December 1989 1 William C. Hunt...... Editor

Ruth C. Butler...... Associate Editor Robert L. Creager...... Art Director Kim Schomburg...... Editorial Assistant Mary Rushley...... Circulation Manager Mary E. Beaver...... Circulation Assistant Jayne Lohr...... Circulation Assistant Connie Belcher...... Advertising Manager

Spencer L. Davis...... Publisher Editorial, Advertising and Circulation Offices 1609 Northwest Boulevard Box 12448, Columbus, Ohio 43212 (614) 488-8236 FAX (614) 488-4561

Ceramics Monthly (ISSN 0009-0328) is pub­ lished monthly except July and August by Professional Publications, Inc., 1609 North­ west Blvd., Columbus, Ohio 43212. Second Class postage paid at Columbus, Ohio. Subscription Rates:One year $20, two years $36, three years $50. Add $8 per year for subscriptions outside the U.S.A. Change of Address:Please give us four weeks advance notice. Send both the magazine address label and your new7 ad­ dress to: Ceramics Monthly, Circulation Of­ fices, Box 12448, Columbus, Ohio 43212. Contributors: Manuscripts, photographs, color separations, color transparencies (including 35mm slides), graphic illustra­ tions, texts and news releases about ce­ ramic art and craft are welcome and will be considered for publication. A booklet de­ scribing procedures for the preparation and submission of a manuscript is available upon request. Send manuscripts and cor­ respondence about them to: The Editor, Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Telecommunications and Disk Media: Ceramics Monthly accepts articles and other data by modem. Phone us for transmission specifics. Articles may also be submitted on 3.5-inch microdiskettes readable with an Apple Macintosh™ computer system. Indexing:An index of each year’s articles appears in the December issue. Addition­ ally, articles in each issue ofCeramics Monthly are indexed in theArt Index-, on-line (com­ puter) indexing is available through Wilson- line, 950 University Ave., Bronx, New York 10452. A 20-year subject index (1953- 1972), covering Ceramics Monthly feature articles, Suggestions and Questions col­ umns, is available for $1.50, postpaid, from the Ceramics Monthly Book Department, Box 12448, Columbus, Ohio 43212. Copies and Reprints: Microfiche, 16mm and 35mm microfilm copies, and xero­ graphic reprints are available to subscrib­ ers from University Microfilms, 300 North Zeeb Road, Ann Arbor, Michigan 48106. Back Issues: When available, back issues are $4 each, postpaid. Write for a list. Postmaster: Please send address changes to Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Form 3579 requested. Copyright © 1989 Professional Publications, Inc. All rights reserved

2 Ceramics Monthly December 1989 3 4 Ceramics Monthly V olume 37, Number 10 • December 1989

Feature Articles A Search for Form and Place: Wayne Higby, An Autobiography...... 27

Rebuilding at Lejstaby AnnaKarin Boode ...... 38

Something to Say by Debra Norby with Cale Kinne ...... 40

A Stove Project in Kenyaby Hugh Allen...... 42

Yih-Wen Kuo ...... 47 A Stove Project in KenyaWe often see coverage of big U.S. aid projects in the Tile Illustration news because of their importance to in­ From Painter to Potter to Painter Againby Paul Lewing...... 50 ternational relations, or because of waste and mismanagement. But there’s another side to U.S. aid—smaller (often Third Potters of the Upper Amazon by Dorothea and Norman Whitten, ...... Jr. 53 World) programs such as this one which uses ceramic technology to save nearly Danish Potters by Lisa Engqvist ...... 57 50,000 tons of wood each year in a country where deforestation threatens the ecology; turn to page 42 for a look at the process and equipment developed to help make this project a success. Departments Tile Illustration A growing segment of studio ceramists is earning significant in­ come through tile illustration, working Letters ...... 6 Questions ...... 80 on handmade or commercial tile. In ei­ Where to Show ...... 8 ther case, the results have broad applica­ Suggestions...... 82 tions in architecture; page 50. Itinerary ...... 14 Classified Advertising...... 84 New Books ...... 18 Annual Index: Comment: January-December 1989 ...... 86 Plagiarism and Wood Firing by Terry Davies ...... 22 Index to Advertisers ...... 88

News 8c Retrospect Danish Potters 1950s design has given way to a variety of ideas about simplicity Free Summer Workshop Listing...... 65 Daleene Menning ...... 68 and natural materials; see some of these potters’ latest works starting on page 57. New Views in Toronto Clayton Thiel ...... 70 by Heidi Burkhardt ...... 65 William Yonker The coverWayne Higby and a “land­ Ceramics in the Pretty Big One...... 65 by Michael Rubin ...... 72 scape bowl” nestled in hay (his raku fuel Jim Kraft ...... 66 Indiana Illusions and Realities ...... 72 of choice). The wooden, lidded box is a chamber he built specifically for post­ Marja Hooft/Danielle Janssen...... 66 Beth Changstrom ...... 72 firing reduction. Higby’s revealing auto­ Martha Gittelman Retrospective ...... 66 Jerry Caplan ...... 78 biography, “A Search for Form and Place,” begins on page 27. Photo: Steve Myers. Gail Kristensen ...... 68 Teco Art Pottery ...... 78 December 1989 5 commendCeramics Monthly for patience and Letters the space awarded to this person. His catalog of old-timers reads like a who’s who of American ceramists; and, as I recollect, most have been mentioned in CM. However, he did leave out one fine ol’ timer, my neighbor, Paul Soldner. Warren MacKenzie on Pricing As for the third annual Marble Colo­ Maybe it’s a small point, but it is really rado Art Fair, he’s right! Not only were irritating to read again and again [see No­ there crocheted ducks; but, when you vember Letters] that my approach to pric­ squeezed them, they pooped jelly beans— ing my work (so that people can easily an astute fact that our detractor somehow afford it and use it in their everyday lives) overlooked. is dependent upon supplementing my pot­ No, I was not the only potter there. A tery income with a teaching salary. For the neighboring potter had above-average, last four years, I have not been teaching, ex­ wheel-thrown tableware, too. Adjacent to cept for short workshops which are actually that booth was a sculptor with fine wood an expense to me. In those four years, my and bronze sculptures that could grace the income from pot sales alone has exceeded finest gallery collection. Down the line, what I used to get from teaching. What is another potter, whose skill with brush and the explanation for those people who teach eye is a challenge to decal specialism, had and charge high prices for their work? Is it pieces as op/pop art as you can get. The the cushion of the academic salary that marble sculptor was also remarkable, with allows them to raise their prices? semiabstract sculptures. This was his first No one seems to have caught on to the show; and behind him, his mentor fact that the pots I make are simply con­ had children and adults enthusiastically ceived and can be easily and quickly madechipping away at a vertical block of mar­ by any competent potter. I make a lot of ble. On display were his very sophisti­ pots in a year’s time. At the same time, I try cated, double-helix sculptures, carved out to keep looking for those qualities in pieces of 3-foot-high blocks of our local, pure which will lift them above the ordinary white, Colorado Vule marble—a subtle tour utilitarian pot. Not all of them succeed. But de force that eluded the ken of our detract­ those that do are there for anyone who can ing commentator. recognize expression and respond to it. Be­ The alleged real estate booth was in­ cause I want to keep my prices down, I stead an informational display set up by the refuse to ship pots, since packing and mail­ newly revived Colorado Vule Marble Com­ ing take me away from the studio. My show­ pany. The marble quarrying operation in room is set up so that people select and our town was closed down back in 1941. pack their own pots without my having to Among significant monuments that were stop work to wait on them. This, of course, fabricated from this marble are the Lin­ cannot work everywhere, but it is possible coln Memorial and the Tomb of the Un­ where I live. This location was selected with known Soldier. that in mind, and it has worked well. The fair encouraged “art in action,” When I sell through exhibitions and which included an exhibiting local painter galleries, the price of my pots must reflect who is well known in our valley for her gallery overhead, but I will not agree to sensitive landscapes. I also demonstrated justify these galleries by charging their prices throwing on the hand wheel, much to the at my own showroom. Anyone who comes delight of young and old alike. here and wraps her/his own pots deserves As for the rocky, dusty location, this is to purchase at a price that reflects that the town basketball court (donations ac­ situation. I am always surprised at potters cepted). It is situated next to the national who agree never to undersell a gallery price, historical Colorado Vule Marble Mill site. even if the gallery is in the middle of the The perimeter is bordered with towering high-rent district of a large city and the spruces and graceful, willow-leaf cotton­ potter has much lower expenses. It is the woods, backed by lofty peaks. Yes, our town gallery owner’s choice of location and he/ is located in the incomparable beauty of she must charge for it. the Crystal River Valley, which is adjacent Incidentally, I never tell my studentsto the Maroon Snowmass Wilderness area. what to charge for their work. Most of them The fair was well attended and, already, charge more than I do for similar pieces. serious artists and craftspersons are con­ But as long as I can live on my income, I seetacting us from afar, as this is the type of no need to raise prices. The differences are non-glitzy fair they prefer to associate with. probably explained by the fact that I can Our fourth annual Marble Art Fair will be work quite fast and I keep the concept of held June 30-July 1, 1990. my work as simple as possible without Thanos A. Johnson sacrificing richness and quality. Marble, Colo. Warren MacKenzie Stillwater, Minn. Share your thoughts with other readers. All letters must be signed, but names will be withheld on Generations and Fairs Redressed request. Mail to: The Editor, Ceramics Monthly, I am responding to the carping “Gen­ Box 12448, Columbus, Ohio 43212; or FAX to eration Gap” letter in the October issue. I (614) 488-4561.

6 C eramics Monthly

tion. SendSASE to Uptown Arts Gallery, 2340 Contact Bob Owens, Department of Fine Arts, Where to Show N.W. Westover, Portland 97210; or phone (503) North Georgia College, Dahlonega 30597; or 229-0412. phone (404) 864-1423. Exhibitions, Fairs, Festivals and Sales December 30 entry deadline March 23, 1990 entry deadline Gatlinburg, Tennessee “From Here to There: Jamestown, New York “Aging: the Process, the Vehicles for New Forms/New Functions” (Feb­ Perception” (September 7-October 27, 1990) is ruary 24-May 19, 1990) is juried from slides. juried from no more than 20 slides. No entry fee. Juror: Michael Monroe, Renwick Gallery cura- Contact the Forum Gallery, Jamestown Commu­ tor-in-charge. Awards. Entry fee: $15. Contact nity College, 525 Falconer Street, Jamestown International Exhibitions Arrowmont School of Arts and Crafts, Box 567, 14701; or phone Dan Talley (716) 665-5220, Gatlinburg 37738; or phone (615) 436-5860. extension 478. December 31 entry deadline December 31 entry deadline April 16, 1990 entry deadline Toronto, Ontario, Canada “Second Annual Syracuse, Neio York “28th Ceramic National” Chicago, Illinois “4th Annual Great Lakes Total Art Award International Exhibition” (Feb­ (April 27-August 26, 1990) is juried from slides. Show” (June 9^July 29, 1990) is juried from ruary 11-25, 1990) is juried from actual work. Jurors: Matthew Kangas, Seattle critic and cura­ slides. Open to all ceramists. Juror: Ron Nagle, Entry fee: $30. Commission: 40%. Awards: grand tor; Ken Ferguson, Kansas City Art Institute fac­ faculty artist at Mills College, Oakland. Purchase prize of $1000 purchase, or solo exhibition in ulty artist; Daniel Jacobs, collector; and Marcia and merit awards, as well as two- or three-person the Total Art Gallery; first prize, $300; second, Manhart, director of Philbrook Art Center. shows. Contact Lill Street, 1021 West Lill Street, $200; third, $100. Contact Total Art Gallery, 80 Awards: $10,000 in purchase prizes. Entry fee: Chicago 60614; or phone (312) 477-6185. Spadina Avenue, Suite 307, Toronto M5V 2J4; or$25. Contact C.N. Prospectus, Everson MuseumApril 27, 1990 entry deadline phone (416) 367-1861. of Art, 401 Harrison Street, Syracuse 13202; or University Park, Pennsylvania “Crafts National” January 15, 1990 entry deadline phone (315) 474-6064. (July 5-30, 1990) is juried from slides. Cash Santa Fe, Nezu Mexico “Santa Fe ArtFest” (June January 15, 1990 entry deadline awards. Fee: $20. Sendsase to Crafts National, 4—10, 1990) is juried from slides; up to 5 works. Berkeley, California “The Berkeley Art Project” Zoller Gallery, 102 Visual Arts Building, Penn $700,000 in awards; including $130,000 grand(February 5-March 3, 1990 showing for finalists; State University, University Park 16802; or phone prize. Entry fee: $100 for adults, $50 for underpermanent display for winner) is juried from (814) 865-0444. age 19. Contact ArtFest, 535 Cordova Rd., Suite proposals for a permanent, site-specific work to 208, Santa Fe 87501; or phone (505) 982-1132. be created on Sproul Plaza at the University of Regional Exhibitions Geneva, Switzerland “Biennale Orlandi” California. Jurors: Richard Andrews, director of (Spring 1990), a design contest for walls and the Henry Gallery at the University of Washing­ December 15 entry deadline floors, is juried from a proposal describing the ton, Seattle; Joseph Esherick, professor emeritus Topeka, Kansas “Topeka Competition 14” design and specifications for ceramic tiles at the University of California; artist David Ire­ (April 1-26,1990) is open to residents of Kansas, measuring 21.6x21.6 centimeters (or a standard land; Suzanne Lacy, artist and dean of the SchoolNebraska, Missouri and Oklahoma, working in proportion thereof). Juried by an international of Arts at the California College of Arts and clay, glass, metal/jewelry, fiber or wood. Juried panel of artists, designers, architects, curators Crafts, Oakland; author Lucy Lippard; and Ray­ from slides. Juror: Wendell Castle, woodworker. and journalists. Awards: first place, SFrl 2,000 mond Saunders, artist and professor at the Cali­Entry fee: $15. Contact Gallery of Fine Arts, (approximately $7020); second, SFr8000 (ap­ fornia College of Arts and Crafts. Up to $70,000 Topeka Public Library, 1515 West Tenth, Topeka proximately $4680); third, SFr6000 (approxi­ funding (covering fee, travel expenses and fabri­66604; or phone (913) 233-2040. mately $3510); and six prizes of SFr2000 (ap­ cation) for the winner; the 2-4 finalists will re­ February i, 1990 entry deadline proximately $1170) each. The three first prizes ceive $2000 each. Contact Berkeley Art Project, Quincy, Illinois “40th 4-State ILMOIAIN Juried include reproduction rights. Contact BiennaleDepartment of Art, University of California, Exhibition” (April 8-29, 1990) is open to artists Orlandi, Mat Securitas Express S.A., Box 289, Berkeley 94720; or phone (415) 848-8384. residing in Illinois, Missouri, Indiana and Iowa. CH-1211 Geneva 26. January 30, 1990 entry deadline Juried from slides. Juror: Ron Isaacs, Eastern January 20, 1990 entry deadline Cedar City, Utah “Exhibition ’49” (April 7-29, Kentucky University art professor. Awards: $3000 Zagreb, Yugoslavia “World Triennial Exhibi­ 1990), open to all media, is juried from a maxi­ in cash and purchase prizes. Entry fee: $16, tion of Ceramics/Zagreb” (June 21-September mum of 3 slides. Purchase awards. Entry fee: $10 members $12. For prospectus, sendSASE to 13, 1990). Awards. Contact Ulupuh, Starcevicevfor 1-2 slides; $15 for 3 slides. Sendsase to Cedar Quincy Art Center, 1515 Jersey, Quincy 62301; Trg 6-2, 41000 Zagreb. City Art Committee, Braithwaite Art Gallery, or phone (217) 223-5900. January 26, 1990 entry deadline Southern Utah State College, 351 West Center, February 5, 1990 entry deadline Harrisburg, Pennsylvania “62nd Annual Inter­ Cedar City 84720. Pocatello, Idaho “Big Sky Biennial Vl/Works national Juried Art Exhibition” (April 7-May 19, Trois-Rivieres, Quebec, Canada “4th National on Canvas/Paper and Small Sculpture” (April 1990) open to all media. Juried from slides. Fee: Biennial of Ceramics” (June 12-August23,1990) 16-May 11, 1990) is open to residents of Arkan­ $12.50. Cash awards. Contact the Art Association is open to artists living in Canada. Juried from sas, 3 Idaho, Montana, Nevada, Oregon, Utah, of Harrisburg, 21 N. Front St., Harrisburg 17101; slides. $18,000 in awards. Entry fee: $25. ContactWashington and Wyoming. Juried from slides. or phone (717) 236-1432. National Biennial of Ceramics, C.P. 1596, Trois- Awards. Entry fee: $5. Contact Big Sky Biennial April 30, 1990 entry deadline Rivieres G9A 5L9; or phone (819) 374-3242. VI, Box 8004, Idaho State University, Pocatello Vallauris, France “12th International Biennial January 31, 1990 entry deadline 83209; or phone (208) 236-2361 or 236-2488. of Ceramic Arts” (July 1-October 31, 1990) is Denton, 7>ms “National All Media” (February February 24, 1990 entry deadline juried from slides. Awards: 40,000 francs (ap­ 26-March 30, 1990) is juried from slides or pho­ Las Cruces, New Mexico “From the Ground Up proximately $5600), 15,000 francs (approxi­ tos. Jurors: Ann Graham and Ken Horstman, IX” (March 4—26, 1990) is open to residents of mately $2100), and 4 gold medals. For further dealers. Purchase awards. Entry fee: $15. Con­ Arizona, New Mexico and Texas. Juried from information contact the Biennial Committee, tact Graham Horstman Gallery, 114 West Con­ actual works; up to 3 entries. SendSASE to Karen Hotel de Ville, 06200 Vallauris. gress, Denton 76201; or phone (817) 382-6558. Ni, 4809 Falcon Drive, Las Cruces 88001; or February 1, 1990 entry deadline phone (505) 522-2005. National Exhibitions McPherson, Kansas “Aesthetics ’89” (April February 28, 1990 entry deadline 4-29, 1990) is juried from slides. Open to all Rockville Pike, Maryland “The Crafts Collec­ December 15 entry deadline media. Juror: Wayne Conyers. Cash awards. En­ tion” (June 7-July 7, 1990) open to clay, fiber, Minot, North Dakota “13th Annual North try fee: $20. Sendsase to Artists League, Box 252, glass and metal artists living in Maryland, Vir­ Dakota National Juried Art Exhibition” (March McPherson 67460. ginia or Washington, D.C. Juried from actual 4-25, 1990) is juried from minimum of 2 and Bethlehem, Pennsylvania “Fish Images: A Com­ works. Awards: $2400. Fee: $8, Creative Crafts maximum of 6 slides. Juror: Brian Paulsen, fac­ petition” (May5-June 10, 1990) is juried from 3 Council members $5. Contact Madeleine Tier­ ulty artist at the University of North Dakota, slides. Open to all craftswork utilizing fish im­ ney, 250 Holly Ridge Circle, Arnold, Maryland Grand Forks. Cash and purchase awards. Fee: $7 agery. Jurors: Amy Orr and Robert Behr. Entry 21012; or phone (301) 544-1723 or 923-0137. per slide. Sendsase to Minot Art Gallery, Minot fee: $10. Sendsase to Lynn Berkowitz, Lucken- March 5, 1990 entry deadline Art Association, 2005 Burdick Expressway East, bach Mill Gallery, 459 Old York Road, Bethle­ Hobbs, New Mexico “Southwestern Regional Minot 58701. hem 18018; or phone (215) 691-0603. Exhibition” (April 19-May 4, 1990) is open to Portland, Oregon “Creatures from the Ark (and March 9, 1990 entry deadline artists living in Arizona, California, Colorado, Some of Them Missed the Boat)” (February Denton, Texas “Contemporary Crafts” (April Kansas, Nevada, New Mexico, Oklahoma, Texas 1-March 31, 1990) is juried from photos or 9-May 11, 1990) is juried from slides or photos. and Utah. All media. Juried from slides. Juror: slides of animal-inspired works in all media. All Open to all craft media. Jurors: Elmer and Diane Nick Abdalla, chairman of the Fine Arts Depart­ submissions must be for sale. Commission: 45%, Taylor, artists. Purchase awards. Entry fee: $15. ment, University of New Mexico, Albuquerque. with 10% donated to African Wildlife Founda- For further information contact the Graham Awards: $2000. Contact Community Develop­ Horstman Gallery, 114 West Congress, Denton ment, New MexicoJunior College, Hobbs 88240. Send announcements of juried exhibitions, fairs, festi­76201; or phone (817) 382-6558. May4, 1990 entry deadline vals and sales at least four months before the event's March 15, 1990 entry deadline Kingston, Rhode Island “Rhode Island Earth­ entry deadline (please add one month for listings inDahlonega, Georgia “Mountain Images Small works 1990” (May 10-28, 1990) is open to past July and two months for those in August) toSculpture The Exhibition” (May 1-June 10, 1990) is and present Rhode Island residents. Juried from Editor, Ceramics Monthly, Box 12448, Columbus, juried from 3 slides. Open to all media. Juror: hand-delivered works; up to 6 entries. Juror: Lee Ohio 43212; or phone (614) 488-8236.FAX an­ Henry Setter, faculty artist at West Georgia Col­ Rexrode, head of ceramics at Worcester Center nouncements to (614) 488-4561. lege. Cash and purchase awards. Entry fee: $10. for Crafts. Awards: $500. Entry fee: $5. Contact

