April 1998 1 2 CERAMICS MONTHLY April 1998 Volume 46 Number 4

“3 Bottles” by Jason Hess at the Michael Sherrill teaching a Ferrin Gallery in Northampton, workshop at the Arrowmont Massachusetts. School of Arts and Crafts in 43 Gatlinburg, Tennessee. FEATURES 31 31 1998 Summer Workshops Opportunities in the U.S. and abroad for all skill levels 35 Monarch National Competition 120 works by artists from the U.S. and Canada 39 The Making of Giants by Elaine F. Godoivsky Workshop experience with Arnie Zimmerman 43 Introductions New or emerging artists at the Ferrin Gallery 44 Glasgow’s Miles Better An American in Scotland by Todd Garner 47 Minnesota Invitational Works by over 50 artists at the Northern Clay Center Tenement sculpture 48 From Clay Depths to Interdisciplinary Heights by Todd Garner. by P.A. Chatary Creating a tile mural illustrating aspects of the sciences 44 52 Friends and Inspirations Potters working outside the mainstream 5 5 Carol Townsend by Jeanne Raffer-Beck David Wright throwing Brushed and incised slips on handbuilt vessels salt into a recycled kiln. 58 Where You’ve Been Is Good and Gone; 67 All You Keep Is the Gettin’ Thereby Steven Hill Thoughts on process and growth 65 Blue Plate Specialby Jeff Huebner Not your usual dining experience The cover: Wood-fired 67 Recycle That Old Kilnby David G. Wright Handbuilt, slip-decorated earthenware pitcher by stoneware by Carol Townsend. Douglas Browe; see page 52. A surprising way to extend the life of your kiln Photo: Tom Liden. 55

April 1998 3 UP FRONT 12 Shoichi Ida Sculpture and works on paper at BraunsteinlQuay Gallery in San Francisco 12 Jerome Artists Exhibition Editor Ruth C. Butler Foundation-sponsored work at the Northern Clay Center in Minneapolis Associate EditorKim Nagorski 12 Juried Annual in Pennsylvania Assistant EditorConnie Belcher Multimedia exhibition at the Wayne Art Center Editorial AssistantElaine Jebsen 14 The Mind of the Dragon by Janet Buskirk Art DirectorRandy Wax A look into the inner workings of an anagama kiln 16 Kirk Mangus by Douglas Max Utter Production Specialist Robin Chukes Recent work at William Busta Gallery in Cleveland, Ohio Advertising ManagerSteve Hecker 18 Fiona Salazar Circulation AdministratorMary R. Hopkins Vessel sculpture at the Crafts Council Shop, Victoria and Albert Museum, LondonCirculation AdministratorMary E. May 18 Charles Johnson PublisherMark Mecklenborg Toylike sculpture at Galeria Mesa in Arizona 18 Jolyon Hofsted Editorial, Advertising and Circulation Offices Retrospectives of wall forms and sculpture 735 Ceramic Place 20 Tantalizing Teapots Post Office Box 6102 Kamm collection at the Craft and Folk Art Museum in Los Angeles Westerville, Ohio 43086-6102 20 Keisuke Mizuno Telephone: (614) 523-1660 Handbuilt porcelain sculpture at Shaw Guido Gallery in Pontiac, Michigan Fax: (614) 891-8960 20 Bill Griffith E-mail: [email protected] Wood-fired ceramics at the Sarratt Gallery at Vanderbilt in Nashville, Tennessee [email protected] 22 Steffanie Samuels [email protected] Figure sculpture at the Loveland Museum/Gallery in Loveland, Colorado [email protected] 22 Dong Hee Suh Website: www.ceramicsmonthly.org Abstract sculpture at West Virginia Wesleyan College in Buckhannon Ceramics Monthly (ISSN 0009-0328) is published monthly, 22 Opportunities Available Through the NEA except July and August, by The American Ceramic Society, 735 Deadlines for current programs Ceramic Place, Westerville, Ohio 43081. Periodicals postage 24 All Creatures Great and Small paid at Westerville, Ohio, and additional mailing offices. Animal sculpture at John Natsoulas Gallery in Davis, California Opinions expressed are those of the contributors and do not 24 Stephen Merritt necessarilyrepresent those of the editors or The American Pot added to the Museum of Fine Arts, Boston, permanent collection Ceramic Society. 24 Elizabeth Keller Subscription Rates: One year $26, two years $49, three years Sculpture and teapots at the Summer House Studios in Conway, South Carolina$70. Add $ 12 per year for subscriptions outside North America. 26 Tina Gebhart In Canada, add GST (registration number R123994618). Wood-fired functional ware at Baltimore Clayworks Change of Address: Please give us four weeks advance notice. 26 Etta Winigrad Send the magazine address label as well as your new address to: Ceramics Monthly, Circulation Department, PO Box 6102, Pit-fired sculpture at the Muse Gallery in Philadelphia Westerville, OH 43086-6102. 26 Sylvia Hyman Contributors: Writing and photographic guidelines are avail­ Trompe 1’oeil documents at Cumberland Gallery in Nashville, Tennessee able on request. Mail manuscripts and visual support (photo­ 26 Shellie Jacobson and Tim Rowan graphs, slides, transparencies, drawings, etc.) toCeramics Monthly, Dual pottery exhibition at the KlayGallery in Nyack, New York 735 Ceramic PL, PO Box 6102, Westerville, OH 43086-6102. We also accept unillustrated texts faxed to (614) 891-8960, or e-mailed to [email protected] Indexing: An index of each years feature articles appears in DEPARTMENTS the December issue. Feature articles are also indexed in the Art Index and daai (design and applied arts index), available 8 Letters through public and university libraries. 72 Call For Entries Copies and Reprints: Searchable databases and document 72 International Exhibitions delivery are available through Information Access Company, 72 United States Exhibitions 362 Lakeside Dr., Foster City, CA 94404; and through Univer­ 72 Regional Exhibitions sity Microfilms, 300 N. Zeeb Rd., Ann Arbor, MI 48106. 72 Fairs, Festivals and Sales Authorization to photocopy items for internal or personal 74 Suggestions use, or the internal or personal use of specific clients, is granted 78 Calendar by The American Ceramic Society, provided the base fee of 78 Conferences $5.00 per copy, plus $0.50 per page, is paid directly to the 80 Solo Exhibitions Copyright Clearance Center, 222 Rosewood Dr., Danvers, MA 80 Group Ceramics Exhibitions 01923. Prior to copying items for classroom use, please contact 84 Ceramics in Multimedia Exhibitions the Copyright Clearance Center, 222 Rosewood Dr., Danvers, 86 Fairs, Festivals and Sales MA 01923; (508) 750-8400. The code for users of the Trans­ 88 Workshops actional Reporting Service is 0009-0328/97 US$5.00 + $0.50. 94 International Events Back Issues: When available, back issues are $7 each, includes 96 Questions shipping and handling; $10 each outside North America. 109 Classified Advertising Postmaster: Send address changes toCeramics Monthly, PO Box 112 Comment: 6102, Westerville, OH 43086-6102. Form 3579 requested. My Favorite Cupby Holly Hanessian Copyright © 1998 The American Ceramic Society 112 Index to Advertisers All rights reserved

4 CERAMICS MONTHLY April 1998 5

I always read the letters first. And here we Virtue, Balance and Beauty Letters all are, just like a family, voices from all over The December 1997 issue of CM was one the world speaking to me, connected by our I found above average. However, the Febru­ Artists All work and lives as clay artists. The intellectual ary 1998 issue was a disappointment, as most Thank you, Derek Marshall, for your fine fathers and mothers speak of the rules, art of the daywork featured was too abstract and essay “I Am Not an Artisan” (February CM). and technology; the oldest sons and daugh­ weird for my taste. We are indeed all artists, good and bad. I am ters speak of the guidance and control and Thayer and Hart wrote to the Letters a potter and can still remember the admoni­ focus that the making of clay art gives to their department to comment on Mel Jacobson’s tion of my fourth-grade teacher, as the class lives; and the youngest children in the family story and work featured in December 1997 prepared to participate in an enormous speak of the inspiration they get from being CM. Although his past experiences were mural. “Helene, you’re not an artist, so you’ll part of the family. unusual and intriguing, his pottery is some­ do the 1-inch black border.” The word “art­ As I read your words, I feel connected to what drab and formless, similar to Warren ist” to describe myself didn’t enter my vo­ you all: the determined-to-make-a-living, the MacKenzie in style and color, appearing cabulary for many decades after that inspired-to-make-art, the focused-to-perfect- heavy without much grace, somewhat ama­ shattering moment. That I am one today your-lives. Makes one wonder what all those teurish. I don’t mean these comments in a tickles me to no end; it would be a hoot to people who don’t like to get their hands dirty critical way, just my observation. have my insensitive teacher take note as well. get out of life. I would like to request that CM publish Of course, she would have the prerogative of Mary Donahue, Tallahassee, Fla. an article with as many photographs as pos­ saying “good” or “bad.” sible of the work and background of clay Helene Benardo, Bronx, N.Y. Color Appreciated sculptor Thelma Frazier Winter. Her work This will be my 29th year as a subscriber with clay is imaginative and clever. In Defense of Pyrometers to Ceramics Monthly. It has been an invalu­ I would also like to see glaze recipes in the The response to the first question an­ able aid to me in the learning process of Cone 5-6 stoneware range, and sculpture swered by the CM technical staff in the becoming a potter. The increasing use of from the 1940s-70s. The horse shown on February issue is quite harsh as to thermo­ color has made it better than ever. I look page 66 of the February CM was the most couples and pyrometers. Pyrometers are very forward to each issue. creative piece, without going to the extreme accurate as long as they are used properly. Otto Pearsall\ New Castle, Pa. of abstraction and ridiculous monstrositiza- Firing ceramics in an industrial setting is tion of Brad Schwieger. How can he justify done with the aid of thermocouples and Muddled Thinking using that much earth to create a 50-pound pyrometers; cones are still used in the firing Regarding the article “Talking Tradition” teapot landfill, not to mention the fuel and to check on the progress of the firing, but the (February 1998): There is no excuse for Peterresulting pollution that is used to make such pyrometer does the firing automatically. Callas to believe that “up until the 20th dull, twisted, gruesome pottery? Studio potters often blame the pyrometer century...ceramics was used for containers, There seem to be many people who have because they haven’t read the fine print on utilitarian, basic hand-to-mouth kind of the means to build workshops and buy mate­ the cone tables, which tells the temperature contact.” Later Garth Clark blithely stated rials, but who lack sufficient insight, creativ­ the cone will fall at based on a specific rate of that “It [ceramics] was a traditionally decora­ ity and skill to produce works of meaning rise. If a kiln was fired at the rate of rise stated tive arts field” and “it is only in the last three and endurance. Today, there are too many in the cone table, then the temperature as centuries that we have started to get to know bad and offensive movies, just as there are read by a pyrometer would be very close, if the ceramics of other cultures.” Each of those works of “art.” Why do some try to shock not right on. Thermocouples have to be statements is false, as any reader of ceramics others with vulgarity instead of appealing to protected from the kiln atmosphere and, history or museum goer has discovered. humanity’s better (loftier, higher) qualities of again, some potters use bare thermocouples. I My husband, a potter, and I, an art edu­ virtue, balance and beauty? agree that cones should be used in the firing cator and erstwhile historian, are aghast that Gary Stanko, Monongahela, Pa. but a thermocouple will be a great help in so little scholarship was evident on the part of repeating firings once you have established at the participants. This should not be confused Just Ignore Them what temperature the cone falls. with freedom of expression. The interviewees Ignore the fools who want the mag to H. David Woodin, Washington, D.C. (and interviewer) should have done some in-become “my-narrow-little-area-of-what-I- depth homework and then given forth on consider-to-be-true Ceramics Monthly. ”Art Feeling Connected their opinions. and functional ware, high and low fire, Asian It’s a cold Saturday morning (27°F) in Unfortunately, this is a regular occurrence and European, all inform and enrich each Tallahassee. I have the day off from sitting in in CM, and since the magazine is a leader in other. Just because it isn’t what I want to front of the computer and am dying to get the field of publishing ceramics, it perhaps make doesn’t mean I can’t learn from it. out to my unheated studio and get some gives rise to the muddle of thinking and David Adam Edelstein, Seattle daywork going. Since it’s too cold, I go for production in the ceramics community. The the second cup of coffee and start to read my editors should be responsible for maintaining New Looks January CM. a higher standard. Please continue to blend the various Reva and Leonard Dolgoy aspects of our art. It helps keep my mind In keeping with our commitment to provide Almonte, Ontario, Canada open to all parts of daywork, and I find it an open forum for the exchange of ideas stimulates me to try other ways and methods and opinions, the editors welcome lettersBe Specific to achieve new “looks.” from all readers. All letters must be signed, If someone writes about a special glaze, Michael Armstrong, Gainesville, Fla. but names will be withheld on request. Mailrequire a recipe. If he or she has an interest­ to Ceramics Monthly, PO Box 6102, ing kiln or firing technique, be specific. The Validation Westerville, OH 43086-6102, e-mail to work does not need to be functional, but the A pet peeve of mine seems to always have [email protected] or fax to info about it should be. been the validity of creative artwork versus (614) 891-8960. Joshua D. Brown, Frostburg, Md. traditional aesthetic beauty. Ironically, I hold

8 CERAMICS MONTHLY April 1998 9 occasions, I’d receive slaps with an amber- we both never mature to the point we aren’t Letters colored wooden measuring stick, solely for growing anymore within our medium. my nonconformist crayon expressions. Dur­ Because of the type of ceramic work I both viewpoints and so realize that some­ ing my high-school years, my art class peers produce, admittedly I had originally agreed where there is an answer amidst the two scoffed and called my work “cottage-cheese wholeheartedly with the “Defending Small” concerns. This is why I emphatically agree pots” because they regarded my surface comment by Delia Robinson (February and yet also disagree with Kevin Hluch’s textural designs to be excessive. Now, my 1997), but have since then reconsidered some viewpoint expressed in his commentary “A work is all surface design and no pot! things. Voulkos’ work: “a guy thing”? Al­ Revolutionary Concept” (January 1998). At heart, I was a surface-texture design though the works produced by Peter Voulkos In me lies a developmental attitude of artist from the beginning. At first goo, but are the very embodied antithesis of syrupy- being adverse to the “Golden Aesthetic now gooey clay, I’ve squeezed through my sweet effeminate aesthetic beauty, they Rule.” It is the result of my experiences, fingers to gleefully explore the resulting should not be ascribed nor attributed to his when my creative expressions were rejected toextrusions made. This may put me in a class masculinity. Neither should the enormity of the point of both physical and verbal abuse. of artists called “creator baby.” I believe Peterhis work be considered the reason for the In parochial elementary school, on several Voulkos is the same kind of kid, and I hope dollar value placed upon them. It was his strongly stated, innovative daywork that has rightly earned Pete Voulkos his notoriety. For all his achievements through hard work, Pete Voulkos deserves to be honored. It still concerns me though, as Delia Robinson and Kevin Hluch were both seem­ ing to point out, that the integrity of our ceramic work is in danger of being devalued because of current trends to promote gro­ tesque, large, sensational works to be the most noteworthy, as though other works were insignificant. If only the grandiose is worthwhile, then everything else is much less vulnerable. Most people do judge the dollar value by the amount of clay used, and so consider it outrageous if an artist asks any­ thing significant for even the most laborious small work. It really would be revolutionary if even the ceramic jewelry items were put “on a par” with pottery and sculpture, and were deemed equal to that of precious metal, by reason of the skill utilized in producing the work. Should the market value of our art­ works be based upon the criteria of beauty or ugliness, conformity, nonconformity, tradi­ tion or current trend? Evelyn Carnes, Willis, Mich.

