Hampshire Maquettes of Robert Arneson"; at the University of Craftsmen. For further information, contact Joanne Alabama, Fairhope May 7-28 Vince Pitelka; at Lincoln-Nebraska, Sheldon Memorial Art Gallery. Wise: e-mail [email protected] ; see Eastern Shore Art Center, 401 Oak St. New Jersey, Morris Plains April 3-30 Linda www.nhcrafts.org ; or telephone (603) 224-3375. Arizona, Scottsdale April 1-30 Jim Kraft; at Gal­ Vonderschmidt-LaStella, "Ceramic Wall Works"; at GJ Ohio, Dayton June 2-5 "Seventh Annual Artists lery Materia, 4222 N. Marshall Way. Cloninger Gallery, 39 E. Hanover Ave. Marketing and Skills Development Conference." For April 1-30 Richard Garriott-Stejskal; at SEGI Fine New Mexico, Santa Fe through April 28 Tadashi further information, contact the Artists Marketing and Arts, 4168 N. Marshall Way, Ste. B. Nishibata, "Spirit of the Mountain"; atTouching Stone Skills Development Conference, do DeEarnest May 13-27 "Tina Diaz: A Round to a New Perspec­ Gallery, 539 Old Santa Fe Trail. McLemore, City of Dayton, Riverbend Art Center, tive"; at King Galleries of Scottsdale, 7100 Main, #1. New York, New York through April 75NancyJurs, 1301 E. Siebenthaler Ave., Dayton 45414; or tele­ California, Los Angeles through April 25 "The Armor Series"; at the Castellani Art Museum, phone (937) 333-7000. "Kamisaka Sekka: Rimpa Master—Pioneer of Modern Niagara University. Tennessee, Gatlinburg September 15-18 "Utili­ Japanese Design"; atthe Los Angeles County Museum through April 15 Rina Peleg; at Jane Hartsook tarian Clay: Celebrate the Object," fourth national of Art, 5905 Wilshire Blvd. Gallery, Greenwich House Pottery, 16 Jones St. symposium including lectures, demonstrations, panel April 3-May 29 Andi Moran; at the del Mano through April 24 Justin Novak. April 29-May 29 Bill discussions and exhibitions. Contact Arrowmont School Gallery, 11981 San Vicente Blvd. Stewart; at John Elder Gallery, 529 W. 20th St. of Arts and Crafts, 556 Parkway, Gatlinburg 37738; California, Sacramento through April 18 "Ah through July 29 "Shock of the Old: Christopher e-mail [email protected] ; seewww.arrowmont.org ; Leon: The Bridge"; at Crocker Art Museum, 216 0 St. Dresser"; at Cooper-Hewitt National Design Museum, or telephone (865) 436-5860. California, San Francisco through April 25 "The 2 E. 91st St. Texas, Grapevine July4-10 "23rd Biennial Inter­ New Rice Festival: Vietnamese Artist Nguyen BaoToan"; New York, Port Chester April 4-24 Debbie Lecce. national," will include porcelain workshops, demon­ at the Museum of Craft & Folk Art, Ft. Mason Center, May 22-June 19 Sam Chung; at the Clay Art Center, strations, auctions and exhibitions. For further Bldg. A. 40 Beech St. information and to register, contact Bertie Stephens, May 26-June 26 Jun Kaneko; at Braunstein/Quay North Carolina, Salisbury through April 17 Mark 928 Piccadilly Cir., Hurst, TX 76053-471 1; see Gallery, 430 Clementina. Bridgwood, "Frozen Moments"; at Waterworks Visual www.ipat.org/ipatconv.htm ; or telephone Pat Lybrand: California, Venice through April 10 Ken Price, Arts Center, 123 E. Liberty St. (817) 481-3369. "Sculpture"; at L.A. Louver Gallery, 45 N. Venice Blvd. North Carolina, Wilmington through May 2 "A Texas, San Angelo April 16 " 19th Annual Ce­ D.C., Washington May 7-29 "Current Wood- Natural Influence: New Works by Ben Owen III"; at ramic Symposium," held at Angelo State Univer­ Fired Work by Archie Bray Foundation Resident, Ben Louise Wells Cameron Art Museum, 3201 S. 17th St. sity, will include a panel discussion with Marilyn Krupka"; at the Troyer Gallery, 1710 Connecticut Oklahoma, Norman through April 11 Doug Levine, Ruth and Rick Snyderman, and Howard Ave., NW. Casebeer; at Firehouse Art Center, 444 S. Flood. Taylor. Free. Contact Karen Zimmerly, San Angelo Florida, Orlando through May2 Barbara Sorenson; Pennsylvania, Huntingdon Valley April 2-30 Museum of Fine Arts, One Love St., San Angelo at Harry P. Leu Gardens, 1920 N. Forest Ave. Tom Turner. May 7-31 Ben Anderson; at Vessel Gallery 76903; e-mail [email protected] ; ortelephone Florida, Winter Park through January 9, 2005 of Contemporary Ceramics, 2465 Huntingdon Pike. (325) 653-3333. "Sculpting Nature: The Favrile Pottery of L.C. Tiffany"; Pennsylvania, Philadelphia through May 2 Jerry Virginia, Alexandria May 21-22 "Conference on at the Charles Hosmer Morse Museum of American Bennett. April 2-25 Christa Assad. April 2-May 16 Amy Community Art Centers," includes panels, center pro­ Art, 445 N. Park Ave. Smith," My Stone Boat." May 7-30 Kate Doody. May 7-

Ceramics Monthly April 2004 82 Ceramics Monthly April 2004 83 way, John Glick, Michael Hunt, Ron Meyers, Lisa Orr, calendar Liz Quackenbush, Michael Simon and Melinda Willis; at Parkland Art Gallery, 2400 W. Bradley Ave. Illinois, Chicago through April 11 Charles Jahn June 13 Paul Kotula;atthe Clay Studio, 139 N. Second St. and Mie Kongo. April 24-May 23 Machiko Munakata May 1-29 Dan Anderson; at the Works Gallery, and Adam Posnak; at Lillstreet Art Center, 4401 N. 303 Cherry St. Ravenswood Ave. Pennsylvania, Pittsburgh through May 19 Gilda Illinois, Oak Park through April28 Doug Jeppeson Oliver, "Sculpture and Vessels"; at the Clay Place, and Matt Long. May 1-June 2 Paul Eshelman and 5416 Walnut St. Delores Fortuna; at Terra Incognito Studios and Gal­ through June 26 Laura Jean McLaughlin, "Food for lery, 246 Chicago Ave. Thought"; at Society for Contemporary Craft, 2100 Indiana, Bloomington through June 27 "Pattern Smallman St. and Purpose: Decorative Qualities of Functional Ob­ South Carolina, Columbia April 15-May 30 jects"; at Mathers Museum of World Cultures, 416 N. "Mike Vatalaro: Explorations into Function"; at Indiana Ave. Southern Pottery Workcenter and Gallery, 2771 Rose­ Indiana, Crawfordsville through April 10 "Offer­ wood Dr. ing Vessels," Scott Dooley, Dick Lehman and Jessica Texas, Houston April 24-May 29 Sharon Dennard, Bryce Pickert; at Eric Dean Gallery, Fine Arts Center at "Excesses of the Soul"; at Goldesberry Gallery, 2625 Wabash College, 510 S. Grant St. Colquitt St. Indiana, Indianapolis through April 10 "New Texas, Laredo through April 8 "Like the Clay in the Works," Cheryl K. Hanley and Daria Smith; at ARTI­ Potter's Hand: An Artist's Life Remembered, Helen FACTS, 6327 Guilford Ave. Richter Watson 1926-2003"; at Texas A&M Interna­ through April 16 "A Sense of Identity: Contempo­ tional University's Center for Fine and Performing Arts' rary Ceramic Art in the Midwest"; at the University of Art Gallery, 5201 University Blvd. Indianapolis, Louis Schwitzer Student Center, 1400 E. Texas, San Antonio April 1-May 15 Bertie Smith, Hanna Ave. "Dolls . . . Teapots . . . Totems"; at Textures Gallery, through April 17 "X in Clay," Christyl Boger, James 4026 McCullough. Brooke, John Goodheart, David Herrold, Eva Kwong, Wyoming, Buffalo May 27-August 21 Porcelain Tim Mather, Robert Pulley, Malcolm Mobutu Smith, by Lynn Smiser Bowers; at Margo's Pottery and Fine Georgia Strange and James Tyler; at Ruschman Art Crafts, I N. Main St. Gallery, 948 N. Alabama St. through May2 "Hoosier Expatriates," works by 15 Group Ceramics Exhibitions prominent clay artists whose roots lie in Indiana. "On the Wall 2004," David East, Holly Hanessian, Rain Arizona, Tempe through June 5 "Humor, Irony Harris, Kevin Hughes, Eva Kwong and Geoffrey Pagen. and Wit: Ceramic Funk from the Sixties and Beyond"; "Indianapolis Art Center Ceramics Faculty: New Work," at the Ceramics Research Center, Arizona State Uni­ Kim Anderson, Peggy Breidenbach, Kyle Crossland, versity Art Museum, Nelson Fine Arts Center, corner of Rodney Donahue, Loan Hill, and Soyong Kang Mill Ave. and 10th St. Partington and Michael Partington. "Spotlight California, Davis April 30-May 27 "Pushing the On . . . ," art center ceramics students. "Figurative Limits"; at Tsao Gallery, Davis Art Center, 1919 F St. Works," Linda LeMar and Sheila Darlene Mitchell; at April30-June 5 "California Clay Competition Exhi­ the Indianapolis Art Center, 820 E. 67th St. bition"; at the Artery, 207 G St. through May 23 "Common Clay: Creating Old and California, Lincoln April 24-May 23 "Feats of Clay New Ceramics: A Juried Exhibition of Buffalo State XVII"; at Gladding, McBean, 601 Seventh St. College Alumni"; at the Indiana Historical Society, 450 California, Los Angeles April 10-May 7 "Hot W. Ohio St. Tea"; at del Mano Gallery, 11981 San Vicente Blvd. Indiana, Richmond through April 6 "Indiana California, Riverside through April 9 "Southern Women in Clay, 2004"; at Leeds Gallery, Earlham California Ceramics Artists and Their Friends"; at Riv­ College, Runyan Center, 801 National Rd., W. erside Community College, 4800 Magnolia Ave. Kansas, Baldwin City through April 23 "Orton California, Sacramento through May 16 "Early Cone Box Show"; at Baker University, 618 Eighth St. Wedgwood Ceramics"; at the Crocker Art Museum, Maryland, Baltimore April 3-May 1 "The Loving 216 0 St. Cup." May 8-June 6 "Lasting Impressions: The Unfor­ California, San Francisco May 5-August 8 "Sub­ gettable in Contemporary Ceramic Sculpture"; at Bal­ traction and Addition: Ceramics Sculpture and Instal­ timore Clayworks, 5707 Smith Ave. lations," works by Bean Finneran, Jane B. Grimm and Massachusetts, Concord April 3-21 "Contem­ Gregory Roberts; at the Museum of Craft & Folk Art, Ft. porary Ceramics," works by Linda Christianson and Mason Center, Bldg. A. Jan McKeachie Johnston; at Lacoste Gallery, 25 California, Santa Barbara through April30 "Cof- Main St. fee-Tea-Aqua Vitae"; atTierra Solida: a clay art gallery, Massachusetts, Lexington May 2-30 "The State 1221 State St., #8. of Clay"; at the Lexington Arts and Crafts Gallery, 130 May 13-June 25 "American Masters of Clay: An Waltham St. Invitational"; at Westmont College Reynolds Gallery, Michigan, Detroit May 21-July 3 "Please Set the 955 La Paz Rd. Table"; at Pewabic Pottery, 10125 E. Jefferson Ave. California, Santa Monica April 3-May 1 Tony Minnesota, Minneapolis through April 11 "Ameri­ Marsh and Keisuke Mizuno; at Frank Lloyd Gallery, can Pottery Festival Preview Show." April 23-May 30 2525 Michigan Ave., B5b. "College Bowl I." "From the Garden," works by Kinji Georgia, Atlanta April 16-May 15 "Teapots-A- Akagawa, Eddie Dominguez, Jan McKeachie Johnston, Go-Go"; at MudFire Pottery Center, 1441 Dresden Dr., Walter Ostrom and Kurt Weiser; at the Northern Clay Ste. 250. Center, 2424 Franklin Ave., E. Hawai'i, Honolulu through April 11 "Fifty Centu­ May 1-July 4 "Imperial Perfection: Chinese Porce­ ries of Japanese Folk Ceramics: Selections from the lain of Three Great Emperors"; at the Minneapolis Montgomery Collection"; at the Honolulu Academy Institute of Arts, 2400 Third Ave., S. of Arts, Graphic Arts Gallery and Gallery 14, 900 Mississippi, Biloxi through May29 "Master Potters Beretania St. from Tokoname," Peter Seabridge and Koujie Sugie; at Illinois, Champaign through April 9 "Elevating the Ohr-O'Keefe Museum of Art, 136 G. E. Ohr St. the Utilitarian: Transforming the Vessel Through Sur­ Missouri, Sedalia through May 2 "Bay Area Ce­ face Decoration," works by Sam Chung, Julia Gallo­ ramics: Second Generation"; at Daum Museum of