8 CERAMICS MONTHLY December 1989 9 Where to Show sion. Send 3 loose 25£ stamps to Deann Verdier, Director, Sugarloaf Mountain Works, 20251 Century Boulevard, Germantown, Maryland 20874; or phone (301) 540-0900. Manassas, Virginia “Virginia Crafts Festival” S.C.A.A., Helme House Gallery, Attention: Suzi (September 14-16,1990) isjuried from 5 slides, Caswell, 2587 Kingstown Road, Kingston 02881. 1 of booth display. Booth fee: $195-$295. No commission. Send 3 loose 25£ stamps to Deann Fairs, Festivals and Sales Verdier, Director, Sugarloaf Mountain Works, 20251 Century Boulevard, Germantown, Mary­ December 6 entry deadline land 20874; or phone (301) 540-0900. Fort Lauderdale, Florida “Las Olas Weekend January 25, 1990 entry deadline Sidewalk Art Fair” (January 6-7, 1990) is juried New York, New York “American Crafts Festival” from photos or slides. Fee: $85. Sendsase to (June 30-July 1,July 7-8, 1990) isjuried from 5 Howard Alan Promotions, 1 North University slides. Jurors include studio potter Cliff Lee. Drive, Suite A-310, Plantation, Florida 33324; or Entry fee: $10. Booth fee: for one weekend, $390 phone (305) 472-3755. for a 10x7-foot space. Send SASE to Brenda December 13 entry deadline Brigham, American Concern for Artistry and Delray Beach, Florida “Downtown Delray Festi­ Craftsmanship, Box 650, Montclair, New Jersey val of the Arts” (January 13-14, 1990) is juried 07042; or phone (201) 746-0091. from photos or slides. Cash awards. Fee: $95. New York, New York “Autumn Crafts Festival” Send sase to Howard Alan Promotions, 1 North (August 25-26, September 1-3, 1990) isjuried University Drive, Suite A-310, Plantation, Floridafrom 5 slides. Jurors include studio potter Cliff 33324; or phone (305) 472-3755. Lee. Entry fee: $10. Booth fee: for one weekend, December 15 entry deadline $360 for a 10x10-foot space. SendSASE to Brenda Spring Valley, New York “22nd Invitational Pot­ Brigham, American Concern for Artistry and tery Show and Sale” (May 4—6, 1990) is juried Craftsmanship, Box 650, Montclair, New Jersey from slides. Send resume to Green Meadow 07042; or phone (201) 746-0091. Waldorf School, Attention: Pottery Show, Hun­ January 30, 1990 entry deadline gry Hollow Road, Spring Valley 10977; or phone Stevens Point, Wisconsin “18th Annual Festival (201) 573-1074. of the Arts” (April 8,1990) isjuried from 5 slides. December 20 entry deadline Cash awards. Entry fee: $5. Registration fee: $35. Boca Raton, Florida “Boca Fest ’90” (January SendSASE to Brenda Gingles, Festival of the Arts, 20-21, 1990) is juried from photos or slides. Box 872, Stevens Point, Wisconsin 54481; or Cash awards. Fee: $145. Sendsase to Howard phone (715) 341-7543. Alan Promotions, 1 North University Drive, SuiteFebruary 1, 1990 entry deadline A-310, Plantation, Florida 33324; or phone (305) Columbus, Ohio “1990 Columbus Arts Festi­ 472-3755. val” (June 1-3, 1990) isjuried from 4 slides, 1 of December 27 entry deadline booth. Awards: $1200, first place; $900, second; Boca Raton, Florida “Royal Palm Polo Club $600, third; $300, fourth. Entry fee: $10. Booth Festival of the Arts” (January 27-28, 1990) is fee: $250, tented; $200, open. Contact the Co­ juried from photos or slides. Cash awards. Fee: lumbus Arts Festival, Attention: Vikki Schultz, 55 $105, Sendsase to Howard Alan Promotions, 1 East State Street, Columbus 43215; or phone North University Drive, Suite A-310, Plantation,(614) 224-2606. Florida 33324; or phone (305) 472-3755. February 9, 1990 entry deadline January 3, 1990 entry deadline Rochester, New York “Lilac Art Show” (May Atlanta, Georgia “37 th Arts Festival of Atlanta” 19-20, 1990) isjuried from slides. Cash awards. (September 15-23, 1990) is juried from slides. Entry fee: $85, members $60. Jury fee: $10. Con­ $12,000 in awards. Entry fee: $15. Booth fee tact Arts for Greater Rochester, 335 E. Main St., varies according to number of days exhibiting.Rochester 14604; or phone (716) 546-5602. Contact the Arts Festival of Adanta, 501 Peachtree February 14, 1990 entry deadline Street, Atlanta 30308; or phone (404) 885-1125. Worcester, Massachusetts “20th Annual May January 10, 1990 entry deadline Craft Fair” (May 18-20, 1990) is juried from Gainesville, Florida “Spring Arts Festival” (April slides. Entry fee: $15. Booth fee: $190, in line; 7-8,1990) isjuried from 3 slides. Awards: $10,100 $230, corner. Contact the Craft Fair Registrar, cash; $10,000 purchase. Entry fee: $7.50. Booth Worcester Center for Crafts, 25 Sagamore Road, fee: $65. Contact Nancee Clark, Box 1530, Worcester 01605; or phone (508) 753-8183. Gainesville 32602; or phone (904) 372-1976. February 15, 1990 entry deadline January 15, 1990 entry deadline Ann Arbor, Michigan “Ann Arbor Street Art Gaithersburg, Maryland “Spring Arts and Crafts Fair” (July 18-21, 1990) isjuried from 5 slides. Fair” (April 20-22,1990) isjuried from 5 slides, 1 Entry fee: $15. Booth fee: $150. Commission: of booth display. Booth fee: $210-$315. No 4%. For further information contact Ann Arbor commission. Send 3 loose 25£ stamps to Deann Street Art Fair, Box 1352, Ann Arbor 48106; or Verdier, Director, Sugarloaf Mountain Works, phone (313) 994-5260. 20251 Century Boulevard, Germantown, Mary­February 23, 1990 entry deadline land 20874; or phone (301) 540-0900. Valhalla, New York “Clearwater’s Great Hudson Gaithersburg, Maryland “Autumn Crafts Festi­ River Revival” (June 16-17, 1990) isjuried from val” (November 16-18, 1990) isjuried from 5 5 slides. Booth fee: $75 for a 10x10-foot space. slides, 1 of booth display. Booth fee: $210-$315. ContactJoan Silberberg, RFD 2, Pudding Street, No commission. Send 3 loose 250 stamps to Carmel, New York 10512. Deann Verdier, Director, Sugarloaf MountainMarch 1, 1990 entry deadline Works, 20251 Century Boulevard, Germantown, Greeley, Colorado “27th Annual National Art Maryland 20874; or phone (301) 540-0900. Mart” (May 5-11, 1990) isjuried from 3 slides. Gaithersburg, Maryland “Winter Crafts Festi­ Open to all media. Cash ($500) and purchase val” (December 7-9,1990) is juried from 5 slides, awards. Entry fee: $10. Send postcard to Greeley 1 of booth display. Booth fee: $190-$315. No Art Mart, 2510 51 Avenue, Greeley 80634; or commission. Send 3 loose 25£ stamps to Deann phone (303) 330-8632. Verdier, Director, Sugarloaf Mountain Works, March 15, 1990 entry deadline 20251 Century Boulevard, Germantown, Mary­ Madison, Wisconsin “Art Fair on the Square” land 20874; or phone (301) 540-0900. (July 14-15, 1990) isjuried from 4 slides. Cash, Timonium, Maryland “Spring Crafts Festival” invitational and purchase awards. Entry fee: $15. (May 4-6, 1990) is juried from 5 slides, 1 of Booth fee: $200. Contact Art Fair on the Square, booth display. Booth fee: $250. No commission. Madison Art Center, 211 State Street, Madison Send 3 loose 25£ stamps to Deann Verdier, Di­ 53703; or phone (608) 257-0158. rector, Sugarloaf Mountain Works, 20251 Cen­ March 31, 1990 entry deadline tury Boulevard, Germantown, Maryland 20874; Clinton, Iowa “Art in the Park” (May 19-20, or phone (301) 540-0900. 1990) isjuried from 5 slides. Awards. Booth fee: Timonium, Maryland “Maryland Crafts Festi­ $50 for a 10x10 foot space. Sendsase to Carol val” (October 19-21,1990) isjuried from 5 slides, Glahn, Clinton Art Association, Box 132, Clin­ 1 of booth display. Booth fee: $315. No commis­ ton 52732; or phone (319) 259-8308.

10 Ceramics Monthly December 1989 11

Ohio, CincinnatiMarch 21-24, 1990 “Rediscov­ Larry Henderson and Andree Thompson; at Itinerary ery,” annual conference of the National CouncilGallery 30, 30 East Third Avenue. on Education for the Ceramic Arts(NCECA) , will California, West HollywoodDecember 1-January Conferences, Exhibitions, Fairs, feature discussions on interdisciplinary issues,6, 1990 “Cups in Hands,” drinking vessels by 30 artists and computers, ceramic industry and art­artists; at MOA Art Gallery, 8552 Melrose Ave. Workshops and Other Events to Attendists, Third World developments, “Black Moun­Florida, Miami BeachDecember 10-February 4, tain: a Time of Spirituality,” and “Rookwood and 1990 “American Studio Ceramics”; at the Bass Early Cincinnati Pottery”; at Omni Netherland Museum of Art, 2121 Park Avenue. Plaza. For further information contact Regina Florida, Miami ShoresDecember 8-January 27, Conferences Brown, Executive Secretary, Box 1677, Bandon, 1990 “Under the Influence,” works by 13 ce­ Oregon 97411. ramic artists; at Barry University, University Li­ Alabama, MontevalloMarch 2-3, 1990 “Alabama brary Gallery, 11300 Northeast Second Avenue. Clay Conference V” will feature a raku workshop International Conferences Florida, Saint PetersburgDecember 8-February 19, with Richard Hirsch, and an exhibition of works 1990 “Italian Renaissance Maiolica from South­ by Steve Loucks, Clifton Pearson and Scott Meyer. Norway, OsloJune 6-9, 1990 “Oslo International ern Collections”; at the Museum of Fine Arts, For further information contact the Art Depart­ Ceramics Symposium” will focus on the relation­ 255 Beach Drive, Northeast. ment, #6400, University of Montevallo, Mon­ship between art and research. Events: lectures;Hawaii, Honoluluthrough January 7, 1990 “In tevallo 35115; or phone (205) 665-6400. workshops; panel discussions; an international Pursuit of the Dragon: Traditions and Transi­ California, DavisApril 20-22, 1990 “California student forum; performances; exhibitions, in­ tions in Ming [Chinese] Ceramics”; at the Ho­ Conference for the Advancement of Ceramic cluding an “Instant Exhibition” for artists bring­nolulu Academy of Arts. Art” will feature lectures by critic Donald Kuspit; ing three works; plus social gatherings. Fee: $150; Illinois, Chicagothrough December 30 “Ceramic Roberta Laidman, Dutch exhibition coordina­ students $100. Contact OICS-1990, Annie Gisvold,Abstractions,” includes works by Carolyn Ches­ tor; collector Ross Turk; Patterson Sims, curator Executive Secretary, the National Academy of ter, Philip Cornelius, Anne Currier, Yih-Wen of Seattle Art Museum; and artists Donna Billick, Art and Design, Ullevalsvn. 5, 0165 Oslo 1; orKuo, Virginia Scotchie, Robert Sperry and Neil Robert Arneson, Stephen De Staebler, Rene di phone 2 20 12 35; or fax 2 11 14 96. Tetkowski; at Esther Saks Gallery, 311 West Su­ Rosa and Richard Shaw. Also includes lectures/ perior Street. demonstrations by David Gilhooly, Marilyn Lev­Solo Exhibitions through February 18, 1990 “Teco: Art Pottery of ine and John Roloff; an exhibition of works by the Prairie School,” terra cotta produced be­ five Dutch sculptors; and the fourth annualCalifornia, Laguna Beachthrough January 28, tween 1900 and 1920 by Gates Potteries in Illi­ “Thirty Ceramic Sculptors” show. Contact the 1990 “Robert Brady Survey”; at Laguna Art Mu­ nois; at the Chicago Historical Society, Clark St. Natsoulas/Novelozo Gallery, 132 E Street, Davis seum, 307 Cliff Drive. Indiana, Indianapolis through January 6, 1990 95616; or phone (916) 756-3938. California, LincolnDecember 18-January 19, 1990 “American and European Art Pottery from the California, San JoseJanuary 10-13, 1990 “The Nancy Steuck; at Lincoln Arts, 6060 Fifth Street. Indianapolis Museum of Art: 1880-1950”; at the Case for Clay in Education II: Culture and Tradi­California, Oaklandthrough February 18, 1990 Indianapolis Museum of Art, 1200 West 38 Street. tion,” organized byStudio Potter magazine, San “Intimate Appeal: The Figurative Art of Beatrice Maryland, Baltimorethrough December 31 “Holi­ Jose State University and the Santa Clara CountyWood,” includes 66 works on paper and in clay; day Show”; at Baltimore Clayworks Gallery, 5706 Office of Education, will include presentationsat the Oakland Museum, Tenth and Oak Streets. Smith Avenue. on “Philosophy and Overview: Perspectives onMinnesota, Minneapolisthrough December 7 Massachusetts, Ipswich through December 31“Holi­ the Importance of Clay in the Curriculum,” “Clay “Warren MacKenzie, Potter: A Retrospective”; at day Exhibit,” featuring work by members of and Cultural Identity: a Multidisciplinary andUniversity Art Museum, University of Minne­Northshore Clayworks; atOcmulgee Pottery, 263 Multicultural Approach,” “Curriculum Models:sota, Northrop Memorial Auditorium, 84 Church High Street. Clay in the Classroom,” “Models of Excellence: Street, Southeast. Michigan, Royal Oakthrough December 16 Jeff Scenarios in the Schools” and “Idea/Informa­ Missouri, Saint Louisthrough December 16Ken Oestreich and David Shaner; at the Swidler Gal­ tion Exchange”; plus networking sessions, key­ Kohoutek; at Randall Gallery, 999 North 13. lery, Washington Square Plaza, 308 W. Fourth St. note address, panel discussions, exhibitions andthrough January 1, 1990 Wayne Branum, func­ Minnesota, Minneapolisthrough December 7 social activities. ContactStudio Potter, Box 65, tional ware with painterly surfaces; at Pro-Art, “Warren MacKenzie, Teacher: Followers in the Goffstown, New Hampshire 03045; or phone 5595 Pershing. Functional Tradition,” includes works by 16 for­ (603) 774-3582. New Jersey, Newarkthrough December 24 Marion mer students; at the University Art Museum, Florida, PensacolaJanuary 18-20, 1990 “Florida Held; at the Newark Museum, 49 Washington St. University of Minnesota, Northrop Memorial Craftsmen Annual Conference.” Registration New Jersey, Watchungthrough December 9Joshua Auditorium, 84 Church St., SE. deadline: January 7, 1990. Workshop leaders Nadel, “Thoughts and Expressions”; at the New Jersey, Red Bankthrough January 13, 1990 include ceramists Andrea Gill and Stephen Hill.Watchung Arts Center, 18 Stirling Road. Bob Heim and Toni DeWitt; at Art Forms, 16 For further information contact Florida Crafts­ New Mexico, Albuquerquethrough December 10 Monmouth Street. men, 235 Third Street South, Saint Petersburg, Mia Blocker, thrown porcelain and coiled stone­ New York, New Yorkthrough January 13, 1990 Florida 33701 or PensacolaJunior College, 1000 ware; at Tumbleweed Gallery, Scottsdale Village, “The Modern Pottery,” featuring vessels by Bill College Boulevard, Pensacola 32504; or phone 3107 Eubank, Northeast. Knoble, James Makins and Todd Piker in the (813) 821-7391. New York, New Yorkthrough December 6 Isamu Hartsook Gallery; and works by Peter Klove and Missouri, Kansas CityApril 5-9, 1990 “National Noguchi, portrait sculpture; at Whitney Museum Ryo Toyonga in the Office Gallery; at Greenwich Art Education Association Conference,” with of American Art, Philip Morris, 120 Park Ave. House Pottery, 16 Jones Street. keynote speakers Maxine Greene, professor in through January 7, 1990 George Ohr, “Portrait ofPennsylvania, Granthamthrough December An 8 philosophy, social sciences and education at an Ajnerican Potter”; at American Craft Mu­ exhibition of works by Gary Baxter, John Ground Teachers College, Columbia University, New York seum, 40 West 53 Street. and Dennis Maust; at M. Louise Aughinbaugh City; and Howard Gardner, research psycholo­ through January 12, 1990 Ursula Morley Price, Art Gallery, Messiah College. gist and codirector of Project Zero at Harvard porcelain; at Graham Gallery, 1014 Madison Ave. Texas, Fort WorthDecember 23-March 10, 1990 Graduate School of Education, Cambridge, Pennsylvania, Philadelphiathrough December 9 “Imperial Taste: Chinese Ceramics from the Massachusetts. Location: Hyatt Regency and Jill Bonovitz; at the Helen Drutt Gallery, 1721 Percival David Foundation”; at the Kimbell Art Westin Crowne Center Hotels. ContactNAEA, Walnut Street. Museum, 3333 Camp Bowie Boulevard. 1916 Association Drive, Reston, Virginia 22091. Pennsylvania, Yorkthrough October 30, 1990 Virginia, Richmondthrough December' “Imperial 7 New York, New YorkJanuary 19-20, 1990 “A “Pfaltzgraff, America’s Potter”; at the Historical Taste: Chinese Ceramics from the Percival David Neglected History: Twentieth-Century American Society of York County, 250 East Market Street. Foundation”; at the Virginia Museum of Fine Craft,” chaired by Janet Kardon, director of the Arts, 2800 Grove Avenue. American Craft Museum. Speakers include Group Ceramics Exhibitions Washington, Seattlethrough December 10 “Clay George Kubler, David Hanks, Marcia Manhart, and Clay Plus,” with works by Margaret Ford, Milo Naeve, John Perreault, Patterson Sims andArizona, Tempethrough January 7, 1990 “The Michael Gustavson, Larry Halvorsen, John Har­ Roy Slade. Contact the American Craft Museum, Cooper Family Collection of Contemporary ris, Anne Hirondelle, Jim Kraft, John Page, 40 West 53 Street, New York 10019; or phone American Ceramics”; at Nelson Fine Arts Cen­ Geoffrey Pagen, Debra Norby, Akio Takamori (212) 956-3535. ter, Tenth Street, Arizona State University. and Patti Warashina; at Foster/White Gallery, February 14-17, 1990 “Annual College Art Asso­ California, Oaklandthrough December 31 “Small 311½ Occidental Avenue, South. ciation Conference”; at the New York Hilton. Treasures,” featuring works by members of the For further information contact the College Art Association of California Ceramic Artists; at the Ceramics in Multimedia Exhibitions Association, 275 Seventh Avenue, New York Collector’s Gallery, the Oakland Museum, 1000 10001; or phone (212) 691-1051. Oak Street. Arizona, TucsonDecember 2-January 6, 1990 California, San Diegothrough December 12 “Two “Flights of Fancy IV,” including works by ceram­ Send announcements oj conjerences, exhibitions,Women/Two ju­ Shows,” with Marjorie Derezin, ists Esmeralda Delaney, Reed Keller and Eilene ried fairs, workshops and other events at least twocolored porcelain vessels; and Judy Pike, saggar-Sky; at the Obsidian Gallery, Saint Philip’s Plaza, months before the month of opening (add one monthfired “holdable” for forms; at the Spectrum Gallery, 4340 North Campbell Avenue. listings in July and two months for those in August)744 Gto Street. December 16-February 5, 1990 Dual exhibition The Editor, Ceramics Monthly, Box 12448, Colum­California, San MateoDecember 6-January 15, featuring daywork by Andree Richmond; at the bus, Ohio 43212; or phone (614) 488-8236. FAX an­1990 Exhibition of works by Judy Hiramoto, Museum Shop, Tucson Museum of Art, 140 nouncements to (614) 488-4561. Sherry Karver, Thomas Heid, Caroline Burkett, North Main Avenue.