Communication Through Touch I enjoy ceramics that touch my soul. When I hold them in my hands they speak to me. If the object must be explained and talks to my head and not my hands, I’m left cold and turn and walk away. Roger Steinbrueck, Marshall, Wis.

Cover Kudos Huzzah! The cover ofCeramics Monthly has returned after a long absence to a photo­ graph of ceramic art. The cover cult of the ceramic personality has ended. Long live the ceramic object covers! To paraphrase a recent movie, “show me the ceramics.” Joe Zeller, Lawrence, Kans.

Best Choice Ceramics Monthly is the best subscription that I’ve made in a long time. I enjoy the informative articles and I am looking forward to each new issue. Keep up the good work. F. Van Suchtelen, Whittier, Calif.

10 CERAMICS MONTHLY

Whitney Tuthill—in the “Jerome Artists Exhibition.” Presented Up Front through February 21, the show was the result of a grant from the Jerome Foundation; each artist exhibited new work from a proposed project. Shoichi Ida “This grant period was an opportunity to reinvest in clay Ceramic sculpture and works on paper by Shoichi Ida were and seek avenues of meaning that embodied both form and exhibited recently at Braunstein/Quay Gallery in San Francisco. surface,” commented Murphy, whose tureen is shown here. A A native of Japan, Ida blends Eastern philosophies and Western functional potter, she is “interested in how glaze surfaces, being the last layer of information added, are capable of affecting the form. Glaze decoration becomes analogous to clothes or cos­ tume with bits of exposed clay flesh. I am motivated to deco­ rate, to emblazon surface with color.” Juried Annual in Pennsylvania “Craft Forms ’97,” a juried exhibition of ceramics, beadwork, glass, metal, fiber and wood, was on view through January 22 at Wayne Art Center in Wayne, Pennsylvania. From over 200

Shoichi Ida’s “Between Falling and Rising Energy No. 188,” 10¾ inches in height, Shigaraki clay with luster glaze; at Braunstein/Quay Gallery, San modernist and minimalist aesthetics in his work. Comprised of simple overlapping surfaces, his sculptures are abstract forms that often mimic elements found in nature. Jerome Artists Exhibition The Northern Clay Center in Minneapolis recently featured the works of five clay artists from Minnesota—Attila Ray Dabasi, Ruth Martin, Robin Murphy, Marcia Olson and James

Judith Duff’s “Basket,” 11 inches in height, porcelain, $90; at Wayne (Pennsylvania) Art Center. entries, jurors Syd Carpenter, Bruce Metcalf and Bhakti Ziek Robin Murphy tureen, 7½ inches in height, red earthenware, selected nearly 100 works by 69 artists from 28 states. thrown and altered, with slips, stains and glazes, $125; North Carolina potter Judith Duff was among the 36 artists at the Northern Clay Center, Minneapolis, Minnesota. displaying clayworks. Working mainly with porcelain fired in Submissions are welcome. We would be pleased to considerreduction, Duff is influenced by her studies in painting and press releases, artists' statements and photos/slides in con­ biology. “Surface decoration on simple, graceful forms is an junction with exhibitions or other events of interest for publi­important part of my work, ” she explains. “Some pots are cation in this column. MailCeramics to Monthly, Post Office decorated when first thrown through fluting, faceting, carving Box 6102, Westerville, Ohio 43086-6102. or incising. Volume is often accentuated by expanding the form from the inside. Continued

12 CERAMICS MONTHLY April 1998 13 Up Front

“I am interested in my pots showing the problem-solving techniques of their assembly by emphasizing attachments, finger marks and throwing rings,” she continues. “On bisqueware, decoration is accomplished through slip trailing, glazing and/or calligraphic brushwork. “Carbon-trap Shinos have recently been my focus. The unusual and unpredictable results that occur during the firing have contributed a new and exciting form of surface decoration. Shino glazes are used solely, with calligraphic brushwork, or as a basis for additional multilayering of compatible glazes. In almost every firing, new glazes are tested, enabling me to develop an expansive palette of colors.” The Mind of the Dragon by Janet Buskirk The first time I fired the Astoria Dragon Kiln was in 1987. I had occasionally heard about an anagama near Astoria, Oregon, but very few area potters seemed to know much about the kiln

Jim Koudelka’s “Capt. Hook,” 21 inches in height, wood fired, sandblasted.

regularly and the crew was very experienced, no one was making an effort to make public the kiln or the pots from it. Richard Rowland, Brad Mildrexler and the rest of the group spent their time concentrating on the firing process, not on selling or publicizing their work. Ten years have since passed, and the kiln has been fired over Janet Buskirk’s “Lingerie Teaset,” to 9 inches in height, slab-built porcelain with double 60 times. Most of that time, we have worked in relative ano­ walls, pierced outer wall, unglazed. nymity, preferring to concentrate on the involved, physically and psychologically demanding process of working with an or the people who fired it. How could anyone keep an anagama anagama. We try to listen to the kiln and to each other, and to hidden? They are physically difficult to disguise! Why was there learn as much as we can from the firings. no information about this large, labor-intensive kiln? When I Firing the anagama involves so many elements. We cannot began firing there, I discovered that, while the kiln was fired simply make the pots, load them into the kiln, and start firing.

The Mind of the Dragon” life-size anagama installation, over 30 feet long; at the Clatsop Community College gallery, Astoria, Oregon.

14 CERAMICS MONTHLY April 1998 15 Up Front Shown recently at William Busta Gallery in Cleveland, Mangus’ vessels also signify a depth and vividness of aesthetic encounter, a “frisson” specific to the medium of clay, remember­ Each firing demands weeks of wood preparation. There is ing the power and antiquity of the metaphor that binds earth always some repair to be made on the kiln. A small commu­ and the human body in an eternal embrace. nity of people must work in unison; we accomplish a lot. We Although his work in clay clearly comes within the purview are constantly experimenting with new materials, new firing of the so-called “fine arts,” Mangus insists on the distinction techniques, new types of wood, new ideas. between sculpture as such and his own ceramic objects, which “The Mind of the Dragon” exhibition was one of those ideas. It began as a simple local show. Rowland, on whose property the kiln is built, realized that this was an opportunity to do something different, something unusual. The outcome was a life-size installation of a “kiln,” built in the gallery at Clatsop Community College in Astoria. The installation kiln was over 30 feet long, and was stacked with pots exactly as they had been in the real kiln during a recent firing. The installation also incorporated multiple-fired, ash- laden shelves and posts, and several cords of wood. Many other incidental items were brought to the gallery: a recent kiln log hung on a post, the bell that is rung to remind the tired crew to stoke was hung from the gallery ceiling (eliciting a Pavlovian stoke-response from the firing crew whenever it was rung during the opening). Sounds from a firing were also played during the exhibition. The show was revealing for those of us who fire the kiln as well. We had never been able to actually observe all of the pots inside the kiln at once. This installation afforded us an oppor­ tunity to see the relationship of the pots to each other, to the kiln, to the kiln furniture and to the fireboxes. We also ob­ served how the different types of wood had affected the pots in each area of the kiln. Kirk Mangus by Douglas Max Utter Fat ceramic flies perch on the lips of several of Kirk Mangus’ wood-fired vessels. The artist points them out. Flies, he says,

“Kiss Amphora,” 29 inches in height, wheel-thrown and carved stoneware, by Kirk Mangus, Kent, Ohio.

he is content to call pots. Sculpture, in his view, functions as an obstacle, an incarnation of otherness that “gets in the way,” confronting the viewer with intimations of difference, whereas ceramic objects, both in form and materials, encourage a sort of fleshly identification. This variance in the psychology of mate­ rial and presentation perhaps hinges also on the domestic and utilitarian associations of pottery. The actual utility of Mangus objects is questionable. He avoids usefulness, balking at the practical while not refusing it outright. One could use these objects—but would live to regret Kirk Mangus’ “T-Pot,” 11 inches in height, wood-fired it. One imagines the Mangus teapot on display rudely inter­ stoneware; at William Busta Gallery, Cleveland. rupting any possible breakfast: it perches on its pedestal with the domesticity of an anarchist’s bomb. once solved an ancient murder case: they will gather on a Much of his work is made from a fine batch of “wild” clay weapon even after blood has been cleaned from it. In the found on the bank of a stream. All are intensely, densely deco­ context of Mangus’ work, flies denote a deeper, metaphorical rated, employing a figurative style that is derived from artists as level of flesh—the history and pathos of things uniquely diverse as James Ensor, George Grosz and R. Crumb. A paint­ human—detected beneath the comic, mock-clumsiness of his erly approach in the early 1990s has moved to a deeply incised born-again amphorae, urns and vases. line that bites into the surface of each vessel. Continued

16 CERAMICS MONTHLY April 1998 17 Up Front

At the end of every summer, an anagama (built by Mangus and his wife, ceramist Eva Kwong) is piled high with work, then fired over a period of three to five days. Clay artists from all over the country gather for this event, feeding the fire by turns and then waiting out the two-day cool-down period. Surprises of process are the rule; and, in this exhibition, Mangus has relied solely on the settling of fly ash to “glaze” his pots. Fiona Salazar Vessel sculpture by British ceramist Fiona Salazar was featured recently at the Crafts Council Shop at the Victoria and Albert Museum in London. Inspired by nature, Salazar’s abstract forms

Charles Johnson’s “Rocking Reliquary,” 34 inches high, unglazed, gas fired, $2200; at Galeria Mesa, Arizona.

natural environment, as well as my interests in architecture, history, sociology and religion, combine to provide both inspira­ tion and sources of imagery for my continuing work.” Jolyon Hofsted Fiona Salazar’s “Mumbo Jumbo,” approximately 13 inches Retrospective exhibitions of ceramics by Shady, New York, artist in height, slab-built earthenware, with burnished terra Jolyon Hofsted were presented recently at Queens College Art sigillata; at Crafts Council Shop, Victoria and Albert Center in Flushing, New York; and Fletcher Gallery, Museum, London. Woodstock, New York. Images Gallery in New York City are slab built, often curved and paddled into shape. The surfaces are sprayed with a fine terra sigillata and burnished, then brushed with twisting and spiraling linear decoration that is separately burnished. Charles Johnson “Rocking Reliquary” by Edinboro, Pennsylvania, artist Charles Johnson was among the 44 works selected for the “20th Annual Vahki” exhibition. On view through February 7 at Galeria Mesa in Arizona, the juried show featured functional and nonfunc­ tional pieces made of ceramic, glass, metal, fiber and wood. “The current direction of my work allows me to model a variety of representational objects into a totemlike clay sculp­ ture,” Johnson commented. He achieves a “toylike quality” by adding wheels, rockers, wind-up devices, etc. Fired unglazed in a gas kiln, “these pieces are about the tension and dialogue created by gathering together unusual allotments of recognizable and metaphorically loaded images,” he continued. “Literal interpretations of the sculptures may be possible in Jolyon Hofsted’s “Flasher,” 20 inches wide, stoneware and some cases, but I am also concerned with instilling some mys­ silver leaf, $900; at Queens College Art Center, Flushing, tery into the work. My concern with the declining state of our New York; and Fletcher Gallery, Woodstock, New York.