Ceramics Monthly April 2004 84 Ceramics Monthly April 2004 85 at the San Angelo Museum of Fine Arts, One Love St. tion," including ceramics by Russell Biles, Lisa Clague, calendar April 16-18 "2004 Kiln God National"; at the Cynthia Consentino, Sara Lisch, Jenny Mendes, Janis Chicken Farm Art Center, 2505 Martin Luther King. Mars Wunderlich and Irina Zaytceva; at the Society of April 16-May 1 Angela Gallia and Linda Gossett; at Arts and Crafts, 175 Newbury St. Contemporary Art, State Fair Community College, the Gecko Gallery, 2503 Mlk Blvd. Massachusetts, Cambridge May 3-June 4 "Na­ 3201 W. 16th St. Virginia, Richmond through April 18 "North tional Prize Show"; at Cambridge Art Association, 25 Montana, Missoula May 7-28 "Third Annual Soda/ American Ceramic Sculpture Now"; at the Hand Lowell St. Salt National"; at the Clay Studio of Missoula, 910 Workshop Art Center, 1812 W. Main St. Massachusetts, Worcester through April 24 Dickens St. Virginia, Vienna April 30-May 22 "Blooms in Your "SPC Today and Tomorrow," including ceramics by New Jersey, Mount Holly April 24-May 8 Backyard," vases from potters in the Washington, D.C., Tom O'Malley; at the Worcester Center for Crafts, "Mugalomania"; at Heart in Hand Pottery, Mill Race region; at Earth and Fire, 144 Church St., NW. 25 Sagamore Rd. Village, 37 White St. Michigan, Ferndale through April 17 "Head New Jersey, Surf City May 8-June 2 "Jersey Ceramics in Multimedia Games," including ceramics by Howard Kottler; at Shore National"; at m. t. burton gallery, 1819 Long Exhibitions Revolution, 23257 Woodward Ave. Beach Blvd. Minnesota, Minneapolis through April 11 "The New Mexico, Las Cruces May 1-30 "From the Arizona, Phoenix April 17-18 "Artrain USA, Na­ Twin Cities Collects: The Ceramics of Edwin and Mary Ground Up XXII"; at Las Cruces Museum of Fine Art, tive Views: Influences of Modern Culture"; at the Scheier"; at the Minneapolis Institute of Arts, 2400 490 N. Water. Heard Museum, 2301 N. Central Ave. Third Ave., S. New Mexico, Santa Fe through April24 "Natu­ California, Danville May 1-June 4 "East Meets Missouri, Kansas City through May 1 "Hothouse ral Selection." April 30-May 29 "The Drawn Sur­ West," members of the Association of Clay and Glass Erotica," including ceramics by Kim Dickey, Amanda face," works by Jenny Mendes, Ron Meyers, Kevin Artists of California; at Danville Fine Arts Center, 233 Jaffe and Linda Lighton; at Sherry Leedy Contemporary Snipes and Jason Walker; at Santa Fe Clay, 1615 Front St. Art, 2004 Baltimore Ave. Paseo de Peralta. California, Long Beach April 18-May 18 "Artful Missouri, St. Charles May 9-June 20 "The Adven­ New Mexico, Silver City May 28-August 9 "NaCI"; Giving: Collectors Circle Acquisitions, 1994-2004," ture Begins"; at Foundry Art Centre, 230 South. at the Blue Dome Gallery, 307 N. Texas St. includes ceramics by Wouter Dam, Keisuke Mizuno Missouri, St. Louis May 28-July 18 "Teapots: Ob­ New York, Port Chester May 1-15 "Student and Maguerite Wildenhain; at the Long Beach Mu­ ject to Subject"; at Craft Alliance, 6640 Delmar Blvd. Show"; at the Clay Art Center, 40 Beech St. seum of Art, 2300 E. Ocean Blvd. New Hampshire, Concord April 2-June 4 "The New York, Poughkeepsie April 9-June 13 "Mar­ California, Ross May 2-26 "National Show"; at Creative Hand"; at Gallery 205, 205 N. Main St. vels of Maiolica: Italian Renaissance Ceramics from the Ross Art and Garden Center, 30 Sir Frances Drake Blvd. New Hampshire, Manchester April 23-May 16 Corcoran Gallery of Art Collection"; at Frances Lehman California, San Francisco through July 4 "Art "High Tech—Hand Made"; at the New Hampshire Loeb Art Center, Vassar College, 124 Raymond Ave. Deco 1910-1939"; at Legion of Honor, Lincoln Park, Institute of Art, 148 Concord St. New York, Syracuse April 9-May 16 "Shaped 100 34th Ave. New Jersey, Demarest through April 8 "15th Clay 2004 National High School Ceramics Exhibition"; Colorado, Denver through May 7 "Faculty Trien­ Annual New Jersey Small Works Show," including at the Everson Museum of Art, 401 Harrison St. nial"; at University of Denver, Victoria Myhren Gallery. ceramics by Gloria Singer; at Old Church Cultural North Carolina, Charlotte through April 24 through December 19 "Heaven and Home: Chinese Center, 561 Piermont Rd. "Minimalism in Ceramics ... In Cooperation with Art of the Han Dynasty from the Sze Hong Collection"; New York, New York through June 4 "Corporal Garth Clark Gallery," works by Michael Cleff, Wouter at the Denver Art Museum, 100 W. 14 Ave. Pkwy. Identity—Body Language: Craft, Art and Design on the Dam, Chun Liao, Bodil Manz, Alex Siesbye and Piet Colorado, Breckenridge through April 24 "Equinox Cutting Edge"; at the Museum of Arts and Design, 40 Stockmans; at W.D.O, a contemporary craft gallery, Celebration," including ceramics by Sumi von Dassow; at W. 53rd St. 214 N. Tryon St., Hearst Plaza, Ste. No. 1. the Breckenridge Theater Gallery, 121 S. Ridge St. through July 6 "Petra: Lost City of Stone"; at the through May 30 "The Artful Teapot: Expressions Colorado, Ft. Collins April 13-June 11 "Rocky American Museum of Natural History, Central Park, W, from the Kamm Collection"; at the Mint Museum of Mountain Biennial 2004"; at the Museum of Contem­ at 79th St. Craft + Design, 220 N. Tryon St. porary Art, Old Post Office Bldg., 201 S. College Ave. New York, Nyack April 17-May 1 "Spring into Ohio, Kent May 11-June 19 "Fourth Annual Na­ Colorado, Golden April 2-June 6 "North Ameri­ Klay," including ceramics by Natalie Kase, George tional Juried Cup Show"; at Gallery 138, 138E. Main St. can Sculpture Exhibition 2004"; at the Foothills Art McEvoy, Judith Weber and Sheryl Zacharia; at the Klay Ohio, Wooster through April 16 "32nd Annual Center, 809 15th St. Gallery, 65 S. Broadway. Functional Ceramics"; at the Wayne Center for the Colorado, Gunnison May 10-31 "First Annual New York, Purchase April 5-May 75Two-person Arts, 237 S. Walnut St. Time for Tea Show, The Mad Hatter's Tea Party"; at exhibition including ceramics by Gail Goldsmith; at Oregon, Portland through May 22 "Oregon Pot­ Gunnison Arts Center, 102 S. Main St. Manhattanville College, 2900 Purchase St. ters Association Show"; at Contemporary Crafts Mu­ D.C., Washington through July 18 "The Tea Cer­ North Carolina, Wilmington through May 2 seum & Gallery, 3934 S.W. Corbett Ave. emony as Melting Pot." May 15, 2004-April 10, 2005 "Artists of Southeastern North Carolina: A Juried Pennsylvania, Lancaster April 24-May 31 "The "Luxury and Luminosity: Visual Culture and the Ming Exhibition"; at Louise Wells Cameron Museum, 3201 12th Annual Strictly Functional Pottery National"; in Court"; at the Freer Gallery of Art, Smithsonian Insti­ S. 17th St. the Atrium of the Southern Market Center. tution, 12th St. and Independence Ave., SW. Ohio, Athens through April 25 "OH+5"; at the Pennsylvania, Philadelphia April 2-18 "Annual April4-July 25 "Courtly Art of the Ancient Maya"; Dairy Barn Arts Center, 8000 Dairy Ln. Student Exhibition." May 7-16 "Clay in Mind," South at the National Gallery of Art, Sixth St. and Constitu­ Ohio, Cincinnati through April 25 "Becoming a Jersey High-School students. May 7-June 13 "Spring: tion Ave., NW. Nation: Americana From the Diplomatic Reception A Group Exhibition." May 21-June 27 "The Marge Florida, Niceville May 16-June 17 "12th South­ Rooms, U.S. Department of State." May 1-August 1 Brown Kalodner Graduate Student Exhibition"; at the east Regional Juried Fine Arts Exhibition"; at the Arts "Coming of Age in Ancient Greece: Images of Child­ Clay Studio, 139 N. Second St. and Design Society, 17 First St., SE. hood from the Classical Past"; at the Cincinnati Art Pennsylvania, Pittsburgh May21-July 14 "Women Hawai'i, Honolulu through April 8 "Faculty Exhi­ Museum, 953 Eden Park Dr. of Visions"; at the Clay Place, 5416 Walnut St. bition"; at the University of Hawai'i Art Gallery, 2600 Ohio, Columbus May 2-June 20 "Best of 2004"; Pennsylvania, Wallingford May 9-June 11 "Out Campus Rd. at the Ohio Craft Museum, 1665 W. Fifth Ave. of the Fire"; at the Community Arts Center, 414 Plush through April 13 "Matter and Material: A Group Ohio, Piqua May 14-23 "12th Annual Fifth Third Mill Rd. Sculpture Exhibition of Hawai'i Artists"; at the Con­ Bank Fine Art Exhibition and Sale"; at Piqua Historical Rhode Island, Kingston April 8-May 1 temporary Museum at First Hawaiian Center, 999 Museum, 509 S. Main St. "Earthworks: Open Juried Clay Annual"; at South Bishop St. Oregon, Portland April 1-25 "Annual Juried County Art Association, 2587 Kingstown Rd. through April 18 "Alsdorf Collection of Japanese Show"; at the Oregon College of Art8< Craft, Hoffman South Carolina, Columbia through April 8 "South­ Paintings and Ceramics"; at the Honolulu Academy of Gallery, 8245 S.W. Barnes Rd. ern Face Jugs: Past and Present"; at Southern Pottery Arts, Japan Gallery, 900 S. Beretania St. Texas, Beaumont April 3-23 "The Art Studio Inc. Workcenter and Gallery, 2771 Rosewood Dr. through May 2 "Recent Acquisitions of Works by Member Jurored Art Exhibition"; atthe Art Studio Inc., Texas, Dallas through April 10 "White Bread," Hawai'i Artists"; at the Contemporary Museum, 2411 720 Franklin St. works by Angela Gallia and Linda Gossett; at Gallery Makiki Heights Dr. Texas, Houston through April 18 "The Passionate 2520, 2520 Fairmont. Illinois, Chicago April 4-May 16 "15th Annual Adventure of the Real: Collage, Assemblage and the Texas, Houston April 10-May 1 "Much Ado About Teapot Show, On The Road Again"; at Chiaroscuro Object in 20th-Century Art." through May 16 "The Mud"; at Foelber Gallery, 706 Richmond Ave. Galleries, 700 N. Michigan Ave. Centaur's Smile: The Human Animal in Early Greek Texas, San Angelo April 15-June 20 "The Fif­ Massachusetts, Boston through April 25 "Por­ Art"; at the Museum of Fine Arts, Houston, Caroline teenth San Angelo National Ceramics Competition"; traits." May 1-July 25 "Grimm's Fairy Tales Exhibi­ Wiess Law Bldg., 1001 Bissonnet St. Continued

Ceramics Monthly April 2004 86 Ceramics Monthly April 2004 87 case 2004"; at the Oregon Convention Center, 111 calendar N.E. Martin Luther King Blvd. Pennsylvania, Philadelphia April 16-18 "The Philadelphia Furniture and Furnishings Show"; at the Texas, Lubbock through July 25 "Designing Craft Pennsylvania Convention Center, 12th and Arch sts. I: Collecting for the New Millenium," Museum of Arts Texas, San AntonioApr/7 17-18 "Fiesta Arts Fair"; and Design traveling exhibition; at the Museum at at the Southwest School of Art & Craft, 300 Augusta. Texas Tech University, 2500 Broadway. Virginia, Chantilly April 30-May 2 "Sugarloaf Virginia, Waynesboro May 20-July 7 "Primary Crafts Festival"; at Dulles Expo Center, 4370 Chantilly Colors: A Survey of Contemporary Craft in Red, Yellow Place Center. and Blue"; at Artisans Center of Virginia, 601 Shenandoah Village Dr. Workshops Fairs, Festivals and Sales Alabama, Fairhope April 12-16 "Ancient Clay" with Vince Pitelka. Fee: $200. Limit of 15 participants. Alabama, Montgomery May 28-30 "Jubilee City Contact Eastern Shore Art Center, 401 Oak St., Fairhope Fest"; in downtown Montgomery. 36532; or telephone (251) 928-2228. Colorado, Longmont May 6-9 "Boulder Potters' Arizona, Flagstaff May 10-23 "Wood-Fire Work­ Guild Spring Show and Sale"; at Boulder County shop" with Don Bendel. Fee: $650, includes materials Fairgrounds, Hover and Nelson rds. and firing; participants should bring bisqueware. All D.C., Washington April 22-25 "22nd Annual skill levels. Contact Jason Hess, Northern Arizona Uni­ Smithsonian Craft Show"; at the National Building versity, PO Box 6020, Flagstaff 86011-6020; e-mail Museum, 401 F St., NW. [email protected] ; telephone (928) 523-2398; or Florida, West Palm Beach April 30-May 2 "22nd fax (928) 523-3333. Annual Fidelity Federal Juried Art Show" at SunFest. California, Napa Valley October 4-10 "Wood- "Badcock Home Furniture Fine Craft Marketplace" at Fired Noborigama, SaltlSoda Glazing." Contact Rich­ SunFest; downtown, along the Intracoastal Waterway. ard Carter, Pope Valley Pottery, 1570 Ink Grade, Pope Georgia, Rabun Gap May 24-31 "The Annual Valley, CA 94567; e-mail [email protected] ; Jugtown Pottery Festival"; at the Hambidge Center, see www.popevalleypottery.org ; or telephone (707) Betty's Creek Rd. 965-2383. Georgia, Roswell April 30-May 4 "Works in Clay California, Ojai May 1-2 "Decorating Workshop" Show and Sale"; at Roswell Visual Arts Center, 10495 with Tom and Elaine Coleman. Fee: $250, includes Woodstock Rd. breakfast and lunch. Contact Massarella's Firehouse Louisiana, New Orleans May 16 "Seventh Annual Pottery, 109 S. Montgomery St., Ojai 93023; e-mail Japan Festival"; at the New Orleans Museum of Art, 1 [email protected] ; or telephone (805) Collins Diboll Cir. 646-9453. Maryland, Timonium April 16-18 "Sugarloaf California, San Diego October23 Workshop with Crafts Festival"; at Maryland State Fairgrounds, 2200 Lana Wilson at San Diego Mesa College. Fee: $45; York Rd. CASD members, $35. For further information, e-mail Michigan, Detroit April 23-25 "Overrun Sale"; at Jackson Gray: [email protected] ; or see Pewabic Pottery, 10125 E. Jefferson Ave. www.ceramicartistsofsandiego.org. Massachusetts, Boston May 21-23 Colorado, Solana Beach May 1-2 "Magical Ma­ "CraftBoston"; at Seaport World Trade Center, 200 jolica at the Beach" with Irene de Watteville. Contact Seaport Blvd. theTile Heritage Foundation; PO Box 1850, Healdsburg, Massachusetts, Northampton May29-31 "Para­ CA 95448; e-mail [email protected] ; tele­ dise City Arts Festival"; at the Three County Fair­ phone (707) 431-8453; or fax (707) 431-8455. grounds, Rte. 9. California, Torrance May 1 Workshop with Patrick Massachusetts, Worcester April 30-May 2 "Sec­ Crabb at the Torrance Cultural Arts Center. For further ond Annual Pottery Invitational Show and Sale"; at information, telephone: (310) 618-2720. Worcester Center for Crafts, 25 Sagamore Rd. Colorado, Snowmass Village September 13-Oc- Michigan, Novi April 23-25 "Sugarloaf Crafts tober 1 "Focusing on the Work" with Chris Gustin, Jill Festival"; at Novi Expo Center, 43700 Expo Center Dr. Oberman and Bradley Walters. Fee: $1295, includes Missouri, Hannibal May 29-30 "River Arts Festi­ materials and firing. Intermediateladvanced. For fur­ val"; on N. Main St., downtown. ther information, contact Doug Casebeer, Anderson Missouri, St. Louis May 7-9 "Art Fair at Laumeier, Ranch Arts Center, PO Box 5598, Snowmass Village No. 17"; at Laumeier Sculpture Park, 12580 Rott Rd. 81615; e-mail [email protected] ; see New Jersey, New Brunswick April 24 "30th An­ www.andersonranch.org ; telephone (970) 923-3181; nual New Jersey Folk Festival Juried Craft Market"; on or fax (970) 923-3871. the Douglass Campus of Rutgers, the State University. Colorado, Steamboat Springs November 13-14 New Jersey, Verona May 15-16 "Fine Art and "Ceramic Sculpture: Concept and Technique" with Crafts at Verona Park"; at Pleasant Valley Way and Richard Notkin. Fee: $250. Scholarships available. Bloomfield Ave. Contact Beth Banning, Steamboat Springs Arts Coun­ New York, New York May 29-31 and June 5-6 cil, PO Box 774284, 1001 13th St., Steamboat Springs "Washington Square Outdoor Art Exhibition"; on 20 80477; e-mail [email protected] ; see blocks in Greenwich Village. For a map, telephone www.steamboatspringsarts.com ; telephone (970) 879- (212) 982-6255. 9008; or fax (970) 879-4434. New York, Tarrytown May 14-16 "Spring Crafts Connecticut, Brookfield April 7-8 "Smoke-Fired at Lyndhurst"; on Western Ave. Pottery" with Jane Perryman. April 17-18 "Precious North Carolina, Seagrove April24 "Going, Going, Metal Clay" with Linda Kaye-Moss. April24-25 "Intro­ Gone to Pots...," fifth annual fundraising auction. For duction to Wheel Throwing" with Chris Alexiades. further information, contact the North Carolina Pottery May 1-2 "Production Pottery" with John Jessiman. Center, PO Box 51, Seagrove 27341; see May 13-16 "Cone 6 Clay and Glazes" with Jeff Zamek. www.ncpotterycenter.com ; ortelephone (336) 873-8430. Contact Brookfield Craft Center, 286 Whisconier Rd., Oregon, Beaverton April 17 "Ninth Annual Art on PO Box 122, Brookfield 06804-0122; see the Vine" benefit auction for Oregon College of Art & www.brookfieldcraftcenter.org ; telephone (203) 775- Craft at the Tiger Woods Center, Nike World Campus. 4526, ext. 102; or fax (203) 740-7815. To register, telephone (503) 297-5544, ext. 146. Connecticut, Canton April23-25, unload 26 "Glaz­ Oregon, Portland April 23-25 "Ceramic Show­ ing for Wood and Salt Firing in a Noborigama" with

Ceramics Monthly April 2004 88 ceramics Monthly April 2004 89 calendar

Shawn Ireland. May 1-2, unload3; or October 23-24, unload 25 "Fire and Smoke," raku, saggar, pit, saw­ dust and fuming with Tim Scull. Fee: $275. May 16 "Decorating with Colored Slips" with Jamie Guggina. Fee: $110. May 28-30, unload 31 "Wood and Salt Firing in a Noborigama" with John Bradford. Septem­ ber 3-4, unload 6 "Glazing and Decorating for the Firing of a Noborigama" with Susan Beecher. Septem­ ber 18-19 "Handbuilt Vessels" with John Rolfing. Fee: $220, plus clay. October 8-10, unload 11 "Glazing and Decorating for the Firing of a Wood and Salt Kiln" with Linda Christianson. October 31 and November 14 "Crystalline Glazes" with Tim Scull. Fee: $200, plus clay. Fee: (unless noted above): $385. Contact Canton Clay Works lie, 150 Cherry Brook Rd., Canton 00019; see www.cantonclayworks.com ; or telephone (860) 693-1000. Connecticut, Stamford October 29-31 "Func­ tional Stoneware/Single Firing" with Steven Hill. Fee: $285. Limit of 15 participants. Contact Morty Bachar, Lakeside Pottery, 543 Newfield Ave., Stamford 06905; e-mail [email protected] ; see www.lakesidepottery.com ; or telephone (203) 323-2222. Florida, Melbourne April26-30 "Hands-on Tech­ niques Workshop" with Jinsong Kim. Fee: $375; members, $325. Must register by April 19. Forfurther information, contact the Museum School, Museum of Art and Science, 1463 Highland Ave., Melbourne 32935; e-mail [email protected] ; see www.artandscience.org ; or telephone (321) 254-7782. Georgia, Athens May 8-9 "Constructing Pots with Paper Patterns, Wood Forms and Textures," dem­ onstration with Randy Johnston and Jan McKeachie Johnston. Fee: $125. Forfurther information, contact Good Dirt, 51 OB N. Thomas St., Athens 30601; e-mail [email protected] ; see www.gooddirt.net ; or telephone (706) 355-3161. Georgia, Rabun Gap May 10-14 "The Art of Raku—Fire, Smoke and Kilnbuilding" with Steven Forbes deSoule. Contact the Hambidge Center, Box 339, Rabun Gap 30568; see www.hambidge.org ; or telephone (706) 746-5718. Illinois, Antioch April 30 "Thrown and Altered" with Tony Winchester. Fee: $30; bring sack lunch. Contact Antioch Pottery Works, 25942 Heart-O-Lakes Blvd., Antioch 60002; e-mail [email protected] ; or telephone (847) 838-9949. Illinois, Lake Forest April 4 and 11 "Ceramic Decoration," hands-on tile workshop with Lisa Harris. Fee: $95; resident, $85. April 10 Slide lecture with Prinda Setabundhu. Fee: $6; resident, $5. April 24 "Silk-Screen and Decal Making for the Ceramics Art­ ist" with Andrew Winship. Fee: $87; resident, $75. For further information, contact Chris Plummer, Stirling Hall Arts & Activities Center, 60 E. Old Mill Rd., Lake Forest 60045; e-mail [email protected] ; or tele­ phone (847) 615-7480. Illinois, Oak Park May 22-23 Workshop with Ellen Shankin. Fee: $125. Contact Terra Incognito Studios and Gallery, 246 Chicago Ave., Oak Park 60302; see www.terraincognitostudios.com ; or telephone (708) 383-6228. Indiana, Indianapolis April 18 Workshop with Bill Hunt. Fee: $75. See www.ceramics.org; or telephone the American Ceramic Society: (614) 794-5890. Kansas, Hays April 16-18 "Raku Rodeo—A Raku Glazing and Firing Workshop" with Paul Soldner. Fee: $50; $100 to participate. Participants must bring up to 10 pieces of bisqueware under 15 inches. Contact Linda Ganstrom, Fort Hays State University, 600 Park St., Hays 67601; e-mail [email protected] ; or tele­ phone (785) 628-4273. Continued