14 Ceramics Monthly December 1989 15 Show,” including clayworks by Val Cushing, Itinerary Catharine Magel, William Parry, Ted Randall, Don Reitz, Dan Rhodes and Robert Turner; at Henry Bauer Gallery, 9½ North Main Street. California, DavisDecember 1-January 6, 1990 New York, Brooklynthrough January 22, 1990 Three-person show with ceramic sculptor “Hispanic Ai ts of New Mexico”; at the Brooklyn Stephen Kaltenbach; at Natsoulas/Novelozo Gal­ Museum, 200 Eastern Parkway. lery, 132 E Street, Suite 2A. New York, East Hamptonthrough January 14, California, Los AngelesDecember 2-January 1, 1990 “In the Craft Tradition,” includes terra­ 1990 Holiday exhibition featuring ceramic mu­ cotta platters, baskets and teapots by Woody sic boxes by Michael and Susan Ezzell, and mini­ Hughes; at Guild Hall, 158 Main Street. ature porcelain vases by Scott Malcolm; at del New York, Hastings-on-HudsonDecember 17-Feb­ Mano Gallery, 11981 San Vicente. ruary 11,1990 “Masks: The Alternate Self’; at the California, Mill Valleythrough January 6, 1990 Gallery at Hastings-on-Hudson, Municipal Bldg. “Animal Imagery”; at Susan Cummins Gallery, New York, New Yorkthrough January 28, 1990 32 Miller Avenue. “Treasures from the Fitzwilliam Museum”; at California, Palm SpringsDecember 10-29 Three- National Academy of Design, 1085 Fifth Avenue. person show featuring ceramics by Michael Gus- December 27-January 14, 1990 “International Art tavson; at Elaine Horwitch Gallery, 1090 North Horizons,” juried exhibit; at Art 54 Gallery, Soho. Palm Canyon Drive. New York, Piermontthrough January 5, 1990 California, Riversidethrough December 30 “Perspectives—Artists of the Hudson River Re­ “Reflections of a Quiet Kind,” including sculp­gion,” featuring daywork by Rosemary Aiello, ture by Marsha Judd; at the Art Works, 4649 Ina Chapler, Nancee Meeker, Ragnar Naess and Brockton Avenue. Barbara Strassman; at the America House, 466 California, San FranciscoDecember 7-January 20, Piermont Avenue. 1990 “Faculty Selection III,” with sculpture by North Carolina, CharlotteDecember 10-March 4, Richard Berger and John Roloff; at San Fran­ 1990 “Contemporary Icons and Explorations: cisco Art Institute, 800 Chestnut Street. the Goldstrom Family Collection,” featuring 77 Connecticut, New Haventhrough December 23“21 st works by 55 artists; at the Mint Museum, 2730 Annual Celebration of American Crafts”; at Crea­ Randolph Road. tive Arts Workshop, 80 Audubon Street. Ohio, ColumbusDecember' 10-January 3, 1990 D.C., Washingtonthrough February 18, 1990 “Young Ohioans, "juried exhibit of craftworks by “Treasures of American Folk Art from the Abby Ohio artists between ages 18 and 30; at Ohio Aldrich Rockefeller Folk Art Center”; at the Na­ Designer Craftsmen Gallery, 2164 Riverside Dr. tional Museum of American Art, Smithsonian Oregon, Salishanthrough December 31Exhibition Institution, Eighth and G Streets. featuring daywork by Priscilla and Kevin Filotei, Illinois, Chicagothrough January 15, 7990 “1889: John Page, and Dave Thorbeck; at Maveety Gal­ The First Year of the Classical Collection”; at the lery, Highway 101. Art Institute of Chicago, Michigan Avenue. Pennsylvania, Haverfordthrough December 15 Iowa, AmesDecember 1-January 20, 1990 “21st “Annual Open Juried Craft Exhibition”; at Main Annual Clay and Paper Show”; at Octagon Cen­ Line Center of the Arts, Old Buck Road and Lan­ ter for the Arts, 427 Douglas. caster Avenue. Iowa, Mason Citythrough December 30 “Iowa. Crafts; Tennessee, Chattanoogathrough January 7, 1990 22”; at the Charles H. MacNider Museum, 303 “Young Americans,” juried national exhibit of Second Street, Southeast. craftworks by artists between the ages of 18 and Maine, Portlandthrough January 7, 1 990 “Holi­ 35; at Hunter Museum of Art, 10 Bluff View. day Exhibit”; at Nancy Margolis Gallery, 367 Virginia, Richmondthrough December 23“Holiday Fore Street. Invitational Exhibition”; at the Hand Workshop, Massachusetts, Bostonthrough January 19, 1990 1812 West Main Street. “Twenty Years of Contemporary Craft,” includes Washington, Seattlethrough December 31“Beyond works by Wayne Higby; at the Society of Arts and the Spirit Path: Chinese Funerary Arts, "from the Crafts, 175 Newbury Street. Neolithic period to the Tang dynasty.December Massachusetts, Lexingtonthrough June 15, 199014-March 4, 1990 “Preserving an Architectural “Curator’s Choice,” includes ceramics from the Heritage: Frank Lloyd Wright Decorative Arts”; decorative arts collection; at the Museum of Ourat Seattle Art Museum, Volunteer Park. National Heritage, 33 Marrett Road. Massachusetts, NorthamptonDecember 2-January Fairs, Festivals and Sales 13, 1990 “The Hearth”; at Ferrin Gallery, Pinch Pottery, 179 Main Street. California, Walnut CreekDecember 7-10 “Clay Michigan, Detroitthrough December 30 “AnnualArts Guild Holiday Ceramics Sale”; at the Wal­ Holiday Exhibition”; at Pewabic Pottery, 10125 nut Creek Civic Arts Education, Studio E, 1313 EastJefferson Avenue. Civic Drive. Minnesota, MinneapolisDecember 9-January 13, Colorado, PuebloDecember 8-17 “1989 Holiday 1990 “Works on Paper/Works in Clay,” with Arts and Crafts Sale”; at Sangre de Cristo Arts ceramics by Malcolm Kucharski, Donovan Palm- and Conference Center, 210 N. Santa Fe Ave. quist, Anne Perrigo, Monica Rudquist and Phil­Connecticut, Brookfieldthrough December 24“11 th ip Williams; at Anderson and Anderson Gallery,Annual Holiday Craft Sale”; at the Brookfield 400 First Avenue, North, Suite 240. Craft Center, 286 Whisconier Road. Missouri, Saint Louisthrough December 24“25th Connecticut, Greenwichthrough January 6, 1990 Annual Holiday Exhibit,” including works by “A Celebration of Color,” crafts; at the Elements, over 100 artists from throughout the United 14 Liberty Way. States; at Craft Alliance, 6640 Delmar Boulevard. Connecticut, Guilfordthrough December 23“ 11 th December 2-JanUary 6, 1990 “Mask Hysteria: A Annual Holiday Exposition”; at Guilford Hand­ National Invitational”; at Pro-Art, 5595 Pershing. crafts and Fine Arts Center, 411 Church St. New Jersey, MillbumDecember 1-30 “Holiday Connecticut, Middletownthrough December 10 Showcase,” featuring porcelain tableware by ‘Wesleyan Potters 34th Annual Exhibit and Sale”; Karen Aumann; at Sheila Nussbaum Gallery, at Wesleyan Potters Craft Center, 350 South 358 Millburn Avenue. Main Street. New Jersey, Newarkthrough December 31 “New Illinois, ChicagoDecember 1-31 “14th Anniver­ Jersey Arts Annual—Clay and Glass”; at the sary Holiday Show and Sale”; at Lill Street Gal­ Newark Museum, 49 Washington Street. lery, 1021 West Lill Street. New Jersey, Tenaflythrough January 5, 1990 Maryland, GaithersburgDecember 8-10 “Winter “Collector’s Christmas,” featuring clayworks by Crafts Festival”; at the Montgomery County Fair­ Anna May Yeung and Robin Hodgkinson; atgrounds. America House, 24 Washington Avenue. Michigan, Birminghamthrough December “Holi­ 9 New Mexico, Albuquerquethrough December day Sales Show”; at Birmingham Bloomfield Art 31 “Kit and Kaboodle,” works by 12 New Mexico Association, 1516 South Cranbrook Road. artists; at Weyrich Gallery, 2935-D Louisiana Michigan, Detroitthrough December 30 “Annual Boulevard, Northeast. Holiday Exhibition”; at Pewabic Pottery, 10125 New York, Alfredthrough January 1, 1990 “Alfred EastJefferson Avenue.Please Turn to Page 74

16 C eramics Monthly December 1989 17 no two alike, there. It cost me my total nese potters had used iron oxide to provide New Books year’s savings to show up, and as I got the red, yellow, amber, green, blue, black and wrong man to attend to the taking away of even silver colors in glazes—not as crude my ware, stand and fixings, it turned out tospectrum colors, but as tones and qualities be nobody’s business and everybody’s pot­in close harmony.” He goes on to discuss tery. the basic composition of Chinese high-fired “Well, I’ve made some more, and you iron glazes, identifying four glaze types: The Mad Potter of Biloxi can’t keep a live squirrel on the ground;high-lime, lime, lime-alkali and (please The Art 8c Life of George E. Ohr and the New Orleans Exposition is out of excuse him) “acid rock.” Accompanying sight, and so are those mud fixings. descriptions of the characteristics of these by Garth Clark, Robert A. Ellison, Jr., and “Everybody knows it’s bad to push a glaze types is a chart with base recipes and Eugene Hecht good thing too far, and a darned sighttypical firing ranges. Genius, crackpot, artist, huckster, worse to shove a worse thing farther; so Guan and Jun glazes that fall ‘just be­ prophet, clown—as the self-proclaimed right here I’ll drive a stake down and put ayond these compositional limits” are de­ greatest potter on earth, George Ohr was ground wire. scribed similarly: probably a little of each. Yet his unabashed “For further information concerning my “Modest departure self-promotion surely helped poison his ca­ get-up and get-there, careering, maneuver­ from the ‘lime glaze’ reer both then and now. Few knowledge­ ing and canoeing, write to the paddler of type accounts for able ceramophiles feel certain about the Biloxi’s mud flat, whose name is Geo. Ohr.” most of the special place of Ohr in the scheme of things. But After years of making a spectacle of qualities of Guan principally through the efforts of dealer himself to draw attention to his work, by glazes: the lower sil­ (etc.) Garth Clark, Ohr’s prodigious out­ 1909 he had given up trying to get the ica content encour­ put has been lifted from oddity to that of world to appreciate his “mud babies” and aged the famous collectible craftsman/persona. consigned most to storage in large, open Guan ‘crackle’ effect; Born in 1857, the second son of a black­ wooden crates in a third floor attic of the the higher alumina smith, Ohr always thought of himself as a pottery, which by that time was being con­ percentage stiffened misfit, a duck among chickens. But he dis­ verted by Ohr’s sons into Biloxi’s first auto the glazes and trapped millions of bubbles covered that “after working at about 14 repair shop. in the viscous glasses as they melted, ren­ professions and that many business­ Discovered some 20 years ago, the cache dering the glazes semiopaque. The rela­ es...when I found the potter’s wheel I felt it of over 7000 pots provided sufficient “criti­tively high alumina and calcia levels also all over like a wild duck in water. cal mass” of collectible ware to finally es­ encouraged minute lime feldspar crystals “I had to do lots of work, and hard andtablish Ohr’s reputation as a significant to grow in the glazes as they cooled, adding heavy,” he wrote in an autobiographical es­ and persistently eccentric master potter, further depth and opacity to their fired say published in theCrockery and Glass Jour­ whose interest in pushing the form of the qualities.” nal in 1901, “but all vessel beyond function to the point of ab­ Wood also gives basic recipes for the is light and easy when straction anticipated much of what we now later saturated-iron glazes. “High-fired the will and love of it take for granted in ceramic art. As Ohr blackware and brownware glazes were very is there, and when foretold in 1899, “I am making pots for much slower in their development than one gets really enthu­ art’s sake, God’s sake, the future genera­ their greenware and celadon counterparts, siastic they will for­ tions, and for my own satisfaction...but whenand it was some 1500 years after the first get to get hungry. It I am gone my work will be prized, honored high-fired greens appeared before many happened only once and cherished.” blacks emerged. What was needed to ad­ with me. I forgot or In this lavishly illustrated study of Ohr’svance the progress of high-fired black glazes had no time to go to work, Eugene Hecht, a professor of physics was a base glaze lower in lime.” dinner, and when supper time came Iat Adelphi University, writes about Ohr’s He concludes with a look at the use of thought and thought, and wondered if “Times I and Life,” while artist/art pottery iron oxide in lead glazes, particularly dur­ was a Republican carpetbagger or a middle authority Robert A. Ellison, Jr., discusses ing the Tang dynasty. “They are all warm of the road Democrat, or vice versa. But in“The Triumph of Individuality” and Garthcolors and consist of various yellows, am­ the morning I solved it—I was a going Clark gives “A Present Day Appraisal.” 192 bers, browns and rusty reds. After the Tang, potter. Eat or no eat, money or no mon­ pages, including appendixes (an autobiog­the use of iron oxide in lead glazes tended ey...it was all the same to me.” raphy and the text of a 650-word “letter” in­ to polarize toward the production of yel­ Ohr had learned wheelwork from a tra­ scribed on an umbrella stand—now in thelows (2.5-3.5% ferric oxide) and iron reds ditional potter in New Orleans (Joseph Smithsonian), bibliography and index. 133 (8-30% ferric oxide)—most notably as Meyer), and delighted in showing his prow­ color plates; 123 black-and-white illustra­ overglaze enamels on Jingdezhen porce­ ess at throwing large, straightforward, utili­ tions. $65. Abbeville Press, Inc., 488 Madison lain.” 88 pages. 20 color plates; 105 black- tarian forms when working there; however, Avenue, New York, New York 10022. and-white illustrations. £15 (approximately at his own pottery in Biloxi, Mississippi, $24), softcover.The Oriental Ceramic Society, Ohr leaned toward the eccentric—delicate, Iron in the Fire 3IB Torrington Square, London WC1E 7JL, thin-walled pots (often pushed to the point England. of collapse or even beyond), floppy, dented,The Chinese Potters’ Exploration of Iron fluted or with ruffled rims and elaboratelyOxide Glazes curved handles. During his lifetime, Ohr’s Published in conjunction with an exhi­The Sumi-e Book work was occasionally recognized for its in­ bition at the Ashmolean Museum in Ox­ by Yolanda May hall genuity, but was more often labeled ex­ ford, this catalog/book recognizes that a Everyone has seen those misty land­ travagant or grotesque. “vital agent in the coloring of ceramics in scapes, where the simplicity of a few brush­ It wasn’t easy bucking the system. Ohr China has been iron in its various oxides.”strokes creates a sense of serene realism (or was naive about business, and probably aExamples, arranged chronologically, illus­ is it impressionism?); and who among us bit too philosophical about his losses: “The trate the use of iron to decorate unglazedhas not admired those who can control a first year I got enough dimes to cover my pots, in oxidation-fired lead glazes, reducedbrush with such studied and traditional frame, but not to fill it up. That was in 1883, stoneware glazes, and overglaze enamels. grace. Although the Japanese art of sumi-e the year of the New Orleans Cotton Cen­ Potter/teacher Nigel Wood’s introduc­ painting is with ink or watercolor on paper tennial Exposition. I had over 600 pieces, tion notes that “by the 12th century Chi­ or silk, many ceramists around the world

18 CERAMICS MONTHLY December 1989 19 New Books enamels in ceramics are on-glaze pigments firing in a lower range from 1275° to 1560°F.] The decoration in brightly col­ have adapted sumi-e techniques to oxidesored metallic-oxide glazes is then painted and glazes on clay. In this how-to guide for on the dried, unfired background glaze, newcomers to the craft, the author explains often on design elements modeled in high and illustrates the four basic strokes used inor low relief. When the piece is next fired, sumi-e. Each is described in order of its re­ the translucent and richly colored glazes lationship to the others, each building upon impart a lustrous, silky brilliance that is knowledge of the previous strokes: “Sumi-e characteristic of Victorian majolica.” was woven from four A later chapter on clays and glazes tries strands, called Four to give a more technical explanation of Gentlemen char­ production, but it soon becomes clear that acterized as: Bam­ the authors and their editor, Robert Mor­ boo, Wild Orchid, ton, lack even a foggy understanding of ce­ Chrysanthemum ramic technical basics: Would you believe and Plum Branch. “flint acts as a flux” and “earthenware be­ Each introduces a new stroke or idea that comes stoneware when heated above reinforces the stroke before.” 1200°C”? Considering that that’s about This text also illustrates various designs Cone 4, overfire true earthenware much and how they are assembled using these beyond that point, and you’ll get a slumped, four strokes. The stroke used for bamboo mushy mass of bubbling goo. Stoneware is, leaves and stalks, for instance, can create a of course, another clay capable of vitrifi­ bird or a person; and the stroke for the wild cation, something earthenware never orchid can be transformed into a fish or achieves even when fired to its peak, stable water lily. 128 pages, including glossary and temperature. index. 110 black-and-white illustrations. With eight chapters devoted to histori­ $14.95, softcover. Watson-GuptillPublications, cal documentation, the majority of the text 1515 Broadway, New York, New York 10036. identifies various makers (well known and obscure) and their wares. In conclusion, Majolica the authors offer some advice on collect­ ing, along with a few sample prices from A Complete History and Illustrated recent auctions. 240 pages, including marks Survey appendix, glossary, list of museums with by Marilyn G. Karmason with Joan B. Stacke majolica collections, bibliography and in­ Written by collectors for collectors, this dex. 145 color plates; 70 black-and-white il­ “complete history” is instead an incomplete lustrations. $75.Harry N. Abrams, Inc., 100 (and at times inaccurate) survey, primarilyFifth Avenue, New York, New York 10011. of the colorfully glazed earthenware pro­ duced during the Victorian era in EuropeDictionary of American Pottery and North America. It should have beenMarks: titled Victorian Majolica. Brief, background chapters introduce Whiteware and Porcelain the neophyte to ceramic history and majol­ by C. Gerald DeBolt ica antecedents: “Majolica was the third This is another in the endless series of part of a triad in the such books by various authors and publish­ history of ceramics. ers; only collectively are these dictionaries The first, Spain’s of real value as most, like this one, are quite Hispano-Moresque limited in scope and are primarily of inter­ pottery, was ex­ est to collectors and antique dealers. This ported to Italy in the volume is intended to help identify “the 15th century by way manufacturer, the place of manufacture of the island of Ma­ and the approximate jorca. In Italy the pot­ age” of pottery “that tery was at first imi­ has been refined to tated; soon it was splendidly developed fur­the extent that, in its ther and known asmaiolica, the most out­ natural state, it is standing ceramic art of the Italian Renais­ white or nearly sance. The third phase occurred in Stoke- white.” Line drawings on-Trent, England, in 1849. Applying vi­of approximately brant and gleaming polychrome glazes to 1000 marks are ac­ boldly sculpted earthenware, [Herbert] companied by brief Minton and [Leon] Arnoux created ‘ma­histories of the com­ jolica,’ the ceramic art form that comple­ panies (few studio mented the ornate, opulent Victorian era.” potters are listed), and the year (s) in which The text goes on to specify that majolica the marks were used. Also included is ad­ “must be soft, porous earthenware fired to vice on how to identify ware, along with tips the biscuit stage, and then covered with anon recognizing fakes. 153 pages, including opaque background glaze of tin or lead a selection of “difficult” British marks, bib­ enamel (or a combination of both). [The liography and index. $27.95.CharlesE. Tuttle authors obviously have no idea that majol­Company, Inc., 28 South Main Street, Box 410, ica does not involve the use of enamel; that Rutland, Vermont 05701.

20 CERAMICS MONTHLY December 1989 21 to make whatever they want, but those Comment limp-brained potters are not in the mainstream and must not be allowed Plagiarism and Wood Firing to freeze others’ creativity, or interfere with progress. I would urge caution to those who by Terry Davies forgo any kind of art education, as design is a very important tool in avoid­ ing being just a clone to another pot­ A few years ago, I was at a well-known especially with reference to the vessel ter’s style. This same scenario has ceramist’s home when that person and tablewares. blighted the so-called fine arts. Maga­ made a statement, one we’ve all heard Potters not wishing to take up the zines are full of mail-order art, which is before: “There is a need to educate challenge of innovation can remaindepressingly debased. There is one the public.” Which, of course, should within the larger part of the amoeba, great consolation, if it can be called have continued “to buy my pots.” Thiswhich plays host to the ordinary, capa­ that—there are more bad paintings was accompanied by a heart-rending bly crafted wares. The majority of these around than bad pots. But we must not soliloquy about aesthetics and the needworks will be sold in deli-type galleries, rest on these negative laurels. for taste to be introduced into the liveskitchenware stores, garden centers and The laws applicable to plagiarism of the buying public. department stores under the ethos ofshould be strengthened to protect the Here is a case of “physician heal the unknown craftsperson. Yet it is this craftsperson from factory potteries and, thyself,” if ever there was one. The need very anonymity that is vexed andI fear, from one another. But how can is not one of public education, but ofgrieved over. There is very stiff compe­hypocrisy be avoided in a system where changing potters’ attitudes and theirtition in that world, often for little re­ plagiarism is often encouraged and seemingly unchallengeable right to be ward. This market not only has its practiced as a philosophy or at least an right. commercial suppliers, but the much ongoing educational asset? We have all Fundamentally, the modern ceramicdreaded factory-potteries, which eat been inspired from various sources and movement is an unnecessary exercise—away at the livelihood of the singular have even replicated, but only within potters need not exist. If all studio pro­ craftspeople who, living in rural ar- an early growth period that proceeded duction ceased tomorrow, it would not to maturity. An overview would show a be the end of civilization as we know it. “A matter of historical discernible progressive change in our Though the world would certainly be work. You cannot stand still in time the poorer for it. plagiarism is the senseless aspect of and expect success, unless you are pre­ And let us quickly dismiss the idea contemporary wood firing pared to hang on for another 50 years of attended poverty. There is no divine scratching around with yesterday. Then right to success, fame or a middle-class which produces you will be old enough to be classed as income. If these fail as needs, then the a curio for the passing tourist bus trade. potter should apply common sense and imitative Bizen-type wares....” A matter of historical plagiarism is seek a new career. the senseless aspect of contemporary There is a huge shift occurring cadia, are moonstruck in their roman­ wood firing which produces imitative which I believe will radically change tic role, often unaware of change untilBizen-type wares whose manifestation the ceramic world. The medium is no it’s too late. Under this onslaught their is only relevant to garden stores and, longer the undisputed king of crafts.only weapon is to outdesign andfailing that, the town dump. I cannot Glass, jewelry, basketry, textiles, etc., outprice their competitors. Here, of accept that anyone believes such work are getting deserved recognition, andcourse, is the rub. Can they do it? They is meritorious, let alone collectible as are vying for and getting a substantialcertainly have the advantage of lowpart of late 20th-century ceramics. The slice of the market. This is fostered by a overhead. anachronistic cult which produces such broad-based improvement in arts and Concerning this design factor andware is the most detrimental element crafts commentary and criticism (books awareness of changing needs: Those in stifling the creativity of present and and magazines), as well as exposure factory-potteries are predominantly for­ future users of wood firing. I listen to a (international exhibitions, auctions). mulated from our own ranks. They kind of witless, wheedling, baby talk This shift is akin to amoebic repro­ seem to spring up regularly, often pla­ about form and surface of such wares, duction in that it is starting to changegiarizing successful studio designs.and am positive it’s a sign that comfort and divide the ceramic world irrevoca­Thankfully, such businesses typically and succor are being requested to reas­ bly. The new section will contain the have a short life, and all they succeedsure the makers of their validity. To makers whose works are innovative andin doing is bringing about the demiseadd insult to injury, they call this work individual—those which delight, aston­of mediocre wares. “art,” using a dubious Japanese pre­ ish and reflect our times, using the There are two lessons in this. First, text, thereby slyly proclaiming them­ endless possibilities of ceramics’s rich the futility of plagiarism—to copy is to selves “artists.” language. Remember the cry for years misunderstand the path to concept I was delighted to find this succinct has been to be allowed under the and, therefore, to not know how to but relevant passage at the end of a umbrella of “fine arts.” Well, that time proceed with that concept. Second, no paper given by Kevin Grealy at the first is here, so it’s a case of put up or shut one today can limply remain in the Australian Woodfirers Conference in up. The arts versus craft debate is a self-indulgent idyll that was possible 1988: “The passion and panic with vacuous exercise maintained to avoidduring the great ceramic boom of yes­ which some writers try to defend the the real issue, which is about quality, teryear. Certainly, it is everyone’s right Please Turn to Page 61

22 CERAMICS MONTHLY December 1989 23 24 CERAMICS MONTHLY December 1989 25 26 C eramics Monthly A SEARCH FOR FORM AND PLACE

(Donald) Wayne Higby, Alfred Station, New York

Wayne Higby, An Autobiography

December 1989 27 Editor’s note:This is the second in a series of autobiographieslight of the present. by Without knowing it, I have been fol­ well-known potters and ceramic artists, selectedlowing and compiledRainer Rilke's advice to the young poet: "Seek for CM by Carl Paak of Albuquerque, New Mexico. those themes which your own everyday life offers you; describe your passing thoughts and the belief in some Pike's Peak rises 14,000 feet into the Colorado sky. At the sort of beauty—use to express yourself the things in your foot of the mountain's eastern slope lies the city of Colo­environment, the images from your dreams, and the ob­ rado Springs. Almost due east of the city, approximatelyjects of your memory. Even if you were in some prison, 30 minutes from its center, a series of massive, sandstone the walls of which let none of the sounds of the world mesas interrupts the broad prairie which rolls west from come to your senses—would you not then still have your Kansas to meet the Rockies. These outcroppings of yel­childhood, that precious, kingly possession, that treasure lowish rock, ponderosa pine and yucca form what ishouse of memories?" called Austin's Bluffs. Many influential changes in my life have taken place Civil War general William Jackson Palmer, a railroad since I left home to study at the University of Colorado. tycoon and founder of Colorado Springs, purchasedSoon a after entering college, I changed my major from major portion of the "bluffs" from Henry W. Austin, a law to fine arts. I took a trip around the world in 1963-64, Chicago hardware merchant and sheep rancher. In My father, a lawyer, died of cancer in 1964.1 graduated 1902, the general turned this cliff/mesa wilderness into a with a B.F.A. degree from the University of Colorado in recreational area and named it Palmer Park. He then 1966, and married Donna Bennett, my childhood sweet­ built a road over an old bridle path to Grand View Point heart (we met in high school chemistry) that same year where high on a mesa's rim he could look west to see in Marnes La Coquette, France. Between 1966 and 1968, Colorado Springs. Looking north and slowly movingI studiedhis ceramic art at the University of Michigan in Ann eyes southward, the general could also take in a pano­Arbor, graduating with an M.F.A. and two children— ramic view of the Front Range of the Rocky Mountains,Myles and Sarah. After two years teaching at the Univer­ clearly seeing snow-covered Pike's Peak and the mas­ sity of Nebraska at Omaha, I was hired by the Rhode Is­ sive, red cathedral rocks that form the Garden of the land School of Design, and moved east far from the se­ Gods. In addition, by concentrating his view far to the curity of the West and my romantic childhood. south, he could catch a glimpse of the dark Spanish Then, in 1972, my mother sold the house in Austin's Peaks which are part of the Sangre de Cristo mountain Bluffs. When she moved from the old house, she packed range reaching up into Colorado from New Mexico. several boxes of my personal belongings and sent them I grew up at Grand View Point; that is to say, I lived into a me. This shipment included many early drawings, wa- house built directly below the point. Our house was not tercolors,in oil paintings, and two small, brown, lumpy clay the park proper, but in an adjacent area which had ashtrays with yellow birds at the rim. I clearly remember retained the name Austin's Bluffs. The backyard reached making those pots. Even now I can see myself climbing all the way up the side of the mesa to touch the base of the steps of the gray, wood-framed house, with the a high stone circle from which visitors to Palmer Park canhuge porch, that stood behind the Colorado Springs take in the general's panoramic view. My youth was Fine Arts Center. I had a scholarship to attend the art spent horseback riding over this rocky landscape, ex­ center's educational program in the seventh and eighth ploring the boundaries of the park and studying scenerygrades, but the bird ashtrays were made much earlier, in all directions. when I was about five—nothing unusual about that. I'm Consequently, my sense of self is intertwined with a sure many people have childhood memories of making feeling, even longing, for space, color and light. Likeclay an ashtrays or birds, etc. On the other hand, they ancient Chinese landscape painter, I often seek out aren't still doing it well into their forties. empty space. This is particularly evident in my choice of The other thing that came to Providence in my the large ceramic bowl form as a vehicle for expression. mother's shipment was a fine hand-tooled western Although the imagery I use is not always specifically tiedsaddle that had been custom made for me when I was to the West, the impulse to use landscape as a means of 14.1 started riding horses when I was very young. Almost expression is most certainly part of a personal identity es­every afternoon throughout elementary and secondary tablished in early childhood and brought slowly into theschool I came home, saddled up and rode until dark. In

28 CERAMICS MONTHLY "Mammoth Rock Beach" 19 inches wide/16 inches deep, top "Tower Lands Winter," five lidded boxes assembled to form wheel-thrown earthenware, "corrected" to oval landscape image, 15 inches in height, slab-built earthenware, to fit through 17-inch-wide kiln door, raku fired, 1984. with raku glazes, 1988, by Wayne Higby.