18 CERAMICS MONTHLY

Up Front featured new anagama work by Hofsted as well. “My work over the past 34 years has taken many directions,” Hofsted noted, “but spontaneity, fluidity and humor are always present. “Many things in my West Coast background made lasting impressions, be it watching Peter Voulkos throw or Shoji Hamada decorate,” he commented. “New York meant pop art’ and lunch hours in the African Art collection of the Brooklyn Museum. All found a way into my vocabulary.” Tantalizing Teapots The Craft and Folk Art Museum in Los Angeles recently presented “Tantalizing Teapots: The Felicitous Union of Form and Content,” approximately 100 examples from the Gloria

Keisuke Mizuno sculpture, from the “Forbidden Fruit” series, 7 inches high, handbuilt porcelain, with underglazes, glazes and overglazes; at Shaw Guido Gallery, Pontiac, Michigan. impossible perfection desensitizes my rationality and further sensitizes my insanity. This pushes me closer to the boundary of life and death.” Bill Griffith Wood-fired ceramics by Gatlinburg, Tennessee, artist Bill Griffith were featured through March 18 at Sarratt Gallery at Vanderbilt University in Nashville. For Griffith, assistant

Adrian Saxe’s “Untitled Ewer (Post Louis I),”1/4 10 inches in height, porcelain and mixed media; at the Craft and Folk Art Museum, Los Angeles. and Sonny Kamm collection of teapots and tea sets. Ranging from beautiful to humorous to provocative, the exhibited teapots were made from clay, metal and glass; while some are functional, others are intended purely for decorative purposes. Although they already have more than 3500 objects in their collection, the Kamms acquire new pieces weekly. Most are contemporary and made by artists from the United States. Keisuke Mizuno “Forbidden Fruit,” an exhibition of handbuilt porcelain sculp­ ture by Tempe, Arizona, artist Keisuke Mizuno, was presented at Shaw Guido Gallery in Pontiac, Michigan. Firing each several times to develop depth and variation, Mizuno enhances the surfaces with underglazes and Cone 5 glazes, as well as Cone 018 overglazes. “My obsession with life generates hunger for death,” Mizuno comments. “My creative activity is the residue of an attempt to D.„ ~ 1

20 CERAMICS MONTHLY April 1998 21 Up Front received her master of fine arts degree from the University of Kansas in Lawrence and her doctorate in art education from the University of Missouri-Columbia. director at Arrowmont School of Arts and Crafts, “time spent in the studio becomes a contemplative haven. The quiet studio time alone perhaps is reflected in the work itself.” As was his previous work, these recent dwelling forms are influenced by ancient cultures, such as Japanese Haniwa, African and Southwest Anasazi. Griffith prefers to wood fire his worlds, because “it provides an ageless quality that reminds me of weathered surfaces, like ancient Japanese funerary urns, rusted metal and eroded rocks.” Steffanie Samuels Ceramic figures by Steffanie Samuels, Ann Arbor, Michigan, were among the works by 20 artists featured in “Contemporary American Ceramics” at Loveland Museum/Gallery in Loveland,

Dong Hee Suh’s “Third Living Creature (Human Face),” front view, 18 inches in height, fired to Cone 06; at Sleeth Gallery, West Virginia Wesleyan College, Buckhannon.

Suh was the Fulbright Scholar in Residence at West Steffanie Samuels’ “Family Bonds,” 18 inches in height, stoneware, with porcelain slip, glaze and oil paint; at Virginia Wesleyan when she created the installation. Based on Loveland (Colorado) Museum/Gallery. several verses from “Revelations” in the Bible, Suh’s work is now part of the college’s permanent collection. Colorado. Slab- and coil-built from stoneware, Samuels’ forms are bisqued, then sprayed with black porcelain slip; next, some Opportunities Available Through the NEA areas of the surfaces are accented with colored glazes and the Although severe budget cuts have forced the International pieces fired to Cone 8. Final details are oil painted. Partnerships Office of the National Endowment for the Arts “Hearts, homes, vines, babies, cats and stars find their way (NEA) to discontinue several programs (such as the U. S./ into my ceramic stories,” Samuels remarked. “Though my work Canada/Mexico Creative Artists’ Residencies and the U. S./ is personal, these symbols speak to me of connections we share France Exchange), there are still a few opportunities that clay to family and friends, death and birth.” artists or organizations may be interested in: The “United States/Japan Creative Artists’ Program” Dong Hee Suh provides six-month residencies in Japan for individual artists “Vision of the Throne,” an installation of ceramic sculpture by working in any medium. Artists are encouraged to consider Korean artist Dong Hee Suh, was on view recently at Sleeth how exposure to Japan’s contemporary or traditional cultures Gallery at West Virginia Wesleyan College in Buckhannon. can influence their work; during their residency, they will Currently an art professor at Kon-Kuk University in Seoul, Suh work on individual projects. The application deadline is June

22 CERAMICS MONTHLY April 1998 23 Up Front “This honor has really brought credibility to my work, although I have to chuckle about it,” commented Merritt, who has taught ceramics at the School for American Craftsmen since

29. Contact the Japan/U.S. Friendship Commission, 1120 Vermont Avenue, Northwest, Suite 925, Washington, D.C. 20005; telephone (202) 275-7712, fax (202) 275-7413, e-mail [email protected] or check the website at www2.dgsys.com/ -jusfc/ “ArtsLink Residencies” is a program that supports U. S. organizations wishing to host a visiting artist or arts manager for a five-week residency. For information about the 1998 applica­ tion process, contact CEC International Partners, 12 W. 31st St., New York, NY 10001-4415; telephone (212) 643-1985, fax (212) 643-1996 or [email protected] One other program worth noting is “The Fund for U. S. Artists at International Festivals and Exhibitions,” which annu­ ally provides $1.1 million dollars to support performing artists, as well as United States representation at major international contemporary visual arts exhibitions. Grant applications are accepted from curators, museums or visual arts organizations; Stephen Merritt’s “Storage Jar with Lid,” 14½ inches in height, earthenware with slips; “Director’s Choice” individual artists cannot apply. Deadlines vary according to award winner at the “Crafts at the Castle,” Boston. exhibition schedules. For further information, contact Arts International, Institute of International Education, 809 United 1980. “It’s the same work I was doing prior to the award, but it Nations Plaza, New York, New York 10017; telephone (212) has changed people’s perceptions—really great for someone who 984-5370, fax (212) 984-5574, e-mail [email protected] or see has never pursued the art gallery, museum world.” website at www.iie.org/ai Elizabeth Keller All Creatures Great and Small “Products of Soul Searching,” an exhibition of sculpture and Ceramic sculpture depicting animals was featured in the teapots by South Carolina ceramist Elizabeth Keller, was on “Eighth Annual All Creatures Great and Small” exhibition at view recently at Summer House Studios in Conway, South John Natsoulas Gallery in Davis, California. Intended to Carolina. “The funky, whimsical quality that I have come particularly to strive for in [my work] has its antecedents in an early fascination with tripod ceramic forms from ancient

Esther Shimazu’s “Mon Cur,” 15 inches in height; at John Natsoulas Gallery, Davis, California. address and heighten public awareness of animal rights, the show benefits the Yolo County Society for the Prevention of Cruelty to Animals. Stephen Merritt Elizabeth Keller’s “Knossos Wedge Weave,” 8¾ inches in height, coil- and slab-built earthenware; at Summer The Museum of Fine Arts, Boston, recently purchased a stone­ House Studios, Conway, South Carolina. ware lidded storage jar by Rochester, New York, ceramist Stephen Merritt to add to its permanent collection of contem­ Chinese and pre-Columbian pottery, as well as with my own porary craft. The piece had previously been selected by Malcolm production of polypedal vessels during my graduate study Rogers, director of the museum and honorary chair of the years,” explains Keller. “Crafts at the Castle” crafts fair, to receive the “Director’s “My transition of focus to the teapot form seems inevitable Choice” award at last year’s show. to me because this vessel type already possesses such great

24 CERAMICS MONTHLY

^Jp FrOilt Through these worlds, Winigrad continues to address an ongoing theme of images from modern society combined with a style derived from forms found in primitive cultures. potential for diverse expressions and animation of form. I am often attracted to acts of manipulating the teapot base and Sylvia Hyman overall tilt of the form to give each vessel a sense of off- A series of “family pictures” by Tennessee artist Sylvia Hyman centered and, therefore, more dramatic balance. Grappling was exhibited recently at Cumberland Gallery in Nashville. with the means to then create a particular character or personality for each teapot determines the final nuances of spout, lid and handle.” Tina Gebhart “More Wood!” an exhibition of wood-fired functional ware by Maryland artist Tina Gebhart, was on view recently at Balti­ more Clayworks. Intent on creating “space-efficient forms and

Sylvia Hyman’s “X-File Folder,” 9½ inches in height, porcelain on walnut base; at Cumberland Gallery, Nashville, Tennessee. Tina Gebhart cruet set with tray, 6 inches in height, thrown and altered stoneware, wood and sodium fired to Cone 10; at Baltimore Clayworks, Maryland. Made from porcelain and stoneware, the scrolls, files, packages, fortune cookies and jewelry pouches represent forgotten robust bang-it-around handles and rims,” Gebhart believes that achievements and personal histories. “the parameters of utilitarian function serve as philosophical “What I’m asking the viewer to do is to keep an open mind,” guidelines and inspirations for creative problem-solving.” Hyman explains. “In other words, forget about tidy categories and the usual classifications of contemporary sculpture, and Etta Winigrad enjoy the re-creations and transformation of familiar objects Ceramic sculpture by Pennsylvania artist Etta Winigrad was from daily life.” exhibited recently at Muse Gallery in Philadelphia. Constructed of low-fire clay, the pieces are left unglazed to allow pit firing Shellie Jacobson and Tim Rowan and postfire smoking to mark the surfaces. Functional ceramics by Shellie Jacobson, Skillman, New Jersey, and Tim Rowan, Accord, New York, were featured in a recent exhibition at the Klay Gallery in Nyack, New York. Jacobson’s forms, such as the three boxes shown here, are intended to

Shellie Jacobson’s “Three Boxes,” to 8 inches in height, handbuilt porcelain with stains and glazes; at the Klay Gallery, Nyack, New York. “reflect a dialogue I have between form, surface, space and the effects of a sawdust fire. I think of color as an organic part of each vessel form, and try to obtain the maximum effects from the simplest applications,” she explained. “Further, I love to Etta Winigrad’s “Enjoy the Ride,” 19 inches high, unglazed discover how clay performs as a material—as it is torn, cut, low-fire clay, pit fired; at Muse Gallery, Philadelphia. sliced, stamped and textured.”

26 CERAMICS MONTHLY April 1998 27

30 CERAMICS MONTHLY Summer Workshops 1998

Various types of workshops are offered each summer. Most are hands-on experiences; however, sessions of one-half to two days may be demonstration only—a few are strictly lectures or discussions. Skill levels are usually ranked beginning, intermediate, advanced and/or professional. While nearly all workshops are good experiences, the quality of presentation varies widely. If possible, ask others who have attended previous sessions for their feedback, then contact the organizers for specifics. Alaska, Juneau Handbuilding and throwing with Chuck Hindes and Ron Meyers (June 15-19); fee: $350, includes mate­ rials and firing. Beginning through advanced. Con­ tact ToddTurek, University of Alaska-SE, 11120 Glacier Hwy., Juneau 99801; telephone (907) 465- 6523 or e-mail [email protected] Arizona, Flagstaff “Salt-Glaze Workshop” with Ellen Tibbetts, handbuilding, throwing, engobes, glazing and firing (July 6-20). Glazing, engobes and firing the Tozan noborigama with Joanne Dekeuster (July 13-27). “Raku Workshop” with Ellen Tibbetts, handbuilding, throwing, glazing and firing (July 22-August 5). Intermediate through professional. Fee/session: $418, includes materials, firing and 3 college credits. Room fee/day: $9.50/double occupancy, $l4/single occu­ pancy. Contact Ellen Tibbetts or Don Bendel, North­ ern Arizona University, Box 6020, Museum Faculty of Fine Art, Flagstaff 86011; telephone (520) 523- 2398 or 523-4612, fax (520) 523-3333 or e-mail paula. [email protected] A participant stoking the noborigama during the “Experiencing the Fire California, Concow Workshop” with Robert Compton in Bristol, Vermont. “Wood-fire Workshop” with Nolan Babin, making work and firing a 200-cubic-foot kiln (June 8-18); or Doug Browe, Leslie Campbell, Larry Henderson andfee: $400, includes materials, firing and lodging. All participants can bring own bisqueware (June 11-18).Jan Hoyman (August 3-8). “Drawing and Painting skill levels. Contact Lola Rae Long, The Ojai Foun­ All skill levels. Fee: $450/full session, $400/partial; on Clay” with David Gamble; “Porcelain and Stone­dation, 9739 Ojai Santa Paula Ra., Ojai 93023; or includes materials, firing and lodging. Contact Nolanware; Gold and the Wheel” with Jim Danisch (Augusttelephone (805) 646-5232. Babin, 13191 Mullen Way, Oroville, CA 95965; 10—15). “Figure Sculpture for Clay People” with telephone (530) 534-9137 or fax (530) 533-9361. Margaret Keelan; “Functional Pottery; The Domes­California, Point Reyes tic Landscape” with .Alleghany Meadows (August 17-“Magic Fire” with Carol Molly Prier, handbuilding California, Idyllwild 22). “Waves of Clay” with Stephen De Staebler and pit firing (July 25-August 1); fee: $375, includes Throwing, handbuilding, glazing, kiln construction, (August 24-28). For further information, contact materials and firing. All skill levels. Limited to 8 pit firing with Greg Kennedy (July 5-18/one or two Mendocino Art Center, PO Box 765, Mendocino participants. For further information, contact Molly weeks); fee: $415 per week, includes materials and 95460; telephone (707) 937-5818, fax (707) 937- Prier, PO Box 337, Point Reyes Station, CA 94956; firing. All skill levels. Contact Diane Dennis, Regis­1764 or e-mail [email protected] telephone (415) 669-7337, evenings, or (415) 663- trar, Idyllwild Arts Summer Program, PO Box 38, 9230, days. Idyllwild 92549; telephone (909) 659-2171, ext. California, Oakland 365, fax (909) 659-5463 or e-mail [email protected] workshop with George Bowes, focusing on surface California, Santa Ana decoration (June 8-25); fee: $895, or $1980 for 3 “Workshop within a Workshop,” demonstration/ California, Mendocino credits. Beginning through advanced. Pre-collegediscussion pro­ with 25-30 Taiwan artists on throwing “Mosaic Ensemble” with Kent Rothman (June 15—gram for high-school students on ceramics and draw­and handbuilding techniques (July 29); fee: $20. 20). “Majolica and Terra Sigillata” with Sally ing for ceramists (July 6-24); fee: $595; materials: Contact Patrick S. Crabb, Santa Ana College, 17 and Campbell; “Figurative Ceramics” with Catherine $ 150. Scholarships are available. Beginning and inter­Bristol sts., Santa Ana 92706; or telephone Patrick Merrill (June 22-27). “Throwing Big Pots” with Ben mediate. Campus housing (for high-school session Crabb (714) 564-5613. Parks; “Tile Extravaganza” with Ingrid Lilligren (Juneonly): $450. Contact Nina Sadek, California College 29—July 4). “Developing Glazes from Locally Found of Arts and Crafts, 5212 Broadway, Oakland 94610; California, Santa Cruz Materials” with George Dymesich (July 6-10). “Sculp­telephone (510) 594-3710, fax (510) 594-1941 or A workshop with Emma Lewis Mitchell and Mary ture with Clay and Fire” with Glenn Husted (July 13- e-mail [email protected] Dolores Lewis Garcia, learning traditional Acoma 18). “John Mason in Mendocino” (July 20-25). Pueblo hand-forming methods, yucca brush-making “Making Pots for the Soda Kiln” with Robbie Lobell;California, Ojai and dung firing (June 22-26); fee: $385, includes “Working Solid” with Kent Rothman (July 27- “Moonfire ’98” with Jim Danisch and Lola Rae Long,materials and firing. All skill levels. Contact Stephanie August 1). “Adventure with the Gang of Four” with handbuilding, burnishing, wood firing (June 7-14); Zak or Marc, University of California Extension,