Ceramics Monthly April 2004 90 Ceramics Monthly April 2004 91 with Kinji Akagawa, Jan McKeachie Johnston, Walter calendar Ostrom and Rob Silberman, at the University of Minnesota-Minneapolis, Regis Center for Art. April 25 "Arts and Crafts in the Garden" with Kevin Kentucky, Harrodsburg May 14-16 "Raku Caufield and Carter Clapsadle. Fee: $105; NCC mem­ Kilnbuilding Workshop" with Marshall Thompson. Fee: bers and seniors, $96; includes lab fees. April 27 $150, includes materials, firing, lodging and meals; "Basket Making," demonstration by Jan McKeachie participants should bring bisqueware. Beginning/In­ Johnston. Fee: $8; NCC members and University of termediate. October 22-24 "Potters' Retreat." Fee: Minnesota students, $5. April 29 "Clay in the Gar­ $180, includes materials, firing, lodging and meals; den," lecture by Sarah Nelton. Fee: $8; NCC mem­ participants should bring bisqueware. Intermediate/ bers and University of Minnesota students, $5. May advanced. For further information, contact Don 13 "Container Gardening," demonstration by Matt Boklage, Open Ground, 981 Rye Ln., Harrodsburg Phillips. Fee: $8; NCC members and University of 40330; e-mail [email protected]; see Minnesota students, $5. May 21-24 Wood firing www.openround.info ; or telephone (859) 375-2411. with Linda Christianson. Contact the Northern Kentucky, Lexington May29 "Raku Kilnbuilding" Clay Center, 2424 Franklin Ave., E, Minneapolis with Wyman Rice. Fee: $75, includes materials, firing 55406; e-mail [email protected] ; see and meals. All skill levels. Contact Link Henderson, www.northernclaycenter.org ; telephone (612) Kentucky Mudworks, LLC, 238 Jefferson St. Lexing­ 339-8007. ton 40508; e-mail [email protected]; see Mississippi, Biloxi May 10-14 "Ninth Annual Horn www.kentuckymudworks.com ; or telephone/fax (859) Island Experience Workshop" with Dale Simmons. Fee: 389-9681. $500. To register, contact Shirley Herring, Ohr-O'Keefe Maryland, Baltimore May 8-9 "Telling Stories— Museum of Art, 136 G. E. Ohr St., Biloxi 39530; see Fact or Fiction" with Wesley Anderegg. Fee: $180; www.georgeohr.com ; or telephone (228) 374-5547, members, $160. Forfurther information, contact Bal­ ext. 24.. timore Clayworks, 5707 Smith Ave., Baltimore 21209; Missouri, Kansas City April 16-18 "Working with see www.baltimoreclayworks.org ; or telephone (410) the Figure: Archetypal Images and the Golden Mean," 578-1919. hands-on workshop with Mark Chatterley. Fee: $160. Maryland, Frederick April 16-18 "Partners in For further information, contact Allison Zimmer, Red Clay," lecture and workshop with Daphne Roehr Star Studios: e-mail [email protected] ; see Hatcher and Gary Hatcher. Fee: $185; lecture only, www.redstarstudios.org ; ortelephone(816)474-7316. $5. May 1-2 "Glaze Application" with Joyce Michaud. Montana, Helena September 13-17 Using Indig­ Fee: $150. May 15-16 "Plates and Platters" with enous Matrials" with Morgan Ringer. Contact the Joyce Michaud. Fee: $150. For further information, Archie Bray Foundation for the Ceramic Arts, 2915 contact Joyce Michaud, Hood College Art Dept., Country Club Ave., Helena 59602; see 401 Rosemont Ave., Frederick 21701; e-mail www.archiebray.org ; or telephone (406) 443-3502. [email protected] ; see www.hood.edu ; or tele­ Nebraska, Lincoln April 16 "Robert Arneson: phone (301) 696-3456. A Personal Chat," lecture by Gail Kendall; at Univer­ Massachusetts, Stockbridge May 22-23 "Mak­ sity of Nebraska-Lincoln, Department of Art and ing Tiles: Flat Tiles, Relief Tiles and Simple Molds" with Art History. Laura Shprentz. Contact IS 183, Art School of the New Hampshire, Nashua April 17 "Throwing Berkshires, PO Box 1400, Stockbridge 01262; e-mail Large and Slip Decoration" with Bob Bonnet and Donn [email protected] ; see www.IS183.org ; telephone (413) Hedmann. Fee: $75; students and members, $65. 298-5252, ext. 100; or fax (413) 298-5257. Contact Warm Stone Studio, 99 Factory St., Ext., Massachusetts, Truro September 13-17 "Alter­ Nashua 03060; e-mail [email protected]; native Firing Techniques: Raku, Saggar, Pit" with Tim see www.warmstonestudio.com ; telephone (603) Scull. Fee: $450. Intermediate through professional. 595-9500. Contact Cherie Mittenthal, Castle Hill, 10 Meeting­ New Jersey, Lodi April 3 "Tile Mural Making house Rd., PO Box 756, Truro 02666; e-mail Techniques" with David Hughes. April 17 "Dishes, An [email protected] ; see www.castlehill.com ; tele­ Idealistic Approach" with Jane Herold. April 24 "Dragon phone (508) 349-7513; or fax (508) 349-751 1. Horns" with Bill Tersteeg. May 1 "Production Pottery Massachusetts, WellfleetApril24-26 "The Color Techniques" with Greg La Placa. May 8 "Porcelain of Fire," saggar, pit and smoke firing with Judy Jewelry Making" with Pauline Lurie. May 15 "Taming Motzkin. Fee: $350, includes lodging; bring Cone 08 the Electric Kiln" with Richard Zakin. May 22 "Raku bisqueware. Limit of 10 participants. Contact Judy Firing" with David Hughes. Fee: $120. Fee (unless Motzkin, 7 Tufts St., Cambridge 02139; e-mail noted above): $90. Contact David Hughes, Clay Edu­ [email protected] ; see www.motzkin.com ; or cation Center, 7 Rte. 46 W, Lodi 07644; or telephone telephone (617) 547-5513. (800) 723-7264. Massachusetts, Williamsburg April 16-18 New Mexico, Las Cruces May 7-8 Lecture "Throwing Large Ceramic Forms" with Bob Green. and workshop with Karen Terpstra. Fee: $20; mem­ Fee: $305, includes lab fee. April 25-May 1 "The bers (any guild), $10. Lecture is free. Contact Las Multi-Faceted World of Clay" with Bob Green. May 2- Cruces Potters' Guild, PO Box 2352, Mesilla Park, 8 "Ceramic Tile Making: From Trivets to Floors" with NM 88047. Amy Schusser. May 8-9 "Sculptural Clay" with Amy New Mexico, Ramah September 10-26 "Wood/ Schusser. Fee: $190, includes lab fee. May 16-22 Salt Kilnbuilding." Fee: $300, includes firing and meals; "Clay for the Garden" with Sharon Pollock. May 23- participants must bring bisqueware. Lodging: $20/ 29 "Life Modeling: Ceramic Sculpture of the Human day. E-mail Maqui: [email protected] . Form" with Harriet Diamond. May 29-31 "Animal New Mexico, Santa Fe April 17 "Handmade Sculpture in Clay" with Harriet Diamond. Fee: $305, Brushes," hands-on workshop with Dave Eichelberger. includes lab fee. Fee (unless noted above): $450. For Fee: $50, includes lab fee. May 1-2 "Postfiring Tech­ further information, contact Snow Farm, 5 Clary Rd., niques" with Gretchen Ewert. Fee: $160, includes lab Williamsburg 01096; e-mail [email protected] ; fee. Contact Santa Fe Clay, 1615 Paseo de Peralta, see www.snowfarm.org ; telephone (413) 268-3101; Santa Fe 87501; e-mail [email protected] ; see or fax (413) 268-3163. www.santafeclay.com; telephone (505) 984-1122; or Minnesota, Minneapolis April 22 "The Virtue fax (505) 984-1706. of Necessity," lecture with Walter Ostrom, at the New York, Brooklyn April 16 and May 14-16 University of Minnesota-Minneapolis, Regis Center "Cone 9 Reduction" with Adrienne Yurick. Fee: $300; for Art .April 24 "From the Garden," panel discussion members, $285; includes firing. Intermediate/ad-

Ceramics Monthly April 2004 92 Ceramics Monthly April 2004 93 calendar

vanced. Contact Ellen E. Day, Craft Students League, YWCA-NYC, 610 Lexington Ave., New York, NY 10022; e-mail [email protected] ; seewww.ywcanyc.org ; tele­ phone (212) 735-9804; or fax (212) 223-6438. New York, New York April 16-18 "PMC Connec­ tion Artisan Certification." Fee: $450, includes mate­ rials, tools, firing and a PMC Guild membership. April 17-18 "Techniques in Precious Metal Clay." Fee: $250, includes materials, tools and firing. Contact Vera Lightstone, 347 W. 39th St., New York 10018; e-mail [email protected] ; see www.silverclay.com; or tele­ phone (212) 947-6879. April 24, May 1 and May 15 "Hands On," hand­ building with Kathleen Maroney. Fee: $115; members, $100; includes materials and firing. Beginning. Con­ tact Ellen E. Day, Craft Students League, YWCA-NYC, 610 Lexington Ave., New York 10022; e-mail [email protected] ; seewww.ywcanyc.org ; telephone (212) 735-9804. New York, Port Chester May 22-23 "Handbuilt Pouring Pots: Investigating Form and Function" with Sam Chung. Fee: $150. Contact the Clay Art Center, 40 Beech St., Port Chester 10573; or telephone (914) 937-2047. New York, Rochester May 15-16 "Noborigama Wood Firing" with Michael Carroll. Fee: $95. Contact Margie Slinker, Genesee Pottery, Genesee Center for the Arts & Education, 713 Monroe Ave., Rochester 14607; e-mail [email protected] ; see www.geneseearts,org; or telephone (585) 271-5183. New York, White Plains April 7-9 "Handbuilding and Wheel Throwing" with Aysha Peltz. Contact the Westchester Art Workshop, Westchester County Cen­ ter, 196 Central Ave., White Plains 10604; or tele­ phone (914)364-0094. New York, Woodstock October 16-17, unload 23 Loading and firing an anagama with Jolyon Hofsted. Fee: $200, includes glaze, firing and lunch; partici­ pants must bring Cone 10 stoneware bisque. All skill levels. Contact Janet Hofsted, Maverick Art Center, 163 Maverick Rd., Woodstock 12498; e-mail [email protected];ortelephone (845) 679-9601. North Carolina, Asheville May 1-2 Don Reitz demonstration workshop. May27-29 Hands-on work­ shop with Bernadette Curran. Fee: $225, includes registration fee. Contact Cynthia Lee, Odyssey Center for the Ceramic Arts, 236 Clingman Ave, Asheville 28801; e-mail [email protected] ; see www.highwaterclays.com ; or telephone (828) 285- 0210; or fax (828) 253-3853. North Carolina, Bakersville May 22-27 and May 29-June3 "Pine Root Pottery Wood Firing" with Mark Peters. Fee: $500, includes materials and firing. All skill levels. For further information, contact Mark Pe­ ters, Pine Root Pottery, 1108 Pine Root Branch Rd., Bakersville 28705; e-mail [email protected] ; see www.pinerootpottery.com ; or telephone (828) 688-1332. North Carolina, Brasstown April4-10 "Nature as Art" with Kaaren Stoner, April 18-24 "Handbuilt Stoneware Birdhouses" with Mark Wingertsahn. April 25-May2 "Pitchers and Tumblers" with Mark Peters. Fee: $528. May 2-8 "Clay Basics—Useful Pots" with Lucy Hamilton. May 16-22 "The Art of Raku" with Lynn Jenkins. May 23-29 "Earth, Wheel and Fire— Wheel Basics" with Jan Morris. Fee (unless noted above): $358. Contact John C. Campbell Folk School, One Folk School Rd., Brasstown 28902; e-mail [email protected] ; seewww.folkschool.org ; or telephone (800) 365-5724. Ohio, Wooster April 14-17 "Functional Ceramics Workshop" with Cathra-Anne Barker, Phil Rogers and Brad Schwieger. Fee: $175; full-time students, $95. Telephone (330) 345-7576. Continued

Ceramics Monthly April 2004 94 Ceramics Monthly April 2004 95 Wisconsin, Fish Creek April 12-15 "Beauty from calendar Fire—Japanese Raku Pottery" with Brian Fitzgerald. Fee: $160, plus materials. May 3-6 "Figure Modeling in Clay" with Kirsten Christianson. Fee: $150, plus Pennsylvania, Philadelphia April 23-25 "Low- materials. May 17-20 "Ceramicsfor Sushi" with David Tech Dish Sets from Bisque Molds" with Lisa Orr. Fee: Caradori. Fee: $160, plus materials. Contact Peninsula $195; members, $180. May 1 "Your Visual Image: Art School, PO Box 304, 3900 County Hwy. F, Fish Working with a Designer" with Joyce Richman. Fee: Creek 54212; e-mail [email protected] ; $ 10. For further informationm contact the Clay Studio, see www.peninsulaartschool.com ; telephone (920) 139 N. Second St., Philadelphia 19106; ortelephone 868-3455; or fax (920) 868-9965. (215) 925-3453. Wisconsin, Kewaunee September 20-24 and Pennsylvania, Richboro May 1 "Cone 6 Electric September27-October 1 "Mata Ortiz: Southwestern Glazes" with John Hesselberth. Fee: $60. May 15-16 Ceramics" with Juan Quezada and Michael Wisner. "Raku Firing" with Rodney Meyer. Fee: $100. May29- Fee: $775, includes materials and firing. Contact Dick 30 "A Workshop for Potters" with Jack Troy. Fee: Bell, Barnsite Art Studio and Gallery, 109 Duvall St., $275. Contact the Pennsylvania Guild of Craftsmen, Kewaunee 54216; e-mail [email protected] ; or 10 Stable Mill Trail, Richboro 18954-1702; e-mail telephone (920) 388-4391. [email protected] ; seewww.pacrafts.com ; telephone (215) 579-5997; or fax (215) 579-0650. International Events Texas, Austin May 1-2 "Mosaic Melange for the Outdoors" with Christie Rodgers. Contact the Tile Belgium, Braaschaat May23 "Third International Heritage Foundation; PO Box 1850, Healdsburg, CA Ceramics Biennale"; in the Park of Brasschaat. 95448; e-mail [email protected] ; see Belize, Rio Bravo April4-14 "Maya Pottery Work­ www.tileheritage.org ; telephone (707) 431-8453; or shop" with Clint Swink. Fee: $1150, includes room fax (707) 431-8455. and board. E-mail Clint Swink: [email protected]; or Texas, Dallas April 17-18 "The Ceramic Surface: telephone (970) 563-4624. Method, Materials and Meaning," hands-on work­ Canada, Alberta, Calgary April 15-May 15 Ken shop with George Bowes. Fee: $200; members, $ 150. Wilkinson. Willie Campbell; at the Croft, 2105 Fourth October 2 and/or October 3-5 "The Language of St., SW. Functional Pottery" demonstration and/or hands-on Canada, British Columbia, Vancouver April workshop with Sam Clarkson and Alleghany Mead­ 1-May 3 Keith Lehman, "Fantastic Service." April ows. Fee: $350; members, $250; one-day demonstra­ 30-May 2 "Made of Clay 2004." May 6-31 "Asian tion, $100; members, $50; three-day hands-on Heritage Month Group Show," ceramics by Priscilla workshop, $275; members, $225. Contact the Chan, Mas Funo, Sam Kwan and Sandra Ramos; at the Craft Guild of Dallas, 14325 Proton Rd., Dallas Potters Guild of British Columbia, 1359 Cartwright St., 75244; e-mail [email protected] ; see Granville Island. www.craftguildofdallas.com ; or telephone (972) Canada, Ontario, Burlington through June 6 490-0303. "Hamilton Potters Guild: Retrospective." through De­ Texas, San Angelo April 17 Workshop with Marilyn cember 19 "Recent Acquisitions 2003." May 8-June Levine, followed by a raku workshop with Randy 13 "Clay Landscapes"; at the Burlington Art Centre, Brodnax at the Old Chicken Farm Art Center. Fee: $40; 1333 Lakeshore Rd. full-time students, $20. Contact Karen Zimmerly, San Canada, Ontario, Haliburton May 3-7 Angelo Museum of Fine Arts, One Love St., San Angelo "Handbuilding Garden Pottery" with Thom Lambert. 76903; e-mail [email protected] ; or telephone Fee: $255.40, includes materials. Beginning. For fur­ (325) 653-3333. ther information, contact Shelley Schell, Haliburton Utah, Logan May 3-14 "Wood-Fired Earthen­ School of the Arts, Box 839, Haliburton, Ontario KOM ware" with Richard Parker. May 17-28 "Wood-Fired 1S0; see www.haliburtonschoolofthearts.ca ; or tele­ Ceramics" with Dan Murphy. Contact Dan Murphy, phone (866) 353-6464. Utah State University, Dept, of Art, Logan 84322- Canada, Ontario, London May 2-June 5 "A Natu­ 4000; e-mail [email protected] ; see ral Progression " 10 West Coast potters, Allan Burgess, www.usu.edu/artdept ; telephone (435) 797-3460; or Meg Burgess, Rachelle Chinnery, Walter Dexter, Gor­ fax (435) 797-3412. don Hutchens, Kathi Jefferson, Laurie Rolland, Kinichi Vermont, Bristol September 10-13 "Wood Firing Shigeno and Clive Tucker; at Jonathon Bancroft-Snell and Salt Glazing" with Robert Compton. Fee: $560, Interiors, 355 Wellington St. includes materials, firing and meals. Contact Robert Canada, Ontario, Ottawa April 15-May 5 Reed Compton Pottery, 2662 N. 116 Rd., Bristol 05443; Weir; at Lafreniere & Pai Gallery, 13 Murray St. e-mail [email protected] ; see Canada, Ontario, Toronto May 7-At/y4Yin-Yueh www.robertcomptonpottery.com ; telephone (802) Chuang, "Persistence in Nature"; at Harbourfrount 453-3778. Centre, 235 Queen's Quay W. Vermont, Shelburne May 75-76 "Two Days, Two through June 6 "Eternal Egypt: Masterworks of the Potters," demonstration workshop with Aysha Peltz Ancient Art from the British Museum"; at the Royal and Todd Wahlstrom. Fee: $190, includes materials. Ontario Museum, 100 Queen's Park. For further information, contact Julie Whitney, Canada, Quebec, Quebec City through May 23 Shelburne Craft School, 54 Falls Rd., Shelburne 05482; Maurice Savoie; at the Materia Center, 367 Charest e-mail [email protected] ; see Est. Blvd. www.shelburnecraftschool.org ; telephone (802) 985- May 6-August 29 "Picasso and Ceramics"; at the 3648; or fax (802) 985-8438. Mus£e national des beaux-arts du Quebec, Parc des Washington, Suquamish September 25-26 Champs-de-Bataille. "Doug Jeck: Clay Heads." Fee: $150. For further China, Hong Kong through April 19 "Chinese information, contact Brenda Beeley, ClaySpace on Ceramics Today"; at Hong Kong Science & Technology Puget Sound, PO Box 1339, Suquamish 98392; University, Clear Water Bay, Kowloon. see www.clayspaceonpugetsound.com ; e-mail China, Jingdezhen May 25-October 10 "The [email protected] ; telephone (360) 598-3688. Jingdezhen: 1000 Years Celebration of Porcelain, Stu­ Wisconsin, Cambridge April 17-18 Workshop dent Exhibition"; at Jingdezhen Sanbao Ceramic Art with Todd Piker. Fee: $25/day. Contact Mark Skudlarek, Institute, International Art Center. Cambridge Clay Guild, 10 Tranquil Ln., Cambridge Denmark, Skaelskor April24 "Ceramic Form and 53523; e-mail [email protected] ; ortelephone Surface" with Martin Bodilsen Kaldahl. Fee: DKr 350 (608) 423-4507. (US$56); members, DKr 250 (US$40); students, DKr