December 1989 29 the summer I was seldom seen without a horse, I took enjoy teaching, but more than that, I learn. Teaching part in some of the normal adolescent activities, but has forced me to search for answers to complex ques­ most of the time I rode the trails of Palmer Park; and later, tions and to stretch my perceptions in order to respond during my high school years, I began to exhibit horsesconstructively at and enthusiastically to a wide variety of the regional quarter horse shows and county fairs. I rodestudent needs and abilities. I have discovered, of course, alone most of the time, which helped me develop a that you can't teach art, but you can help students get sense of self-reliance and an appreciation for solitude out of their own way. As a teacher, you can open doors, and quiet contemplation—a contact with nature. Mygive permission, encourage, set up roadblocks that test closest friend in high school was my horse, Keynote. Weresources, and you can care enough to be tough, traveled a lot of miles together and did some crazy demanding and patient. Also, you can, to the best of things. We were thrown out of a horse show once foryour ability, give out sound information, point out pos­ jumping over a woman spectator. sible directions and let go. I considered teaching art for the first time during a As Rollo May said: "We cannot will to have insights. debate with my parents occasioned by my decision to We cannot will creativity. But we can will to give our­ drop out of the pre-law curriculum at the University ofselves to the encounter with intensity of dedication and Colorado. My parents were not sure I was making a wisecommitment." The art teacher's primary role is to inspire choice. It was clear to them that I was not in college just dedication and commitment, and encourage encoun­ to have fun. So why study art? My father said, very forth­ter. An artist-teacher must guard against using the stu­ rightly, that art was an avocation, not a vocation. Todents as an audience. In fact, the teacher-student rela­ calm their nerves and to satisfy my own curiosity, I begantionship is almost the opposite of what it may seem. The to think about the possibility of art education as a career,student is the actor; the teacher a good audience. The story behind my change of major has been put in My commitment to a teaching career solidified dur­ print several times. It is somewhat amusing and abso­ ing my junior year of college while on a trip around the lutely true. During first semester in college I was invited toworld. On October 21, 1963,1 was staying in a hotel in attend a mock trial at the law building. I got there early Calcutta, India, reflecting on the mass of humanity out­ and decided to wander about the library. As I walked side my window. India was a shock. Coming from Colo­ around looking at all the massive, thick, monochromati-rado Springs, referred to in its early days as the "Newport cally colored law books lined up endlessly on shelf after of the West," I was unaccustomed to Calcutta's sights, shelf, I remember thinking that law students must spend sounds and living conditions, to say nothing about the a lot of time in the library. Just to read one of those booksrest of the non-Western world. I remember, vividly, a could take a year. I picked one off the shelf to look woman dressed only in tin cans. This was all very difficult through it, and the real revelation came. There are no for me to assimilate, to rationalize. There I was watch­ pictures in law books! Thinking, at that point, abouting—a fat airline ticket resting on the table beside my pictures, I began to study the portraits, several of them oilclean bed. How was this possible? Who am I? That was paintings, hanging in the corridor. I was late to the simu­the first time I realized the seriousness of that ontological lated trial, but sat through the proceedings patiently.question. The experience was nothing like watching my father This Calcutta awakening was clearly instrumental in work in the courtrooms of City Hall in Colorado Springs.focusing me toward teaching as a profession. I began to He was fun to watch. As the District Attorney, he tried see it as a means to celebrate opportunity and help several intense cases, which introduced me to real-life open doors for others. Later, for a speech I gave in drama. I wanted to be part of that excitement. But, the connection with a National Council on Education for the trial in the law building was far from exciting. It was Ceramic Arts (NCECA) general membership session on boring, And then there were those books—big, heavy,education, I wrote: "The tangible rewards of teaching with no pictures. The next day I went to the university's are few, but teachers can help preserve the continuity central library to find out which books contained the of human values. The possibility of achieving a quality life most pictures, and changed my major to art. for humanity is dependent upon having imagined what Since then, art education—only a peripheral con­ that life might be. The creative adventure art teachers cern at first—has become a central issue of my career. I provide will determine, to some extent, what doors are

30 CERAMICS MONTHLY "Horizon Beach" set of five boxes with landscape imagery, top "Witness Rock" approximately 10inches in height, approximately 14 inches in height handbuilt earthenware,wheel-thrown earthenware, with raku glazes, raku fired, 1985. reduced in hay, 1988.

December 1989 31 opened to the imagination. Art teachers help to confirmtact with Betty Woodman. Her husband, George Wood­ life's values on a personal level by offering individuals theman, had been my teacher for what was called Basic opportunity to engage the immediacy and truth of theirArt Lecture—an introduction to the philosophy of art. Al­ own emotions, Self-discovery reveals the dimensions of though I didn't do well in the course, I admired and one's own potential, and opens to view the magnificentrespected George as a teacher. Later, I took Basic gifts of the human mind. I hold the idealistic belief that a Drawing from him, for which I received an "A." Subse­ chain reaction is possible in which this awareness is quently, my regard for George Woodman more than shared as individual affects individual and the course of doubled. I asked him about ceramics and was intro­ civilization is altered." duced to Betty. During my last year in Boulder (1965), I One other encounter of major importance to mystudied pottery at school during the day, and at the chosen profession also occurred on that trip around the"Firehouse" (an old fire department building) where Betty world. On December 3,1963,1 was roaming the galleries taught a course for the Boulder Recreation Department of the Athens Museum. Later that evening I wrote the fol­at night. I exhibited my work for the first time in a three- lowing in my diary: "I didn't get excited over any of the person show at the university's architecture building that sculpture or any of the rest for that matter, just the same year. The other two participants were Betty Wood­ pottery—the black design period from the late seventh man and Maria Martinez. century through the sixth century B.C. The forms were In 1966, on an extended honeymoon in southern pleasing, but the designs were fabulous. I was entrancedEurope, my wife and I stayed several weeks in Florence by the simplicity of technique and the beauty of the de­ with the Woodmans. Both of them had grants that year signs—men and chariots, birds, horses, lions. The peopleto work in Italy. It was a wonderful time—spring in Florence. obviously had wonderful imaginations." The next day, atI worked in Betty's studio which overlooked the city. She the Herakleion Museum on Crete, I encountered Mi- and I re-invented the kiln, starting with a creative ap­ noan ceramics for the first time. The previous day's pots proach to pit firing, using lots of fire fueled by olive were remarkable, but the Minoan pots freed the potter branches. To my delight, I have seen slides of that time in me. Up to that point, I had considered myself a painter.show up frequently in Betty's lecture presentations. At the university, I had taken foundation art courses and Jim and Nan McKinnell, with whom I studied during several classes in art history. After seeing those Minoan the previous summer, along with Betty and George, pots, I began to wonder if I could become a potter. I encouraged me to go on to graduate school in ceram­ didn't recall knowing any potters, nor had pottery everics. In fact, Jim arranged a meeting for me with Paul been mentioned in my art classes. In fact, I later realized Soldner. I put a couple of my best ceramic pieces in the that pottery was not considered to be an art form at all. trunk of my car and set off to see someone I considered I wonder if the Minoans ever worried about that. to be a legend. On arrival at Paul's studio/home in I returned to the University of Colorado, hoping toAspen, Colorado, I drove through a gate, parked and satisfy a curiosity about pottery and art education. Con­ walked toward where a thin, half-naked, sunburned veniently, to my surprise, ceramics was a required course man was laying brick. I assumed this was one of the leg­ in the art education program. The class was taught byend's construction crew, and stopped to ask if he knew Anne Jones, a caring, intelligent woman whose majorwhere I could find Mr. Soldner. He said, "I'm Paul Sold­ focus was art education. We bought our clay in 5-poundner." Surprised, I said, "I'm Wayne Higby." He said, "Fine, bags at the bookstore, and were never allowed to fire could you help me with this?" the kiln, which was locked behind a door in a room adja­ I spent the rest of the day stacking brick, unloading cent to the working area. The glaze room was at thehay for the horse, casting cement fly wheels and odd- opposite end of a long hallway. This mini-facility was alljobbing it all over the grounds. Later, we drank too much tucked away in the basement of the university's main of some homemade wine, and I left to return to Boulder. liberal arts building, far from any of the other art activi­ Paul never looked at the pots I brought. But when I ties. Thus isolated from the mainstream, the pottery-ce- applied to his graduate ceramics program at Scripps, I ramics area provided a psychological freedom from the was admitted and given a healthy scholarship. rigid art concepts of the day. Unfortunately or fortunately, I will never know, Paul In the pursuit of ceramics, I eventually came in con­ decided not to teach that year at Scripps, and I fol-

32 CERAMICS MONTHLY "Symmetrical Gap',' slab-built earthenware container (five top "Return to White Mesa" landscape bowl, 22 inches wide, lidded boxes), to approximately 14 inches in height raku-fired earthenware, wheel-thrown, "corrected" to oval with airbrushed and brushed glazes, raku fired, 1988. and rim cut 1978.

December 1989 33 lowed up on my second choice by going to the Univer­versity of Nebraska in Omaha. The first major public sity of Michigan to study ceramic art with Fred Bauer andexhibition of my work occurred that same year at John Stephenson, graduating with an M.FA. in the springOmaha's Joslyn Art Museum. One piece from this show of 1968.1 had two very good, productive years in Michi­was purchased by the Johnson Wax Corporation for gan. At first, Fred was my sole mentor, He and Patti (Patti "Objects USA," and another was chosen for the "Young Warashina was married to Fred at that time) became Americans" exhibition sponsored by the American Craft central to my inspiration and motivation. They were Council. These pieces involved a continuation of the young, sensitive, intelligent and very creative. Fred was ideas that I presented in the work for my M.F.A. degree. receiving considerable attention for his work, and I was Decoration was a central theme. Patterns were evolved impressed. We would never talk at school, but Fred from systems of repetition, movement and linear surface would occasionally stop in at my studio, and I couldtreatments highlighted by earthenware techniques us­ frequently be found at his. The late '60s was a quixotic, ir­ing raku firings, lusters and, from time to time, Egyptian rational time. A time for youth and experimentation. paste. I explored ideas about surface and form integra­ Fred Bauer was, for me, the right person at the right time.tion of the kind often seen in architecture where struc­ It wasn't until late in my second year of graduate ture becomes a visual patterning revealed at the sur­ school that I began to appreciate the solid, calm ap­ face. (The most obvious example of this is a typical brick proach of my other professor—John Stephenson, Hiswall where we see, as a result of its structural system, a patient and steady teaching techniques made the pro­ linear grid pattern appear automatically.) gram at Michigan work. I discovered soon after gradu­ Major changes in my work began to occur around ation that I had learned a great deal from him. I have lost 1970. Having dealt exclusively with the nonfunctional track of Fred Bauer and the '60s, but John has since vessel and issues of decoration, I began to feel the become a good friend. limitations of an essentially academic and hedonistic My graduate work at Michigan was based on an approach to making art. In the summer of 1969, on an evaluation of historical pottery. Starting with the Minoanextended trip through the southwestern United States, pots, I had become increasingly interested in studyingup the coast to Seattle and back through the mountains early Greek, Mediterranean, Chinese and Islamic wares. and plains of Montana and Colorado to Nebraska, I re­ But I presented my ceramics as representing pottery or discovered landscape. On returning to my studio in demonstrating how I felt about pottery, rather thanOmaha, I began a serious exploration of forms which evolving from any practical concern for function, In 1969,would allow my feelings for landscape to merge with a I wrote the following for the catalog/book documentingcontinuing interest in pottery. Actually, the first piece in the exhibition "Objects USA": "In terms of aesthetics, I am this landscape box series was worked out before I got primarily interested in man's ability to create something back, while I was teaching a summer session at the beautiful. Specifically, in relation to pottery, I am im­ University of Washington. I still have that box. There is an pressed and influenced by the past. I use the past as a awkward decorativeness to it that suggests the struggle catalog of ideas which inspires me to create objects in I went through trying to invent new forms from land­ clay that express my concern with visual beauty rather scape without giving up the pot in favor of purely sculp­ than function." tural solutions. I often explained that I thought of my work as some­ As the work began to surface in exhibitions, I was thing similar to an elaborate, velvet-covered chair, roped often disappointed to hear of it referred to as "Higby's off for protection from curious visitors in a museum. Onesculpture." I didn't want to make sculpture; I was making couldn't sit on such a chair, but it triggers thoughts aboutpots, but it seemed that others wanted pots to be sculp­ chairs—their function, history and meaning. The intentture and felt that they were complimenting my work. I was to make a statement about pots. I wished to inform guess I understand all this now, but it sure has been those interested in art, or anyone else for that matter, confusing. Of course, pottery operates in the realm of that pottery was potentially a profound means of com­sculpture. It is three-dimensional, and deals with both munication in the 20th century. positive and negative space. A pot can define the Approximately three months after graduation fromspace and atmosphere in a room or a gallery, but it the University of Michigan, I began teaching at the Uni­carries its own special references to the intimacy and

34 CERAMICS MONTHLY "Tower Lands Winter" landscape container (five lidded boxes),top "Fortress Rock Bay," 12 inches in height, wheel-thrown 15 inches in height, slab-built earthenware, with airbrushed and and "corrected" earthenware, with raku glazes, 1982, brushed glazes, raku fired, 1988. by Wayne Higby.

December 1989 35 vulnerability of human life. Pottery expresses, among I must admit that I thought the Alfred ceramics pro­ other things, an aesthetic of accessibility. Pots are ac­ gram was a wreck when I went for my interview. I had no cessible. They are easy to identify with. They invite and intention of taking the job; but when Ted Randall called comfort. Such aesthetic issues as these are little under­ requesting that I visit the school, I decided just to check it stood in a culture infatuated with image and power. out. As I recall, I wasted no time in telling Ted and Throughout the early seventies, I continued develop­everyone else what I thought about the quality of ce­ ing the landscape box idea, reflecting on my childhoodramic art at Alfred. To my surprise, as it turned out, I said and the emotional connections I had with such image-what the faculty at Alfred wanted to hear. They knew oriented elements as rocks, water, sky, as well as the they were in trouble and wanted some able-bodied, more abstract phenomena of space, light and edge. Ityoung energy to help them get out of it. has taken years to get close to these feelings, and only The New York State University system had just built a now am I beginning to see the impact my childhood hasnew million-dollar facility for Alfred's Division of Art and had on my personal relationship to art. Design, incorporating a spectacular kiln room and large In the fall of 1970, while teaching at the Rhode Islandstudio spaces for undergraduate and graduate ceramic School of Design, I stretched abilities, increased knowl­ art students. The facility was due to open in the fall of edge and, in essence, grew up (with Norman Schulman's1973. Although the immediate past looked bleak, the fu­ help). It was very hard for me to leave RISD, but in 1973 ture looked as though it held significant possibility; so, I the New York State College of Ceramics at Alfred Univer­ eventually accepted the offer to fill the position va­ sity made me an offer I couldn't refuse. cated by Dan Rhodes, who was retiring to live and work At first, I was definitely not interested in teaching in California. there. I had been biased against Alfred by my early ce­ The first three years at Alfred were in some ways the ramic art education which emphasized "free wheel­ most exciting. Everything was new—new building, new ing—inventiveness," unencumbered by issues of tech­ students, new colleagues, new job. I was determined to nique or information. In this context, Alfred was seen toget things moving. In fact, I was so tough and critical of represent a tight, conservative, design-oriented aesthetic.graduate student work that for the first year most of the The iron-spot, stoneware-glazed functional pots whichgrads didn't speak openly to me. The undergraduates seemed to roll endlessly off an assembly line in Alfred, were more responsive, less insecure, and eager to en­ were thought of as anachronistic. Obviously, I was heav­gage the course work I outlined for them. The other ily prejudiced by those who saw themselves in competi­ members of the ceramics faculty—Ted Randall, Bob tion with the influence of Alfred. In those days, one madeTurner and Val Cushing—were sympathetic to my ideas, a reputation in ceramic art by being either in sympathy and provided constant encouragement and support. I or in competition with Alfred aesthetics. This phenome­ have never found colleagues easier to work with or non continues to some extent even today. more open to experimentation and change. However, Alfred went through a very difficult time in the mid-to- the most surprising thing I discovered was that ceramics, late 1960s. The so-called revolution in ceramic aesthetics even at Alfred, was not considered to be a legitimate art begun by Peter Voulkos in the late '50s, joined with the form. There was an underlying, unstated, behind-the- antiestablishment mood of the '60s, creating an atmo­ scene presumption that "real" art could only be found in sphere in which many found it difficult to learn or teach.the guise of two dimensions or, if art was at all possible in Alfred alumni from the late '40s and '50s had established three dimensions, it could only be achieved in materials important profiles in the world of ceramics, but it wasn't other than clay. Pottery, in particular, was considered until the mid '70s that a new group of Alfred alumninon-art. Gradually, as ceramics has been endorsed as a emerged to once again affirm the college as an innova­major art form, the tensions at Alfred have subsided. The tive center of influence in the field. In 1978, four out of theinevitable is sometimes difficult to bear, but almost com­ five American Craft Council "Young American" award forting once it is accepted. Acquiescence can open winners in clay were recent Alfred graduates. But five doors to other possibilities. years earlier, Frans Wildenhain summed up what many My exploration of the bowl form has brought many in­ thought about Alfred, when he said to me: "Why are yousights, especially into the nature of both real and illusion- going to Alfred? Don't you know that place is dead?" ary space. The bowl form became central to my work

36 CERAMICS MONTHLY soon after arriving in Alfred. I built a studio in the back convex walls of these oval bowls, through the use of line half of an old dairy barn, making sure to put in at leastas an extension of image, disciplines my imagination, one huge window so I could look down the valley thatfreeing me from mere impulsive solutions. The drawing/ stretched out beyond. The landscape surrounding Alfreddiscovery process keeps the imagery from becoming an is nothing like the West. The hills roll slowly into each other;ornament or a formula. I strive for unity and a quiet co­ valleys and creek beds form a labyrinth in which open herence or calm, which comes from a connecting and space is at a premium. The air is thick and heavy. Light isreconnecting flow back and forth between the reality diffused and doesn't expose edges, but instead de­ of the form and the illusionary landscape. The bowl is scends softly over the land, revealing volume and a empty, but full. sense of movement. In this environment my slab-con- In a cynical world where a pot is thought too mun­ structed boxes seemed too hard, too rigid, too angular. daneI to hold meaning and the beauty of a cloudless thought of throwing on the wheel as an alternative.day I too trite to be inspirational, I remain an anachro­ assumed that by throwing my forms I could introduce re­nism—an error in chronology. Nevertheless, would-be laxed, softer gesture into the landscape imagery. artists must face the facts of their particular vision and Upon completing a series of landscape boxes, I no­make the best of it. It is of little comfort to realize that ticed that when the lids were removed, an opening was there may soon come a day when landscape will pro­ revealed, the top edge of which was cut, suggesting videin an iconography for the worship of that which has miniature a mountain ridge where the sky meets the been lost. earth. Expanding on this, I made several pieces which Our environment is suffering. As a society, we seem to utilized this opening, discarding the idea of a lid and wid­lack the collective urgency to do what is necessary to ening the interior space between the walls of the form. stop the destructive abuse of nature. Humanity is also Thus, a square or rectangular bowl was created with a suffering—in remote parts of the world, as well as here on top edge cut to physically suggest landscape. In thethe streets of home. Obviously, we must all focus more of work that followed, these hard-edged pots were used as our attention, desire and resources toward solving ma­ a guideline for a series of large thrown bowls with cutjor, critical problems. Sometimes when my concern about rims. Later, I discontinued cutting the rim in order to the issues of modern life drifts haphazardly into thoughts visually move more easily in, out and through the bowl'sabout my work as an artist, I think that, maybe, a re- negative space. In this way I was able to establish the dy­evaluation of the pot as a personification of humanity namics of a traditional pottery form, but to deny its and a belief in the redemptive qualities of natural beauty function by defying the paradigm of outside-insideare not so foreign to the affairs of the late 20th century as through the use of illusion and landscape imagery. might, at first, be assumed. One other factor played a role in my decision to Today, I sometimes ride my horse through the state focus on the bowl. Time. The landscape boxes were very forest across from my farm to the top of a hill where there complicated. Each one was individually planned, inlaid is a huge meadow. I can see the farm in the distance with coils of clay, and often textured with vast areas of and often wonder about the evolution of chance events small dots to increase the surface intensity. I couldn't that brought me to a home built in 1823 by a man continue to work this way and carry on a complex named Potter, who also moved to Alfred from Provi­ teaching schedule. So, practical pressures were also dence, Rhode Island. part of the inspiration to do bowls. It seems that the currents of my life flow into one Many times a practical limitation will trigger an excit­ another, uniting past and present in a rhythm of change ing response. By establishing a structure to question andcolored by a curious repetition. I feel that I have found investigate, limits provide a starting point for the artist.my place, and know that I have intuitively given it form. Physical limitation is responsible for the fact that all my The horseback rides I take to the meadow are not as large wheel-thrown bowls are "corrected" to oval. The carefree as those of my youth, but the view from Grand door to my kiln is only 17 inches wide. Besides, the oval View Point is impressed deep within as a guide for mov­ suggests transition and movement, allowing for an easying beyond the limits of the moment. Childhood memo­ flow from bowl to landscape and back. ries have merged with adult longings, and now I ask— The physical confrontation with the concave andwhat happens next?a