April 1998 31 Santa Cruz, 740 Front St., Ste. 155, Santa Cruz Casting Techniques” with Richard Notkin (August 95062; telephone (408) 427-6620, fax (408) 427- 17-28). “Making Powerful Forms” with Siglinda 6608 or e-mail [email protected] Scarpa (August 24—September 4). “A Lifetime of Clay” with Paul Soldner, Peter Voulkos and Peter Colorado, Cortez Callas (August 31-September 4); fee: $670, includes “ 14th Annual Sand Canyon Primitive Pottery Work­ materials and firing. All skill levels. Fee (unless noted shop” with Leander Gridley and John Olsen, covers above): $620. Contact Dawn Ogren, Registrar, Ander­ all aspects of prehistoric pottery production tech­ son Ranch Arts Center, PO Box 5598, Snowmass niques for black-on-white and corrugated wares of the Village 81615; telephone (970) 923-3181, fax (970) Mesa Verde region (June 20-27); fee: $875, includes 923-3871 or e-mail [email protected] materials, firing, lodging, meals and field trips. All skill levels. Contact Kristie Carriker, Kelly Place, Colorado, Steamboat Springs 14663 Road G, Cortez 81321; telephone (800) 745- “Porcelain and Whiteware: Throwing and Decorat­ 4885, fax (970) 565-3540, e-mail [email protected] ing” with Dick Luster (June 7—20). “Cars and Trucks or website www.kellyplace.com and Other Sculpture and Clay Projects” with Maynard Tischler (June 21—July 4). “Salt Firing and Vapor “Traditions in Clay: Shaping Puebloan Pottery” with Glazing—Thrown and Handbuilt Forms” with Biz Jody Folwell, Rose Naranjo and Paul Ermigiotti, Littel (July 5-18). “Tile as Art: Murals—Color Sculp­ forming, decorating and firing Pueblo-style pottery tural Bas Relief’ with Ro Mead (July 19-August 1). using ancient and modern techniques Quly 12—18); “Creative Raku” with Robert Piepenburg (August 2— fee: $1195, includes materials, firing, lodging and 15). “Handbuilding and the Wheel” with Bill Griffith meals. Contact Laurie Austin, Crow Canyon Ar­ (August 23-September 5). Fee/session: $1175, in­ chaeological Center, 23390 Rd. K, Cortez 81321; cludes materials, firing, lodging, meals and lab fee; telephone (800) 422-8975, fax (970) 565-4859 or plus $ 100 application fee. Contact Judith Carol Day, e-mail [email protected] Director, Laloba Ranch Clay Center, PO Box770226, Instructor Don Davis helps a Steamboat Springs 80477; telephone (970) 870- Colorado, Grand Junction student form the spout on a pitcher 6423 or 870-6603, fax (970) 870-6452 or e-mail “Clay as Canvas” with Jan Edwards, throwing, [email protected] handbuilding, tile making in glazed terra cotta, with during a workshop at John C. an emphasis on decorative techniques (July 17-19); Campbell Folk School in Brasstown, Connecticut, Brookfield fee: $ 175, includes clay and firing. Registration dead­ North Carolina. “Ceramic Color Surface and Effects through Glaze line: July 11. “A Gut-level Approach” with Rodney Technology” with Hal McWhinnie (June 5—7). “Mold Mott, handbuilding, throwing, low-fire-salt fuming, further information, contact Vern Roberts, Coyote Making” with Lynn Peters (July 18). “Action Throw­ pile firing, raku and stoneware (August 7-12); fee: Arroyo Studios, 1753 13th St., Penrose, CO 81240; ing ana Altering Techniques” with Peter Callas (Au­ $375. Registration deadline: July 29. All skill levels. or telephone (719) 372-6846. gust 1—2). For further information, contact Brookfield Some private lodging available. Contact Terry Shep­ Craft Center, PO Box 122, Rte. 25, Brookfield herd, Western Colorado Center for the Arts, 1803 N. Colorado, Snowmass Village 06804; or telephone (203) 775-4526. Seventh St., Grand Junction 81501; telephone (970) “Useful Pots: Thinking about Form” with Clary 243-7337 or (970) 241-1284. Illian; “Eccentric Methods: Sculpting with Clay” Connecticut, Middletown with Ron Fondaw (June 8-19). “Making Pottery” “Functional Stoneware in the ’90s—Single-Firing Colorado, Mesa Verde with Takashi Nakazato and Doug Casebeer (June Technique” with Steven Hill (July 30—August 4); fee: “Anasazi Pottery at Mesa Verde National Park” with 22-July 3); fee: $690, includes materials and firing. $275. Intermediate and advanced. For further infor­ Gregory S. Wood, clay processing, tool making, “Inventing the Figure: Transformation and Tran­ mation, contact Melissa Schilke, Wesleyan Potters, handbuilding, burnishing, decorating and trench- scendence” with Paula Rice (June 22-July 3). “En­350 S. Main St., Middletown 06457; or telephone/ kiln firing (June 14-20); fee: $290, includes materi­ glish Slipware Pottery” with Irma Starr (July 6-10); fax (860) 347-5925. als, firing, group campsite and field trips. All skill Fee: $420, includes materials and firing. “Resolutions levels. Contact Ancient Arts™, PO Box 27, of Form” with Robert Turner (July 6—17). “Clay: Connecticut, New Canaan Masonville, CO 80541; telephone (970) 223-9081 Pushing the Envelope” with Brad Miller (July 13- “Throwing from the East,” slide presentation/dem- or e-mail [email protected] 24). “Liberating Clay, 1955—1997: An Art History onstration of throwing and altering on the mound, Course” lectures with Elaine Levin (July 20-24); fee: wet altering, paddling, etc., with Steven Rodriguez Colorado, Penrose and Florence $295. “Altered States” with Bruce Cochrane (July (June 13-14); fee: $150. Beginning through ad­ “Earth, Water, Wind and Fire” with Vern Roberts, 20—31). “China Painting on Porcelain” with Kurt vanced. Contact Karen Ford, Silvermine School of focusing on the forming, decorating and firing meth­Weiser (July 27-August 7); fee: $640, includes mate­ Art, 1037 Silvermine Ave., New Canaan 06840; or ods used by ancient Southwestern potters (June 14- rials and firing. “Useful Pots Made on a Wheel” with telephone (203) 866-0411. 22); fee: $250, includes materials and firing. College Ellen Shankin (August 3-14). “Clay Constructions” credit available. Beginning and intermediate. For with John Gill (August 10-21). “Plaster Molds and Florida, Pensacola “Architectural Ceramics Workshop” with Peter King (June 29-July 4); fee: $550. Limited registration. For Workshop participants at the Center for American Archeology in Kampsville, further information, contact StoneHaus, 2617 N. Illinois, dug and prepared their own clay to create these pieces. 12th Ave., Pensacola 32503; telephone (850) 438- 3273 or fax (850) 438-0644. Florida, Sopchoppy “A Spirited Approach to Clay” with George Griffin, individualized stoneware, single-fire oxidation, fast- fire wood, business as an art Form of self-expression (June 8—13); fee: $400, includes materials, firing and lodging. Beginning and intermediate. Limited to 4 participants. For further information, contact George Griffin Pottery, 1 Suncat Ridge Rd., Sopchoppy 32358; or telephone (850) 962-9311. Illinois, Evanston “The Cup” with Lee Rexrode, throwing, handbuilding, sculptural concepts (June 5-7). All skill levels. Con­ tact Vanessa Smith, Native Soil, 602 Davis St., Evanston 60201; telephone (847) 733-8006 or fax (847) 733-8042. Illinois, Kampsville Placing prehistoric ceramic technology within a cul­ tural context, including digging and preparing clay, with John White (June 8-12); fee: $325, includes materials, firing, lodging and meals. All skill levels. Contact Brenda Nord, Center for American Archeol­ ogy, Dept. C, PO Box 366, Kampsville 62053; telephone (618) 653-4316, fax (618) 653-4232 or e-mail [email protected]

32 CERAMICS MONTHLY Indiana, Indianapolis Maine, Newcastle Maryland, Mitchellville “Raku and Sawdust Workshop,” clay formulation, Residency session with Nancy Selvin (June 14—26). “The Raku Experience” with Troy C. Brockett and glaze mixing and application, and firing (June 3—24);“Artists Invite Artists,” session with George Bowes Melvin Twine; participants should bring 5-10 bisqued fee: $ 106.25 per credit; out-of-state, $326 per credit. (July 5-17). Residency session with Syd Carpenter works of raku day (June 20-21, July 11-12,18-19or For further information, contact Nancy Fitzgerald or(July 19-31). “Artists Invite Artists,” session with August 1-2); fee/session: $115. Registration dead­ Julie Schaefer, Herron School of Art, 1701 N. Penn­Jackie Brown (August 2-14). Intermediate through line: June 1. For further information, contact Unique sylvania St., Indianapolis 46202; or telephone (317) professional. Fee: $790 per session, includes lodging Creations, c/o Raku Experience, 1505 Danton Ln., 920-2416. and meals. For further information, contact Lynn Mitchellville 20721; telephone/fax (301) 390-1084 Gipson, Watershed Center for Ceramic Arts, 19 or (202) 547-8742. “Drawing and Painting on Clay” with David L. Brick Hill Rd., Newcastle 04553; telephone/fax (207) Gamble (June 22-26). For further information, con­ 882-6075 or e-mail [email protected] Massachusetts, Gloucester tact University of Indianapolis, Art Dept., 1400 E. “African Pottery Workshops” with Hazel Mae Rotimi, Hanna Ave., Indianapolis 46227; or telephone (317) Maryland, Baltimore including clay digging, handbuilding, decoration, 788-3253. “The Porcelain Teapot: A Struggle with Form and firing and dipping (Summer); fee: $ 15—$50 per ses­ Function,” slide lecture and hands-on workshop withsion. Contact Minor Miracles Creative Arts Studio, “Smoked and Raku Pottery” with Bob Smith (July Malcolm Davis (June 12-14); fee: $ 135/members, 179R Washington St., Gloucester 01930; or tele­ 20-22); fee: $327; members, $300. All skill levels. $115, includes 25 pounds of clay and bisque firing. phone (978) 281-6578. “Functional Pots: Thrown and Altered” with Jeff Oestreich (August 15-16); fee: $249; members, $228. Intermediate and advanced. Contact Indianapolis .Art Center, 820 E. 67th St., Indianapolis 46220; telephone (317) 255-2464, fax (317) 254-0486, e-mail [email protected] or website www. indplsartctr.org Kentucky, Harrodsburg Designing and building a simple gas-fired kiln Quly 11-12); fee: $125, includes materials, lodging and meals. Pinch, coil, slab and wheel construction of both vessel and sculptural forms, plus raku and pit firing over two consecutive weekends (August 1-2 and 8—9); fee: $275, includes materials, firing, lodg­ ing and meals. Instructor: Wyman Rice. Beginning and intermediate. Contact Don Boklage, Open Ground, 681 Roye Ln., Harrodsburg 40330; or telephone (606) 375-2411. Kentucky, Somerset “Raku Weekends” with Meg and John McClorey, throwing and handbuilding first weekend, glazing and raku firing second weekend (June 6-7 and 13— 14; or August 22-23 and 29-30); fee: $170, includes materials and firing. Beginning and intermediate. Living accommodations available. Contact John McClorey, Fire and Clay Pottery, 2535 Pumphouse Rd., Somerset 42503; telephone (606) 679-7897 or e-mail [email protected] Louisiana, Lake Charles “Clay Jambalaya!” hands-on sessions with Charlene Kaough and Madge Dutel on majolica decoration, whistle making, handbuilding, raku glazing and fir­ ing, pit firing (July 10-12 or 17-19). Campus hous­ ing available. Contact McNeese State University Lei­ sure Learning (318) 491 -5616 or fax (318) 475-5172. Participants in Jerry Caplan’s workshops in California (last year) Louisiana, Monroe or in Logan, Ohio (this year), build sculptures from “Crystalline Porcelain Workshop” with Don 6- to 8-inch-diameter industrial extrusions. Holloway, throwing, handbuilding, glaze formula­ tion and application, firing (July 13-17); participants Intermediate through professional. For further infor­Massachusetts, Housatonic should bring tools. Advanced. Fee: $200, includes mation, contact Leigh Taylor or Deborah Bedwell, One-month workshops on Japanese throwing and materials, firing, workbook. Contact Don Holloway, Baltimore Clayworks, 5706 Smith Ave., Baltimore trimming techniques, with empasis on production; Crosscraft Originals, 18 Jana Dr., Monroe 71203; 21209; or telephone (410) 578-1919 or fax (410) each session includes firing a wood-burning kiln telephone studio (318) 343-9220 or home 343-7658. 578-0058. (June-August). All skill levels. Contact the Great Maine, Deer Isle Barrington Pottery, Rte. 41, Housatonic 01236; or Maryland, Frederick telephone (413) 274-6259. “China Painting on Porcelain” with Kurt Weiser “Master Series” with Joyce Michaud, focusing on (May 31-June 12). Handbuilding and other con­ advanced throwing (June 5, July 3 and July 31); fee: Massachusetts, Merrimac struction methods for producing large-scale sculpture$ 185. “Ceramic Drums” with Robert Strausser (June “Form and Surface,” slide lecture and demonstration with Nicholas Kripal (June 14-26). “Handbuilding: 7); fee: $45. “Building with Clay,” workshop for geared toward raku and high fire with Robbie Lobell The Nature of Clay and Glaze” with Annabeth Rosenchildren with Carol Spicer (June 22-26 and 29, ages (July 11); fee: $40. “Raku and Sawdust Firing” with (June28-July 10). “Wheel-thrown Pottery” with Val 6-8 or 9-12; J uly 6-10 and 13, ages 6-8; July 20-24 Anni Melancon (July 12-14, with firing on July 26); Cushing (July 12-24). Throwing, altering, assem­ and 27, ages 9-12; August 10-15 and 17, ages 6-8 or fee: $125. Fee for demonstration and workshop: bling high-fired porcelain and stoneware with Peter 9-12); fee: $70. “Teen Wheel Class” (June 22-26, 9 $160. “Making Primitive as in Primal Pots” with Beasecker (July 20-August 14). “International Ses­ AM-12 noon); fee: $80. “Beginning and Intermedi­ Anni Melancon (August 10-11, with pit firing on sion” with Shiro Otani, Japanese methods ofworking ate Wheel” with Joyce Michaud (June 29-August 5, August 30); fee: $80. Contact Purple Sage Pottery, 3 with clay, making pottery for the tea ceremony (Au­Mon. and Wed., 9 AM-12 noon); fee: $360. “Ce­ Mechanic St., Studio D, Merrimac 01860; or tele­ gust 16-28). All skill levels. Fee: $520/2-week ses­ ramic Decoration” with Joyce Michaud (June 29- phone (978) 346-9978. sions; $680/3 weeks. Contact Stuart Kestenbaum, August 5, Mon. and Wed., 1^4 PM); fee: $360. Haystack Mountain School of Crafts, PO Box 518, “Masters Throwing Workshop” with Joyce MichaudMassachusetts, Stockbridge Deer Isle 04627; telephone (207) 348-2306, fax (July 9-12 and 23-26); fee: 1185. “Earthenware: A “Surface Strategies” with Mary Barringer (June 27- (207) 348-2307 or e-mail [email protected] of Form and Surface” lecture and workshop28). “Thrown and Altered Wheel Forms” with Woody with Andrea Gill (July 17-19); fee: $125. Contact Hughes (August 29-30). Contact the Interlaken Maine, Monroe Hood College Ceramics Program, 401 Rosemont School of Art, (413) 298-5252. Workshops with Squidge Davis (Summer). Contact Ave., Frederick 21701; telephone (301) 696-3456, Starflower Pottery, RR 1 Box 1360, Monroe 04951; 696-3526 or 698-0929, fax (301) 846-0035 or website Massachusetts, Truro or telephone (207) 525-3593. www.hood.edu “Handbuilt Tableware” with Bruce Winn (July 6—