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100 (US$16). May 1-9 "Wood Kilns—Fast Fire and Soda Kiln" with Ann-CharlotteOhlsson. Fee: DKr 1600 (US$256); students, DKr 1000 (US$160). Participants must bring bisqueware. May 17-21 "China Paint— Form and Motives" with Kurt Weiser. Fee: DKr 1900 (US$304); members, DKr 1200 (US$192); students, DKr 1000. September 17-26 "Cross Draught Kiln— Wood Firing." Fee: DKr 500 (US$80). Participants must bring bisqueware. October 18-22 "The Vitrified Print" with Paul Scott. Fee: DKr 1900; members, DKr 1200; students, DKr 1000. Contact Guldagergaard, Heilmannsvej 31 A, 4230 Skaelskor; e-mail [email protected]; seewww.ceramic.dk; telephone 45 5819 0016; or fax 45 5819 0037. England, Eton, Berkshire through April 18 "10th Anniversary Ceramics Exhibition: The Mark of the Maker"; at Eton Applied Arts, 81 High St. England, Exeter, Devon April 3-25 "Spring Mixed Media Exhibition," including ceramics by Tim Andrews, Bryony Burn, Ros Ingram, Nigel Lambert, Maureen Minchen, John Nuttgens, Peter Wills and Richard Wilson; at Woodbury StudiolGallery, Greenway, Woodbury. England, Ipswich, Suffolk April 30-May 3 or May 28-31 or September 17-19 "Throwing and Re­ lated Techniques" with Deborah Baynes. Fee: £295 (US$544); 2 days only, £195 (US$360). October24-30 Workshop with Deborah Baynes. Fee: £405 (US$747). Beginning through advanced. Includes materials, firing, lodging and meals. Contact Deborah Baynes, Deborah Baynes Pottery Studio, Nether Hall, Shotley, Ipswich, Suffolk 1P9 1PW; e-mail [email protected] ; see www.potterycourses.net ; telephone (44) 1473 7883000; or fax (44) 1473 787055. England, Liverpool May 1-31 Ashraf and Sue Hanna; at Bluecoat Display Centre, Bluecoat Cham­ bers, School Ln. England, London through April 17 Janice Tchalenko. April 23-June 5 Jane Blackman. Robert Cooper; at Contemporary Applied Arts, 2 Percy St. through August 22 "Heaven on Earth: Art from Islamic Lands"; at Hermitage Rooms, S. Bldg., Somerset House, Strand. through February 5, 2005 "Making It Yours: Ce­ ramics." April 22-July 4 Richard Slee; at Crafts Coun­ cil, 44a Pentonville Rd. England, Newark through May 3 John Maltby; at Rufford Ceramic Center, Rufford County Park near Ollerton. England, Sherborne through April 8 Wood-fired ceramics by Charles Bound. Earthenware by Johannes Peters. April 17-May 15 "Ceramics with Humour," works by Jean-Michel Doix, Claire Ireland, Jude Jelfs, Anna Lambert, John Maltby and Marilyn Richeda. May 22-June 26 Stoneware by Richard Batterham; at Alpha House Gallery, South St. England, Tenbury Wells May 28-31, September 3-5 or September 10-12 Workshop with Martin Homer. Fee: £210/£315 (US$382!$573); includes materials, firing, lodging and meals. All skill levels. Contact Martin Homer Pottery, Lower Aston House, Aston Bank, Tenbury Wells, Worcestershire WR15 8LW; e-mail [email protected] ; see www.homerpottery.co.uk ; or telephone (44) 1584 781 404. France, Nan^ay through July 4 Robert Deblander, Elisabeth Joulia, Jacqueline Lerat and Yves Mohy; at Galerie Capazza, Grenier de Villatre. France, Paris April 27-June 12 Morten L0bner Espersen; at Clara Scremini Gallery, 99 rue Quincampoix. Hungary, Kecskemet May3-16 "Handbuilding and Wood Firing Porcelain" with Peter Masters. Fee: 200,000 HUF (US$966), includes materials, firing and lodging. Contact International Ceramics Studio Kecskemet,

Ceramics Monthly April 2004 98 Ceramics Monthly April 2004 99 calendar

Kapolna str. 13, Kecskemet H-6000; seevwwv.icshu.org; or telephone (36) 76 486 867. Italy, Certaldo April4-10 "Raku Workshop" with Pietro Maddalena. Contact La Meridiana, Loc. Bag- nano 135, 50052 Certaldo, Florence; e-mail [email protected] ; see www.pietro.net; or telephone (39) 571 66 00 84. October 13-16 "Color and Textures of Tuscany" with Steven Hill. For further information, contact Lynne Burke: e-mail [email protected] ; see www.potteryabroad.com . Italy, Marsciano April 9-13, 30-May 3, 29- June 3, September 6-12 or October 4-9 "Stages of Raku Ceramics—Arts and Holidays." Fees and skill requirements vary. Lodging at bed-and-break- fast inn: €35 (US$44) per day. Instruction in Italian and English. Contact Elisabetta Corrao, Casale della Fratta, Studio of Luca Leandri, Vocabolo Fratta 157, loc. Papiano, Marsciano; e-mail [email protected] ; see www.lucaleandri.it ; telephone/fax (39) 758 785 1 1 1. Italy, Milan through June 28 "Hunt For Paradise: Court Arts of Iran (1501-1576)"; at Museo Poldi Pezzoli, Via Manzoni 12. Italy, Tuscany May 14-31 One-week hands-on workshop with Denys James; one-week hands-on terra- sigillata workshop with Giovanni Cimatti. See www.denysjames.com/excursions/italy . Japan, Kyoto and Shigaraki May 8-June 9 Four-week study program sponsored by the University of Georgia. For further information, e-mail Glen Kaufman: [email protected] ; or telephone (706) 542-1660. Japan, Mishima through May 21 Uraguchi Masayuki; at Yufuku Mishima Gallery, 3-2-18 Omiya- cho, Mishima. Japan, Shigaraki through July 30 "Figure of Spir­ its—The Pottery of Papua New Guinea"; at the Mu­ seum of Contemporary Ceramic Art, Shigaraki Ceramic Cultural Park, 2188-7 Chokushi, Shigaraki-cho. Netherlands, Amsterdam through April 18 "Love, From the Hermitage"; at De Nieuwe Kerk, Dam. Netherlands, Copenhagen through April 7 Anne Fl0che; at Galleri N 0rby, Vestergade 8. Netherlands, Delft through April 17 Beatrijs van Rheeden. through May 8 Philippe Dubuc. April 24- June 5 Wietske van Leeuwen. May 15-June 26 Peter Beard; at Terra Keramiek, Nieuwstraat 7. Netherlands, Deventer through April 10 "Focus on Britain: Ashraf Hanna, Gabriele Koch, Jane Perryman and Antonia Salmon." April 25-May 22 Helene Lathoumetie and Xavier Duroselle"; at Loes & Reinier, Korte Assenstraat 15. Netherlands, Leeuwarden through October 24 "Deliciously Decadent! Tableware from the 20th and 21st Centuries"; at Princessehof Leeuwarden, Grote Kerkstraat 11. Republic of China, Taiwan through June 13 "The First Taiwan Ceramic Biennale"; at Taipei County Yingge Ceramics Museum, 200 Wenhua Rd., Yingge Taipei. Scotland, Fife through April 25 "Craft Showcase," including ceramics by Emer O'Sullivan. May 7-June 27 Porcelain by Hortense Suleyman; at Crawford Arts Centre, 93 North St., St. Andrews.

For a free listing, submit announcements at least two months before the month of opening. Add one month for listings in July; two months for those in August. Mail to Calendar, Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081; submit online at www.ceramicsmonthly.org/submissions.asp; e-mail to [email protected] ; or fax to (614) 891-8960.

Ceramics Monthly April 2004 100 Ceramics Monthly April 2004 101 07627; e-mail [email protected] ; see summer workshops www.occcartschool.org ; telephone (201) 767-7160; Continued from page 7 7 or fax (201) 767-0497.

New Jersey, Layton "Two-Chamber Wood Firing" withTacyApostolik(June $1575.85; resident, $505.60; includes materials and 4-11); fee: $665. "Ovenware Pottery" with Robbie firing. All skill levels. Contact Michael Peed, Montana Lobell (June 18-22); fee: $465. "Embellishing the Sur­ State University, School of Art, 213 Haynes Hall, face" with Susan D. Harris (June 25-29); fee: $465. Bozeman, MT 59717; e-mail [email protected] ; "Form, Porcelain, Surface and Salt" with Linda see www.montana.edu/wwwart ; telephone (406) 994- Shusterman and Alan Willoughby (July 2-6); fee: $465. 4502; or fax (406) 994-3680. "Glaze Calculation Using Majolica" (July 9-13); fee: $475. "Masters Class in Design—The Cup" with Jeff Nevada, Incline Village Oestreich (July 16-18); fee: $310. "Producing Work for "Off Centered: Wheel-Thrown, Handbuilt, Slab Forms" the Anagama" with Shiro Otani (July 23-28); fee: with Yoshi and Ester Ikeda (June 7-11); instruction in $520. "Firing the Anagama" with Shiro Otani (July 29- English and Japanese." Personal Vision: Demonstration August 3 and 9); fee: $645. "Towards a Personal Voice Workshop" with Don Reitz (June 12-13); fee: $240; in Sculpture" with Felicity Aylieff (August 13-20); fee: after May 15, $260. "Surface Considerations" with $655. "Open Studio Multiple Firings" with Bruce Mark Burleson (June 14-18). "Throwing Teapots: Func­ Dehnert (August 27-31); fee: $475. Skill requirements tional and Decorative Teapots" with Jim Connell (June vary. Allfees include firing and labfee. Contact Jennifer 21-25). "Making Pots: Pouring Pots and Containers" Brooks, Peters Valley Craft Education Center, 19 Kuhn with Julia Galloway (June 28—July 2). "Making Tsuchi- Rd., Layton 07851; e-mail [email protected]; see Kago, Handbuilt Woven Ceramic Flower-Arranging www.pvcrafts.org ; telephone (973) 948-5200; or fax Baskets" with Shuji Ikeda (July 12-16); instruction in (973) 948-0011. English and Japanese. "Throwing Intensive Workshop: Covered Jars and Teabowls" with Mark Boguski (July New Jersey, Lodi 17-18); fee: $240; after May 15, $260. "In Search of "Glaze Formulation" with Gregg Pitts (May 29 and Shino" with Malcolm Davis (July 19-23). "Where Do June 5). "Spanish Handbuilding" with Louis Mendez We Go From Here?" with Robert and Gail Piepenburg (June 12). "Kiln/Clay and Glaze Defects" with Jeff (July 26-30). "Exploring Techniques for Surface Deco­ Zamek (June 19). "Raku Firing" with David Hughes ration" with Ed Blackburn (July 31-August 1); fee: (June 26); fee: $ 120, participants must bring bisqueware. $240; after May 15, $260. "Together Again: Fast-Fire Fee (unless noted above): $90. Contact the Clay Educa­ Pottery" with Randy Brodnax and Don Ellis (August 2- tion Center, 7 Rte. 46, W, Lodi 07644; or telephone 6). Fee (unless noted above): $495; after May 15, $550. (800) 723-7264.

New Jersey, Loveladies "Cups for Drinking, Pots for Pouring" with MattHyleck (June 12-16). "Throwing Workshop" with Gordon Hutchens (June 21-25); fee: $300; members, $275. "Developing Your Voice—Glazing Workshop" with John Britt (July 26-August 6); fee: $500; members, $450. A workshop with Liz Quackenbush (August 16- 20). "Raku Workshop" with Ramon Camarillo (August 30-September 3). Fee (unless noted above): $285; members, $250. Intermediate through professional. For further information, contact Pia Cooperman, Long Beach Island Foundation of the Arts and Sciences, 120 Long Beach Blvd., Loveladies 08008; e-mail [email protected] ; see www.lbifoundation.org ; telephone (609) 494-1241; or fax (609) 494-0662.