December 1989 37 Rebuilding at Lejsta by AnnaKarin Boode

SINCE 1977,1 have lived and worked onpipes were nonexistent. So my daywork sion. Their traditional pottery is still an 18th-century farm in Lejsta just was “packed in mothballs” until the very much alive and became a vital outside Uppsala in central Sweden. Myhouse and studio were renovated. part of my education. studio is in a former stable where the During the early years of rebuild­ I have recently been working on presence of work horses is still felt, ing, I kept my hand in clay by teaching images of deserted boats, stranded on although the clatter of their hooves ceramics. But since the studio has been some shore, silvered by the sun, wind has long since died away. finished, I have been able to work full and waves. The house, studio and two smaller time on sculpture. Renovation will be The forms are slab built, stretched outbuildings are surrounded by graz­complete with the rebuilding of the out from the inside using a damp ing meadows, strewn with large blocks old food storage shed as a sauna andsponge, and usually unglazed. Because of stone and ancient monuments. Inphoto lab. I want to emphasize form, I often ac­ the Viking Age, when these fields were This home environment and travelscent recessed areas with washes of pri­ covered by the sea, the farm was an are major sources of inspiration. Be­ marily cobalt and iron. island and the boat a vital means offore we moved to Lejsta, I’d lived in Being able to work in the country is transportation. Uppsala and Stockholm, where I stud­ almost always positive. Of course, the When I moved in, the buildings hadied at the School of Arts. I also man­ lack of colleagues with whom to share been uninhabited for years; they were aged a longer stay in Sri Lanka (then impressions and processes is a disad­ dilapidated and lacked all modern con­Ceylon), where the people, animals vantage, but the calm atmosphere sus­ veniences. Running water and drainand landscape made a lasting impres­tains my creative work. A

“The Stranded Boat” 20 inches in length, stoneware accented with cobalt and iron oxide, with carved wood and twine.

38 CERAMICS MONTHLY Slab-built stoneware boat with lion, 17 inches in length, with carved wood and twine additions. right AnnaKarin Boode in her studio, formerly a stable for plow horses on an 18th-century farm in central Sweden.

In 1977’, the buildings lacked all modern conveniences. Now, after years of renovation, Boode can work full time on clay sculpture.

December 1989 39 Something to Say by Debra Norby with Cale Kinne

SEVEN YEAJIS AGO I was where I thought tually working with the clay (a com­ I wanted to be—an art director in an mercial whiteware), I always separate advertising firm in a midwestern city. myself from earlier preconceived no­ But as stress (the nature of the ad busi­ tions and draw directly onto the clay ness) grew, my health declined. I looked slab, cut out and assemble. Large forms at my life and felt there should be come first; the details come (some­ something more, somewhere, for me. times much) later. The greenware ele­ One spring morning in 1982,1 rode ments are brushed with commercial the elevator to the fifth floor office of underglazes and fired to Cone 01. the firm in which I worked. With each Then, they are clear glazed and fired step closer to my drawing board, the once again to Cone 04. walls seemed to close in around me. I Standing figures have been a part of looked at my desk, then promptly my work for nearly four years; “No turned around, walked out and never Payment ’Til Next Year” is a recent returned. I was without a job, sick, example. Like most of my sculpture, it scared and depressed. was inspired by personal experience “What are you going to do now?” I and so has a story attached: For over asked myself. Reviewing my life, I re­ three years, I had driven a ’68 Buick membered my happiest time was study­ Skylark (that my 92-year-old aunt had ing ceramics in a college class taken as Debra Norby, Portland, Oregon. given me for my birthday). When it a requirement for commercial art. finally started showing its age, I had to Once again I remembered the college living and breathing clay. This total ab­face the fact that I had to buy a car. instructor telling me to stay in clay, that sorption in ceramics has been a very Once I began looking, most cars and advertising would be a mistake. Well, I therapeutic treatment for an illness that all car salesmen seemed the same. Each was not to be dissuaded. It was onlyis now in total remission. one wore a white shirt and a striped tie. after eight years in advertising that I My recent sculpture, based on the They all said the same things, no mat­ remembered her words and promptly chair form, was shown at Foster/White ter what the make of the car. And they found a class in clay. Gallery in Seattle. This theme is rela­ all carried white Styrofoam cups with One change led to another. We sold tively new. It evolved from earlier workbad coffee in them. Each one wanted our house, packed up the car andfor an exhibition of seated figures. One to sell me a car today! Once my sales­ moved to Portland, Oregon. My hus­show leading to the next is a frequent man figure was made, with his accom­ band and I both changed careers—occurrence. panying chair and car, I realized that Jerry from advertising to illustration, To begin with, I visualized the show the white Styrofoam cup was too stark. and me from advertising to limbo. Icomplete. I knew the title would be “Sit Opening the car section in the newspa­ was new in Portland, and knew noth­Down, I Have Something to Say.” With per, I discovered the headline “No ing except my desire to work with clay. this new body of work, I looked at Payment ’Til Next Year.” The piece At the Oregon School of Arts and chairs anew: the functions they pro­ came together by gluing that ad to the Crafts, a beginning class was followed vide; how we relate to them, and even­ever-present Styrofoam cup. That ad­ by another, then another. tually declare one “my favorite.” The vertising background paid off. Initially I would try to fool myself next step was to break the show down Clay continues to have a centering about this growing enchantment with by type: single chairs as opposed to and beneficial effect on me. Unlike clay. Every once in awhile I would haulthose in a tableau with a standing fig­ the frustration of my previous occupa­ out my advertising portfolio and go toure. I had a pretty good idea of what I tion, I try to never struggle with clay, an interview. Luckily, I didn’t get manywas looking for by the time I entered but to move with it. In fact, I can say jobs and was able to continue thinking, my basement studio. At the point of ac­ things best with clay. ▲

40 CERAMICS MONTHLY “Nancy,” 37 inches in height, whiteware, “Egomania Dinnerware,” with clear “Woman with Flabby Arms ,” 42 inches with underglazes and clear glaze. glaze over brushed underglazes. in height, slab-built whiteware.

“No Payment9 Til Next Year,” 39 inches high, glazed whiteware, Styrofoam cup and newsprint, by Debra Norby.

December 1989 41 A Stove Project in Kenya by Hugh Allen

IN THE INTEREST of economy and wood to charcoal are considered, this of the lab and into the market lies efficiency, a design for a Kenyan ce- means that the stove saves Kenya somemainly with Richard Kimani, who owns ramic-lined charcoal stove was devel­45,000 to 48,000 tons of wood every a small ceramics company in Nairobi; oped over a period of three years by year. At the same time, each consumer and Maxwell Kinyanjui, who worked at Energy Development Internationalsaves about two-thirds of a bag of char­ that time for EDI, and subsequently (EDI) with U.S. aid. Patterned after coal every month. This translates into began to produce the ceramic liner stoves in Thailand, where ceramic-lined40 shillings every month, or an equiva­full time through his own company. charcoal burners are the norm, the lent of $720,000 in consumer savings Earlier, the Jiko had been made with Kenya Ceramic Jiko, saves about 40% annually. These figures were calculatedan unreliable ceramic liner, among on fuel when compared to traditionalon the price of a full bag of charcoal. other problems. During the past three all-metal stoves. But most urban users buy only a dailyyears, I have worked on these, assisted The project serves a stable popula­ tin measure, which costs more than by P. K Wambugu of Tigoni, Kenya, tion of about 24,000 stove users. As­ double the price. Savings may there­ who would like to earn a living from suming that on average the liner lastsfore be substantially greater. stove-making, although at present he is for one year, when conversion ratios of The credit for getting the stove out a primary school headmaster. After

Jikos, energy-efficient, ceramic-lined charcoal stoves, for sale at Shauri Moyo, Nairobi.

42 CERAMICS MONTHLY nine months research into materials the properly milled from the rest of and production methods, it becamethe mass, it has an adjustable opening clear that basic difficulties were caused in the base of the drum set to an area of by a lack of standardization in liner approximately 10 square inches. This size, material consistency, and control permits clay to escape at a slow enough of firing temperature/atmosphere. rate to ensure adequate pulverization, Since February 1986, we have devel­but is large enough to prevent clog­ oped key processes and machinery, ging with grasses and roots. which have been financed from Wam- The machine is capable of pulveriz­ bugu’s personal savings (about $3000)ing up to 3 tons of clay per hour, but is and from profits. During this period normally used to prepare batches of the business has gone from producingapproximately 1½ tons (sufficient for a and selling about 50-60 liners per week week’s stove liner production) in about to between 500-600, and is now the 30 minutes. dominant maker with about a 60% It is necessary to pass the material share of the Nairobi market. Monthly through the machine only once, and profits average in the neighborhood of there is about 20-25% waste. In prac­ 12,000-16,000 Kenyan shillings ($750- tice, it is unproductive to regrind this $1000 at 16 shillings = $1), and Wam- waste, because it consists (to an unac­ bugu has purchased land nearby toceptable degree) of stones, roots and move the project out of his compounddense plastic clay contaminated to a on school premises into a secure and high degree with iron oxide. more formal setting. Present net worth The pug mill built for Tigoni runs is in excess of $12,500. on a 3hp electric motor and mixes about 1000 pounds per hour. The cost Clay Preparation of about $6000 for local manufacture The main and traditional methodis offset by the access to spare parts (as of clay preparation involved manualimported ones cannot be readily found pulverizing and wet foot mixing. Thisin the country). results in an uneven body and arduousMost small-scale pug mills are used work. In Tigoni, we use a hammer mill to mix materials of only slightly differ­ and pug mill so that large quantities of ing consistency, and do not need sub­ clay can be prepared in batches suf­ stantial strength. By contrast, this ma­ ficient for up to a week’s use, and the chine is used to mix granular clay which resulting clay is more plastic, more is pre-dampened with a sprinkler be­ finely granulated and more consistentfore passing through the mill. Its nine in particle size. blades and one screw of helical section Pulverization involves reducing clayprovide a three-stage process of auto­ to powder, capable of passing through matic feed, mixing and high-pressure a 5-millimeter mesh. This is achieved extrusion. The 23-millimeter-thick, in a centrifugal mill where dry clay is helically milled blades are variably introduced in lumps at the center of spaced, a with static longitudinal ridges drum (with a diameter over 2 feet) and casing recesses to ensure torsion inside of which is a heavy rotating disk and to prevent axial rotation of the with perpendicular hardened steel pegsmaterial. Machines in the latest series (hammers). The rotating pegs, ar­ have four static radial blades intruding ranged in two concentric rows, turn atthrough the casing. These can be set to 750 rpm. These are separated further variable pitches to modify the flow Raw clay is prepared by pulverizing dry by two concentric rows of pegs, which characteristics of differing types of lumps in a centrifugal mill powered by a 3hp diesel engine(top).The clay is are stationary, being attached to the material. manually fed (middle) into the center of body of the mill. In passing through Future pug mills will use shaft- a 2-foot-diameter drum. Inside is a the mill, the clay must make its way mounted helical/worm gearboxes in­ heavy, rotating disk with two concentric across these four rows of pegs, and is stead of high-ratio worm drives to re­ rows of protruding steel pegs (bottom) smashed against both the rotating and duce friction and the complexity of that rotate at 750 rpm. These are the static pegs. The mill is powered by chain transmissions. Because shaft- complemented by two rows of stationary a 3hp diesel engine, because an elec­ mounted gearboxes are also cheaper pegs welded to the removed portion of tric motor would rapidly destroy itself than worm drives, and eliminate thethe mill. In passing through the mill, clay attempting to overcome the extremely need for a fabricated bearing case, this is smashed between both the rotating high start-up inertia of the rotating will help in reducing the overall cost. and static pegs, and is subsequently disk, which weighs over 110 pounds. reduced to particles capable of passing Forming Equipment through a 5-millimeter mesh. An Although the mill is similar in con­ adjustable opening at the base of the cept to a hammer mill used for grind­ Forming machinery is the heart of drum prevents clogging with grasses and ing grain, it has a rotor of far higher the business. In the early stages about roots. It takes only 30 minutes for one mass, running at lower impact speed, 30 stoves a day could be manually pressworker to pulverize/2 Vtons of clay— and instead of using a screen to filtermolded by a skilled worker who had enough for a week’s production. December 1989 43 Hand-powered (top) and motor-driven jiggering wheels were loaded into the mold and pressed into rough shape by hand designed to produce the stove liners in three different sizes. The (above left).Pressure from the jigger template finalizes hand-cranked jigger has a pedal-activated clutch (top right) shaping in less than a minute (above).Jigger ing (instead of for the drive system, a three-speed V-belt train linked directly press molding) the liners reduced losses from cracking to less to a flywheel. Only one hour’s training is needed for an than 10%, and the smoother liner appearance resulted in better unskilled worker to jigger acceptable liners. First, the clay is customer acceptance at the marketplace.

received six months of on-the-job train­ hour’s training is needed for a worker ance of the liner compared to the hand ing. Additionally, productivity ratesto make good liners. molded alternative has provided a were low, finished sizes were inconsis­ The result of introducing this tech­ significant competitive edge; and from tent, and consumers reacted cautiouslynology has been dramatic. Immediate having about a 10% share of the mar­ to a “handmade” appearance. Mean­ benefits were found in a reduction ofket in February 1986, Wambugu’s com­ while, the rate of cracking in drying cracking in drying. Cracking losses fell pany rose to having at least a 60% was about 30%. from 30% to less than 10% (later im­ share, and is making a net profit of As a potential solution to these prob­ proved to less than 2% through a approximately 35£ on each liner pro­ lems, a jigger was built at a farm imple­ modified system of drying), and weduced. In Shauri Moyo, the Nairobi ment company in Arusha. The machine speculate that the additional compres­ informal sector market for the produc­ and initial single mold were completedsion of the jiggered clay, compared to tion of stoves and consumer durables, in four days. Since being installed inthat applied by hand, helps to stabilize this stove liner accounts for the major­ Tigoni, it has run continually for 20and strengthen the liner. In addition,ity of the improved stoves on sale. Re­ months, with only one day out of ac­ clay used on the machine is drier thangardless of our concern for improving tion for replacement of a bearing. material used in press molding, with the life of the liner, the Kenyan, Suda­ Three different mold sizes are used consequent reduced shrinkage, andnese and Rwandan consumer is able to for different sizes of stove, all using theless risk of cracking. save the purchase price of the stove in same molding blade and turntable. The most important benefit, how­ one month, under average conditions Even with totally unskilled labor, expe­ ever, is in the reaction of the market, of family use. riences in Kenya, Rwanda and thewhich has been swift and universally Experience in Tigoni has shown that Sudan show that a maximum of one favorable. The much smoother appear­ apart from the introduction of ma-

44 CERAMICS MONTHLY 2300 common red bricks were used to build an updraft To make loading more convenient, the firebox kiln to fire the liners. A more sophisticated downdraft was positioned below ground, thus bringing design would have required double the materials. the floor of the kiln to ground level.

With iron grate bars mortared in place, the opposing Four separate arches were built over the middle of the mouths of the firebox channel were topped with brick firebox channel; the spaces between the arches act as and clay-mortar barrel arches. underfloor flues directing heat to the kiln chamber.

The three spaces became six flue A string tied to a pole at the center of the The entire kiln, including its domed openings when the floor was laid kiln was used to easily measure roof, was built with straigh t bricks flat over the arches. circumference for each course of bricks. and mortar.

December 1989 45 Rows of dry stove liners awaiting loading in the kiln (background). It takes about A full kiln will hold 440 standard-size 4V2 hours using less than 450 pounds of eucalyptus to reach 1400°F. Careful damping stove liners, “boxed” mouth to mouth and maintaining a low fire at the end of the cycle ensures an even firing. and bottom to bottom.

chinery, correct formulation of clay is body. This also contributes to thermal A temperature of 750°-800°C (ap­ vital to ensure a good life for the stoves.shock resistance in use. proximately 1400°F) is reached in 4½ Follow-up research shows that an aver­ During the rainy season, when hours, using less than 450 pounds of age liner is now strong enough to out­ drying can take five weeks, there will dry eucalyptus. The kiln holds 440 stan­ last the metal casing into which it is be up to 3000 liners in process at any dard size stove liners, meaning that inserted. This is, on average, in theone time: an average stock in process very little wood energy is wasted. Loss region of one year. There is still, how­ under normal conditions would berates in the kiln average about 1½%, ever, some variability in the life of the about 2000. although there have been two firings liner and further investigations—mak­ in which the pots were significantly ing use of kaolins and corundum—are Kiln Construction and Firing overfired through carelessness. Care­ needed in this area. The use of ma­ An updraft kiln, intended only forful damping and the maintenance of a chinery, however, has made an impor­ the firing of stove liners, was made low fire at the end of the firing bring a tant contribution toward improvedfrom 2300 good-quality common red temperature difference between the dependability, predictability and con­bricks, with underfloor heating over bottom and the top of the kiln of about fidence concerning the strength andfirebars. 50°—well within acceptable limits, and expected life of the ceramic liner used The updraft principle was chosen radically improved over the 200°-300° in this stove. for several reasons. The first is that a differences seen in open firings and more sophisticated downdraft designpit kilns. Drying would use up to double the quantity of Built in late October 1986, the kiln The liners are dried over a mini­materials. Downdraft kilns are usually has been fired on average every five to mum of a week, under shade. It was chosen because they offer greater fuel six days, although this is now increas­ found that cracking was significantly economy, and better evenness of tem­ing to once every four or five days. affected by the way in which the liners perature, but these advantages are onlyDuring this time, it has had little main­ are laid out to dry. If they are stacked gained at high temperatures, above tenance. Two bricks have been replaced up, or turned upside down to dry, there1000°C (1800°F). In constructing the in the fire arches, having split at the is at least 10% cracking. If each liner is kiln, no foundation as such was dug.time of construction, and there is some laid to dry on its base, it has a better To make firing convenient, the fire­ warping of the fire channel walls. In than 98% chance of avoiding cracks. boxes were designed below groundfuture kilns, there will be less rubble The use of 5% sawdust by volumelevel, with the floor of the kiln at ground infill, and if possible, firebricks will be significantly reduces cracking, as it level. The kiln was therefore built in a used in the firebox. But, since tem­ evens out the internal and externalpit, which was then partially filled in af­ peratures in the kiln are so low, there is rates of drying, and “opens” the clay ter construction. no need to use firebricks throughout.A

46 CERAMICS MONTHLY “Unknown” 6 inches in height, slab-built porcelain, layered with various thicknesses of glaze for visual depth

A SOLO EXHIBITION of porcelain sculp­ the understanding of a vase as a con­tion of a design solution. However, ture by Yih-Wen Kuo marked the end tainer of space. because I am not an architect, I do not of his year-long residency at the Clay “To me, it is much more challeng­ build a space where people can physi­ Studio in Philadelphia. A native of Tai­ing to be able to create new forms in cally live; rather, I create a space wan, Kuo studied at the National Tai­response to personal experiences/ through which people can visually sense wan Normal University before coming myths. I prefer minimalistic forms be­ an atmosphere of authority, timeless- to the United States to earn an M.F.A. cause they are distinct, without ambi­ ness and monumentality. degree at Southern Illinois Universityguity. These forms, with their mysteri­ “The only passage between the in­ in Carbondale. Then, a fellowship spon­ ous openings, express a sense of the side and outside is the small, win­ sored by the Franklin Mint and the unseen and the unknown. dowlike opening. It suggests with- Pennsylvania Council on the Arts pro­ “The process of slab building is simi­ drawnness. There is no door to enter vided him with a monthly stipend andlar to that of constructing a building.the space. The ‘building’ is encapsu­ free studio space at the Clay Studio. Like an architect, I need to know the lated; it is a space trap, a great cavern Fascinated with the idea of inside/ basic elements of architectural form with the potential for expressing apart­ outside, Kuo notes that his sculpturaland space, understand how they canness, mystery and entombment. It work “evolved out of the traditionalbe manipulated in the development ofserves as a metaphor for a tomb, re­ concept of the vessel; but my interest is the design concept, and realize their treat or the womb, a symbolic dwelling not in making functional pots. I retainvisual implications in the implementa­for the human spirit.” A December 1989 47 “Being” 18 inches in height, wheel-thrown porcelain sculpture symbolizing a “dwelling for the human spirit” with windowlike opening to suggest “withdrawnness ”

48 CERAMICS MONTHLY right “Castle ” 14 inches in height, slab-built porcelain, with layered glazes; Kuo says his architectural design elements are manipulated to project “an atmosphere of authority, timelessness and monumentality below “Mountain and Dream,” 13 inches in height, glazed porcelain, by Yih-Wen Kuo, Philadelphia.