April 1998 33 requirements vary. Contact Josh DeWeese or Teresa Hastings, Archie Bray Foundation for the Ceramic Arts, 2915 Country Club Ave., Helena 59601; tele­ phone (406) 443-3502, fax (406) 443-0934 or e-mail [email protected] Montana, Whitehall “Holistic Clay,” digging and processing clay, making, decorating and wood firing work with Michael Peed and Michelle Tebay (July 17-19); fee: $150, includes materials and firing. All skill levels. Camping facilities available. Contact Waxwing Studios, 64 Tebay Ln., Whitehall 59759; telephone (406) 287-3390, fax (406) 287-3746 or e-mail [email protected] Nevada, Incline Village Workshops with Fred Olsen (June 8-12), Jack Troy (June 15-19), Sheri Sweigart (June 22-26), Catharine Hiersoux (June 29-July 3), Marc Lancet (July 6-10), and Lana Wilson (July 13-17). Contact Sierra Ne­ vada College, (800) 332-8666. Nevada, Tuscarora Two-week sessions on handbuilding, throwing, raw glazing, oil and propane firing, with Ben Parks and Dennis Parks (June 17-30, July 1-14, 15-28 or 29- August 11). Instruction in English, with some Ger­ man on request. All skill levels. Fee: $790, includes materials, firing, lodging and meals. Extra charge (at cost) for clay bodies. Contact Ben Parks, Tuscarora School of Pottery, PO Box 7, Tuscarora 89834; telephone (702) 756-5526 or telephone/fax (702) 756-6598. New Hampshire, Wilton “Earth, Water and Fire” with John Baymore, handbuilding, throwing, glazing, aesthetic issues, kiln design and construction, loading and firing work in a noborigama (August 14—23); fee: $380, includes Smoke firing with paper, sawdust and animal dung during materials and firing. Intermediate through profes­ sional. Limited to 7 participants. Contact John a workshop with Jane Perryman in Suffolk, England. Baymore, River Bend Pottery, 22 Riverbend Way, Wilton 03086; telephone (800) 900-1110 or (603) 10, 9 AM-1 PM). “Beginning/Intermediate Throw­ 01605; telephone (508) 753-8183, fax (508) 797- 654-2752 or e-mail [email protected] ing” with Chris Parris (July 13-24, Mon., Wed., Fri., 5626, e-mail [email protected] or website 9 AM-1 PM); fee: $240. Throwing and glazing dem­ www.craftcenter.worcester.org New Jersey, Belvidere onstration with Don Reitz (July 25-26). “Pouring Demonstrations/slide lectures and video presenta­ Vessels” with Woody Hughes Quly 27-31, 9 AM-1 Michigan, Onekama tions with Don Reitz, Paul Soldner and Peter Voulkos PM). “Glazing” with Chris Parris (August 3-5, Mon., “Rustic Ceramics: Beyond Form and Surface” with (July 11-12); Rudy Autio, Ron Meyers and Peter Tues., Wed., 9 AM-2 PM); fee: $165, includes mate­ Carol Vaughan (July 13-17); fee: $195, includes Voulkos Quly 18-19); Ken Ferguson, Robert Turner rials and firing. “Raku” with Chris Parris (August 6—materials. Intermediate and advanced. Contact Caroland Peter Voulkos (July 25-26). All skill levels. Fee/ 7); fee: $135, includes materials and firing. “Altering Vaughan, Swamp Oak Studio, 2473 Seymour Ave., session: $250; one day, $150. Contact Peter Callas Thrown Forms/Lidded Vessels” with Gay Smith Onekama 49675; telephone (616) 889-3713 or Studio, 1 Orchard St., Belvidere 07823; telephone (August 10-14, 9 AM-1 PM). “Handbuilding/Intui- e-mail [email protected] (908) 475-8907, fax (908) 475-8956 or e-mail tive Forms” with Mikhail Zakin (August 17—21, 9 callas@interpow. net AM-1 PM). “Surface Exploration and Embellish­ Minnesota, Minneapolis ment” with Thomas McCanna (August 24-28, 9 “Regis Master Series,” lecture with RudyAutio on hisNew Jersey, Layton AM-1 PM); fee: $215, includes firing. Fee (unless life and work, his influences, etc. (June 20); free. “Functional Pottery” with Linda Christianson (June noted above): $200. For further information, contact Location: Minneapolis Institute of Arts. Contact the 5—7); fee: $254. “Functional Pots: Approaches to Mary Stackhouse, Castle Hill, Truro Center for the Northern Clay Center, (612) 339-8007. Form and Surface” with Matthew Metz and Linda Arts, Box 756, Truro 02666; telephone (508) 349- Sikora (June 12-14); fee: $254. “Altering Thrown 7511 or fax (508) 349-7513. Montana, Billings Forms/Low-fire Solutions” with Woody Hughes (June “Designing Handmade Tiles” with Marcia Selsor 26-July 5); fee: $565. “Domestic Pottery” with Frank Massachusetts, Williamsburg (July 15-August 15). Instruction in English and and Polly Martin (July 10-19); fee: $565. “Finding “Handbuilding on the Wheel: Pots and Pottery Forms”Spanish. All skill levels. Fee: $482.60, includes lab fee,Form and Inspiration” with Christina Bertoni (July with Erica Wurtz (June 13-15). “Architectural Tiles materials, firing and 4 college credits; out-of-state, 24-August 1); fee: $515. “Decorated Porcelain Ves­ and Mosaics” with Farley Tobin (June 21-23). “Sum­$1119.60. Campus housing available. Contact Reg­ sels” with David Regan (August 7-16); fee: $565. mer High School Art Program,” ceramics is 1 of 8 istrar or Summer Session, Montana State University- “Single-fired Functional Stoneware for the ’90s” with courses offered (June 28-July 18 and/or July 20- Billings, 1500 N. 30 St., Billings 59101; telephone Steven Hill (August 21-29); fee: $515. Fees include August 8); fee: $1965 per 3-week session; $3855 for (406) 657-2303 summer session, fax (406) 657-2051 lab and application fees; most include firing. Skill 6 weeks; includes lodging and meals. “Majolica and or e-mail [email protected] requirements vary. Contact Jennifer Brooks, Peters Earthenware: Terra-Cotta Pottery” with Anita Griffith Valley Craft Education Center, 19 Kuhn Rd., Layton and Bob Parrott (August 13-16); fee: $265. Skill Montana, Bozeman 07851; telephone (973) 948-5200, fax (973) 948- requirements vary. Fee (unless noted above): $235. “Indigenous Ceramics” with Michael Peed, digging GO 11 or e-mail [email protected] Living accommodations (unless noted above): and processing clay, learning handbuilding ana slip- $120-$ 180. Contact Horizons, 108 N. Main St., decorating techniques used by early Southwest na­ New Jersey, Loveladies Sunderland, MAO 1375; telephone (413) 665-0300, tives, plus building and firing such kilns as open pit “Wheel Throwing and Slip Decorating” with Edward fax (413) 665-4141, e-mail [email protected] and bank (July 6-10). All skill levels. Contact Michael Camp (June 22-26 or 29-July 3). “Raku Workshop” or website www.horizons-art.org Peed, Ceramics, School of Art, Montana State Uni- with Edward Camp; participants should bring more versity-Bozeman, Bozeman 59717; telephone (406) than 10 bisque-fired pieces (July 6-10 or 13-17). Massachusetts, Worcester 994-4283 or e-mail zar [email protected] “Saggar-fire Workshop” with Edward Camp; partici- “Touchable Pots” with Sandi Pierantozzi, slab build­ ants should bring 5-6 bisque-fired (Cone 010) for ing functional pottery (June 6-7); fee: $160; mem­ Montana, Helena urnishing or terra sigillata (July 20-24 or 27-31). bers, $140; includes materials. “Wood-Kilnbuilding “The Figure in Porcelain” with Beth Lo (June 13-14); “Ceramic Workshop” with Paula Winokur, discus­ Intensive” with Lisa Stinson (July 13—17); fee: $395, fee: $125, includes materials and bisque firing. “Pots sion of techniques and the creative process (July 25— includes materials and firing. All skill levels. For con Duende (Pots with Soul) ” with Linda Christianson26); fee: $120; members, $100. “Pinch Pots and Pit further information, contact Robbie Lobell, Worces­and Chris Staley, all aspects of pottery making (June Firing/Ancient Methods for Modern Times” with ter Center for Crafts, 25 Sagamore Rd., Worcester 22-July 3); fee: $550, includes glazes and firing. Skill Please turn to page 100

34 CERAMICS MONTHLY Monarch National Competition

“Carved Vase with Handles,” 15 inches in height, slab-built and carved stoneware, with stains and slips, NFS, by Judy Glasser, Woodside, New York.

“The plastic qualities of clay allow for Presented in Florence, Alabama, the and encourage a direct and immediate exhibition featured nearly 120 worlds response from manipulation that few by 105 artists from 34 states and other materials provide. When com­ Canada. From the 900 works submit­ bined with the inherently unlimited ted by 314 ceramists, Monroe tried to technical possibilities, it should be no make a “selection that would illustrate surprise that the greatest number of art­ the many genre of visual and technical ists working in craft media today have means that makers use to communicate embraced clay as their medium,” com­ their ideas. mented juror Michael W. Monroe, ex­ “There are several criteria I use when ecutive director of the American Craft selecting work for a competitive exhibi­ “Jour,” 23 inches in height, press- Council, in his statement for the cata­ molded terra cotta, with glazes, stains, tion,” he explained. “The best art of log accompanying “The Kennedy- and brass pin, $850, by Joseph each generation joins existing traditions, Douglass Center for the Arts Monarch Detwiler, Fredericksburg, Virginia; while simultaneously challenging and National Ceramic Competition.” tile award winner. overturning them. The works that have

April 1998 35 “Anachronism XV—Non Sequitur,” 11 inches in height, $1500, by Charles Timm-Ballard, Appleton, Wisconsin; third place.

“Cup and Saucer #1,” 12 inches in height, multiglazed earthenware, and stick, $300, by Steve Reynolds, Boerne, Texas.

“Vase with Split Rim,” 32 inches in height, broken and reassembled, raku and saggar fired, $600, by Robert Long, Starkville, Mississippi; first place.

“Antiqui-Tea,” 6 inches in height, stoneware, saggar fired with seaweed in an electric kiln, $125, by Jeannette Brent, La Jolla, California.

36 CERAMICS MONTHLY “6303,” 18 inches in height, sand-blasted stoneware, and rubber hosing, $850, by Ole Morten Rokvam, Dallas, Texas; “Altered Mandala Pot—Calligraphic,” 9½ inches in height, second place. wheel-thrown, altered and incised stoneware, with vitreous slips, Cone 10 reduction fired in soda/salt kiln, NFS, by Kristen A. Kieffer, Wixom, Michigan.

“Square Casserole,” 8 inches in height, thrown, altered and cut stoneware, $175, by Susan Beecher, New York City.

“Chopine,” 4 inches in height, low-fired stoneware, with copper glazes, oxides and stains, $150, by Lisa Maher, La Jolla, California.