New Jersey, Surf City "Thrown, Handbuilt and Touched" with David Wright (June 19). "Wheel Exploration and Textures" with Andy Shaw (July 3-4); fee: $160. "Variety of Surfaces and Decorations" with Linda Shusterman and Alan A student sculpts a figure during a workshop Willoughby (July 24). "Playing with Porcelain" with at Arrowmont School of Arts and Crafts, Kathryn Narrow (August 14). Fee (unless noted above): $75. Intermediate/advanced. Limited space. Contact Gatlinburg, Tennessee. Matt Burton, m. t. burton gallery, 1819 Long Beach Includes materials, firing and lunch. Skill requirements Blvd., Surf City 08008; e-mail [email protected] ; vary. For further information, contact Sheri Leigh, Si­ see www.mtburtongallery.com ; telephone (609) 494- erra Nevada College, 999 Tahoe Blvd., Incline Village 0006; or fax (609) 494-0105. 89451; e-mail [email protected] ; see New Mexico, Dixon www.sierranevada.edu/workshops ; telephone (775) 831-7799, ext. 5039; or fax (775) 832-1727. "Introduction to Ash Glazes" with Betsy Williams (July 10); fee: $50, includes lunch. All skill levels. New Hampshire, Plymouth Contact Betsy Williams, enbi studio, PO Box 518, Dixon " Pots/Possibilities," thrown and altered utilitarian forms 87527-0518; e-mail [email protected] ; see with Nick Joerling (June 21-25); fee: $425, includes www.enbistudio.com ; or telephone/fax (505) 689-1009. materials, bisque firing and registration. College credit New Mexico, Santa Fe available for an additional fee. Intermediate through professional. For further information, contact Lauren "Luxury and Utility," wheel throwing porcelain with von Duyke-Dadmun, Plymouth State University, Art Sarah Jaeger (June 7-11). "Human Nature," explora­ Department, 17 High St., Plymouth 03264; e-mail tion of the figure, handbuilding with Patti Warashina [email protected] ; telephone (603) 535- (June 14-18). "Form and Surface: Pots for Everyday 2201; or fax (603) 535-2938. Use," wheel throwing earthenware with Ron Meyers (June 21-25). "About the Vessel: The Mundane to the New Jersey, Demarest Sublime" with Tony Marsh (June 28—July 2). "Func­ "Raku Firing Workshop" with Judy Schaefer (June 14 tional Pots: Developing an Expressive Body of Work" or 15); fee/session: $90, includes glazes and firing. with Mark Shapiro (July 5-9). "Personal Visions in "Porcelain: Functional, Altered and Embellished" with Earthenware" with Don Reitz (July 12-16). "Majolica Silvie Granatelli (June 16-18); fee: $325. Skill require­ Con Gusto" with Walter Ostrom (July 19-23). "Be­ ments vary. Contact Karen Shalom, Old Church Cul­ neath the Surface: Narrative Images in Clay," photo­ tural Center School of Art, 561 Piermont Rd., Demarest graphic silk-screens on clay with Mark Burleson (July

Ceramics Monthly April 2004 102 Ceramics Monthly April 2004 103 Martinez with Kathy and Evelyn Martinez (July 26-31); $225. Lodging and meals, $50/night. All skill levels. summer workshops or in the tradition of Lucy Lewis with Delores and Emma Contact Annie Schliffer, Rochester Folk Art Guild, 1445 Lewis (August 9-14); fee: $520, includes materials. Skill Upper Hill Rd., Middlesex 14507; e-mail requirements vary. Instruction in English and Tewa [email protected] ; see www.rfag.org; or telephone 26-30). "Giving Shape to Simplicity," throwing and Native American. Contact Ursula Beck, Taos Art School, (585) 554-5463. altering, mid-range firing with Maren Kloppmann (Au­ PO Box 2588, Taos 87571; e-mail [email protected] ; see gust 2-6). "Handbuilding the Figure in Clay" with Peter www.taosartschool.org ; or telephone (505) 758-0350. New York, New York Vandenberge (August 9-13). Fee/session: $475, includes "PMC Connection Artisan Certification" (June 11-13); materials and firing. Instruction in English and Spanish. New York, Avon fee: $450, includes tools, materials and firing. "Tech­ All skill levels. Contact Avra Leodas or Triesch Voelker, "Slip Trailing and Decorating," re-creating 19th- niques in Precious Metal Clay" (June 12-13); fee: $250, Santa Fe Clay, 1615 Paseo de Peralta, Santa Fe 87501; century stoneware and marbleizing with Mark Presher includes materials, tools and firing. Skill requirements e-mail [email protected] ; seewww.santafeclay.com; (July 26); fee: $45, includes materials. "Kiln Use and vary. Contact Vera Lightstone, 347 W. 39th St., Loft 7 telephone (505) 984-1122; or fax (505) 984-1706. Maintenance" with Michael Carroll (July 11); fee: $40. W, New York 10018; e-mail [email protected] ; see "Firing the Noborigama, From Mud to Finish" with www.silverday.com; or telephone (212) 947-6879. "Porcelain Throwing Made Easy" with Heidi Loewen Michael Carroll (August 2-7); fee: $450, includes (June 7-11, July 12-16 or August 9-13); fee: $620, materials and firing. Skill requirements vary. For "HandsOn" with Kathleen Maroney (June 5-6and 19); includes materials and firing. Instruction in English and further information, contact Michael Carroll, Studio fee: $115; members, $100; includes materials. "Intro­ French. All skill levels. Forfurther information, contact Sales Pottery, 5557 Rte. 5 and 20, PO Box 344, duction to Porcelain" with Arthur Gerace (July 14- Heidi Loewen Porcelain, 207A N. Guadalupe, Santa Fe Avon 14414; e-mail [email protected] ; see August 18, Wednesdays); fee: $200. "Ceramic Plates," 87501; e-mail [email protected]; see www.studiosalespottery.com ; telephone (585) 226- handbuilding with Ellen E. Day (July 17-31, Saturdays); www.heidiloewen.com ; or telephone (505) 988-2225. 3030; or fax (585) 226-3122. fee: $115, includes materials and firing. "Stretching Creativity," handbuilding with Vera Lightstone (July New York, Clayton New Mexico, Taos 29-August 19, Thursdays); fee: $ 155; members, $ 140. "Raku-Fired Ceramics" with Hollis Hansen (June 7-11 "Precious Metal Clay Buttons" (July 10); fee: $30. "Silver Clay—PMC Plus" with Vera Lightstone (July 31 — or August 30-September 3)." Basics of Clay" with Holly "Basic Precious Metal Clay" (July 21); fee: $30. "Hand­ August 1); fee: $300; members, $285; includes mate­ Burger (June 14-18). "Find Your Inner Beast: Animal made Tiles" with Ginger Dunlap-Dietz (August 2-6); rials. Skill requirements vary. Contact Ellen E. Day, Craft Students League, YMCA-NYC, 610 Lexington Ave., New York 10022; e-mail [email protected] ; see www.ywcanyc.org ; telephone (212) 735-9804; or fax (212) 223-6438.

" Beginners Only," wheel throwing with Barry Bartlett; or "The Decorated Form," handbuilding with Liz Quakenbush (July 7-11). "Vessel as Metaphor," wheel throwing with Anne Hirondelle; or "Big Pots," handbuilding with Chris Gustin (July 14-18). "Use, Decoration and Metaphor," wheel throwing with Julia Galloway; or "Handbuilding Functional Pots" with Gail Kendall (July 21-25). Fee/session: $470, includes registration fee. Skill requirements vary. For further information, contact Gail Heidel, Green­ wich House Pottery, 16 Jones St., New York 10014; e-mail [email protected] ; see www.greenwichhousepottery.org ; telephone (212) 242-4106; or fax (212) 645-5486.

New York, Otego "August Clay Workshop," includes making clay, handbuilding, throwing, glazing, firing an 80-cubic- foot gas kiln, salt firing and setting up an exhibition (August 2-29); fee: $800, includes materials and lunch on weekdays. Lodging: $650-$890. "Raku Workshop" (August 16-17, 23-24); fee: $145, includes materials and firing for 8 pieces. Extra pieces: $5 each. Lodging: John Chalke backs off from his wood kiln as volatile wood gases ignite with fresh air $225. Instructor: Elizabeth Nields. All skill levels. Con­ during a workshop at his studio in Calgary, Alberta, Canada. See article on page 60. tact Elizabeth Nields Clay Workshop, 429 Chicken Farm Rd., Otego 13825; or telephone (607) 783-2476. Sculpture" with Karen Leigh (June 28—July 2). "Fig­ fee: $175, includes materials and firing. "Forming and ments of Your Imagination: Narrative Works, Cold Transforming Clay" with Art Sennett (August 16-20); New York, Port Chester Finishes" with Marie Gibbons (July 6-9). "Micaceous fee: $200, includes materials and firing. "More Pre­ "Bowled Over" with Louise Harter (June 10); fee: $75. Pottery" with Jerri Track (July 18-24). "Sculpture with cious Metal Clay" (August 25); fee: $30. Instructor "Teachers Workshop: Clay for the Classroom" with Expression" with Lynn Kircher (August 2-6). "Clay (unless noted above): Sarah Smith. Beginning through Carole Johnston (June 17-18); fee: $170, includes Monoprinting" with Mitch Lyons (August 9-13). Skill advanced. Contact Beth Colello, Handweaving Mu­ materials. "Surface Strategies" with Mary Barringer requirements vary. Fee: $460, includes somefiringsand seum and Arts Center, 314 John St., Clayton 13624; (June 26-27); fee: $150. "Glazing Alternatives: registration fee. Contact Susan Mihalic, Executive Di­ e-mail [email protected] ; seewww.hm-ac.org ; telephone Nonceramic Finishes" with Barbara Allen (July 17-18); rector, Taos Institute of Arts, 108 Civic Plaza Dr., Taos (315) 686-4123; or fax (315) 686-3459. fee: $150. "Cone 6 Surface and Strategy" with Alec 87571; e-mail [email protected] ; see www.tiataos.com ; Karros (August 2-6); fee: $425, includes materials. or telephone/fax (505) 758-2793. New York, Corning "Ornately Functional: Form and Surface" with Kristen "Anagama-Firing Workshop" with Simon Levin Kieffer (August 9-13); fee: $385. Beginning through "Refresh, Reflect, Connect and Create from Story, (August 9-15). Bring Cone 9-10 stoneware and porce­ advanced. Contact Kelli Damron, Clay Art Center, Myth and Legend" (June 4-7); fee: $395, includes lain bisqueware. All skill levels. Contact Fred Herbst, 40 Beech St., Port Chester 10573; e-mail materials. "Raku Fridays" (July 16 or August 20); fee: Corning Community College, One Academic Dr., [email protected] ; see www.clayartcenter.org ; $40, includes glazes and fire power for up to 3 bisqued Corning 14830; e-mail [email protected] ; see telephone (914) 937-2047; or fax (914) 935-1205. forms. "Raku Mask Making" (August8-14); fee: $355, www.corning-cc.edu ; telephone (607) 962-9297; or New York, Rochester includes clay, glaze materials and firing. Instructors: fax (607) 962-9456. "Working Wet" with Gay Smith (June 26); fee: $125, Pamala S. Dean and Karen A. Fielding. Contact Dragonfly New York, Freehold Journeys, Taos Art Retreat, PO Box 2539, Taos includes materials and firing. "Precious Metal Clay" "TileOn" with FrankGiorgini(July31—August 1). Fora with Elizabeth Agte (July 7, 14, 21); fee: $60, includes 87571; e-mail [email protected] ; see syllabus, contact the Tile Heritage Foundation: e-mail firing. "Noborigama Wood Firing" with Mike Carroll www.taosartretreat.com ; telephone (505) 751-3220 [email protected]; seewww.tileheritage.org ; (July 17-18); fee: $105, includes bisque and wood or (877) 398-9349; or fax (505) 751-0131. or fax (707) 431-8455. firings. "Potent Pots" with Matt Nolen (July 24-25); "A Tewa Woman and Her Clay" with Jerri Track (July New York, Middlesex fee: $145, includes materials and firing. Workshop 12-17); fee: $470, includes materials. "Pottery Mak­ "Yoga and Studio Pottery," using the body in healthy with Annie Schliffer (August 21); fee: $115, includes ing," digging clay, making Yucca brushes, grinding and productive ways while wedging, throwing, trim­ materials and firing. Skill requirements vary. Contact mineral paints and dung firing in the tradition of Maria ming, etc., with Annie Schliffer (August 13-15); fee: Margie Slinker or Peggy LaHair-Edmunds, Genesee

Ceramics Monthly April 2004 104 uciaiiii^d iviuiiuny /-\(jiii zuuh- 105 New York, Woodstock summer workshops "Raku Workshop" (June 19); fee: $75, includes mate­ rials and firing; participants should bring 8-10 bisqued pots. "Fluidity and Spontanaeity" (July 24); Pottery, Genesee Center for the Arts and Education, fee: $65, includes lunch. Instructor: Jolyon Hofsted. 713 Monroe Ave., Rochester 14607; e-mail All skill levels. Contact Janet Hofsted, Maverick Art [email protected] ; see www.geneseearts.org ; Center, 163 Maverick Rd., Woodstock 12498; or telephonelfax (585) 271-5183. e-mail [email protected] ; or telephone (845) 679-9601. New York, Rosendale "Zoomorphic Volumes," altering wheel-thrown forms North Carolina, Asheville with Bernadette Curran (July 21-25). "Surfaces and "Choices," determining the nature and quality of use­ Form" with Victoria Christen (August 5-8). Fee/session: ful pots with Ellen Shankin (May 31-June 4). "Explora­ $400, includes meals. All skill levels. For further infor­ tion of Anatomy," handbuilding from live model with mation, contact Carrie Scanga, Women's Studio Work­ Cristina Cordova (June 7-11). "Folded Lidded Forms," shop, PO Box 489, Rosendale 12472; e-mail handbuilding using soft slabs with Mary Kay Botkins (June 14-18)." Pots that Pour," wheel throwing porce­ lain with Leah Leitson (June 21-25). "Basic Glaze Chemistry and Raw Materials" with John Britt (June 28—July 2); fee: $400, includes registration fee. Saggar and smoke firings, plus naked raku with Charlie and Linda Riggs (July 7-9); fee: $225, includes registration fee. "The Elegance of Color and Form," porcelain techniques with Susan Filley (July 12-16). "Pots with Lids, The Study of Interior Versus Exterior" with Michael Connelly (July 19-23). "Sculpting Personal Images," handbuilding earthenware with Dina Wilde-Ramsing (July 26-30). Fee (unless noted above): $375, includes registration fee. Intermediate through professional. For further information, contact Cynthia Lee, Odyssey Cen­ ter for the Ceramic Arts, 236 Clingman Ave., Asheville 28801; e-mail [email protected] ; see www.highwaterclays.com ; telephone (828) 285-0210; or fax (828) 253-3853.

North Carolina, Brasstown "Clay Basic" with Bob Owen (May 30-June 5). "Raku, Salku and the Potter's Wheel" with Rick Berman (June 13-19). "Burnished and Smoke-Fired Pots" with Chiwa Clark (June 27—July 3). "Altered Functional Pottery" with Becca Floyd (July 4-11); fee: $528. "Folded Forms" with Mary Kay Botkins (July 25-31). "Throwing with Fire" with Leon Nichols (August 8-14). "Throwing and Decorating High-Fired Porcelain" with Doug Dacey (August 15-21). "The Art of Throwing and Raku Firing" with Harry Hearn (August 29-September 4). Fee (unless noted above): $358. Lodging available for additional fee. Contact John C. Campbell Folk School, One Folk School Rd., Brasstown 28902; see www.folkschool.org ; or telephone (800) 365-5724.

North Carolina, Durham "Firing with Soda," hands-on workshop with Gay Instructor Molly Prier burnishing a pot during her Smith (June 7-11). "Terra-Cotta Slipware," hands-on workshop in Point Reyes Station, California. workshop with Victoria Christen (June 14-18). Feel session: $335, includes materials and firing. Interme­ diate through professional. Contact Leonora Cole­ [email protected] ; see www.wsworkshop.org ; man, Claymakers Inc., 705 Foster St., Durham telephone (845) 658-9133; or fax (845) 658-9031. 27701; e-mail [email protected] ; see www.claymakers.com ; telephone (919) 530-8355; or New York, Saratoga Springs fax (919) 530-8306. The following workshops occur June 3-30 or July 7- August 4: "Raku and Saggar: Surface Decoration, North Carolina, Penland Throwing, Glazing" with Jill F. Kovachick; feelsession: "Exploring Miniature Teapot Forms" with Fong Choo; $185. "Beginning Ceramics"; feelsession: $170. "In­ or "Printmaking and Clay" with Laura Jean McLaughlin termediate Ceramics"; feelsession: $180. "Advanced (May 30-June 11). "Painted Pots: Introduction to Ma­ and Independent Ceramics"; feelsession: $210. In­ jolica" with Stanley Mace Anderson; or "Unfolding: structor (unless noted above): Regis Brodie. Includes lab Ceramics within Architecture" with Neil Forrest (June fees, materials and firing. Skill requirements vary. 13-25). "Squeeze: The Extruder" with Michael Sherrill; For further information, contact Marianne Needham, or "Touching the Mysteries" with George Kokis and Skidmore College, 815 N. Broadway, Saratoga Springs Rodney McCoubrey (June 27—July 9). "Functional and 12866; e-mail [email protected] ; see Sculptural Clay" with Cynthia Bringle; or "Pinching www.skidmore.edu ; telephone (518) 580-5052; or fax Together" with Paulus Berensohn and Jimmy Clark (518) 580-5029. (July 11-23). "Ceramic Surfaces: Kitchen to Calcula­ tion" with Richard Burkett and Lana Wilson; or New York, Southampton "Figurative Sculpture and Textural Color" with Paul Handbuilding with Phyllis Kudder-Sullivan (June 14- Andrew Wandless (July 25-August 10); fee: $812. 25). Wheel throwing with Marc Leuthold (July 12-23). "Wood Firing" with Chuck Hindes and Jack Troy; or Feelsession: $304.50; undergraduate credit, $609; in­ "Handbuilding Earthenware" with Sang Parkinson cludes materials and firing. For further information, Roberson (August 15-27). "InsidelOutside: FormlSur- contact Summer Office, Southampton College of Long face" with Terry Gess; or "Sculptural Exploration with Island University, 239 Montauk Hwy., Southampton Metal and Clay" with Lisa Clague (August 29-Septem­ 1 1968; e-mail [email protected] ; see ber 4); fee: $334. Fee: (unless noted above): $621. www.southampton.liu.edulsummer ; telephone (631) Lodging: $318-$ 1895. Meals: $48-$483. Skill require­ 287-8175; or fax (631) 287-8253. ments vary. Contact Penland School of Crafts, PO Box

Ceramics Monthly April 2004 106 Ceramics Monthly April 2004 107 and 3 credit hours; lab fee: $8-$ 16/credit. Scholarships Katy McFadden (August 8-14); fee/session: $605, summer workshops available. All skill levels. Contact Rebecca Summers, includes materials, firing, lodging and meals. Addi­ Kent State University, School of Art, Kent 44242; e-mail tional $ 141 for 3 post-graduate credits. All skill levels. [email protected] ; see http://dept.kent.edu/art ; or For further information, contact John Kinyon, Cre­ 37, Penland 28765-0037; e-mail [email protected] ; telephone (330) 672-2192. ative Arts Community, PO Box 4958, Portland, OR see www.penland.org ; telephone (828) 765-2359; or 97208; e-mail [email protected] ; see fax (828) 765-8174. Ohio, Oxford www.creativeartscommunity.org ; or telephone (503) "Beginning Throwing" with Steve Davis-Rosenbaum 760-5837. North Carolina, Pittsboro (June 14-18). "The Wheel as a Tool" with Patsy Cox "Connecting to the Earth" with Jackie Allen and Melody (June 21-25). "From Sketchbook to Wheel" with Ryan Oregon, Jacksonville Troncale (June 19-20); fee: $145. Contact Melody Fitzer (June 28—July 2). "Salt Firing: Start to Finish" with "A Tandem Demonstration," handbuilding functional Troncale, 353 Beaumont Ln., Pittsboro 27312; see Marc Digeros(July 5-9). "Adventures in Mold Making" and sculptural vessels with Dennis Meiners and figura­ www.melodytroncalepottery.com ; or telephone (919) with Colby Parsons-O'Keefe (July 12-16). Fee/session: tive sculpture with Leslie Lee (June 25-27; hands-on, 837-2942. $490.29, includes firing. Skill requirements vary. Con­ June 28-29); fee: $125; hands-on, additional $50-$85. Limit of 10 participants. "Refining Sculptural Forms" Ohio, Akron tact Joyce Ponder, Miami University, Craftsummer Pro­ with Jim Robinson (July 16-18); fee: $130. "Functional "Handmade Tile Workshop" (June 22—July 20, Tues. gram, 114 Rowan Hall, Oxford 45056; e-mail Forms from Folded Slabs," including colored clay [email protected] ; see www.craftsummer.org ; eves.); fee: $ 165, includes materials. "Alternative Firing and possible soda firing with Virginia Cartwright telephone (513) 529-7395; or fax (513) 529-1509. Workshop," building and firing saggar, pit, low-fire (August 9-13); fee: $270, includes materials. Skill requirements vary. Contact Leslie B. Lee, Humming­ bird, 8150 Applegate Rd., Jacksonville 97530; e-mail [email protected]; see www.leslieleeart.com; or telephone/fax (541)899-7045.