December 1989 49 From Painter to Potter to Painter Again Tile Illustration by Paul Lewing

EVER SINCE learning that people have tial installation. The other half is for glaze capable of causing some textural careers, I’ve never wanted to be any­the wholesale market. interest. It’s based on the Cone 10 ver­ thing but an artist. As a kid, I thought Landscapes are still the bulk of my sion of Shaner’s Clear, with frit added I’d like to be a magazine illustrator business. Each color in them is a differ­ to lower the temperature. because I thought being able to draw ent glaze, but almost all are color vari­ The Raspberry Base is a matt glaze; whatever anyone wanted was a trulyations on the following three bases: it works well for solid saturated colors. special talent. My oil-painting career Switching temperature and atmo­ started at about age eight with a paint- sphere has caused some interesting by-number set, and that matured into Lewing Clear Glaze involvement in glaze chemistry, but a desire to be a landscape and portrait (Cone 5) luckily I’m a compulsive glaze tester, painter. On reaching the University of Barium Carbonate...... 4.61% and almost never do a firing without at Montana, I found that the painting Dolomite ...... 5.62 least a few tests. teachers there weren’t much—but the Whiting...... 10.23 Some of the glazes in the landscapes clay teacher was Rudy Autio. By gradu­ Feldspar...... 26.18 are poured on, some are sprayed, and ation day, I had quit painting and was Frit 3134 (Ferro) ...... 14.04 some are trailed. When I want a more hooked on clay, so I stayed for gradu­ Edgar Plastic Kaolin...... 14.04 painterly effect, I use a trailer with a ate school. Flint...... 25.28 lopped-off, fan-shaped brush rubber- Afterward, my wife and I moved to 100.00% banded to it. For finer detail, I carve Seattle where I had previously spent out lines or areas of glaze and inlay two summers working at Pottery North­ SC40F Glaze another glaze, sometimes using wax west (PNW) and selling at the Pike Place (Cone 5) resist for even finer detail. Public Market. PNW rents space and Dolomite...... 3.68% What I miss most about high-tem- equipment by the month, and the Whiting...... 12.05 perature reduction are the texture and market rents tables by the day, so it was Feldspar...... 22.78 “action” inherent in the glazes. In oxi­ like having my own studio and store, Frit 3134 (Ferro) ...... 28.60 dation, one really has to work to avoid with no investment up front. This was Edgar Plastic Kaolin...... 10.11 a flat quality. Layering dissimilar glazes our livelihood for the next five years. Flint...... 22.78 helps. So do additions of granular col­ I made functional stoneware and 100.00% orants, titania compounds, bone ash, porcelain fired at Cone 10 reduction. wood ash, and our local Mount Saint Add: Bentonite...... 2.15% But it wasn’t long before I felt the need Helens volcanic ash. I also generate a to paint on pots. Landscapes were the Raspberry Base Glaze lot of scrap glaze, which makes an in­ logical first step. A lifelong interest in (Cone 5) teresting base for a variety of colors seeing new country, including a few Colemanite...... 8% and effects. Of course, this technique years as a mule packer, horse wrangler, Talc...... 8 is impossible on a vertical surface, as and hunting or fishing guide, plus the Whiting...... 21 the glazes are often ½ inch thick. pervasive beauty of the Northwest, led Feldspar...... 27 For Oriental sumi-e-style paintings me to try capturing that on pots. Frit 3134 (Ferro)...... 9 (I was taught in the more rigid and Then, about three years ago, I was Edgar Plastic Kaolin...... 9 detailed Chinese style, which suits my evicted from the rented studio I’d hadFlint...... 18 compulsive nature better than the more for ten years. It was traumatic at the 100% impressionistic Japanese style), I usu­ time, but now I think it was the best ally apply stains and oxides on bisqued thing that ever happened to me. We tiles, and cover with a clear glaze. This sold our house and moved to one big Lewing Clear isn’t heavily weighted seems to hold the detail better and enough for two studios. (My wife is also toward any one flux, so it producesprovide a buffer coat over some of the an artist.) Bored with production throw­ true colors across the entire spectrum. more refractory stains. For more infor­ ing, I decided to quit Cone 10 reduc­It’s what I use over brushed or air- mation on sumi-e painting, see “On- tion, switch to lower-temperature oxi­ brushed stains and oxides on commer­Glaze Brush Decoration,” in CM’s No­ dation, and do only tile. Now I work at cial, bisqued tiles. Some brands of vember 1977 issue. either Cone 5 with glazes or Cone 018 commercial tile really suck up glaze, The sprayed-leaf imagery was origi­ using china paints. About half of my however, so I need to apply about twice nally a response to a client who wanted business is custom-ordered, one-of-a-the normal thickness. something “naturalistic, but not repre­ kind compositions, usually for residen­ SC40F is a translucent, semimatt sentational.” I just lay leaves and other

50 CERAMICS MONTHLY “Airbrushed Leaf Kitchen” porcelain tile, with stains and oxides, clear glazed, fired to Cone 5 in oxidation.

“Florida Tile Mural ” 6 feet in height, commercial tile, Paul Lewing with tilework decorated by spraying stains over leaves brushed with china paints. and other vegetation (the flatter, the better) laid directly on the tile. December 1989 51 vegetation (the flatter, the better) on no special lights, and no crucial con­same color before firing as after, and I tile, spray color overall, then spray clear trol of temperatures. It’s a light-based can screen it, brush it, pen it, or spray glaze. For positive, rather than nega­ system in which drawings are convertedit. Before applying china paint, I spray tive imagery, and in the winter, I useto a clear/opaque form with acetate the slickly glazed tiles with a thick solu­ watercolor-paper stencils. Ferns are a and ink or Xerox on Mylar. Just follow tion of cornstarch and water to get a bit of a problem, as they flutter when the directions in the kit. “toothy” surface. For brush painting, I spray hits them, so I usually hold them I use one brand of water-based chinausually apply the broad areas of color down with a piece of wire. Drips and paint for screening fine detail, and findfirst, fire, then add the sharp details, scuffs can be hard to hide, and onlyanother perfect for lettering with a and fire again. Working on a slick sur­ being able to see the top color before calligraphy pen, but most of the time I face allows me to wipe off what I don’t firing can be confusing. (Apply the use a dry powder mixed with one of like, make one stroke obliterate an­ darkest colors first.) But this is a simple several water-based mediums. Ethyleneother, let one color bleed into another, way to produce an easy-to-live-with ef­ glycol is a great brushing medium, but scratch fine detail into it after it dries— fect in any color scheme that can be it never dries, so screened areas mustall kinds of things that don’t happen either very subtle or very striking. I usebe fired before another color is printed. on bisqueware. a 1-ounce glaze sprayer for the stains, I’ve tried all kinds of gums, acrylic I really enjoy adapting techniques but an airbrush works, too. mediums, sodium alginate, etc., butfrom oil painting, water color, enamel­ Silk-screening china paint is a way of the most successful has been corn syrup ing, graphics or wherever to get the easily reproducing an image for the diluted with water. It dries hard, buteffect my client and I want. And I pride wholesale market. For this, I use a not too fast, and remains water soluble myself on being versatile enough to do glazed commercial tile. I tried using even when dry. Consistency of the “ink”a job in any style. I’ve even matched Cone 04 glazes and underglazes, but itis the most critical variable, and a thick­ fabric, wallpaper and dinnerware. Do­ is difficult to control consistency, andness that’s perfect for fine detail won’t ing custom work is always a new chal­ refiring the tile to Cone 04 sometimes be good for broad areas. But any pow­ lenge in design and technique, and so changes the glaze surface, so you have dered medium (glaze, slip, stains, etc.) is marketing such versatility, but that’s to test each brand or new color. that’s possible to get to the proper another story in itself. To make my screens, I use the Hunt- consistency, I can screen. So I’m practically back to being the Speedball system, which is incredibly Many serious potters sneer at china magazine illustrator of my age ten easy, and available in most good artpaint, but I’ve come to love it. It’s fast,dreams; only I get to play with fire and supply stores. It requires no darkroom, it’s inexpensive to fire, it’s almost the chemistry, too. A

Some ideas have a broad market if only they were made known to potential customers. One example of that is Paul Lewing’s commissioned tilework (below), silk screened and brushed with china paints to match preexisting commercial dinnerware, fabric patterns or wallpaper.

52 CERAMICS MONTHLY Bowl with anaconda, turtle and iguanid motifs,7^2 inches in diameter, by Alegria Canelos, Curaray, Ecuador.

THE CANELOS QUICHUA of Upper Ama­ to enlighten outside audiences throughhave repeatedly experienced waves of zonian Ecuador regard the imagery exhibition. foreign intrusion and exploitation— embodied in their traditional ceramics The Canelos Quichua are represen­ the late-19th-century rubber boom, the as an enduring part of their mythology, tative of today’s Amazonian peoples. discovery of petroleum, World War II, as something to be transmitted to other They emerged as a formative culture and the rediscovery of petroleum in cultures via the objects themselves. Injust as the Catholic missions, firstjesuit the early 1970s. Despite external influ­ addition to ware made for everydaythen Dominican, strove to establish ences, they remain characteristic of a household and periodic ceremonialEuropean hegemony in their territory. significant segment of the republic use, a few potters create pieces expressly For the past century, as before, they whose quintessential identity is as a December 1989 53 For a festival at Rosario Yacua, decorated drinking bowl is At the beginning of the firing, warm ashes (which act as prepared for firing in a bottomless clay basin. insulation) are sprinkled over the inverted bowl. bona fide nation of indigenous peoples,tween black and polychrome ware, both clay for the large storage jars. Black, and a people secure in their new na­of which are coil built. Blackware is white, red and yellow clays and rocks tionalist identity as Ecuadorians. made for cooking food and beveragesused for slips come from near and far, Today, Canelos Quichua potters and for serving cooked food and bev­and an active trade is maintained by continue to demonstrate their remark­ erages. A heavy grade of clay with a master potters to assure an abundance able adaptability to modern life on the natural mix of quartz crystals, sand andof the proper colors. one hand, and a strikingly apt refer­ tiny pebbles is needed for cooking pots There are two techniques for firing ence to their enduring traditions onto withstand repeated, direct exposure polychrome ware. Large jars and fig­ the other. The integration of tradition to hot fires. The potters seek out spe­ ures are also fired in cratelike struc­ and modernity, of continuity andcial sites which they mine with ma­ tures to temperatures varying from change, is graphically represented by chetes and shovels, returning home 1300°F to 1700°F. As the piece cools their thin-walled, coil-built ceramics. slightly it is coated with a tree resin Production ofaswa is basic to the called shinquillu. Drinking bowls are production of their decorated vessels. fired one at a time, inverted over a hole Aswa is a mildly fermented food bever­ in the bottom of a clay basin resting on age that is fundamental to the Canelos three logs (arranged like the spokes of Quichua diet. It is made by boiling a wheel) and covered with softwood. cleaned and peeled roots of an earth The fire reaches its peak of about vegetable commonly known as manioc 1500°F within 25 minutes and dies or cassava. Cooked roots are pounded down in another 15 minutes. The hot into a pulp in a large, flat wooden bowl cools, then is removed and coated bowl. Some of the pulp is then gently with the same tree resin. chewed to provide the proper yeasts The most prominent form of poly­ for fermentation which is necessary The fire builds slowly with the addition chrome ware is called aswa churana for storage in the moist tropics. An en­ of softwood beneath the basin. manga (aswa decorated jar). A handful zyme in the saliva, ptyalin, converts of fermented manioc pulp is taken starch into dextrine and maltose. Yeasts with hundreds of pounds of clay thatfrom the largejar and placed in a drink­ that cause fermentation also supple­ requires no additional temper. ing bowl, called a mucawa. There it is ment the scant vegetable protein of Blackware pots are fired one at a mixed with previously boiled water and the starchy, energy-rich root. time, each surrounded by a cratelike served by women of the household to Both spheres of activity—making stack of bamboo. After the fire has women, men and children. Small jars, ceramics and making aswa—are the burned down, reaching a minimum ofsicuanga manga (toucan pots), are used exclusive domain of women. Women1500°F in about 30 minutes, the pot is to store feathers, beads or other secret cultivate and carefully prepare maniocallowed to cool. Next the interior, and substances. They are hung high in the from which they make aswa. They make occasionally some of the smooth exte­ rafters of the house, often out of sight. an array of polychrome vessels, includ­ rior, is rubbed with taro or sweet-po- Some figures replicate in three dimen­ ing large jars in which manioc pulp fer­ tato leaves. The pot is reheated once sions the designs and motifs painted ments and is stored, bowls for servingmore in a reduction atmosphere, andonto the jars and bowls. All designs aswa every day to household members a shiny brown-to-black color is created represent life forces, living beings and and guests, plus special bowls andaccording to the design of the potter. spirits of rain-forest, garden and water figures to serve aswa during periodic Polychrome decorated ware is worlds. ceremonies and festivals. In addition,formed exclusively for storing and serv­ A girl may learn to make pottery at they make blackware pots to cook mani­ ing aswa. Men and women trek to other her mother’s knee, or she may learn oc, other foods, spices or drinks; and mines, seeking clay deposits with small, later from her mother-in-law or another blackware bowls to serve cooked food. naturally distributed quartz crystals. close female relative. The actual pro­ The Canelos Quichua themselves The smoothest clay body is used for duction of pottery varies according make a fundamental distinction be­drinking bowls and, logically, a coarser to immediate circumstances, which

54 CERAMICS MONTHLY Effigy pots representing animals of the rain forest,6V 2 inches in height, by Apacha Vargas, Nuevo Mundo.

More wood is piled completely over the basin and the fire The basin is removed when the fire has subsided; then, with reaches an approximate peak of 1500°F in about 25 minutes. two machetes, the hot bowl is lifted out of the ashes. December 1989 55 change as a woman moves through her life forces are represented by special of pods or nuts, thereby integrating life cycle. Creative ability is different effigy jars made with serving spouts. mythical nature with contemporary for each woman; the highest level of During such festivals, external and non-depictions of foreign intrusion. Oth­ skill is achieved by those whose mas­ indigenous threats or intrusions are in­ers make effigy bowls of monkeys them­ tery of knowledge allows them to con­ vited and challenged, and the indige­selves and are sure to include a natural trol the symbolism of their universe. nous cosmology is reaffirmed to assure pod in the monkey’s hand. Basic designs known by all women are continuing survival. All women of the Canelos Quichua natural representations associated with Pottery figures, jista puruwa, are culture are expected to know how to the rain forest and the river. These are made for these festivals to serve aswa. make pottery, but only a few achieve also profound cultural expressions ofMany of these pieces represent mythi­ the level of artistry that we would call cosmic force, which include the ana­ cal and spiritual beings that remind“master potter.” Whether neophyte or conda, iguanid, tortoise and turtle. everyone of their shared ancestral expert, many Canelos Quichua women A simple zigzag represents anything roots, which stem from Mythic Time- balance traditional knowledge with that is bent or twisted, such as a river. A Space and from Beginning Times- modern experience through their partially filled zigzag symbolizes hills. Places, and continue through antiq­adaptability and keen sense of humor. Anaconda imagery is signaled by a se­ uity to Times of Destruction on downGraphic expression of these qualities is ries of triangles and by spots. Tortoise to Times of the Grandparents. Other seen in the production of serving ves­ and turtle images are depicted realisti­ effigies are of wildlife, and some are of sels that mock some aspects of the cally by the geometric patterns of their the spirit world. These expressions of changing world—a jukebox, a petro­ shells. An elongated, hexagonal designmythical beings and existing wildlife leum engineer riding in a canoe, denotes iguanid imagery. take their place beside statements about Godzilla, a cow horn, cow ticks and a Three spirit masters are dominant everyday human experience. soup spoon. symbols for the Canelos Quichua and During festive ceremonies, the in- The designs on their polychrome in one or another transformation come trusiveness of the outside world is al­pottery link the general to the specific, to be represented in ceramic art. These ways incorporated into the indigenousthe ancient to the present, the mysteri­ include Sungui, spirit master of theknowledge system. This is most appar­ ous to the mundane. water domain; Amasanga, spirit master ent in the ceramic images potters cre­ of the rain forest; and Nungwi, the ate to comment on contemporary life. The authors Dorothea Whitten is a re­ spirit master of garden soil and of pot­ Often, for example, a woman will make search associate at the Center for Latin tery clay. an effigy pot in the form of a monkey American and Caribbean Studies; and Nor­ Peak creativity occurs when a woman and say that this represents the new man Whitten, Jr., is a professor of anthro­ prepares an array of pottery for a festi­ foreigners who are less than human pology and Latin American studies; both at val. She draws on her cultural heritage,but may come to dominate. In ancientthe University of Illinois, Urbana-Cham- her ecological knowledge and her per­ times and places, it is said, monkeys paign. Their work with the Canelos Quichua sonal observations to recreate ancientthemselves had festivals high in thepotters has resulted in several exhibitions, images. The festival is a time of con­ trees, where they drank various bever­ including two in Ecuador in 1986 and ceptual expansion, wheneverything — ages from natural containers such as 1987, and a 1988 show at Krannert Art animals, plants, spirits and souls—is nuts and pods. To signal this, someMuseum. This article was adapted from regarded as existing in the contempo­ women represent natural containersFrom Myth to Creation, published by the rary, living, indigenous world. Manyby making serving vessels in the formUniversity of Illinois Press.

The bowl’s oxidized interior While still hot, the bowl is rubbed with tree resin. The melted resin reveals contrasting decoration, intensifies slip color and yields a waterproof surface.

56 CERAMICS MONTHLY Danish Ibtters by Lisa Engqvist

above Hexagonal platter, IOV2 inches WORKS of the eight Danish potters fea­ freely and finish it on the wheel with in length, with stamped checkerboard tured recently at Galerie Besson in few tools other than the hands. The decoration, by Lis Ehrenreich. London share an attitude toward pot­throwing marks made by the hands tery which derives from the ceramic give life to the shape. traditions of Japan and Korea. The Many of their glazes are made from philosophy which underlies these tra­ the ashes of wood, straw or rushes, ditions was introduced to Denmark byfired in reduction to Cone 6-7. Soft, Bernard Leach’sA Potter’s Book, and by rich glazes can be produced by the the Danish potter Gutte Eriksen, who addition of clay, flint, boron and/or worked in Leach’s studio at Saint Ivesmetal oxides. Such ash glazes vary: ash in Cornwall, and whose distinct andfrom beechwood has its own color and personal response to Leach’s powerful richness, distinct from that of apple- influence has been revealed in thewood, which is again different from development of her own ceramics. the ash of fir. One of the principal characteristics Each work, whether tableware or of this shared attitude is the use of made to serve an ornamental purpose, natural materials and simple working reflects the feeling and expression of methods. The body comes direct from its maker, while the exhibition as a a clay pit to the studio and is mixed whole may be seen as a contribution to with water to a slurry, sieved andthe effort of creating pottery out of a wedged. In this ethic of forming, the living relationship with the natural potter must be able to throw the shape surroundings. ▲ December 1989 57 Wheel-thrown bowl,4 V2 inches “Square Pot ” 9 inches in height, in diameter, with inlaid decoration, wheel thrown and faceted, with ash glaze, ash glazed, by Inge Trautner. reduction fired, by Hans Vangs. above Octagonal lidded jar, 7 inches in height, wheel thrown and paddled, raku fired, by Inger Rokkjcer.

58 CERAMICS MONTHLY “Round Jar with Vines,” 8½ inches in height, with brush-daubed and trailed decoration, by Anne Fl0che.

December 1989 59 60 C eramics Monthly Comment cating Chinese factory wares. Histori­ Continued, from Page 22 cally, ceramics in China underwent a process of industrialization akin to that long and agonized birth of their pots achieved some 800 years later byjosiah barely conceal their own doubts about Wedgwood in Britain. It is interesting the validity of it all.” to muse that while the ceramic indus­ Scenario: The Bizenesque potters try was in full stride in China, there was put their wares into the kiln and fire a small group of potters on the other them for seven days minimum (as ifside of the world whose aesthetic sensi­ this were virtue enough, itself a re­ bilities bequeathed to us a visually stun­ minder of the middle class’s desire to ning legacy—a veritable renaissance in play at manual labor). White headbands the face of such industry. I am refer­ are donned, and the accompanyingring to the Mimbres potters of the sweat and drama are well documentedAmerican Southwest. for devourers of magazines. A sobering Replication potters should be made thought is that the “fakes” are more to take a simple exam on integrity and expensive than the genuine article,aesthetics, and should not be allowed even after accounting for freight—ato relight a kiln until they have kicked damning irony. I insist that this is wrong. this bad habit. I refer especially to the To set the record straight, the con­ works of a few high-profile potters who tribution of Japan to world ceramics is have gathered quite a following, which irrefutable and indestructible, and theconvinces collectors to buy their works. qualities of that great culture have This sham endangers the whole future underpinned ceramic revivals in of the wood firing. That is, if collectors, West. I emphasize, it is the replication persuaded to buy this work under the of historical works which is abhorrent, assumption that it is the most impor­ and not the approach to ceramics as tant wood-fired contribution to con­ exemplified by certain Oriental wares. temporary ceramics, later find that they In Japan, potters working at the tradi­ were misled (which I say they will), all tional kiln sites these days are produc­ wood firers stand to be discredited. ing primarily for the tourist trade. Few, This is the last thing that should hap­ indeed, are patronized by wealthy pen just when galleries are starting to clients, and none will reach Shoji accept that there is some exciting new Hamada’s status—a prime example of wood-fired work. Dealers today are less individualistic work built upon tradi­likely to adopt that strangely furtive, tion. Visitors to Japan should forsake frightened look when one mentions such kiln sites and seek enlightenment the possibility of showing wood-fired from the contemporary functional ware pieces (which previously has been their displayed in galleries and departmentusual response). stores throughout that country. Most The technological tyranny and mys­ are works of quality, unmistakenlyjapa- tique of achieving the Bizenesque look nese, untainted by plagiarism. are being overturned by the readily The connoisseurship developed byavailable data provided by many wood the Japanese down through the ages is firers. And some wonderfully innova­ much more perceptive than to blindlytive kilns have been built in defiance of fill collections with variations on the the aesthetically pleasing kilns of the same theme over a 400-year period. In past. From the many choices available, that act they would diminish the entire it is no wonder that a growing cadre of integrity of Japanese ceramics. Today, contemporary wood firers has man­ when there is no kiln mainstay (i.e., aged to break away from the hypnotic tiles, bricks, sewage pipes) to justify a spell of Bizen, and this has produced traditional firing, “tea wares” are fired new horizons. in a gas kiln. A vast amount of tradi­ We simply cannot afford the insan­ tional ware has such dull surfaces that ity of replicating wares made in an­ a team of ladies is constantly wax pol­ other time. To disinter the corpse of a ishing in order to bring out the color. long-dead culture is an act of willful These wares do poorly in a dishwasher. desecration. That the Japanese do so is The use of historical references such their historical right and a matter for as the Bizen kiln effect or Song dynasty their own consciences. glazes is one thing, but when faithfully As it started in a potter’s company, it coupled to the relevant historical ce­ thus ends in the company of potters. ramic types, it is pointless. I thought Physician heal thyself. industry was anathema to contempo­ rary studio potters. Yet putting Song The authorTerry Davies is a potter resid­ glazes on press-molded vases is repli­ ing in Crafers, South Australia. December 1989 61 62 C eramics Monthly December 1989 63 64 Ceramics Monthly News & Retrospect

Free Summer Workshop Listing The 1990 “Summer Workshops” listing will appear in the April issue of Ceramics Monthly. Potteries, craft schools, colleges and universities or other art/craft institu­ tions are invited to submit information about summer programs in ceramics by February 12, 1990. (Regularly scheduled classes are excluded.) Please include the workshop name or its description, the loca­ tion, opening and closing dates, level of in­ struction, instructor’s name, languages spo­ ken, availability of camping or live-in ac­ commodations, fee(s), and an address to write plus a number to phone for details. Captioned photographs from 1989 work­ shops are welcome, and will be considered for publication. Mail your information and photos to Summer Workshops, Ceramics Monthly, Box 12448, Columbus, Ohio 43212; if not submitting photos, last-min­ ute listings maybe faxed to (614) 488-4561.