April 1998 37 the most appeal to me are those in which the artist has made a conscious attempt to add to our visual world rather than to simply recite it. I am attracted to art that presents me with original emotions and ideas—emotions and ideas that force me to think in new and unex­ pected directions. Expecting the artists to raise the difficult questions through their art, I am attracted to work that catches me off guard and topples me into an arena of fresh ideas, however uncomfortable they may be.” He prefers works that “are not vague nor imprecise, but rather ones that as­ sert a dynamic and oftentimes compel­ ling objective. Perhaps the single most important element I look for in a work is one in which the artist has developed an innovative vocabulary of forms that result in a self-consistent style.” Monroe awarded first-place honors to “Vase with Split Rim” by Robert Long of Starkville, Mississippi; second place went to Dallas, Texas, artist Ole Morten Rokvam; Charles Timm-Ballard of Appleton, Wisconsin, received the third-place award; and the tile award went to Fredericksburg, Virginia, ce­ ramist Joseph Detwiler. Merit awards were presented to Carlos A. Alves, Mi­ ami Beach, Florida; John Foster, Fort Lauderdale, Florida; John Goodheart, Bloomington, Indiana; Jeff Irwin, San Diego, California; and Phyllis Pacin, “His Dream—Her Dream,” 26 inches in height, thrown, altered and Oakland, California. ▲ carved stoneware, $600, by Jim Brashear, Fairbanks, Alaska.

“Tea Set,” 12 inches in height, wood fired, porcelain with natural ash glaze, $190, by Sam Clarkson, Carrollton, Texas.

38 CERAMICS MONTHLY The Making of Giants by Elaine F. Godowsky

Making large-scale ceramic sculpture would say, “Its like throwing.” But I After many hundreds of pounds of that can withstand the northeast win­ had limited experience with throwing. clay, I had a form—a 4-foot potlike ters has been a dream of mine since I He helped me alter the shape by em­ shape. Now the question was, how to began working with clay eight years bracing and pushing the form with his make it interesting? ago. Having received a B.S. degree whole body. Arnie showed us a technique he uses from Pratt Institute, painting was more Day after day, the shape grew. Then for making tubes. He simply pierces my forte. But I am an avid gardener, so one day, it began to sag. What to do? lumps of clay with a steel rod, shish- it seemed natural that my interest turned Never fear, Arnie was right there with kebob style, then squeezes the clay up to incorporating what I make into the his huge collection of 4x4s. He propped and down the rod, and finally rolls the great outdoors. rod across a table. By using It was this interest that this technique, I was able to drew me to a workshop of­ create long tubes of various fered by Arnie Zimmerman, § dimensions; these were trans­ under the auspices of Green­ planted to my big pot and wich House Pottery in New became branches. York City I had seen his large- Naturally, the branches scale work in galleries and fea­ had to have flowers and leaves tured in numerous articles and birds on them. Arnie sug­ over the years, and had ad­ gested that I make a stockpile mired his unique carving of all the things I might want techniques as well as his sense to add so that I would not be of humor. distracted by having to make Nine of us gathered for them individually. By doing two weeks in mid-July at his so, I was able to work quickly studio in the Williamsburg and immediately. area of Brooklyn. Six of the By the time I was finished, group were from the New the upper section was as large York City area. Others came as the base and much heavier. from Florida, England and I began to carve into the Venezuela. Of those who par­ branches. I liked the texture, ticipated, some were seasoned so I carved the base as well. ceramists and others just We were offered the op­ loved the medium. tion, for an extra charge, of We worked directly on the bisquing our pieces first, then cement floor, often getting glazing them, but almost ev­ down on our hands and eryone applied slips and ox­ knees—a totally different ides and once-fired their way of working for most of work. I decided to bisque us, as we were used to sit­ mine so that I could use a ting and working at a table. variety of glazes. I was sur­ The small fettling knives we prised to see how well the were accustomed to were ex­ Elaine Godowsky adding branches, flowers, leaves and birdsonce-fired pieces came out; changed for large, machete- to a sculpture made during a workshop with New York artist however, when my piece was type knives. Arnold Zimmerman. bisqued, Arnie heard an ex­ We made slabs by placing plosion coming from the kiln. 25 pounds of clay between a folded up the side that was sagging by bracing Peeking in, he saw my piece was not at piece of canvas, then stepping on it with it with two pieces of wood. the same level as before. He called and all our weight. At first, I had no idea Arnie also encouraged us to make told me that it must have collapsed. what, exactly, I wanted to make—a big second pieces, and work back and forth. Of course, I was very upset. I had pot, I thought. I struggled to raise slab As we did this, an interesting thing be­ spent many, many hours working on after slab, squeezing each slab to the gan to happen. Both pieces benefited my sculpture. It was hard to believe that next, then compressing the seam with from the sense of freedom that came all the work that I had put into this my bent index finger, palm or fist. Arnie from not holding on to one piece alone. piece was gone.

April 1998 39 After the kiln cooled, we opened it ing occupied by Polish-Americans, Ital- heaters and our many layers of clothing together. The base had not been strong ian-Americans and Latin-Americans. barely kept us from freezing. enough to support the weight of the Now, many artists have joined this eclec­ Having had time before the January top and had simply let go. I had very tic community as well. workshop to reconsider my piece, I had mixed feelings. I was actually not too Every day, lunch was a treat. We gone to the various museums in the city unhappy as I really hadn’t liked the base. explored the local restaurants in neigh- to learn how the masters had solved the Fortunately, most of the design problem of pedes­ top, which was far more tals. What kind of base interesting, was intact and would work? I felt the piece the damage was repairable. needed something simple, We assessed what had but I also wanted it to have happened. Because I was some movement. I had not exactly sure what type made many drawings, and of form I would be creat­ photographed the piece, su­ ing, I had not planned for perimposing the images on the weight of the upper sec­ a variety of bases. Finally, I tion. What I should have decided to start by building done was to build a more a large hexagon, but this formidable inner support time it would be built with structure in the base. The an inner support struc­ upper section was structur­ ture—a very solid one. ally sound because the tubes As the outer shape took braced each other. I pro­ form, I made an inner ceeded to repair the cracks grid. Every slab was braced in the upper area with re­ with another at right fractory cement, and wired angles to it inside the some of the branches with structure. The base inside Nichrome wire. looked like a very intri­ The next step was to cately designed three-di­ glaze. I decided on a palette mensional maze. Arnie of yellow, blue, green, pink suggested that I pierce and purple. I had to apply holes through these inner the glaze with a long- slabs so that they would handled brush, Arnie s sug­ be able to dry properly. gestion for multiple glazes After the size of the hexa­ on large pieces with hard- gon was established to be 1 to-reach places. foot high and 3 feet across, Glazing took many it needed to have a cap. hours. I found myself try­ Arnie placed a slab on top ing to remember what color of the hexagon, then I had applied and where, showed me how to attach it because many of the glazes by poking holes through were indistinguishable. and reaching in with his Fired to Cone 9 in re­ Unfortunately, the base could not support the weight of the fingers to bond the cap to duction, it came out with a top and collapsed during the bisque firing; however, the top the inner structure. As soon lot of color—just what I was saved and integrated with a new base. as the joining was complete, wanted. About that same he proceeded to flatten the time, Arnie decided to give another boring Greenpoint, and savored every­ whole top by filling in the holes with workshop. Great! Here was my chance thing from pierogis to pizza, spring rolls clay, and pushing the clay with his palm to make a proper base. to Middle-Eastern specialties. from the center to the edges. Working in New York, especially in Some of the people who had taken Next, I started to build a column on the Williamsburg area, was an experi­ the first workshop in July returned to top of the hexagon. Once again, slab by ence in itself. The neighborhood, Williamsburg in January. This second slab, the new piece grew; its interior which is right beyond the Williams­ workshop was a very different experi­ also grew in the same way as the hex­ burg Bridge, has many warehouses, ence. In the summer, we had left the agonal base. In fact, I felt that the inner foundries, tool-and-die makers and large doors open, trying desperately to structure was just as interesting as the Domino Sugar (still there), plus hous­ keep cool. In the winter, the overhead outer shape.

40 CERAMICS MONTHLY It was difficult to maintain an even piece would not rock, he then excised cylindrical form as the piece grew taller, the marked shape with a diamond cir­ reaching about 7 feet. At one point, it cular saw blade. Finally, he drilled holes was bulbous in shape, but I wanted it to to countersink bolts that would attach be more slender, so I again asked Arnie the bar to the glaze-fired column. for help. He told me to grab a large I knew exactly what glazes I wanted. knife (1 foot long) and just cut a section Arnie brought out a huge 6x6-foot alu­ out of the piece. After I had done that, minum tray and placed it on a 2-foot- he squeezed the edges together by hug­ high platform in the middle of the stu­ ging the form. Once I had pinched the dio. With his forklift, he placed the seams together and did some vigorous column on concrete blocks in the middle paddling, it became just the shape I of the tray. Then he rigged a tall ladder wanted. I then capped the column by (about 11 feet high) close to the tray using the same technique Arnie had The new base incorporated a mazelike and proceeded to fill a watering can demonstrated for the hexagon top. structure of braces for strength. with glaze. He carried the watering can Throughout the wortahop, Arnie to the top of this scary ladder and I told stressed that we should measure our him where I wanted the glaze to be pieces frequently. His studio poured. When I decided I measures 50x60 feet and the wanted another color as well, he height varies from 14 feet to 24 again filled the watering can and feet, so we had to battle the ten­ poured the glaze as I directed dency to make pieces too large him. What a sport! for the 7-foot kiln. To avoid this, Once the glazing was done, he had devised a steel shape on he forklifted the piece into the wheels that silhouetted the arch kiln for the final firing. The of the kiln, as well as its height. kiln was brought up slowly, This was a great help, as it visu­ then fired off at Cone 9 reduc­ ally set our limits. tion. Success! Since my new piece was be­ Arnie suggested hiring a pro­ ing added to an existing form, it fessional to move the finished needed a plinth (a transitional sculpture to my home in south­ piece). Again, I took photos of eastern Connecticut. The mov­ the two parts in order to draw a ers estimated it would cost suitable transitional shape. And $2800 to transport then install again, I looked at how the mas­ the piece on a concrete slab. Even ters of the past had dealt with though it was a lot of money, this problem. my home was two hours out of I chose to do a circular plinth. New York and the movers were The finished form was more professionals who had moved than 1 foot high and 2 feet in many famous sculptural pieces, When the new base became too bulbous, Zimmerman diameter. (I assumed that both simply had Godowsky remove a vertical slice, then he so I decided that we had a deal. pieces would shrink enough as squeezed the edges together to reduce its girth. In Connecticut, when a they dried to fit into the 7-foot- sculpture is placed outdoors, it high kiln.) plinth underneath. Looking at all three has to be secured on a concrete slab 3 After a few weeks of drying, the col­ pieces in this new way, I decided that feet underground to avoid frost heave. umn, which must have weighed at least the plinth would work better upside The slab itself is about a foot thick. Five 1500 pounds, was loaded in the lain down. New holes had to be drilled (with days before the sculpture was to be (with the help of Arnie s trusty forklift), a carbide bit) into all three pieces so officially installed, two men came to dig and he managed to close the kiln door that ¾-inch stainless-steel threaded rods a 4-foot deep hole. Digging in the rocky with an inch to spare. could be inserted. Connecticut soil is a major chore. After This time the bisque firing was a Per Arnie’s instructions, a cross- five hours, they finally had the shape success. When we opened the kiln, ev­ shaped stainless-steel bar with drilled they needed and mixed the concrete to erything was intact. But then we had to holes was fabricated by a welder. Arnie pour into this hole. It needed five days carry out the plan that we had theoreti­ then elevated the column with a hoist, to cure before it could be drilled. cally conceived: connecting all three and marked where the cross was to be Back at the studio in Williamsburg, pieces. Arnie hung the top piece from a attached. Because this stainless-steel bar Arnie and I decided on the final posi­ chain hoist and placed the column and had to be flush with the column so the tioning of the pieces, and indicated their

April 1998 41 Recipes order as well as the direction of the plinth. We verified that holes had been Arnie s Outdoor Clay Body drilled from the top through the plinth (Cone 9, reduction) and into the column, so that stainless- Wollastonite...... 17 lb. steel rods could be inserted and epoxied Feldspar...... 15 in place to lock the pieces together. A. P. Green Fireclay...... 35 On moving day, each piece was indi­ Cedar Heights Goldart...... 50 vidually wrapped in blankets, loaded Cedar Heights Redart...... 15 on a flatbed truck and held in place Kentucky Ball Clay ...... 50 with ratchet straps. After the 100-mile Grog (12-20 mesh) ...... 50 drive to Connecticut, the movers were Grog (20^8 mesh)...... 50 able to bolt the column to the concrete Grog (100 mesh) ...... 10 slab and insert the three stainless-steel Sand...... 20 rods into all three sections, bolt them 3121b. together and seal the joints with clear caulking. It was a real pleasure to see the Green Ash Glaze installation go so smoothly. (Cone 9, reduction) Such workshops offer invaluable Ash...... 44.45% experience. Now, my approach to my Bone Ash...... 22.22 work has broadened significantly. For Kaolin...... 33.33 one thing, I am no longer afraid to 100.00% attempt making large pieces. As long Add: Copper Carbonate.. 5.56% as I have meaningful ideas to work Granular Rutile...... 5.56% with, I now feel confident that I can build a sculpture that is strong, dy­ Arnie Zimmerman hoisting the top part of Barium Glaze namic and truly personal. ▲ the sculpture to relate it to its new base. (Cone 9, reduction) Barium Carbonate...... 28.77 Lithium Carbonate...... 5.47 Nepheline Syenite...... 38.36 Ball Clay...... 27.40 100.00% For a turquoise variation, add 2.05% copper oxide; for blue, add 0.68% cobalt oxide; and for opaque white, add 6.84% tin oxide. Woo Yellow Glaze (Cone 9, reduction) Barium Carbonate...... 29.76% Dolomite...... 14.29 Custer Feldspar...... 39.29 Edgar Plastic Kaolin...... 8.33 Flint...... 8.33 100 .00 % Add: Zircopax...... 17.86% Red Iron Oxide...... 3.57% Bentonite...... 2.00%

Muddy Violet Glaze (Cone 9, reduction) Barium Carbonate...... 28.28 Nepheline Syenite...... 58.59 Kaolin...... 6.06 Flint...... 7.07 Godowsky with the finished sculpture; it was secured to a 1-foot-thick concrete 100 .00 % slab poured 3 feet below ground level to avoid frost heave. Add: Manganese Dioxide .. 4.04%

42 CERAMICS MONTHLY “Trespassers,” 20 inches in length, red earthenware, impressed with found objects, brushed with slips, oxides and diluted glazes, multifired, by Debra Fritts, Roswell, Georgia. Introductions

An exhibition of ceramics by 25 new or emerging artists from throughout the United States was on view through March 15 at Ferrin Gallery in North­ ampton, Massachusetts. Techniques and styles varied widely among the works shown in “Introductions,” ranging from functional ware, such as that of Bethlehem, Pennsylvania, potter Jeffrey Kleckner’s, to the figure sculpture of Roswell, Georgia, artist Debra Fritts. “I suspect what keeps me engaged in the making of pots is the rich, complex process of ceramics,” Kleckner com­ mented. His own work is also complex, “not understated in form or surface. An interplay between shape and decoration creates a visual tension in the work that I find compelling.” Fritts’ sculpture is a “spontaneous and immediate response to daily experiences. A sense of life’s simple celebrations— whether a daydream, a joy, a personal conflict—is conveyed through the clay figure,” she explains. “Layers of surface treatment and multiple firings create an imperfect sldn on the figure—no glossy Stoneware jar, 9 inches in height, salt glazed, coverings, just bare facts.” ▲ by Jeff Kleckner, Bethlehem, Pennsylvania.