Oregon, Otis "Raku Studies," firing and finishing, testing glazes, lecture, and discussion with Richey Bellinger, (June 18- 22); fee $290, includes some materials. Beginning through advanced. Contact Dee Moore, Sitka Center for Art and Ecology, PO Box 65, Otis 97368; e-mail [email protected] ; see www.sitkacenter.org ; tele­ phone (541) 994-5485; or fax (541) 994-8024.

Pennsylvania, Farmington " Master Throwing on the Wheel" with Joyce Michaud (June 7-12); fee: $350, includes studio fee. "Wood-Fire Workshop" with Kevin Crowe (June 14-26); fee: $590, includes studio fee. "A Garden Gallery: Plants, Foun­ tains and Ornaments" with Trevor Youngberg (June 28—July 3); fee: $330, includes studio fee. "Let's Face It," handbuilding the human head with Susan Koen (July 6-14); fee: $510, includes materials and studio fee. "The Construction of Large Vessel Forms Using Wheel-Thrown and Slab Parts" with Dick Hay (July 14- 24); fee: $520, includes studio fee. "Sublime in the Ordinary," functional pottery with Val Cushing (July 26-31); fee: $400, includes studio fee. "Teapots Find­ ing Form" with Joe Sendak (August 2-7); fee: $330, includes studio fee. "Wheel-Thrown Pottery" with Valda Cox (August 9-14 and/or 16-21); fee: $345; both weeks, $590; includes studio fee. "Porcelain: Magic and Mystery," emphasis on process and form with Malcolm Davis (August 23-28); fee: $430, includes studio fee. "Out of the Frying Pan," wood firing a noborigama with Jim Dugan (August 29-September 5); fee: $515, includes studio fee. Skill requirements vary. Contact Deb Moore, Touchstone Center for Crafts, 1049 Wharton Furnace Rd., Farmington 15437; e-mail [email protected] ; see www.touchstonecrafts.com ; or tele­ phone (800) 721 -0177; or fax (724) 329-1371.

Pennsylvania, Philadelphia "Exploring Funding Opportunites for Artists" with Melissa Potter (June 12); fee: $10. "Creating and Using Instructor Kirk Mangus giving a throwing demonstration during a workshop at Ox-Bow, Saugatuck, Michigan. Handmade Tools" with Bill Van Gilder (July 17); fee: $100; members, $90. "Silk-Screen Making and Printing on Clay" with Candy Depew (July 24 and 31); fee: salt, and raku kilns (July 10 and 24); fee: $125, includes Oregon, Ashland $160; members, $150; includes materials. "Mold Mak­ materials. Instructor: Bob Yost. Beginning through in­ Basic and intermediate level workshop with John ing" with Julie York (August 7 and 21); fee: $120; termediate. Contact Yost Tile, 1643 Massilon Rd., Connors (two-week sessions in June); fee: $500, in­ members, $110." Explore Paper Clay" with Jerry Bennett Akron 44312; or telephone (330) 734-0763. cludes materials. Limit of 2 participants. Contact John (August 22); fee: $100; members, $90. Skill require­ Connors, PO Box 3343, Ashland 97520; e-mail ments vary. Contact Kathryn Narrow, the Clay Studio, Ohio, Cleveland [email protected] ; or telephone (530) 139 N. Second St., Philadelphia 19106; e-mail [email protected] ; see www.thedaystudio.org ; "Glaze Chemistry" with Gregory Pitts (June 14-18). 475-0512. "Mold Making" with Michael Corney (June 21-25). telephone (215) 925-3453; or fax (215) 925-7774. Fee/session: $475; 1 credit, $595; includes materials. Oregon, Cave Junction Pennsylvania, Revere Beginning through professional. Contact William Jean, "Slabs and Nails: Raku Sculpture" with Billy Ray "Wood/Salt Firing" (June 5-6, unload 12); fee: $200, the Cleveland Institute of Art, 11141 East Blvd., Cleve­ Mangham (July 15-18); fee: $275, includes materials, includesglazesand lunch. Participants must bring Cone land 44106; e-mail [email protected] ; see firing and 25lbs of clay. All skill levels. Contact Stephanie www.cia.edu ; telephone (216) 421 -7460; or fax (216) Friedman, Cone Ten Pottery, 360 Caves Hwy., Cave 10 bisqued stoneware. "Mold Making for Tiles and Mosaic Mapping" (June 26-27, July 24-25 or August 421-7438. Junction 97523; e-mail [email protected] ; or telephone (541) 592-4646. 14-15); fee: $150, includes materials and lunch. In­ Ohio, Kent structors: Chris and Erika Bonner. Skill requirements "Three Approaches to the Figure" with Kirk Mangus, Oregon, Corbett vary. Contact Chris and Erika Bonner, PO Box 208, Georgia Strange and Kurt Weiser (May 24-June 5); fee: "Arts at Menucha," handbuilding, sculpture, glazing, Revere 18953; e-mail [email protected]; telephone (610) Ohio residents, $942; $1002; includes materials, firing pit or raku firing with Kiki Marsden (August 1-7); or 847-1071; or fax (610) 847-6828. Continued

Ceramics Monthly April 2004 108 Ceramics Monthly April 2004 109 Tennessee, Sewanee summer workshops "Generating New Ideas," throwing with Peter Beasecker; or "Building a Surface," handbuilding with Mary Barringer (June 13-18). "Exploring the Teapot," Pennsylvania, Wallingford throwing with Suze Lindsay; or "Sconces to Wall Art," "Mudpies," dig clay to make clay bodies and glazes handbuilding with Kathy Triplett (June 20-25). Fee/ with Robert Deane (August 9-20, weekdays); fee: session: $740, includes materials, lodging and meals. $280, includes materials and firing. All skill levels. Skill requirements vary. Contact Christi Teasley, Shakerag Contact Suzanne Hayward, Community Art Center, Workshops, 290 Quintard Rd., Sewanee 37375; e-mail 414 Plush Mill Rd., Wallingford 19086; e-mail [email protected] ; see www.shakerag.org ; [email protected] ; see telephone (931) 968-0210, ext. 3100; or fax (931) www.communityartscenter.org ; telephone (610) 566- 968-0200. 1713; or fax (610) 566-0547. Tennessee, Smithville Rhode Island, Providence "Useful Pots: Special Celebration and Everyday Use," handbuilding and throwing altered parts with Frank "Salt/Soda Glaze Firing" with Thomas Ladd (April 18 and Polly Ann Martin (June 7-11). "Soda Firing" with orientation, firing June 12-13); fee: $192; members Kathleen Guss and Stephen Robison (June 14-18). $154; includes glazes and firing. "Bring out the Ani­ "Pouring and Drinking Vessels" with Mark Peters (June mal in You," animal sculptures with Patricia Uchill 21-25). "17th-Century English Slipware Pottery" with Simons (May 22-23, fire June 27); fee: $265; mem­ Irma Starr (June 28—July 2). "The Object Transformed: bers, $225; includes glazes and firing. "Paper Clay" Simple Molds, Complex Pieces" with Debbie Kupinsky; with Thomas Ladd (July 10-11); fee: $212; members, or" Raku: Colors and Crackles" with Wesley Smith (July $180. "Raku Kilnbuilding" with John Mitchell (July 12-16). "Ceramics: Handbuilding with a Soul," includ­ 24-25); fee: $350; members, $298; includes materi­ ing double-wall construction and building upside-down als, burner is additional. "Animal Relief Tiles" with with Thomas Kerrigan; or "A Passion for the Figure" Patricia Uchill Simons (August 21-22, firing Septem­ with Catherine Merrill (July 19-23). "Creative Problem ber 19); fee: $265; members, $225; includes glazes Solving and Construction Techniques" with Paula and firing. Contact Kris Pederson, Dew Claw Studios, Winokur; or "The Self Portrait," constructing a bust 95 Hathaway St., Ste. 30, Providence 02907; e-mail with Robert Winokur (July 26-30)." Potter's Wheel and [email protected] ; telephone (401) 461-2069; Handbuilding Skills: Reassembled Hollow-Ring Tea­ or fax (401) 461-3629. pots" with Ray Bub (August 2-6). Fee/session: $300, includes firing. Skill requirements vary. For further Tennessee, Gatlinburg information, contact Gail Gentry, Appalachian Center "Ceramics: Ideas for Developing Form and Surfaces" for Craft, 1560 Craft Center Dr., Smithville 37166; e- with Sandra Blain (June 6-12). "Throwing and Altering: mail [email protected] ; see www.tntech.edu/ The Potter's Wheel as a Creative Tool" with Neil craftcenter; telephone (615) 597-6801; or fax (615) Patterson; or "Handbuilding Functional Pots" with 597-6803. Sandi Pierantozzi (June 13-19). "Cups and Beyond" with Jeff Oestreich; or "Carved Tiles for the Wall" with Texas, Austin JoAnn Schnabel (June 20-26). "Handbuilt Porcelain "The Way of Clay: A Hero's Journey in Clay, Myth, Pottery" with Margaret Bohls; or "Form and Surface for Ritual and Pottery" with Alan Steinberg (July 11-16); theAnagama" with Dan Murphy(June27-July 10);fee: fee: $375, includes materials. All skill levels. Forfurther $770. "Investigating Form and Surface with Majolica" information, contact Omega Institute, 150 Lake Dr., with Linda Arbuckle (July 11-17). "Surface and Con­ Rhinebeck, NY 12572-3252; or telephone (877) tent" handbuilding workshop with Sana Musasama; or 944-3003. "Altered Pots" with Jane Shellenbarger (July 18-31); fee: $770."Handbuilding Sculptural Forms" with Yih- "Thrown and Altered" slide lecture and demonstration Wen Kuo (August 1-7). "Making Your Own Pots" with (July 30-August 1); fee: $150. "Single Fire," hands-on Josh DeWeese (August 8-14). Fee (unless noted above): workshop, emphasis on pitchers and mugs (August 2- $360. All skill levels. For further information, contact 8); fee: $450, includes 25lbs of clay, glaze and firing. the PR Coordinator, Arrowmont School of Arts and Instructor: Steven Hill. Contact Clayways Pottery Studio Crafts, 556 Parkway, Gatlinburg 37738; e-mail and Gallery, 5442 Burnet Rd., Austin 78756-1602; [email protected] ; see www.arrowmont.org ; tele­ e-mail [email protected]; see www.clayways.com ; or phone (865) 436-5860; or fax (865) 430-4101. telephone (512) 459-6445.

A participant uses tongs to place ware in combustible materials for postfiring reduction during a raku workshop with Luca Leandri at Casale della Fratta, Marsciano, Italy.

Ceramics Monthly April 2004 110 Texas, Dallas Alexandria 22314; e-mail [email protected] ; "Coiling Pots," hands-on workshop with Lee Akins see www.theartleague.org ; telephone (703) 683- (July 17-18); fee: $200; members, $159. Beginning 5358; or fax (703) 683-7325. through advanced. For further information, contact Virginia, Gainesville Helen King, Craft Guild of Dallas, 14325 Proton Rd., "Making a Ceramic Drum With a Skin ... You Can Go Dallas 75244; e-mail [email protected]; see Home With a Finished Ceramic Drum" with Reginald www.craftguildofdallas.com ; telephone (972) 490- "Yazid" Pointer (June 6); fee: $125, includes materials 0303; or fax (972) 490-0304. and firing. "Nigerian Pottery Building" with Winnie Texas, Farmers Branch " Domestic Unrest," functional workshop with Lisa Ehrich and guest George Bowes (June 1-15, weekdays); fee: $90; out-of-district, $100; out-of-state, $240; includes firing and 3 credit hours. Intermediate through profes­ sional. Contact Lisa Ehrich, Brookhaven College, 3939 Valley View Ln., Farmers Branch 75244; e-mail [email protected] ; telephone (972) 860-4733; or fax (972) 860-4385.

Texas, Ingram "Tricks of the Trade" with David Hendley (June 12-13); fee: $150; HCAF members, $125; includes firing. "Tile Making" with Gary Huntoon (July 26-31); fee: $250, HCAF members, $225; includes firing. Skill require­ ments vary. Contact Teri Valentine, Hill Country Arts Foundation, 120 Point Theatre Rd., S, PO Box 1169, Ingram 78025; e-mail [email protected] ; see www.hcaf.com ; telephone (830) 367-5120; or fax (830) 367-4332.

Texas, San Antonio "From Flowerpots to Figurines: The Art of Egyptian Faience" with Neil Forrest (June 25-27); fee: $245. "Found Object Sculpture" with Beverly Mangham (July 17-18); fee: $125. All skill levels. For further informa­ tion, contact Mike Pecen, Southwest School of Art and Craft, 300 Augusta, San Antonio 78205-1296; e-mail [email protected] ; see www.swschool.org ; telephone Instructor John Calver attaching feet during a workshop (210) 224-1848; or fax (210) 224-9337. at Sierra Nevada College, Incline Village, Nevada.

Vermont, Bradford "Middle-School Throwing Workshop" with Cindy McCann and Bruce Murray (July 19-30). Grades 6th— Owens-Hart (June 12); fee: $65, includes materials. All 9th. "Throwing Workshop in the Bauhaus Wildenhain skill levels. Contact Winnie Owens-Hart, ILE AMO Re­ Tradition" with Steve Daniels and Bruce Murray (Au­ search Center, PO Box 361, Gainesville 20156; e-mail gust 2-13). Ages 15 to adult. Skill requirements vary. [email protected] ; telephone (703) 754-1307. Contact Bruce Murray, South Road Pottery, PO Box Virginia, Middleburg 960, Bradford 05033; e-mail [email protected] ; "Melding Clay Mosaic in the Tile Grid" with Joan seewww.brucemurraypotter.com ; telephone (802) 222- Gardiner (June 19-20). Contact the Tile Heritage Foun­ 5798; or fax (808) 222-4725. dation: e-mail [email protected] ; see Vermont, Bridgewater www.tileheritage.org ; or fax (707) 431-8455. "Luscious Raku Tile Making" with Christine Merriman Virginia, Nellysford (July 5-9). For a syllabus, contact the Tile Heritage "Salt-Glaze Firing" (June 12-13 or August 7-8); fee: Foundation: e-mail [email protected]; see $ 120, includes materials and firing; participants should www.tileheritage.org ; or fax (707) 431-8455. bring bisqueware. Limit of 10 participants. "Altering Vermont, Bristol Thrown Forms" (July 17-18). Instructor: Nan Rothwell. "Throwing Giant Pots" (June 25-27). "Thrown and Fee: $100, includes materials and firing. Limited of 7 Altered Pots" (July 9-11). "Wood Firing and Salt Glaz­ participants. Intermediate through professional. For ing," firing a 2-chambered noborigama, plus one pit further information, contact Nan Rothwell, 221 Pottery firing (July 30-August 2); fee: $560, includes materials, Ln., Faber, VA 22938; e-mail [email protected] ; see firing and meals. Fee (unless noted above): $420, www.sprucecreekgallery.comlSCGpottery-NR.html ; or includes materials and meals. Instructor: Robert telephone (434) 263-4023. Compton. Intermediate. For further information, con­ tact Robert Compton Pottery, 2662 N. 116 Rd., Bristol Virginia, Richmond 05443; e-mail [email protected] ; see "Clay Monotype Workshop" with Mitch Lyons (June www.robertcomptonpottery.com ; telephone (802) 19); fee: $125; members, $110. Limit of 12 partici­ 453-3778. pants. For further information, contact the Hand Workshop Art Center, 1812 W. Main St., Richmond Vermont, Shelburne 23220; see www.handworkshop.org ; or telephone "Dry Throwing" with Ayumi Horie (July 10-11); fee: (804) 353-0094. $190, includes materials. "Teapots, Etc." with Mark Shapiro (August 14-15); fee: $215, includes materials. Washington, Ferndale "Soda Firing" with Michael Connelly (August 21-22); "Handbuilding: The Tricks of the Trade," pinch, coil fee: $190, includes materials. Skill requirements vary. and slab construction with Vince Pitelka (July 26- For further information, contact Julie Whitney, Shel­ 30); fee: $350, includes some materials and firing; burne Craft School, PO Box 52, Shelburne 05482; clay is additional. All skill levels. Contact Michael e-mail [email protected] ; see McDowell, McDowell Pottery, PO Box 960, Ferndale www.shelburnecraftschool.org ; telephone (802) 985- 98248-0960; e-mail [email protected] ; 3648; or fax (802) 985-8438. see www.mcdowellpottery.com ; telephone (360) 384-2543. Virginia, Alexandria "Handbuilding Functional Forms" with Donna Polseno Washington, Suquamish (June 11-13); fee: $150, includes materials. Beginningl "Large-Scale Installation Techniques" with Peter King intermediate. For further information, contact Dale (July 17-18);fee: $150. "Sculptural Explorations: Molds, Marhanka, the Art League School, 305 Madison St., Metals and Clay" with Lisa Clague (August 13-15); fee:

Ceramics Monthly April 2004 111 Box 95, 6938 Bridge Rd., McNaughton 54543; e-mail summer workshops [email protected] ; seewww.riverrunarts.com ; or telephone (715) 277-4224.