New Views in Toronto by Heidi Burkhardt Where in Toronto can you get a truly well-rounded education in clay? Judging by New Views installation, with “Chairs” and “Triangular Form” by Jennifer Elion, and three “Deco Vessels” by Gerry Johns in the foreground the varied techniques evident in the recent “Ceramics: New Views” show at the Klo- naridis Gallery, the staff of George Brown Coffee Pots” with whimsical butterflies as were destroyed. A Tang-dynasty earthen­ College’s ceramics department does not lid handles. ware guardian figure that was chipped when embrace one school of thought. But that’s not all.Bruce Eakin, who re­ another object fell on it, and a Japanese The all-white space of the gallery brought cently joined the George Brown faculty, is Jomon (3000 B.C.) pot that cracked will be out the calypso colors of Debby Black's bright adding a conceptual facet to the program. restored. earthenware plates dancing with fruit. The His installation, “Bernie, Miss Piggy and The biggest loss of contemporary work brilliant leaves and birds contrasted withShelf,” combined commercially cast ob­ was at the San Francisco Museum of Mod­ the smoky ground of Monica Johnstonsjects—an Ayatollah Khomeini toilet paper ern Art, where an early sculpture byPeter ‘Jungle Jars” made you hear the tropical holder, a Miss Piggy mug, a kitschy cherub, Voulkos was irreparably damaged. A precur­ forest. And Wendy Walgate s “Dreaming in a Barbados souvenir soap dish, and sor a to his stacked pots of the ’70s, the 4¾- the Garden” looked like a child’s drawing hand—with a quote fromBernard Leach. foot-high “Sevillanos” (wheel thrown and in three dimensions, with flowers and kinky Displayed beside the shelf in large type slab built around a central cylinder) was little characters sprouting from the leaves. were the words: “To me the greatest thing valued at $100,000, but is irreplaceable. Opposite to those light-hearted colors is to live beauty in our daily life and to Most private galleries fared rather well. were the velvety, dark raku pots ofKaren crowd every moment with things of The owner of one all-clay gallery located in Rushforth; and the bronzelike surfaces of beauty...so long as beauty abides in only a downtown San Francisco held onto two Jennifer Elion s slab-built and smoked forms. few articles created by a few geniuses, the favored pieces while listening to others crash Department headGerry Johns dignified s Kingdom of Beauty is nowhere near around her as the building swayed and vessels, with their severe profiles and layers realization.” Photos: D. Black. bucked. But she was relieved to find the of soft, stippled color, fall somewhere in majority of works intact afterward. between. He calls them “Florida Pastel Ceramics in the Pretty Big One Even down in Santa Cruz, near the earth­ Deco,” but because of their painterly qual­ While there was widespread concern quake’s epicenter, studio potters reported ity they are more evocative of Renoir than about the human tragedy of the October relatively minor damage. To be sure, the Miami Beach. San Francisco earthquake, now called the rocking and rolling left a mess, like glazes To show the program’s versatility, in­ Pretty Big One, ceramists had some addi­ splashed all over the place. And one potter dustrial production was represented Ter­ by tional worries about the many irreplace­ reported a phenomenon that wasn’t easy ry Yeskes celadon-glazed, cast porcelain able historical and contemporary clay treas­ to explain—pots stored on shelves aligned “Tree Vase,” andSusan MacPhersons “Three ures housed in the region. Luckily, losses north/south were smashed, while those on resulting from the quake were not as bad as shelves aligned east/west were still okay. You are invited to send news and photos initially feared, and certainly less than pre­ For most ceramists, museums and galleries about people, places or events of interest. We dicted when “the big one” hits. in the Bay Area, though, it was business as will be pleased to consider them for publica­ Things were well tied down at the Asian usual within a few days. tion in this column. Mail submissions to Art Museum; considering its vast holdings, The quake raises some dormant but News & Retrospect, Ceramics Monthly, Box damage was reportedly minor. But two 18th- newly interesting issues about museum and 12448, Columbus, Ohio 43212. century (Qing dynasty) Chinese porcelainsgallery responsibility for protecting and

December 1989 65 News & Retrospect ielle Janssen (Enkheuizen) was exhibited recently at Zeeuws Kunstenaars Centrum in Middelburg, Holland. The two artists have been working together experimen­ insuring world-class breakable treasures. Is tally since 1986. The concept is arrived at there some better method of display/stor­ through discussion, then each works in her age in an area seismologists say is guaran­ respective medium, but remains in con­ teed within the next 50 years to have a stant contact with the other. Recognizable quake much worse than this last one? functional forms in ceramics and textiles are thus the starting point for mixed-media Jim Kraft compositions such as “Crete,” which incor­ An exhibition of new work by Northwest porates a tin-glazed earthenware vase, a artist Jim Kraft was presented recently at painted wood table and a woven cotton Foster/White Gallery in Seattle. Central to rug.Photo: Cor van Sliedregt. creation of these figures and vessels were Martha Gittelman Retrospective A posthumous retrospective exhibition of vessel-related sculpture created Martha by Gittelman was presented recently at the Woodmere Art Museum in Philadelphia.

“Bowl Headed II,” 39 inches in length, with incised and painted human imagery

the themes/concepts of ingenuity in the face of adversity, and the human mind as a receptacle for ideas. The simplified mammal forms, reminis­ cent of dogs, horses, wolves and rabbits, are “Black Canyon,” approximately 20 inches in length, porcelain and slate, 1984 silhouettes with incised and painted im­ ages, either adverse or symbiotic. The ves­ sels, in turn, are often incised and paintedGittelman studied printmaking as an un­ with images of the human head.Photo: Roger dergraduate student at the Philadelphia Schreiber. College of Art, then discovered clay. Virtu­ ally self-taught in the ceramic medium, she Marja Hooft/Danielle Janssen preferred working with porcelain to ex­ Collaborative work by ceramist Marja press her vision of a world connected by Hooft (Heusden) and textile designerDan­ common threads. Continued

“Crete,” 14-inch-high majolica vase, zuith painted wooden table and woven cotton rug, $2420

66 CERAMICS MONTHLY December 1989 67 tews & Retrospect unglazed, they were fired individually to Cone 6-8 in oxidation, then assembled on site. Photo: George Busha.

Daleene Menning “Ancient Update,” an exhibition of sculp­ tural vessels byDaleene Menning, faculty art­ ist at Grand Valley State University, was on

“Wrapped Vessel,” 14 inches in length, glazed porcelain bowl, nestled in unglazed porcelain slab, by Martha Gittelman, 1984

Once she wrote about the fabric of na- ure as being “all of a piece. Threads run hrough the animal, plant and mineral /orlds. The structures and surfaces in a saf, a feather, an insect wing, a bone, are ieeply related. We are a part of the fabric •f nature. Our bones are the calcium of hells; our fluids the water of the sea. Porce- lin, for me, is a magical material—sensi- ive, translucent, yet strong—through which can express my own connection to the iorld.”

?ail Kristensen “The Boulders,” a commissioned wall nd reflecting pool sculpture byGail Kris- “Fire Hydria #2,” 35 inches high, terra cotta msen (Sedona, Arizona), was installed re- zuith brushwork and incising ently at a private residence in Scottsdale, "he sculptural wall is designed with a pump-view recently at the Muskegon Museum of ig system which causes a steady trickle of Art in Muskegon, Michigan. According to later to flow across its surface and into the curator Henry Matthews, Menning used ►ool below. ancient Greek pottery forms as a spring­ Inspired by local desert highlands andboard for this new work. By flattening, ock formations, the “boulders” were slab- stretching, distorting, exaggerating and iuilt from a light stoneware body tempered enlarging traditional forms, she presented rith 30% Molochite (porcelain grog). Left illusions of roundness on essentially flat

“ The Boulders,” stoneware mural (8 feet in height) with falling water and reflecting pool

68 C eramics Monthly December 1989 69 News & Retrospect

planes of minimal volume. Surfaces were then “articulated with color, adding an­ other dimension to shape. “No longer storage, drinking or mixing vessels, they are now possessed with individ­ ual ‘personalities,’ dressed in late 20th-cen­ tury costume. Their form has been trans­ lated into a body language of gestures, sometimes humorous and satirical, always humane. Their shadow play creates an additional dimension, perhaps not fore­ seen during the original construction.”

Clayton Thiel Artists throughout history have consid­ ered the sources for their work, and their effect on the aesthetics of the finished re-

“Beacon Stele,” 62 inches in height, handbuilt stoneware, with polychrome slips and glazes

ject comes with its own baggage. It’s hard to find your own voice. My dilemma is coax­ ing universal subjects into telling a story “Stair Plate,” 21 inches in diameter, glazed about me, while at the same time they tell a stoneware story about everyone. “In the studio, I am not very conscious of the works’ subjects and their content; suit. Thus it’s not surprising that for works they serve only to initiate the process. A shown recently at Viewpoint Gallery in foreseeable message is rarely planned. I Carmel, California, Clayton Thiel was con­ just stir images up to generate conceptual cerned about both the subject of his work debris. From the pile, I gravitate toward and its influences. After all, he says, “a sub- what I like, and throw out all the rest.” Thiel’s sculpture and wall Clayton Thiel in his Oakland studio forms are handbuilt from stoneware, layered with poly­ chrome slips (made from commercial porcelain and stains), then fired to Cone 6. For color intensity, some areas are then brushed with the following equal-parts glaze also colored with stains: 33 ½ Glaze (Cone 06) Borax...... 1 part Kaolin...... 1 Flint...... 1 3 parts Because he lives in earth­ quake country, Thiel coil builds the sculptures whole, but then divides them into segments to be mounted over metal armatures anchored in concrete. Rubber gaskets slipped over the pipe protect the clay; and the concrete base is hidden inside the bottom segment of the sculp­ ture. Continued

70 Ceramics Monthly December 1989 71 News & Retrospect

It is important to dry and fire the seg­ ments in their assembled positions so that there are no unexpected variations due to shrinkage. It is also important, Thiel wryly notes, to size each segment for cost effec­ tiveness; that is, to conform to the weight limit set by the shipping company of your choice. Manageably sized segments also fa­ cilitate assemblage. “The hardest thing,” Thiel observes, “is to keep the work authentic in a world that offers so many opportunities not to be. We are in service to our high-tech economy to the extent that it sets the pace for our daily “Miraculous Vessel,” approximately 20 inches actions and habits. Machines keep us pre­ in height, by Carol Trigg; $550 occupied, obscuring a clear view of our­ selves. As a result, I constantly review mylow-fire bottles constructed from cast slabs work habits to see if some technique or by Mark Richardson, and earthenware sculp­ technology could be removed to make ture by Carol Trigg were featured in the room for more about me.” recent exhibition “Dreams, Illusions and Realities” at 431 Gallery in Indianapolis. William Yonker Among the works on view was Trigg’s by Michael Rubin “Miraculous Vessel,” slab built from an earth­ Revisiting history is popular among art­ enware body mixed with a high percentage ists, but being able to interpret while avoid­ (21%) of sand and grog. The vessel was ing mere repetition is difficult. The recent bisqued, then layered with engobes and show of pots by William Yonker at Messing commercial underglazes, and finally fired Gallery in Saint Louis revealed his carefully to Cone 06 in an electric kiln. Trigg says her work is an expression of life’s cyclical nature: “From ancient times, the fiery spirit (that which enlightens, which causes pas­ sionate involvement in life) has been the source of great delight and great pain. It operates inside us. We see it as movement, silence, separation and isolation; then it returns as excitement, delight, pleasure and a sense of union.”Photo: Don Miller.

Beth Changstrom New wall forms combining glazed clay elements with mixed media by Penngrove, California, artist Beth Changstrom, were ex­ hibited recently at Kurland/Summers Gal­ lery in Los Angeles and at Craft Alliance in Saint Louis. Much of Changstrom’s work is inspired by her backpacking trips in Cali­ fornia’s Desolation Wilderness, and by the Please Turn to Page 78 “Amphora,” 28 inches in height, and “Lidded Vessel,” 30 inches in height; unglazed zigzags “The Bowl of Fruit,” 33 inches in height, mixed-media and clay sculpture considered eclecticism. Yonker’s variety of wheel-thrown earthenware vases and cov­ ered jars make direct reference to Greek amphorae (studied on a 1984 trip to Greece and Turkey), yet incorporate a personal sense of proportion and graphic markings. Decoration serves as reinforcement of the pot’s volumetric form. Yonker refers to the black slip markings as a “strictly con­ trolled pattern-to-vessel relationship. Zig­ zag, longitudinal stripes expose the raw bisque surface and reaffirm the fundamen­ tal nature of ceramics.”

Indiana Illusions and Realities Incised and airbrushed earthenware teapots and platters byJim Kemp, a series of

72 Ceramics Monthly December 1989 73 Itinerary Continued from Page 16

New Jersey, MoorestownDecember 6-9 “11th Annual Juried Craft Show and Sale”; at Perkins Center for the Arts, Camden Avenue. New Mexico, Los Alamosthrough December 10 “Affordable Art Benefit Sale.” through December 16 “Holiday Boutique”; at Fuller Lodge Art Cen­ ter, 2132 Central Avenue. New York, New YorkDecember 1-3, 8-10 and 15-1 7 “18th Annual WBAI Holiday Crafts Fair”; at Columbia University, Ferris Booth Hall, Broad­ way at 115 Street. December 8-10 “Greenwich House Annual Holi­ day Craft Sale”; at the Greenwich House, 27 Bar­ row Street. Oregon, Portlandthrough December 24“Contem­ porary Traditions”; at the Contemporary Crafts Gallery, 3934 Southwest Corbett Avenue. through December 31 “Holiday Show”; at the Hoffman Sales Gallery, Oregon School of Arts and Crafts, 8245 Southwest Barnes Road. Utah, Salt Lake Citythrough December 31“Holiday Show”; at Utah Designer Craftsmen Gallery, 38 West 200 South. Vermont, Middleburythrough December 31 “A Celebration of American Crafts”; at Vermont State Craft Center, Frog Hollow. Virginia, Richmondthrough December 23“Holiday Invitational Exhibition”; at the Hand Workshop, 1812 West Main Street. Wisconsin, Milwaukeethrough December 30 “A. Houberbocken Holiday”; at A. Houberbocken, the Upper Gallery, 230 West Wells.

Workshops Arizona, PhoenixFebruary 16-18, 1990A session with Susan and Steven Kemenyffy. Fee: $30, members $20. For further information contact Sue Abbrescia, C.L.A.Y. Workshop Chairman, 5110 N. 73 St., Scottsdale, Arizona 85253; or phone (602) 949-9165. California, SunnyvaleJanuary 27, 1990 A dem­ onstration by Vivika and Otto Heino. Fee: $20. Contact Tracy White, Sunnyvale Community Center, 550 East Remington Avenue, Sunnyvale 94086; or phone (408) 730-7337. Connecticut, BrookfieldFebruary 24-25, 1990 “Ceramic Design and Decoration,” with Lori Lapin. Fee: $135, members $125. Contact John Russell, Brookfield Craft Center, Box 122, Route 25, Brookfield 06804; or phone (203) 775-4526. Connecticut, New HavenJanuary 20, 1990 A session with Makoto Yabe. Fee: $35. Contact the Creative Arts Workshop, 80 Audubon Street, New Haven 06510; or phone (203) 562-4927. Florida, BelleairMarch 3-4, 1990 A session with Michael Simon. Fee: $75. Contact the Florida Gulf Coast Art Center, 222 Ponce de Leon Boule­ vard, Belleair 34616; or phone (813) 584-8634. Florida, GainesvilleJanuary 30-31, 1990 A ses­ sion with Jun Kaneko. Contact the University of Florida, Art Department, 302 FAC, Gainesville 32611 or Florida Craftsmen, 235 Third Street South, Saint Petersburg, Florida 33701; or phone (813) 821-7391. New Hampshire, Manchester January 20-21,1990 Earthenware workshop with Canadian potter Walter Ostrom; at the Manchester Institute of Arts and Sciences. Fee: $50. Contact Don Wil­ liams, Box 254, Nottingham, New Hampshire 03290; or phone (603) 463-7275. Oregon, PortlandFebruary 10, 24, 1990 “Drawing on Clay.” Fee: $70. Contact the Oregon School of .Arts and Crafts, 8245 Southwest Barnes Road, Portland 97225; or phone (503) 297-5544. Pennsylvania, NewtownFebruary 24-25, 1990 A session with Dave Shaner. Contact the Pennsyl­ vania Guild of Craftsmen, Box 820, Richboro, Pennsylvania 18954; or phone (215) 860-0731. Pennsylvania, PhiladelphiaDecember 8 Robert Turner lecture. Fee: $4.January 19, 1990 Sandy Simon and Bruce Cochrane lecture, “Innova­ tions in Tableware.” Fee: $4. Contact the Clay Studio, 49 N. Second St., Philadelphia 19106; or phone (215) 925-3453. Continued

74 CERAMICS MONTHLY December 1989 75 Itinerary

Vermont, MiddleburyFebruary 19-23, 1990 A session with Chris Staley. Fee: $250. Limited to first 16 who apply. Contact Vermont State Craft Center, Frog Hollow, Middlebury 05753; or phone (802) 388-3177. Virginia, Front RoyalMarch 9-11, 1990A session with Donna Polseno. Fee: $145, includes lodg­ ing and meals. Contact Betsy Blauvelt, Arts Di­ rector, North Virginia 4H Educational Center, 400 Harmony Hollow Road, Front Royal 22630; or phone (703) 635-9909.

International Events Belgium, Monsthrough December 17 “Ceramic Art from the Showa Period,” approximately 30Japa­ nese artists from 1926 to the present; at Musee de Beaux-Arts, 8, Rue Neuve. Canada, Ontario, Torontothrough December 30 “International Exhibition of Miniature Art”; at Del Bello Gallery, 363 Queen Street West. through January 7, 1990 “Blue onto White: Orien­ tal Ceramics Uncovered”; at George R. Gardiner Museum of Ceramic Art, 111 Queen’s Park. December 6-31 “The Holiday Collection,” holiday sale of works including ceramics; at the Craft Gallery, Ontario Crafts Council, 35 McCaul St. England, Londonthrough December 13“London Potters Third Annual Members Exhibition”; at Morley Gallery, 61 Westminster Bridge Road. through January 7, 1990 “The Harrow Connec­ tion,” pottery by staff and alumni; at the Crafts Council Gallery, 12 Waterloo Place. December 4-15 Exhibition of sculpture and func­ tional ware by the 14 members of the group Clay for Today; at Bloomsbury 1 Gallery, University of London, Institute of Education, 20 Bedford Way. December 6—January 6, 1990 Tristan Williams and Linda Gunn-Russell; at Michaelson and Orient, 318 Portobello Road. December 8-22 “Chinese Art from the Reach Family Collection,” includes ceramic objects from the Han to the Ming dynasties; at Foxglove House, 166 Piccadilly. England, OxfordDecember 4-January 3, 1990 Michael Casson; at Oxford Gallery, 23 High St. France, Nan^ay through December 17 Claude Champy, sculpture; and Aline Favre, layered porcelain and stoneware sculpture; at Galerie Capazza, Grenier de Villatre. Netherlands, Deventer December 10-January 7, 1990 “International Ceramics Exhibition,” fea­ tures works by Rainer Doss, Antje Wiewinner, Ben Arnup, Johan Broekema, Marion Askjaer and Veld; at Kunst & Keramiek, Korte Assen- straat 15. Netherlands, Oosterbeek through December 17 “Austrian Ceramics,” includes works by Veron­ ika Poschl, Barbara Reisinger, Kurt Spurey and Lisa Waltl; at Galerie Amphora, Van Oudenal- lenstraat 3. Switzerland, Aubonnethrough December Erich 6 Haeberling exhibition. December 9-30 Exhibit featuring contemporary Swiss ceramics; at Gal­ erie de l’Amiral Duquesne, Rue de l’Amiral Duquesne 6. Switzerland, Carouge (near Geneva)through Jan­ uary 21, 1990 The “City of Carouge Award for Decorated Ceramics,” juried international of ceramic jewelry; at the Musee de Carouge, Place de Sardaigne, 2. Switzerland, Zurich throughJanuary 7, 1990 “Con Fuoco,” Italian ceramists; at Museum Bellerive, Hoschgasse 3. Turkey, Istanbulthrough December 15“Iznik: The Pottery of Ottoman Turkey”; at the Museum of Turkish and Islamic Arts, Ibrahimpasa Palace. Wales, Dyfed, Aberystwyththrough February 5, 1990Geoffrey Whiting, “A Retrospective Exhibi­ tion”; at the Aberystwyth Arts Centre, University College of Wales, Penglais. West Germany, Frankfurtthrough December 6 R. Hahn, F. Kromer; at Keramik Galerie Ulla Hensellek, Braubachstr.15. through February 25, 1990 “Craft Today USA”; at Museum fur Kunsthandwerk, Schaumainkai 15.

76 Ceramics Monthly December 1989 77 News & Retrospect Continued from Page 72

poems and essays of Kentucky’s well-known author Wendall Berry. In an interesting twist of function and its denial, Changstrom uses images of functional ware “to represent communication or communion between people, and to represent my own presence in the landscape. I also am making refer­ ence to my experience of the wilderness which has come as much from the reading of literature and the study of paintings as it has from actual experience.” Photo: Mel Schockner.