April 1998 43 Glas gows Miles Better An American in Scotland by Todd Garner When looking out my window on a of Art. I had traveled in Great Britain wrong. My being an unorthodox Ameri­ cold, gray, rainy day, the question ech­ twice before and thought I knew what can ceramist closed more doors than it oes once again in my head, “Why would to expect. Of course, that is never the opened. The British ceramics commu­ you want to move from sunny South­ case, and I had many rude awakenings nity is a very conservative shop and ern California to Scotland?” That is the as well as pleasant surprises. quite proud that they are so. question I get every single time a person I thought being an American over At Edinburgh College of Art, I found here realizes by my accent that I’m here would be an asset, especially being that there were basically two options American and subsequently asks encouraged by the ceramics fac­ where I’m from. Its a question I ulty—going into industry or be­ have to re-examine each time, coming a studio potter. The and each time I come up with a third option of being a fine art­ different answer. ist working in clay was, if not I didn’t intend to end up here, discouraged, rarely encouraged. but now, after eight years, the I’m not criticizing this em­ psychological transformation has phasis. In fact, I came to realize taken place and the word that because there is very little “home” immediately makes the capacity in Britain for dealing connections with images of with the “fine art” ceramics art­ Glasgow. Relocation has been a ist and because there are few combination of revelation, frus­ outlets and few collectors, in a tration and compromise. very real sense the school was Fresh from graduating and giving its students the best teaching one year at California chance of survival. But then, Todd Garner working on a “book” in his Glasgow, State University, Long Beach, Scotland, studio. where did that leave me? I con­ with my M.F.A. in ceramics templated a quick exit. clutched in my hot, sweaty hand, I from the West Coast with its “funk” In the beginning, my attitude en­ headed off to Scotland as a one-term tradition and “anything-goes” attitude compassed the normal hit-and-run ap­ artist-in-residence at Edinburgh College toward clay. The exotic factor. But I was proach of an artist-in-residence. I had

“Wee Book of Generations,” 3½ inches in height.

44 CERAMICS MONTHLY fully intended to return to California that was scheduled to tour for at least and begin the job search for a part- or one year, which tied me to Glasgow for full-time university teaching position. the next three years. But then my life began whirling in un­ Studio space is hard to come by here, anticipated directions. The first of which especially for a ceramist. Luckily, was discovering Glasgow. Glasgow has an innovative scheme to A friend I had met at the National provide artists’ spaces. Glasgow Sculp­ Council on Education for the Ceramic ture Studios were originally set up to Arts (NCECA) conference in Kansas City offer space and facilities for sculptors was from Glasgow, and invited me over only, but they use that term in its broad­ from Edinburgh for a visit. It just so est sense. After being on an extensive happened the year was 1990 and waiting list, I finally was able to rent a Glasgow had been designated a Euro­ small space, buy a second-hand elec­ pean City of Culture. The city was busy tric kiln and become not only the pulling out all the stops to prove itself token American but the token ceram­ worthy of the title, which it did admira­ ist at the studios. bly. I had avoided Glasgow on previous Then came the compromise. My trips to Scotland because of its ill-de­ work had to change dramatically from served reputation as a big, dirty, indus­ what I had been doing when I had use trial city full of dangerous characters. I of university facilities. I could no longer couldn’t have been more mistaken. work large scale; I would have to either What I discovered were the charms modularize the big pieces or make a of its stunning architecture, friendly “Home Is Where the Heart Is: smaller line of work. I did both. people and warm pubs. The city and its Peacekeeper,” 18 inches in height. All the while, Scotland was having a people embraced the title of City of dramatic effect on my outlook. The con­ Culture with fervor, and the artistic en­ with the New World, then by building trast between the wide, sweeping moors ergy was palpable. one-third of the world’s ships from the and hills of the highlands to the Victo­ As soon as I had finished the resi­ middle of the last century up until the rian and postindustrial urban cityscape dency in Edinburgh, I made the east 1960s, including the Queen Mary and of Glasgow was taking my art in new coast to west coast move to Glasgow. A the QE2. But then the bottom fell out directions, emphasizing both these as­ trip of only 40 miles, but a cultural of the shipping industry and Glasgow pects. Three distinct themes evolved. expanse as different as New York is to went into a major decline in the ’70s. The first was a series based on the Scot­ Los Angeles. For years, it languished in postindustrial tish hills. These were large-scale sculp­ There are cliches about the two cit­ squalor. Then in the ’80s, it began to tures composed of modular interlocking ies and in my experience I found them reinvent itself as a culture capital, clean­ wedge-shaped pieces, which when fit to be more or less true. Edinburgh is ing the black soot off its splendid Victo­ together had the appearance of hills seen incredibly picturesque with its looming rian buildings, emphasizing the arts with from a distance. castle in the center surrounded by me­ new and innovative venues. The second was a series of open dieval streets, contrasting with New I found the Glaswegians not only books, based on the illuminated manu­ Town, a relative term seeing as New friendly and fiercely proud of their city, scripts illustrated by the Celtic monks Town is as old as America. But but numerous. Go into any of the fine throughout the first millennium A.D. Edinburgh is not an overly friendly city. pubs in Glasgow and you will find for­ These have cutout niches in which It seems to be overrun with foreign in­ eigners to be in the minority, thank nestle archetypal three-dimensional terlopers—tourists, businesspeople and goodness. You will also be welcomed symbols, such as hearts, leaves, feath­ students from elsewhere in the United with hearty conversation. Glaswegians ers, eggs and acorns. Kingdom and beyond. The Edin- are anxious to talk—about anything, The third theme encompassed a se­ burghers, when you can find them (most but especially about their city. ries of large wall-mounted pieces con­ live in the leafy suburbs), seem to be My intention was to spend a bit of structed of thrown slabs that had to reserved and have a slightly condescend­time living and working in Glasgow be assembled after firing due to the ing air. just for the experience and again head kiln-size restrictions. These “guardian Glasgow on the other hand was a back to the States. But then unexpect­ spirits” have the appearance of large big, dirty, industrial city. Its major influx edly I was offered a solo exhibition (see winged insects that reveal a cloaked of riches came through the tobacco trade CM, December 1995, pages 14—16) figure in the center.

April 1998 45 While the exhibition traveled, I had in Glasgow, full of illicit bars and broth­ cant show in it? However, I waited sev­ the odd commission, but it began to els. But within the last few years, this eral months before showing my work dawn on me that once the tour ended, has been changing dramatically and now to allow the gallery to establish a repu­ my work, being sculptural ceramics, had the area, host to ten galleries within a tation as a venue for all ceramists. no place to go. There simply were few two-block radius, is being labeled the The new body of work consisted of galleries, if any, showing contemporary Gallery Quarter. sculpture based on the unique tene­ ceramic sculpture in Britain. So with I knew it would be tough going at ment houses of Glasgow. These slab- some degree of naivete or possibly stu­ first and decided to sacrifice my own built sculptures, titled as a series “The pidity, I decided to establish a gallery work for a time to try to raise the aware­ Home Is Where the Heart Is,” stylisti­ for contemporary ceramics that would ness of contemporary ceramics in a cally and philosophically were a combi­ cover the gamut of contemporary ce­ country where painting is king and ce­ nation of the earlier books and the ramics from wholly functional work to ramics means functional, inexpensive Scottish hill works. These abstracted ten­ sculpture and installation. I thought the tableware. Word spread quickly and I ement houses have niches containing timing may have been right to jump on soon had the work of over 100 ceram­ stereotypically shaped hearts modeled the bandwagon of Glasgows pretensions ists on display. in such a way as to make different state­ as a city of culture. Now, two and a half years on, the ments on experiences here, and reflecting I rented a small shop front and, after gallery is not only still here but in the my dislocation from sunny Southern an impassioned pitch, the City Council process of expanding. Plans are in the California to Scotland. agreed to donate a bit of money to help works to create a center for contempo­ Why did I move here? Every time I me get started. As it turned out, t. Garner rary ceramics, including classrooms, a hear the question, I come up with a Gallery was and continues to be the reference library, gallery, studio spaces different verbal response. I suppose only gallery exclusively devoted to the and full facilities for a working pottery. my work is my attempt to come up sales and promotion of contemporary Although my own artwork was put with a definitive answer to that ques­ ceramics outside London. aside somewhat, I still managed to get tion, but I’m a long way from the end The area that I was able to rent pre­ up to my studio and put together of the series. In truth, as the city’s mises was, while in the heart of the city, enough sculpture for a small solo exhi­ motto states, Glasgow’s miles better, a bit run down; in fact, last century the bition in the gallery. After all, what’s the and at the moment, I’d rather be here street was known as the wickedest street use of having your own gallery if you than anywhere else. A

“Wee Iron Book of Love and Promise,” 3½ inches in height, by Todd Garner, Glasgow, Scotland.

46 CERAMICS MONTHLY Minnesota Invitational

(Z eramics by over 50 artists—from the and respect for this avenue of expres­ region as well as across the United sion in clay,” explained McKeachie- States—were featured in a recent invi­ Johnston. “I am working to convey tational exhibition at the Northern Clay vitality, spirit and other intrinsic quali­ Center in Minneapolis, Minnesota. ties, tactile and visual, to the person Among the works on view was func­ viewing and using my pottery.” tional pottery by Bob Briscoe, Harris, Similarly, Shirley Johnson is “inter­ Minnesota; Shirley Johnson, Excelsior, ested in the way a pot, hand held, seen Minnesota; Maren Kloppmann, Min­ close up, reveals itself: the rhythms of neapolis; and Jan McKeachie-Johnston, its making, the character of clay and River Falls, Wisconsin. glazes, the marks of fire as well as all “Years of living with and studying those subtle modulations of form that pots in the Leach/Hamada tradition give a pot both its emotional content have instilled in me a tremendous love and its fitness for use.” A

“Tall Basket,” 18 inches in height, wheel-thrown stoneware, wood fired, $200, by Jan McKeachie-Johnston, River Falls, Wisconsin. Casserole, 14 inches in length, thrown-and-altered stoneware, with ash glaze over layered slips, $100, by Bob Briscoe, Harris, Minnesota.

Glazed porcelain bowls, 3½ inches in height, wheel thrown, reduction fired, $14 each, by Shirley Johnson, Excelsior, Minnesota. Thrown-and-altered porcelain box, 4 inches in height, soda fired, $125, by Maren Kloppmann, Minneapolis.

April 1998 47 From Clay Depths to Interdisciplinary Heights by P. A. Chatary

Press-molded replicas of science-related objects were attached to 1x2-foot slabs, which were then cut into 6-inch-square tiles.

It all began with a hole. Standing at a third-floor window looking down six floors into an excavation for a new sci­ ence complex, Douglas Kindschi, dean of sciences and mathematics at Grand Valley State University in Allendale, Michigan, noticed a moist slice of bril­ liant indigo clay. Having had a ceramics course long ago as an undergraduate, the dean recognized the potential under his feet and immediately called the university’s resident expert, ceramics pro­ fessor Daleene Menning. He thought it would be particularly appropriate to have her use this clay to produce art­ work for the new complex. Donning a hardhat and staring down into the construction site, Menning rec­ Determining placement was a backbreaking ognized the famous “Michigan blue,” a job; 880 tiles were spread out on the floor, vein of glacial clay that runs down the then rearranged for final review.