$ 190. Contact Brenda Beeley, ClaySpace on Puget Sound, International Workshops PO Box 1339, Suquamish 98392-1339; e-mail [email protected]; or telephone (360) 598-3688. Belgium, Brasschaat (near Antwerp) "Contemporary Raku Techniques" with Steven West Virginia, Elkins Branfman (July 2-4); fee: $150. "Throwing on the One-week workshop including handbuilding, throw­ Wheel" with MJ Versmissen (July 5-8); fee: $200, ing, altering and handles (July 11-16). One-week includes materials and bisque firing. "Ceramic Decora­ workshop including glazing, Cone 10 reduction and tion Techniques" with Netty Jansses; fee: $132, in­ raku firings. Instructor: Gary Roper (July 18-23). Fee/ cludes materials; or "Slip Casting and Molds" with session: $435; after April 30, $455; includes materials Jeroen Bechtold (July 10-11); fee: $140. "Throwing and firing. Beginning through advanced. For further Teapots" with Patty Wouters (August 20-22); fee: information, contact Judy Knorr, Augusta Heritage $130, includes materials and bisque firing. "Naked Center of Davis and Elkins College, 100 Campus Dr., Raku" with Anima Roos (August 21-22); fee: $120, Elkins 26241; e-mail [email protected] ; see www.augustaheritage.com ; telephone (304) 637- 1209; or fax (304) 637-1317.

Wisconsin, Drummond Handbuilding, throwing, Cone 10 salt kiln, raku and primitive firings with Randy J. Johnston (June 13-19); or Randy J. Johnston and Jan McKeachie Johnston (June 20-26); fee/session: $286, includes lodging, meals and lab fee. Intermediate through professional. For further information, contact S. Zimmer, University of Wisconsin-River Falls, Art Department, Pigeon Lake, 410 S. Third St., River Falls, Wl 54022; e-mail [email protected] ; see www.uwrf.edu/pigeonlake; telephone (715) 425-3348; or fax (715) 425-0657.

Wisconsin, Fish Creek "Saturday Clay," handbuilding to wheel throwing with John Hansen (June 5—July 3 or July 17-August 21, Saturdays); fee/session: $190. "Ceramic Fountains" with John Hansen (June 14-18); fee: $215, includes firing. "Quite the Dish," emphasis on dinnerware with Simon Levin (June28-July2). "Shake, Rattle and Roll," making musical instruments with John Hansen (July 5- 9)." Large-Scale Clay," handbuilding with Carol Fleming (July 12-16). "Beauty from Fire: An Introduction to Raku" with Brian Fitzgerald (July 19-22). "Ceramicsfor Sushi," handbuilding with David Caradori (August 2- 6). "Paper-Clay Sculpture" with George Ouimette (Au­ gust 9-13). "Lid It, Store It, Pour It" with Bruce Grimes (August 16-20). "Low-Tech Fast Fire" with Ginny Zipperer (August 23-27). Fee (unless noted above): A participant throws a giant pot during a workshop at $250, includes firing. Skill requirements vary. For fur­ Robert Compton Pottery, Bristol, Vermont. ther information, contact Program Director, Peninsula Art School, 3900 County F, PO Box 304, Fish Creek 54212; e-mail [email protected] ; see includes slips, glazes and firing. "Throwing on the www.peninsulaartschool.com ; telephone (920) 868- Wheel" with Willy Weerts, includes materials and 3455; or fax (920) 868-9965. firing; or "Modeling a Portrait in Clay" with Genevieve Hardy (August 23-26); fee: $200. "Sculptural Ceram­ Wisconsin, Kewaunee ics" with Ian Gregory and Mo Jupp (August 28-29); "Wheel-Thrown Pottery: Reaching New Heights," cre­ fee: $135. Contact Patty Wouters, Atelier Cirkel, ating 3-foot-high vessels in three sections, glazing and Miksebaan 272, B-2930 Brasschaat; e-mail firing with Dean Hoegger (June 12-16). "Raku—Un­ [email protected] ; see www.ateliercirkel.be ; derstanding the Basics" with Ginny Zipperer (June 23- telephone/fax (32) 36 33 05 89. 27); participants must bring bisqueware. "Sculpture with Expression" with Kirsten Christianson (June 30- Canada, Alberta, Banff July 3); fee: $370, includes 50lbs of clay, glaze, firing "Imprints: Photographic and Printed Images on Clay" and model fee. "Wheel-Thrown Lidded Vessels" with with Jeannie Mah (August 16-20); fee: Can$785 Dean Hoegger (July 7-11). "Raku Kilnbuilding," con­ (US$595), includes materials, firing, lodging and meals. structing and testing a 24x26 fiber raku kiln with Dick Intermediate. Contact the Banff Centre, Office of the Bell and Ginny Zipperer (July 16-18); fee: $425; partici­ Registrar, Box 1020, Banff, Alberta T1L 1B9; e-mail pants must bring burnerand bisqueware. "Figure Mod­ [email protected] ; see www.banffcentre.ca ; eling" with Kirsten Christianson (July 22-25); fee: $370, telephone (403) 762-6180; or fax (403) 762-6345. includes 50lbs of clay, glaze, firing and model fee."A Canada, Alberta, Calgary New Grove," developing form and surface, plus raku firing with Ginny Zipperer (August 11-15). "A Passion "UpCountry Wood Kilns" with John Chalke (August for the Figure" with Kirsten Christianson (August 26- 15-22); fee: Can$749 (US$562), includes glaze mate­ 30); fee: $370, includes 50lbs of clay, glaze, firing and rials, fuel, lectures, meals, and choice of cabin, tipi, tent model fee. Fee (unless noted above): $300, includes or heritage building; participants must bring bisqueware. materials and firing. Contact Dick Bell, Barnsite Art Limit of 9-10 participants. Intermediate through pro­ Studio and Gallery, 109 Duvall St., Kewaunee 54216; fessional. Contact John Chalke, 429 12th St., NW, e-mail [email protected] ; or telephone (920) Calgary, Alberta T2N 1Y9; [email protected] ; 388-4391. see www.upcountrykilns.com ; telephone (403) 283-3186.

Wisconsin, McNaughton "Handbuild Mugs," emphasis on texture with Margo "Wood-Fire/Fast-Fire Workshop" with Joan Slack- Baker (June 19). "Platters Workshop" with Karen DeBrock (June 18-20); fee: $300, includes glazes and Crocker (July 10). "Surface Decoration," emphasis on firing; participants must bring bisqueware. Contact sprigging and clay molds with Andrew Tarrant (July Joan Slack-DeBrock, Riverrun Center for the Arts, PO 24). Fee/session: Can$40 (US$27), includes materials.

Ceramics Monthly April 2004 112 Beginning through intermediate. For further informa­ (August 16-20); fee: Can$595 (US$446); without lodg­ tion, contact the Bow River Clayworks, 227- 35 ing, Can$365 (US$274). Contact Sunbury Shores Arts Ave., NE, Calgary, Alberta T2E 2K5; e-mail and Nature Centre, 139 Water St., St. Andrews, New [email protected] ; or telephone (403) Brunswick E5B 1A7; e-mail [email protected] ; 520-0707. see www.sunburyshores.org ; telephone (506) 529- 3386; or fax (506) 529-4779. Canada, Alberta, Red Deer "Consequence of Material Pre-Conference Wood Fir­ ing" with Wil Shynkaruk(June7-11). "Consequenceof Material Post-Conference Workshop, Master Wheel Throwing" with Takeshi Yasuda (June 14-18). "From Handle to Spout" with Jim Etzkorn; fee: Can$325 (US$244); or "The Vitrified Print," transfer printing onto ceramic surfaces with Paul Scott (July 5-9); fee: Can$345 (US$259). "Screen-Printing and Ceramics" with Paul Scott; fee: Can$345; or "Cut and Paste: Functional Pottery" with Sarah Coote; fee: Can$325; or "On the Surface" with Kathryn Finnerty (July 12-16). "Earthbound: An Introduction to the Wheel" with Jim Etzkorn; fee: Can$345; or "The Decorative Tile," handbuilding with Dawn Detarando; fee: Can$345; or "Maiolica Color Workshop" with Matthias Ostermann; fee: Can$415 (US$311); or "Unconven­ tional Clay: Form and Surface," handbuilding with paper clay with Trudy Ellen Golley (July 19-23); fee: Can$345. "Working Small and Big: Exploring Clay through Multiple Parts," handbuilding with Ying-Yueh Chuang; or "Fire and Smoke: The Art of Raku" with Steve Forbes (July 26-30). "Mold Making for Ceram­ ics" with Russell Hackney; or "Surface Decoration: Sprigging in Public" with AndrewTarrant; fee: Can$325; or "Throwing and Altering" with Meira Mathison (August 2-6); fee: Can$345. Fee (unless noted above): Can$395 (US$296), includes firing. GST not included. A participant glazing a platter during a workshop at Skill requirements vary. Contact Wendy Meeres, Starflower Farm and Studios, Monroe, Maine. Red Deer College, Box 5005, Red Deer, Alberta T4N 5H5; e-mail [email protected] ; see http://extension.rdc.ab.ca ; telephone (403) 342-3130; Canada, Nova Scotia, Halifax or fax (403) 347-4041. Glaze exploration of form and texture, sculpture or Canada, British Columbia, Nanaimo vessels, plus multiple down firings with Ying-Yueh "Wood Firing in the Tozan Noborigama" (August 7-14, Chuang (May 9-June 25, 16 hrs/wk); fee: Can$750 unload August 21); membership fee: Can$20 (US$15); (US$570), includes materials and firing. Intermediate firing fee depends on amount of ware. Beginning through professional. Instruction in English and Man­ through advanced. For further information, contact darin. Contact Debra Campbell, Nova Scotia College of Maureen Beardsley, Tozan Cultural Society, 11021 Art and Design, 5163 Duke St., Halifax, Nova Scotia B3J Chemainus Rd., Ladysmith, British Columbia V9G 1Z2 3J6; e-mail [email protected] ; see www.nscad.ns.ca ; Canada; e-mail [email protected] ; or see telephone (902) 494-8124; or fax (902) 425-2987. www.tozan.bc.ca ; telephone (250) 245-4867; or fax Canada, Ontario, Haliburton (250) 245-3464. "Maiolica Form and Decorative Design" with Matthias Canada, British Columbia, Saltspring Island Ostermann (June 14-19). "Advanced Maiolica Surface "Pottery Workshop" with Judy Weeden (June 19-31); Treatments" with Matthias Ostermann (June 21-25); fee: Can$500 (US$378). All skill levels. Contact Judy fee: Can$255.40 (US$193). "Beginners Pottery" with Weeden, 125 Primrose Ln., Saltspring Island V8K Barbara Joy Peel (June 28—July 3). "Sculpture" with 1C1; e-mail [email protected] ; or see Steve Hudak (July 5-9); fee: Can$244.40 (US$185). www.judyweeden.com . "Pottery II" with Barbara Joy Peel (July 5-10). "Mold- Making Workshop" with Steve Hudak (July 10-11); Canada, British Columbia, Victoria fee: Can$88.45 (US$67). "FigureSculpture" with Francis "Aesthetics of Ceramic Form" with Les Manning (June LeBouthillier (July 12-16); fee: Can$272.40 (US$206). 4-11); fee: Can$450 (US$337). "Vessel Traditions with "Intermediate/Advanced Pottery" with Wayne Cardinelli a Sculptural Approach" with Keith Rice-Jones (June 7- (July 12-17). "Clay Sculpture—Draping or Shaping 11); fee: Can$345 (US$265). "Sculpting the Human Techniques" with Kate Hyde (July 19-23); fee: Head" with Heather Spears; or "Sculpture—Slab Tech­ Can$260.40 (US$196). "Form and Function" with niques for Raku" with Billy Ray Mangham (July 5-9); Thomas Aitken (July 19-24). "Terra Cotta— fee: Can$345. "Glaze and Color" with Robin Hopper; Handbuilding" with Paul Portelli (July 26-30); fee: or "Throwing and Surface Applications" with Tom Can$242.50 (US$184). "Decorative Techniques" with Coleman; or "Innovative Handbuilding" with Lana Karen Burk (July 26-31). "Raku—Advanced I" with Wilson (July 5-9 and 12-16); fee: Can$650 (US$500). Michael Sheba (August 2-7); fee: Can$305.56 "Firing Techniques/Surface Treatments" with Randy (US$231). "Raku—Basics" with Michael Sheba Brodnax; or "Handbuilding Houses" with Susan Le (August 9-14); fee: Can$305.56. Fee (unless noted Poidevin; or "Drawing and Painting in Clay" with Jan above): Can$285.56 (US$216). Includes materials. Edwards(July 12-16); fee: Can$345. "Handbuilt Masks" Skill requirements vary. For further information, con­ with Bob Kingsmill; or "Altering Porcelain Forms and tact Shelley Schell, Haliburton School of the Arts, Finishing" with Ginny Conrow (July 10-11); fee: PO Box 839, Haliburton, Ontario KOM 1S0; see Can$125 (US$95). Living accommodations available. www.haliburtonschoolofthearts.ca ; telephone (705) Contact Meira Mathison, Metchosin International School 457-1680; or fax (705) 457-2255. of Art, 650 Pearson College Dr., Victoria, British Colum­ bia V9C 4H7; e-mail [email protected] ; see Canada, Quebec, Montreal www.missa.ca; telephone (250) 391-2420; or fax (250) "Decorative Ceramics," throwing and glazing with Eva 391-2412. Lapka (July 5-28, Mondays and Wednesdays). "Sculp­ tural and Decorative Forms in Ceramics," handbuilding Canada, New Brunswick, St. Andrews with Patrick Bureau (July 6-29, Tues. and Thurs. eves.). "Raku Pottery" with Peter Thomas (July 26-August 1); Fee/session: Can$220 (US$167), includes materials, fee: Can$735 (US$551); without lodging, Can$435 firing and open studio time. Beginning/intermediate. (US$326). "Pottery for Beginners" with Darren Emenau Instruction in English and French. Forfurther informa-