Jerry Caplan “Colonnade,” an exhibition of unglazed terra-cotta sculpture altered from industri­ ally produced sewer pipe extrusions byJerry

“Threshold ” 81 inches in height, altered pipe extrusions, terra cotta

Caplan, was on view at Gallery G in Pitts­ burgh through October. Caplan, now re­ tired from the faculty of Chatham College, has experimented with industrial extrusions as raw material for more than 25 years, and conducts workshops at pipe factories in Ohio and California. For this “Colonnade” series, he focused on developing forms that readily integrate with architecture. Working from the inside as well as the outside of the extrusions, he reshaped the walls, sometimes partly split­ ting the pipe to reveal inner surfaces, while maintaining a monolithic vertical.

Teco Art Pottery Teco (pronounced tee' ko) art pottery was produced between 1900 and 1920 by the Gates Potteries of Terra Cotta, Illinois. Known as “the ceramics expression of the Prairie School,” few today realize that it was designed byWilliam Day Gates along with Please Turn to Page 85

78 Ceramics Monthly December 1989 79 there are reports that Rothman adds one more ingredient to his Questions own batches, an ingredient he is unwilling to divulge. Regardless, experimentally adding increments of lithium compounds seems Answered by the CM Technical Staff a reasonable way to further decrease shrinkage of these recipes: Rothman’s Low Shrinkage Clay Q I am looking for a very low shrinkage or perhaps no-shrinkage clay (Cone 3-5) body. It doesn’t matter whether it can be thrown or not; just that it canA.P. be Green Fireclay...... 100 lbs. used in some usual manner. Do you know of any recipes, and canCl you Pfizer Company Clay (a Cone 5 tile clay)...... 100 explain the theory behind such bodies ? I’ve heard that California sculptorWollastonite...... 50 Jerry Rothman uses or has used such bodies, and has given out thelone recipes Grain (400 mesh)...... 50 at his workshops. Do you know specifically what he— usesB.L. ? 200-Mesh Grog...... 50 150-Mesh Grog...... 50 Low-shrinkage or no-shrinkage clays rely on one or more 30-Mesh Grog...... 50 physical or chemical states of ceramic materials. They might in­ 20-Mesh Grog...... 50 corporate negative thermal expansion materials (materials which ¾-inch Chopped Fiberglas 3660...... 3-5 actually expand against clay’s shrinkage); these usually contain Macaloid or Bentonite...... 3-5 lithium as in the case of lithium carbonate, spodumene, petalite, etc., to counter the shrinkage of other body components, or they lone Grain is an Interpack Company grog. Use as little Macaloid could contain previously shrunk or low-shrinkage materials, such or bentonite as possible. Shrinkage is about 2% at Cone 5. as perlite, grog, silica, etc., which tend to hold their space or which help physically limit shrinkage tendencies of other ceramic Fullerton Sculpture Clay (Rothman) (Cone 3-5) components surrounding them. Using a range of grain sizes of Wollastonite...... 50 lbs. nonplastic materials increases their effectiveness, because this di­ Sewer Pipe Clay...... 100 versity of grains tends to pack more tightly to begin with, and fires Lincoln Fireclay...... 100 with much less motion possible between the particles as all are lone Grain (420 mesh)...... 50 locked in wedgelike by other sizes of particles. lone Grain (400 mesh)...... 50 The standard problem with such bodies is that as enough 20-Mesh Sand...... 50 plastic materials (ball clay, bentonite, etc.) are increasingly added ¾-inch Chopped Fiberglas 3660...... 5 to the previously mentioned low-shrinkage compounds in order Bentonite...... 2-5 to promote plasticity/workability, the bodies then begin to shrink increasingly. Plasticizers such as Macaloid are often used to mini­ In an article published in the October 1982 issue Ceramics of mize the equation: more plasticity = more shrinkage. Monthly (titled “Perlite Bodies”), William Hunt took another di­ Jerry Rothman is perhaps best known for his work with such rection in producing a very low shrinkage body using only perlite bodies, and has distributed low-shrinkage clay recipes to partici­ (a clean, white, frothy volcanic glass found commonly at garden pants at his workshops. We’ve seen two such recipes, although stores) to reduce the shrinkage of clays: “Perlite is typically avail-

80 CERAMICS MONTHLY able in at least two useful sizes—small particles more like grog (up to 2mm), and larger particles (up to 5mm) more the size of vermiculite. In larger quantities, the larger perlite particles pro­ duce a clay body visually more distinct from typical clay results. “Nearly all typical stoneware bodies can sustain perlite addi­ tions much as they sustain additions of grog. [But don’t breathe perlite.] A starting point for perlite experimentation is the range of possibilities that lies between the following two recipes: Hunt’s Coarse, Low-Shrinkage Body (From Raku to Cone 9) Perlite ...... 1 partbyvol. (13%bywt.) Any Stoneware Body (dry)...... 1 partbyvol. (87% bywt.) “This recipe, and those containing still more perlite, should exhibit extreme resistance to thermal shock, will appear quite pebbly, and will be difficult or impossible to throw. (Volume measurements are approximate because clays tend to pack dur­ ing shipping and handling, rendering more clay per volume the greater the packing.) Hunt’s Coarse, Throwable, Low-Shrinkage Body (Cone 8-9) Perlite ...... 1 part by vol. (7% bywt.) Any Stoneware Body (dry)...... 2 parts by vol. (93% bywt.) “This recipe has greatly reduced resistance to thermal shock, but does exhibit the pebbly or cratered surface typical of large perlite additions. It can usually be thrown on the wheel, but will scour fingers.” Any ball clay can be substituted for the stoneware clay in either of the preceding recipes for increased plasticity, but with somewhat more shrinkage.

Subscribers ’ questions are welcome and those of general interest will be answered in this column. Due to volume, letters may not be answered per­ sonally. Address the Technical Staff, Ceramics Monthly, Box 12448, Columbus, Ohio 43212.

December 1989 81 coil. After bisquing, the coil and knob are cleaned, brushed with lusters and safely Suggestions joined, made to fit together exactly, with placed in the kiln as is. I use white, house­ from our readers stiff clay. (The plug can also be formed and hold glue which bums off in the firing, bisqued as one piece.) making the stilt reusable. Double-pointed To use, place the plug in the peephole so that the end of the coil rests on the edge of a kiln shelf for stability, then set two or Draw-Tile Plugs three small test tiles on top of the coil. The To check glazes during firing, I make tiles must be small enough to clear the peephole plugs capable of supporting test peephole without falling off the coil when tiles to fit the various kilns in which I fire: 6- the plug is removed. inch-long plugs to fit my electric kiln; longer There are several advantages to using the plug to draw test tiles: I can pull the plug out long before I can open the kiln to see a new glaze or check the success of a regular glaze. For reduction glazes, the draw stilts come in eight sizes and can be used at tiles can be used to check the progress of both low and high temperatures.—Hanna the firing. In a raku firing, using these Lore Hombordy, Ventura, Calif. plugs is much easier than removing the door to check glazes. But don’t put a draw- Alternative Glaze Effects tile plug back in a hot kiln, as it may splinter To produce different effects with your from heat shock, scattering plug shards favorite glazes, try spraying a contrasting over your ware. Just replace the draw-tile glaze through a sieve over another glaze. ones (varied lengths for side or front peep­plug with a normal plug. Each time I fire, I The result depends on glazes used and holes) for the gas-fired car kiln at the local have enjoyed pulling the plug more!—Lois quantity sprayed.—N. Martel, Magog, Quebec arts center; and a variety of others for raku Flint Eldridge, South Glastonbury, Conn. kilns. They are fun to use, and at times Dollars for Your Ideas practical and informative. Handling with Care Ceramics Monthly pays $10 for each suggestion Each draw-tile plug begins as a coil of When applying luster to a piece of jew­ published; submissions are welcome individually clay, opened lengthwise by pushing a small elry or another glazed object, one must use or in quantity. Include an illustration or photo dowel through, and cut flat on top with aconsiderable care to avoid smudging. Theto accompany your suggestion and we will pay wire. The added exterior knob of the plug solution to this problem is to glue a double­ $10 more if we use it. Mail your ideas to CM, is a clay cylinder or cube, which has been pointed stilt to the bottom of the piece. Box 12448, Columbus, Ohio 43212; or FAX to pierced for better drying, and indented onAfter overnight drying, the piece is then (614) 488-4561. Sorry, but we can’t acknowl­ one side to form a hole/receptacle for the handled by the stilt only, and can be neatlyedge or return unused items.

82 CERAMICS MONTHLY December 1989 83 84 CERAMICS MONTHLY News & Retrospect Continued from Page 78

Frank Lloyd Wright, Louis Sullivan and other noted architects. Gates was trained as a lawyer in Chicago, but gave up his legal practice to found the clay works, and subsequently became an innovator in the development of architec­ tural terra cotta. Teco, his registered trade­ mark, was derived from the first syllables of the words terra and cotta. After the devastating fire which de­ stroyed much of Chicago, fireproof build­ ing materials were in great demand there; among the alternatives, terra cotta was a Teco vase #155, 8 inches in height, designed by popular product. Bricks, decorative ash­ William Day Gates lars, and roof and floor tiles established the company’s financial stability, but pottery School architects, such as Wright and Sulli­ was Gates’s first love. Everything from large van, it was not unusual for them to extend garden urns to tea sets was fired in the large this relationship to designing pottery. It factory kilns, filling the spaces between the was seen as a perfect complement to the architectural terra cotta. new architectural interiors. For example, Teco pottery’s roots were in the Euro­ Teco pots were found in Frank Lloyd pean arts and crafts movement. As preachedWright’s home, along with Mission furni­ by William Morris andJohn Ruskin, the move­ ture. ment sought a return to hand craftsman­ Every pot was the result of collaboration ship and attention to appropriate design—between designer, potter, mold maker and a reaction against the excesses of Victorian glaze chemist. Thirteen years of experi­ mass production. Morris believed it wasmentation by Gates and his chemists led to important to “have nothing in your homethe development of the popular Teco which you do not know to be practical or Green Glaze. A soft, silvery matt, it was believe to be beautiful.” compared by some to the color of weath­ In Americanizing arts and crafts phi­ ered bronze. In a House Beautiful adver­ losophy, Gates aimed for high quality at tisement, it was called “restful” and “hy­ low price. All Teco forms were first hand­ gienic.” One writer found it “a peculiarly built or thrown, then duplicated in plasterpleasing shade, one that fits in and harmo­ molds. He saw Teco ware as “a means of nizes with all surroundings.” bettering the life of mankind by bettering The exhibition, “Teco: Art Pottery of his standards of beauty in the home.” the Prairie School,” opened at the Erie Art Because Gates Potteries maintained a Museum in Erie, Pennsylvania, and is now business relationship with many Prairie Please Turn to Page 88

Gates Potteries’ studio; good design allowed the production of complex forms with two-piece molds

December 1989 85 C eramics Monthly Annual Index January-December 1989

Ceramics Monthly has published a year’s index in each Kiln Wash: An Ironic Influence,Hedman, Jan., p 54 Hamlyn, Apr., p 29 December issue since 1962. An index covering the Tile Illustration: From Painter to Potter to Painter Ledges and Niches,Winokur, Mar., p 29 magazine s contents from January 1953 through Again, Lewing, Dec., p 50 Monarch National,Hunt, Nov., p 37 December 1961 was published in the January 1962 issue. Three Views on Dinnerware: Point of Departure, Additionally, a 20-year subject index (1953-1972), Departments Glave; Function of Dinnerware, The,Martin; covering Ceramics Monthly feature articles, Suggestions The following departmental features appear monthly, except Dinnerware as Metaphor,Lehman, Oct., p 43 and Questions columns, is available for $1.50, postpaid, as noted: Warren MacKenzie,Haworth, Sept., p 49 from the CM Book Department, Box 12448, Columbus, Classified Advertising Ohio 43212. Film and Video: June/July/Aug., p 74; Sept., p 61 Potters and Pottery Itinerary Assembled Vessel Variations,Kudlacek, Sept., p 94 Letters Celebrations of an Institutional Potter,Connell, Business New Books: Jan., p 18; Feb., p 16; Mar., p 50; Apr., Oct., p 35 Big League Wholesaling,Butler, Nov., p 34 p 16; May, p 18; June/July/Aug., p 18; Sept., Creative Identity: The Potters Shop,Branfman, Earthenware Potters, Browe, June/July/Aug., p 32 p 66; Oct., p 56; Nov., p 84; Dec., p 18 Sept., p 36 Firing Up Your Business, 7odd, Jan., p 44 News & Retrospect Danish Potters, Engqvist, Dec., p 57 Getting Your Money,Rohrbaugh, Feb., p 76 Questions Answered by the CM Technical Staff Earthenware Potters, Browe, June/July/Aug., p 32 Planning a Potter’s Sabbatical,Lehman, June/July/ Suggestions from our readers Hutchens’s Handles,Bailey, Nov., p 31 Aug., p 39 Summer Workshops, Apr., p 37 Jane Hamlyn: Jane Hamlyn’s Current Work, Stove Project in Kenya, A,Allen, Dec., p 42 Where to Show Dormer, Salt Glaze and Something Else, Hamlyn, Apr., p 29 Clay and Glazes Exhibitions, International Works John and Susanne Stephenson,Slowinski, Clay Prospecting, Aigner, Sept., p 96 Britain’s Christine Merton,Buzzard, Jan., p 37 Sept., p 43 Clear Glazes/Celadons for Cone 6 and 10, Danish Potters, Engqvist, Dec., p 57 Kiln Wash: An Ironic Influence,Hedman, Jan., p 54 McWhinnie, Oct., p 42 Fletcher Challenge Pottery Award,Gibbs, Jan., p 46 Lucie Rie in Tokyo, Jones, Nov., p 25 Color and Pate sur Pate, June/July/Aug., p 22 Form und Glasur, de Vogelaere, Mar., p 43 Nancy Adams: Trial-and-Error Success,Brower, Cone 6 Computer Glazes,McWhinnie, Nov., p 36 Gauguin’s Ceramics, Oct., p 38 Feb., p 48 Craig Hurley’s Plastic Glaze, Webb, June/July/ Japan’s Third Generation,Redman, Apr., p 58 Peter Voulkos: Faithful Iconoclast,Gallucci, Aug., p 44 Live from Canada,Garber, June/July/Aug., p 54 Nov., p 18 Dirt Cheap: Topsoil in Clay and Glazes!Fleming, Los Angeles’s Japanese Collection, June/July/ Planning a Potter’s Sabbatical,Lehman, June/July/ Nov., p 81 Aug., p 53 Aug., p 39 Earthenware Potters, Browe, June/July/Aug., p 32 Lower Rhine Earthenware, Mar., p 76 Point-of-View Vessels, Wood, May, p 30 Economics and Raw Materials,Zamek, Jan., p 22 Lucie Rie in Tokyo, Jones, Nov., p 25 Potter in Wales, A, Asenbryl, Feb., p 26 Fired Up, Wired Up: Color and the Ceramic Matthias Ostermann, June/July/Aug., p 42 Potters of the Upper Amazon, Whitten and Whitten, Surface; Alchemy or Science?Hopper, Rockefeller Collection, Jan., p 39 Dec., p 53 Feb., p 31 Third Canadian Biennial, Apr., p 46 Rose and Erni Cabat,Quinn, Jan., p 58 Flashes of Luster,Hutchinson, Oct., p 83 Search for Form and Place, A: Wayne Higby, An Function of Dinnerware, The,Martin, Oct., p 46 Exhibitions, United States Autobiography, Dec., p 27 Glaze Chronicles, Part 1, McWhinnie, Mar., p 49 Amara Geffen, May, p 36 Siddig El Nigoumi,Blackie, Jan., p 28 Part 2, McWhinnie, June/July/Aug., p 96 American Crafts Awards, Sept., p 40 Spanish Folk Pottery, Part One: The Alfareros, Hutchens’s Handles,Bailey, Nov., p 31 Andy Nasisse, Berman, Jan., p 41 Breslin, Apr., p 52 Kiln Wash: An Ironic Influence,Hedman, Jan., p 54 Angelica Pozo,June/July/Aug., p 38 Part Two: Agost, a Spanish Pottery Village, Mood Indigo: Color and the Ceramic Surface; Artists’ Vase Invitational, May, p 50 Selsor and Mossman, May, p 44 Alchemy or Science? Hopper, Jan., p 48 Assembled Vessel Variations,Kudlacek, Sept., p 94 Spanish Wood Kilns,Breslin, May, p 46 Planning a Potter’s Sabbatical,Lehman, June/July/ Betsy Brandt, Oct., p 34 Studio Potter’s Fulfillment, A,Lee, June/July/ Aug., p 39 Clayfest VI, Calhoon, Sept., p 27 Aug., p 58 Potter in Wales, A, Asenbryl, Feb., p 26 David Alban,Stark, Feb., p 29 Thoughts on Function,Rexrode, Mar., p 37 Salt Glaze and Something Else,Hamlyn, Apr., p 32 Feats of Clay, Jan., p 26 Three Views on Dinnerware: Point of Departure, Some New Thoughts on Raku,McWhinnie, Fragile Slumber, A,Neuenschwander, Mar., p 24 Glave; Function of Dinnerware, The,Martin; Sept., p 100 Hubert Arnold Collection, Magri, June/July/ Dinnerware as Metaphor,Lehman, Oct., p 43 Studio Potter’s Fulfillment, A,Lee, June/July/ Aug., p 64 Tile Illustration: From Painter to Potter to Painter Aug., p 58 Illinois Clay National, May, p 32 Again, Lewing, Dec., p 50 Thoughts on Function,Rexrode, Mar., p 37 Joseph Bennion, Mar., p 46 Tips from the Flame, Pike, Oct., p 81 Tile Illustration: From Painter to Potter to Painter Kevin Hluch, Sept., p 59 Vietnamese Pottery Village, A, Gift, Oct., p 29 Again, Lewing, Dec., p 50 Philip Cornelius: New Work, June/July/Aug., p 46 Wood Firing: The French Connection,van de Playground of Modern Desire, The,Drohojowska, Voorde, Feb., p 44 Collecting Jan., p 50 Collecting Pots by Rie and Friends, Nov., p 26 Ringling National,Haborak, Jan., p 34 Sculptors and Sculpture Commissioned Environment, Sept., p 34 Sara Waters, Hopper, June/July/Aug., p 62 Ajndy Nasisse,Berman, Jan., p 41 Contemporary Ceramics at Christie’s: Proved, A Scott Tubby, May, p 38 Britain’s Christine Merton,Buzzard, Jan., p 37 Strong Resale Market for Ceramics, Apr., p 49 Scripps Influence, The,McCloud, Nov., p 51 Chick Schwartz, Kannel, Apr., p 60 Hubert Arnold Collection,Magri, June/July/ Something to Say, Norby with Kinne, Dec., p 40 Clay, Nails and Smoke, Caplan, May, p 76 Aug., p 64 Surreal Ceramics, Paine, Nov., p 28 Content and Narration,Weaver, Sept., p 32 Los Angeles’sJapanese Collection, June/July/ Unusual and Utilitarian, Sept., p 30 Fragile Slumber, A,Neuenschwander, Mar., p 24 Aug., p 53 Yih-Wen Kuo, Dec., p 47 From Monastery to Studio: Bruno La Verdiere, An Rockefeller Collection, Jan., p 39 Autobiography, Oct., p 22 History How I Got Here, Selvin, Nov., p 47 Commentary Gauguin’s Ceramics, Oct., p 38 John and Susanne Stephenson,Slowinski, Beginnings,Cuzick, Sept., p 24 Lower Rhine Earthenware, Mar., p 76 Sept., p 43 Ceramic Higher Education,Gearheart, May, p 22 Spanish Folk Pottery, Part One: The Alfareros, Material, Signature and Memory,Le Van, Economics and Raw Materials,Zamek, Jan., p 22 Breslin, Apr., p 52 May, p 39 Fragile Slumber, A,Neuenschwander, Mar., p 24 Part Two: Agost, a Spanish Pottery Village, Playground of Modern Desire, The,Drohojoiuska, How to Be an Amateur,Gallucci, Mar., p 18 Selsor and Mossman, May, p 44 Jan., p 50 NEAJuror’s Viewpoint, An,Stephenson, Feb., p 34 Spanish Wood Kilns,Breslin, May, p 46 Rebuilding at Lejsta,Boode, Dec., p 38 New and the Unseen, The,Hunt, Apr., p 20 Sara Waters, Hopper, June/July/Aug., p 62 Our Turf,LaPointe, Oct., p 18 Miscellaneous Something to Say, Norby with Kinne, Dec., p 40 Perestroika for NEA Fellowships, Hluch, Feb., p 18 Julian Schnabel,Woest, Mar., p 74 Peter Voulkos: Faithful Iconoclast,Gallucci, Metchosin International Summer School, Studio, Tools and Equipment Nov., p 18 Obranovich, Apr., p 41 Creative Identity: The Potters Shop,Branfman, Plagiarism and Influences,Davies, Dec., p 22 National Endowment Fellowships, Feb., p 33 Sept., p 36 Shifting Standards,Zakin, June/July/Aug., p 22 Regional Fellowships, Bradley, Feb., p 36 Flashes of Luster,Hutchinson, Oct., p 83 Therapeutic Clay, Bolon, June/July/Aug., p 98 Glaze Dipping: Tubs and Tongs,Welsh, Feb., p 50 Decoration Toko Ichi, Kuntze, Jan., p 32 Production Raku Kiln, A,IJskey, Nov., p 82 Assembled Vessel Variations,Kudlacek, Sept., p 94 Spanish Folk Pottery, Part Two: Spanish Wood Clay, Nails and Smoke, Caplan, May, p 76 Portfolios Kilns, Breslin, May, p 46 Color and Pate sur Pate, June/July/Aug., p 22 Is a Craft Business for You?,Miner, June/July/ Stove Project in Kenya, A,Allen, Dec., p 42 Craig Hurley’s Plastic Glaze, Webb, June/July/ Aug., p 47 Tips from the Flame, Pike, Oct., p 81 Aug., p 44 Jane Hamlyn: Jane Hamlyn’s Current Work, Total Involvement: Building and Firing a Climbing Earthenware Potters, Browe, June/July/Aug., p 32 Dormer, Salt Glaze and Something Else, Kiln, Dillon, Apr., p 43

86 CERAMICS MONTHLY December 1989 87 News & Retrospect Continued, from Page 85

at the Chicago Historical Society through February 18, 1990.Photos: courtesy of the Erie Art Museum and the Chicago Historical Society.

Teco vase #408, slip-cast terra cotta, with green matt glaze, 10 inches in height, designer unknown

88 CERAMICS MONTHLY