Ceramics Monthly April 2004 113 e-mail [email protected] ; see summer workshops www.homerpottery.co.uk ; or telephone (44) 1584 781 404. England, West Dean (near Chichester) tion, contact Patrick Bureau, Visual Arts Centre, 350 Throwing, handbuilding, raku firing with Alison Victoria Ave., Montreal, Quebec H3Z 2N4; e-mail Sandeman (July 24-30). "Sculptural Ceramics and [email protected] ; see www.visualartscentre.ca ; Vessels Decorated with Colored Vitreous Slips" with telephone (514) 488-9558; or fax (514) 488-7075. Carolyn Genders (July 31-August 6). "Handbuilt Ce­ ramics and Experimental Surface Techniques" with China, Jiangxi Province, Jingdezhen Gordon Cooke (August 7-13). Feeslsession: £420 " Large Porcelain Tiles" with Master Cheng (June 21 -24). (US$796); residents, £560-£650 (US$1061 -US$ 1231); "Bamboo Brushmaking" with Master Jiang (July 5-8). includes materials, firing, lodging and meals. All skill "Large Vases" with Master Deng. Beginninglintermedi- levels. Contact Alison Moran, West Dean College, ate. Instruction in Chinese with English translation. Con­ West Dean, Chichester, West Sussex PO18 OQZ; tact Jackson Li, Jingdezhen Sanbao Ceramic Art e-mail [email protected]; see Institute, PO Box 1000, Jingdezhen City, Jiangxi Prov­ www.westdean.org.uk ; telephone (44) 1243 811 301; ince 333001; e-mail [email protected] ; see or fax (44) 1243 811 343. www.chinaclayart.com ; telephone (86) 798 848 3665; or fax (86) 798 849 6513. France, Allegre-Les Fumades Weekly workshops on throwing, glazing, firing and Denmark, Skaelskor raku with Michel and Julia Simonot (Summer); fee: "Cross-Draught Kiln" (June4-13);fee: DKr500(US$86), €515-€893 (US$638-$ 1135), includes materials, firing, participants must bring bisqueware. "Form, Decora­ lodging and meals. Beginning through advanced. In­ tion, Translucency," demonstration with Jane Reumert struction in English and French. For further informa­ (June 19); fee: DKr 350 (US$60); members, DKr 250 tion, contact Michel Simonot, Mas Cassac, 30500 (US$43); students, DKr 100 (US$17). Contact Ann Allegre-Les Fumades; e-mail [email protected] ; see Linneman, Guldagergaard, Museum for International www.ceramique.comlMas-Cassac ; telephone (33) 4 Ceramic Art, Heilmannsvej 31 A, Skaelskor 4230; e-mail 66 24 85 65; or fax (33) 4 66 24 80 55. [email protected]; see www.ceramic.dk; telephone (45) 5819 0016; or fax (45) 5819 0037. France, Lot et Garonne "Master Class Raku" with Karin Heeman and David England, Hundon Roberts (August 2-7 or 9-14). "Anything About Clay "HandbuildinglSmoke Firing" (July31-August4). "Firing and More" with Karin Heeman (August 23-28). "In­ Workshop," smoke, saggar and pit firings (August 8-12). spiring World of Clay," 3-7-day workshops with Instructor: Jane Perryman. Feelsession: £325 (US$616), Karin Heeman (Summer); fee: €300-€600 (US$385- includes materials, firing and meals. All skill levels. Con­ US$769), includes materials, firing and meals. Fee tact Jane Perryman, Wash Cottage, ClareRd., Hundon, (unless noted above): €570 (US$730), includes ma­ Suffolk CO108DH; e-mail [email protected] ; terials, firing and meals. Skill requirements vary. see www.janeperryman.com ; ortelephonelfax(44) 1440 Instruction in English, Dutch, French and German. 786 228. Contact Karin Heeman, Centre de Ceramique Inter­ national, Chateau de Barry, Auradou, Lot et Garonne England, Ipswich 47140; e-mail [email protected] ; see "Salt-Glaze Workshop," handbuilding, throwing, deco­ www.karinheeman-ceramics.com ; telephone (33) 5 rating with impressed and relief designs, slip, glazes, 53 40 64 88; or fax (33) 5 53 71 12 94. plus wood-fired raku (July 4-17); fee: £810 (US$ 1534). Workshop with emphasis on throwing, handbuilding, Germany, Wiesbaden glazing and wood-fired raku (July 25-31, August 1-7, "Pottery Making in Turkey" (June 4-6). "Berber Pottery 15-21,22-28); fee: £405 (US$767). Includes materials, (June 11-13). "Traditions in Mexican Pottery" (June firing, lodging and meals. Instructor: Deborah Baynes. 18-20). "Pueblo Indian Pottery" (July 2-4). "African Skill requirements vary. Contact Deborah Baynes Pot­ Pottery Techniques" (July 9-11). "Open Week of tery Studio, Nether Hall, Shotley, Ipswich, Suffolk 1P9 Projects" (July 13-17); fee: €4!working hour (US$51 1PW; e-mail [email protected] ; see working hour). Fee (unless noted above): €125 www.potterycourses.net ; telephone (44) 1473 788 300; (US$160), includes materials, electric firing and 2 meals. or fax (44) 1473 787 055. Extra fee for firing in mud kiln. Instructors: Manuela and Silvia Casselmann. Instruction in English and Ger­ England, Queen Camel (near Yeovil) man. All skill levels. Contact Manuela Casselmann, "Throwing," making, once firing and wood firing Biebricher Allee 138, Wiesbaden D-65187; e-mail with Douglas and Jennie Phillips (4 weekly sessions, [email protected]; telephonelfax (49) beginning July 26, August 2, 16 and 23); fee: £275 611 843 650. (US$521), includes materials, firing and lunch. Be­ ginning through advanced. Contact Douglas Phillips, Greece, Limni, Island of Evia Ridge Pottery, Queen Camel, nr. Yeovil, Somerset Throwing, handbuilding, different firing techniques BA22 7NF; e-mail [email protected] ; see and excursions with Alan Bain (June, August-Septem- www.mud2fire.co.uk ; telephone (44) 1935 850 753. ber). Contact Alan Bain, Kalamoudi Pottery, 34005 Limni, Island of Evia; telephone (30) 22270 71167. England, Ross-on-Wye Throwing and altering porcelain, and soda glazing with Greece, Skopolos Jack Doherty (July 5-10, 26-31 or August 16-21); fee: "The Poetry of Pottery in Greece," functional pottery US$480, includes materials, firing and meals. Interme­ with Catherine White (June 1-19); fee: US$990, in­ diate through professional. Contact Jack Doherty, cludes breakfast, local historical potteries and 2 days in Hook's Cottage, Lea Bailey, Ross-on-Wye HR9 5TY; Athens. Beginning through advanced. For further in­ [email protected] ; telephonelfax (44) 1989 formation, contact Janet Torno, Corcoran College of 750 644. Art, 500 17th St., NW, Washington, D.C. 20006; e-mail [email protected] ; see www.corcoran.org ; telephone England, Tenbury Wells (202) 639-1844; or fax (202) 639-1821. Weekend and two-week sessions on all aspects of pottery production, with emphasis on throwing, plus Ireland, Lismore, Co. Waterford pulling handles and spouts, trimming, modeling, Ten-day wood-fire and salt workshop (June 27—July and handbuilding with Martin Homer (two-day 7); fee: $1250, includes materials, firing, lodging weekend June 4-6; two-week sessions July 4-10, and meals. Seven-day salt glaze workshop (July 17- 11-17, August 1-7 and 8-14); fee: £2101£459 24); fee: $850, includes materials, firing, lodging (US$3981US$869), includes materials, firing, lodging and meals. "Creative Fun Multi Fire," building and and meals. Instruction in English, with some French firing raku, wood and pit kilns (July 31-August 5 or and Italian. All skill levels. Contact Tina Homer, 14-19); fee: $540, includes materials, firing, lodging, Martin Homer Pottery, Lower Aston House, Aston breakfast and lunch. Instructor: Marcus O'Mahony and Bank, Tenbury Wells, Worcestershire WR15 8LW; guests. Skill requirements vary. Instruction in English,

Ceramics Monthly April 2004 114 French, German and Spanish. Contact Marcus day. Instruction in English and Italian. Beginning/ O'Mahoney, Glencairn Pottery, Glencairn, Lismore, Co. intermediate. Contact Elisabetta Corrao, Casale della Waterford; e-mail [email protected] ; see Fratta, Studio of Luca Leandri, Vocabolo Fratta 157, www.marcusomahony.com ; or telephone (353) Marsciano; e-mail [email protected] ; see 58 56694. www.lucaleandri.it ; telephone/fax (39) 758 785 111.

Italy, Almafi Coast Italy, Tuscany "Majolica Glaze Painting" with Robert J. Dewars; or Workshop with Jeff Shapiro and Tom Spleth at "Drinking and Pouring: The Craft of the Vessel" with Spannocchia (June 26—July 10); fee: US$3910, includes Tamara Laird (June 28—July 10). Fee/session: US$2770, airfare and excursions. For further information, e-mail includes materials, firing, lodging, meals, lab and four Jeff Shapiro: [email protected]; telephone (845) 626- field trips. All skill levels. Contact Leslie Hyde, Amalfi Coast 0684; or for further information about Spannocchia, Music and Arts Festival, 724 Chesapeake Ave., Takoma see www.spannochia.org . Park, MD 20910; e-mail [email protected] ; see Mexico, Mata Ortiz www.musicalstudies.com ; telephone (301) 320-9046; or fax (301) 587-6189. "Mata Ortiz Learning Expedition" with Paul and Suzy Fish (July 15-18); fee: US$800; members, US$700; Italy, Certaldo (Florence) includes transportation, lodging, meals, and several "Throwing, Glazing, Firing" with Chris Staley (May 30- trips to villages, museums and archaeological sites. June12). "Raku Dolce" with Giovanni Cimatti (June Contact David F. Lizzarraga, Office of Museum Ad­ 27—July 3); fee: €750 (US$957), includes materials, vancement, Arizona State University, PO Box 210026, firing, lodging and some meals. "Raku Techniques" Tucson, AZ85721 -0026; e-mail [email protected] ; with Pietro Maddalena and Paola Paronetto (July 4-17). see www.statemuseum.arizona.edu ; telephone (520) "Smoke Firing" with Isabella Fazzo and Anna Metcalfe 626-8381; or fax (520) 621-2976. (July 18-24); fee: €750, includes materials, firing, lodg­ Mexico, Oaxaca City, Oaxaca ing and some meals. "Throwing for Beginners" with Pietro Maddalena and Anna Metcalfe (July 27-August "Oaxacan Clay," traditional Zapotec hand forming, stone 7). "Advanced Throwing" with Terry Davies and Pietro burnishing and tumble-stack firing with Eric Mindling Maddalena (August 8-21). "Soda Firing" with Terry (June 20-29); fee: US$1295-US$1595, includes materi­ Davies and Anna Metcalfe (August 22-28); fee: €750, als, firing, lodging, meals and trips to Oaxacan pottery includes materials, firing, lodging and some meals. Fee villages. Instruction in English, Spanish and Zapotec. All (unless noted above): €1250 (US$ 1596), includes mate- skill levels. Contact Eric Mindling, Manos de Oaxaca, AP 1452, Oaxaca City 68000; e-mail [email protected] ; or see www.manos-de-oaxaca.com .

Mexico, San Miguel de Allende "Ceramics and Art History in Mexico" with Jack M. Coelho (June 14-27); fee: US$1355, includes lodging and breakfast. All skill levels. Contact Jack M. Coelho, PO Box 3712, Central Point, OR 97502; e-mail [email protected] ; telephone (541) 201-7675; or fax (541) 664-7589.

Netherlands, Oosterwolde (Fochteloo) Primitive and traditional pottery (June 21-25); stone­ ware and porcelain (July 5-9 or August 16-20); raku (July 19-23). Instructor: Kees Hoogendam. Workshops in­ clude clay preparation, handbuilding, throwing, kilnbuilding, gas, oil, and wood firing, and a museum field trip. Fee/session: €340 (US$430), includes materials, meals and lodging. All skill levels. Contact Kees Hoogendam, de Knolle 3A, 8431 RJ Oosterwolde (Fochteloo); e-mail [email protected] ; see www.home.zonnet.nl/warveen ; or telephone/fax (31) 51 658 82 38.

Spain, Cadiz One-week workshops on handbuilding, throwing, glaz­ ing, firing and raku with Jose Aragon (June-August); fee: €1000 (US$1272), includes materials, firing and lodging. All skill levels. Instruction in English, French and Spanish. For further information, contact Jose Aragon, La Tacita, Barrio Nuevo s/n, Conil (Cadiz); e-mail [email protected] ; telephone (34) 95 644 Instructor Gordon Hutchens unloading the salt kiln 5912; or fax (34) 95 644 5686. during a workshop at Metchosin International School Switzerland, Zurich of Art, Victoria, British Columbia, Canada. Handbuilding, burnishing and preparing pieces for smoke and pit firing (July 26-31); fee: 1020 chf (US$828), rials, firing, lodging and some meals. Skill requirements includes lodging and meals; additional 10 chf (US$8) vary. Instruction in English and Italian. Contact Pietro per kilo (2.2lbs) fired clay. "FeuerFest Wood-Fired Kiln Maddalena, La Meridiana, Bagnano 135, 50052 Sculpture Workshop" with Fred Olsen (August 23-28); Certaldo (Florence); e-mail [email protected] ; see fee: 650 chf (US$528). Instruction in English and Ger­ www.pietro.net; telephone (39) 571 660 084; or fax man. Skill requirements vary. Contact Keramik & Ani­ (39) 571 660 821. mation, Zweierstrasse 1 1 1, 8003 Zurich; e-mail [email protected] ; see www.raku.ch ; ortele­ Italy, Faenza phone (41) 1 463 47 13. Ceramic workshops with Emidio Galassi (June 21-26, July 5-10 or 12-17). Advanced. For further informa­ Wales, Swansea tion, contact Emidio Galassi, Arte Aperto, Centro Int. "Four-Day Making Course," throwing, handbuilding Sperimentazione, IV Novembre N. 11, Faenza 48018; and extruding with Kirke Martin and Micki Schloessingk e-mail [email protected] ; or telephone/fax (54) (August 4-7); fee: £180 (US$341). "Five-Day Making 66 80 398. Course," throwing, handbuilding and extruding with Micki Schloessingk (August 10-14); fee £360 (US$372). Italy, Marsciano Contact Micki Schloessingk, Bridge Pottery, Cheriton, "Stages of Raku Ceramics—Arts and Holidays" with Gower, SA3 1BY; e-mail [email protected] ; Luca Leandri (July 5-11); fee: €530 (US$673), in­ see www.mickisaltglaze.co.uk ; or telephone (44) 1792 cludes materials and firing. Lodging: €35 (US$44) per 386 499.

Ceramics Monthly April 2004 115 questions Answered by the CM Technical Staff

Q Has anyone ever been able to duplicate the gorgeous, dark, vitreous green glaze used in the Oribe pottery of 16th-century Japan? I've re­ cently been to see dozens of these pieces at the Metropolitan Museum of Art in New York City and can't stop thinking about that glaze. It's puzzling as well because many of the pieces are half stoneware and half red clay, so I can’t imagine how it all works out.—A.E. There are many recipes for Oribe-type glazes made with North American materials, so the an­ swer to you your question is yes. Many of the Oribe pots were created from a mixture of different clay bodies, red and white being the most notable combination. These pots required special attention in the making so that the pieces would not separate during the firing due to different degrees of shrinkage for each clay body. Most of the Oribe ware was fired in an oxidation or neutral atmosphere in order to obtain the green color from the copper in the glaze. Shaner Oribe (Cone 10) Bone Ash...... 1.0% Talc ...... 8.0 Whiting...... 22.5 Custer Feldspar ...... 31.0 EPK (Edgar Plastic Kaolin)...... 12.5 Silica (Flint) ...... 25.0 100.0% Add: Black Copper Oxide...... 5.5% There are some problems associated with this type of glaze, however, and those using Oribe-type glazes should take the limitations into account. Glazes containing copper oxide must be formu­ lated for stability if the glaze is to be used with wet acidic food, especially if the amount of copper oxide or carbonate is high, which is always the case with Oribe-type glazes. Very often, Oribe-type glazes will come out of a firing with a black coating of copper, which can be scrubbed off. This means the glaze is oversaturated with copper and the excess comes out of solution as the glaze cools. Even if the excess copper is scrubbed off, there is still plenty of copper that will be leached out by acidic foods. This makes the ware unfit for food storage. With high-acidic foods like orange juice, the cop­ per can be tasted very soon after the juice is in a container lined with this type of glaze. I did some experiments to see if I could improve the stability of such a glaze by adding more silica and/or reducing the copper. In all cases, the green color was lost. Ron Roy Ceramics Consultant Brighton, Ontario, Canada

Have a problem? Subscribers’ questions are welcome, and those of interest to the ceramics community in general will be answered in this column. Due to volume, letters may not be an­ swered personally. Mail to Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081, e-mail to [email protected] or fax to (614) 891-8960.

Ceramics Monthly April 2004 116 Ceramics Monthly April 2004 117 Ceramics Monthly April 2004 118 Ceramics Monthly April 2004 119 Comment I on selling out by Rikki Grace

For the final project of my most recent un­something as an artist?” Hmm. My short art is not easily accessible to everyone. Not dergraduate ceramics class, I decided to make answer was, “No.” I then explained the chal­everyone can create art for themselves, and good on a promise to a friend. She had asked lenges I had faced in the project and what I not everyone can afford to buy it from some­ for a pitcher and basin for use in Civil Warlearned from it. The professor continued to one else. The friend who wanted the pitcher reenacting. The assignment was to makesay that he does not take direction from oth­ and basin knew of one place to get these things that go together. Perfect. So I made a ers in his work because he prefers that it be things. She could not easily make them her­ rather nice pitcher and an all-right basin,solely his work. Again: hmm. self, and she had an idea of the way she which was a challenge for me because I tend So, did I sell out? Does my art lose integ­ would like them, mostly for historical au­ to work small, and these were somewhat larger rity by following directions from someonethenticity. I felt she should be able to get pieces. They were nothing fancy, just as else? she After much thought and consideration,what she wanted, and I knew how to do it. had requested. The reenacting is very impor­here is my long answer: I am a student. MyHer excitement and enthusiasm in the piece tant to her, and I wanted her to have whatoccupation is in taking direction. When I amshe was given (yes, given) gave me satisfac­ she thought was appropriate. Anyway, I wasasked to make a teapot for class, I do not tion. She had exactly what she wanted. That pleased with my accomplishment. make teacups, specifically because I was in­was my goal. Then came the dreaded final critiquestructed to do the former. Each assignment, I am finding my way and my place in the (note: this means looking at lots of good each project, each piece I create is an explo­ vast, spectacular, intimidating world of ce­ work, listening to lots of intellectual conver­ration in my art and in myself. I am an infantramic art. I don’t feel my art is only for me. I sation, followed by mental exhaustion andin my artistic life, and am eager to learn,find that making things only for myself is numbness). So, when my turn came around,grow, experiment, reach, stretch, fail and suc­less gratifying, and my house isn’t big enough I explained my reasons for doing this set andceed. These are things we are supposed to do for that, anyway. So, while I make my tea­ why it was an important project to me. The in school, but I don’t think they will endpots, my pitchers and basins, andmy art, I professor’s response was something along with my college career. hope that I’ll never cease to learn, grow, ex­ these lines: “Do you feel that in working One thing have I discovered so far is the periment, reach, stretch, fail and succeed, with someone else in your art that you losejoy art can bring to others. Unfotunately,because, if I do, then I’ve sold out.

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