48 CERAMICS MONTHLY “Formation,” 40 feet in length, relief mural at Grand Valley State University in Allendale, Michigan, produced from clay dug on campus, by Daleene Menning.

western side of the state into Ohio. She dimensional piece. But at the same time, Theory, because it is a basic scientific was less than impressed, however, as she she wanted something grand enough to premise. However, Menning decided knew just how much work would be be noticed and to warrant the labor against a pictorial rendition of the required to make the clay usable. required for the processing. Perhaps a theory—first, because she felt a mere Convinced of the importance of his site would inspire her? When she saw two-dimensional approach was not ade­ find, and unfazed by the professor’s lack the architects’ plans for a curved inner quate to allow “our minds to get around of shared enthusiasm, the dean never­ wall along an atrium connecting two such a vast concept”; second, because theless arranged to have 4 tons of freshly science halls, she had found her modus she was concerned with her own physi­ dug clay delivered to the aging ceramics operandi: she would use the 40-foot, cal limitations for such a huge project. facility in the nether regions of campus. indoor wall for a tile mural illustrating Working with a single-image cartoon The university was already soliciting aspects of the sciences. for a 40-foot section of wet clay would proposals for all kinds of art from fac­ From the beginning, Menning saw try even the most agile, and otherwise ulty, alumni and outside artists for its the mural as a collaborative venture. unencumbered, artist; for a 50-some- building and renovation projects, and After deciding on the site, medium and thing, full-time professor with a new Menning had planned to participate, method, she solicited input from the ceramics facility in the planning stages, but just hadn’t had time to develop an science division for the imagery. She it was especially daunting. idea. Plans were also in motion for a wanted to find some commonality be­ She opted to use individual tiles in new ceramics facility; it was a surprise tween the superficially disparate mind­ an explosive composition of mixed im­ development, and one that needed her sets of art and science. She understood ages, which would illustrate all manner immediate attention. the “difficulty of plugging into some­ of elements present at the origin of the Still, the more she thought about the one else’s field at a high level when you universe. The resultant 880 pieces rep­ deans suggestion, the more ideas began have no background for it.” resent most of the scientific disciplines percolating. Given the possible prob­ Three members of the science fac­ taught at the university: nursing, lems that could be encountered in us­ ulty agreed to brainstorm with Menning anatomy, biology, chemistry, geology, ing the native, low-fire clay, Menning on the mural’s content. Collectively, they physics, mathematics, computer science decided against a free-standing, three­ decided on the concept of the Big Bang and water resources.

April 1998 49 During the summer of 1994, ceram­ ery had to be clear and concise—cor­ She solved the niggling issue of nec­ ics students Jessica Buckrey, Teresa rectly rendered examples specific to each essary exactitude, demanded by the sci­ Dombrowski and Mark Rumsey were discipline instead of abstracted versions. entists, by making plaster molds of all employed for the sole purpose of rid­ Going into the labs, classrooms and those science-related objects she had col­ ding the 4 tons of clay of rocks and offices in the science department af­ lected. Over a two-year period, Menning other organic impurities. First, large forded Menning the opportunity to be­ cast nearly 200 such items, including chunks of clay had to be hammered come familiar with the working beakers, specimens and instruments. into smller chunks, which where then environment of her colleagues. At the For those objects that could not be allowed to soak in 5-gallon buckets. same time, she generated enthusiasm cast directly in plaster (because of too The chunky slurry was then shoveled for her project and a large variety of many undercuts or fragility), she made into a cement mixer to loosen the de­ objects were readily donated as models. negative molds by pressing the objects bris. That slurry was passed through a Not only were these tools of the into clay, then cast plaster positives from series of window screens into a galva­ scientist s trade, but they also represented which to produce the plaster press nized horse trough. the common thread that she was seek­ molds. Unfortunately, these “second- When enough water had evaporated, ing between herself and her colleagues. generation” forms did not have the reso­ the slurry was screened (30 mesh) and Menning had been concerned about a lution of the originals. poured into a set of drying racks made mutual “intellectual limitation” regard­ Once a mold was ready to use, a from wooden frames lined with chicken ing one another’s work processes, which small slab of clay was cut to the same wire and burlap. The working-consis- had to be overcome in order to make general shape, then gently pressed into tency clay was then stored in 30-gallon the mural a success. She speculated that the recessed areas. Next, the press- trash cans, while Menning and her stu­ “If I could touch their hands with my molded forms were attached to slabs dents proceeded with testing. hand...if I take the things they use to made by rolling out a ½-inch-thick, It was understood from the outset make things happen, [then] put them lx2-foot rectangle of clay; the slabs were that a scientist’s penchant for exactitude through a process with my hands, maybe then cut into eight 6-inch-square tiles. be indulged in this project. The imag­ we could relate on that level.” Menning usually worked with 5 slabs at

Since many of the molded forms were larger than the designated tile size, continuations to adjacent tiles were allowed but not necessarily matched in the final composition.

50 CERAMICS MONTHLY The tiles’ gradient tones, plus proper site lighting, allow for a patterning of shadows and light across the curved wall.

a time, so that the tiles were produced plex, other surprises had an impact on light, continuation/alignment, group­ in series of 40. Since many of the molded the composition. Mennings original ings, rhythm and movement. Relief pat­ forms were larger than the designated concept included slipping and glazing terns, seen by walking along the mural, tile size, she allowed for continuations at least some of the tiles, but there were were also important. to adjacent tiles. discrepancies in color, which became When the composition “felt close to Menning satisfied her own artistic evident only after several firings. Vari­ being right,” Menning and Buckrey sense through the arrangement of the ous minerals, such as copper and iron, pushed the tiles together and climbed press-molded objects, and by adding unseen in the raw state, manifested atop ladders to check perspective from her own sense of humor to the themselves during the firing, resulting a distance. Minor adjustments were then juxtapositioning. For example, she cast in earthy gradations ranging from a dry made, and each tile was coded for in­ a realistic-looking plastic rodent and an ecru to a juicier, dark brown metallic stallation (with a number, letter and oversized beetle, and applied these forms sheen (sometimes on the same tile). arrow pointing up). Finally, to protect to keyboard-impressed tiles to illustrate Frustrated at first with the unwanted them from the grouting process as well the biological counterparts to computer variety, Menning came to realize that as eventual effects of audience interac­ jargon. Serious symbols for mathemati­ the natural coloration actually enhanced tion, a masonry sealer was applied. cians became images to be played with the final composition. As an unexpected The result is an interdisciplinary in­ by the artist, as stamps representing pi bonus, the tiles gradient tones, plus stallation of subtly toned clay in dra­ and mu left track across the tiles like proper site lighting, allow for a pattern­ matic relief. The heavily textured tiles birds’ feet. ing of shadows and light across the invite touching. At every passing, stu­ Once a satisfactory composition was curved expanse of wall. dents, faculty and guests see something achieved and the tiles cut, an assistant Composition was a backbreaking job. new, either by identifying yet another inscribed placement indicators in each Menning and student assistant Jessica realistic object or a visual pun in the tiles base. Each tile also had to be hand Buckrey labored over nearly 1300 com­ composition, or in the aesthetic inter­ finished, smoothing edges and correct­ pleted tiles in order to arrange 880 for play of shapes, tonality and imagery. ing any minor flaws. the final review. Tiles were spread out in Serendipity played a starring role in rows four deep with 10-inch aisles be­ The author P. A. Chatary, an artist, the project. Besides the initial discovery tween. Placement was predicated on writer and instructor in ceramics, lives of local clay under the new science com­ fundamentals of design, such as dark/ and works in Holland, Michigan.

April 1998 51 Friends and Inspirations

Functional and sculptural clayworks by 13 artists were featured in the invi­ tational exhibition “Friends and In­ spirations,” at the Mendocino Art Center in California. In curating the show, studio potter Doug Browe (Ukiah, California) originally in­ tended “to assemble a group of pieces that would somehow tell the story of how my work has come to be.” Instead, his selections became “a showcase for a group of important artists who work, for the most part, outside the mainstream of contempo­ rary ceramics. Not in terms of the cutting edge or the hot and newest or the vanguard of clay. Quite the con­ trary. The majority of artists in this show have dedicated themselves to Covered jar, 8 inches in height, wheel-thrown stoneware, salt glazed, NFS, by William Strickland (1946-1994).

“Tamari Ewer,” 5 inches in height, wood-fired stoneware, $75, by Jan Hoyman, Ukiah, California.

Wood-fired vase, 10 inches in height, stoneware, $55, by Julie Porter, Cedarville, Michigan.

52 CERAMICS MONTHLY Footed jar, 12 inches in height, wheel-thrown stoneware, wood fired, $55, by Brent Heerspink, Cedarville, Michigan.

Oval tray, 32 inches in length, wood-fired stoneware, NFS, by Alleghany Meadows, Alfred Station, New York.

April 1998 53 making work that touches people with compassion and embraces their po­ litical commitments by creating a complete circle, a closed loop of de- signer-maker and user, person to per­ son, a model not based on the starmaker machinery of the academic art world of universities, museums and galleries, but on the practical needs of daily life of family and friends. These are the makers of pots designed for the needs of our lives. They encour­ age us to take time for tea, to enjoy sharing a dinner with friends and fam­ ily, to look for the beauty in all our tools and toys.” A Teapot, 6 inches in height, glazed stoneware, wood fired, $60, by Willem Gebben, Colfax, Wisconsin.

Altered jar, 14 inches in height, wood- fired stoneware, $265, by Leslie Campbell, Mendocino, California.

Handbuilt teapot, 10 inches in height, stoneware, $150, by Larry Henderson, Guerneville, California.

54 CERAMICS MONTHLY Carol Townsend by Jeanne Raffer-Beck

Large stoneware vessels with complex my mind for a long time, or be based In addition to images from nature, she surface designs in black, cream, brown on sketches I’ve stumbled upon from has been influenced by the indigenous and gray slips are characteristic of Carol years ago that trigger a response when I ceramics of Crete, as well as visits to the Townsends current daywork. Nature see them again. pottery villages of Mexico and the pueb­ has always been an inspiration to her, “My approach to my work has be­ los of the American Southwest. and many of these pieces “have a come more contemplative at this time Many of the recent forms have fairly gourdlike quality and seem to grow as I in my life; perhaps I’m more willing to round bottoms so they need support make them,” she explains. allow a longer creative gestation period.” while being built. She begins them in Nonetheless, her “responses don’t Townsend spends a long time look­ Southwest American Indian fashion, tend to be immediate. What I make ing at potential subjects, making nota­ using one of the shallow bowl forms she today may have been rolling around in tions on patterns and compiling ideas. has collected as a puki. After strips of

“Skeuomorphs,” 20 inches in height, handbuilt stoneware with slips, $350 each.

April 1998 55 Recipes

Stoneware Clay Body (Cone 7-10) Custer Feldspar...... 5.0 parts Cedar Heights Goldart... 25.0 Cedar Heights Redart .... 2.0 Fireclay...... 25.0 Kentucky Ball Clay (OM 4)...... 12.5 Flint...... 5.0 Grog*...... 2.0 76.5 parts *Varied mesh sizes of grog can be added to desired workability. White Slip Edgar Plastic Kaolin...... 50 parts Kentucky Ball Clay (OM 4) ...... 50 Stoneware Clay Body*...... 10 Vase, 11 inches in height, and platter, 16 inches in length, handbuilt stoneware 110 parts with slip brushwork, $225 and $275 respectively. *Omit grog for a smoother slip. Black Slip Edgar Plastic Kaolin...... 5 parts Kentucky Ball Clay (OM 4) ...... 5 Stoneware Clay Body...... 90 Manganese Dioxide*...... 4 Red Iron Oxide...... 12 116 parts *Toxic; handle with care. Cornwall Stone Glaze (Cone 7-9, oxidation or reduction) Whiting...... 15% Cornwall Stone...... 85 “Patchwork Bowl,” 11 inches in 100% height, handbuilt, Somewhat transparent, leaning toward slip-decorated stoneware, $375. beige in oxidation, gray in reduction.

Tracing a pattern onto a “Southwest Stool.”

56 CERAMICS MONTHLY fabric are draped in the bowl to prevent the clay from sticking, she slaps and pinches a clay base that will fit down in. “In traditional Southwest pottery, coils are put on next, but what I do is make wide slabs with a rolling pin and

cut them into strips,” she explains. “The PHOTOS: K.C. KRATT, KATHI ROUSSEL thickness of the original slab is wider than the vessel wall. Once the top edge is scored, I put the strip on and seal it by working both the inside and the outside wall. The combination of pinch­ ing, paddling, scraping and squeezing takes that thick slab and thins it out.” Some of the fairly tall pieces can take her a month to create. In response to people who ask why she doesn’t opt for the faster method of throwing big sec­ tions on the wheel, she says, “Tree rings don’t grow overnight—there’s something that appeals to me about that slow ac­ cretion. It gives me time to decide about the form, because the form can be coaxed to move in very subtle ways that I haven’t quite planned. If I’m building slowly, nothing goes haywire too quickly. It seems to be a building technique that works with my lifestyle.” In between adding layers, Townsend drapes the whole piece in plastic in or­ der to retain sufficient moisture. She has to hold these pieces at leather hard from top to bottom in order to achieve a good surface for slip painting. If the bottom is bone dry and the top is fresh, cracking problems can arise. Townsend tries to create the feeling that necks are actually growing from the form, so she looks at gourds, pump­ kins and similar natural objects, “not to copy nature, but to learn from it and try to infuse a natural feeling or quality in the work,” she explains. A series of small forms that she’s throwing on the wheel is a departure from the larger works. One that she cites as an example has small fan-shaped “Gingko Vase,” 9 inches in height, handbuilt stoneware, with slip and incised designs painted on it, which appeal to decoration, $200, by Carol Townsend, Snyder, New York. her because they remind her of ginkgo leaves. Although wheel thrown, these work pays homage to functional pot­ the studio and digging clay out of bags forms are then distorted so they’re no tery. I don’t think I’ve ever gotten the they bought in the bookstore. “I want longer round; she has “splayed out and insides of vessels out of my system. My them to appreciate that people claw this cut into the rim so there may be some work deals with interiors as much as substance out of the earth,” Townsend throwing rings on the inside, but on the exteriors.” says. She also urges them to explore the outside the pieces have a definite hand­ When teaching (at the State Univer­ clay’s creative potential by taking the built quality.” sity College of New York at Buffalo), time, as she does, to “really feel the clay, Originally, Townsend thought she she always tries to give her students feel its interaction with them, and let wanted to be a functional potter. She some sociocultural background, so they their fingers begin to learn and under­ now finds it interesting that “my new don’t think ceramics is just coming into stand its language.” ▲

April 1998 57 “Melon Pitcher,” 13 inches in height, thrown and altered stoneware, with slip trailing and manganese-saturated glaze, single fired. Where Youve' Been Is Good and Gone; All You Keep Is the Gettin' There by Steven Hill

_/Vs the wheel slows, I am putting the final details on a joy of the work sink in. The manifestation of that joy, not yet freshly thrown pitcher. My personal language is in these a functional pot, is pure form. Sure, the basic parameters of details—the way I spread a rim into a wide flange with a that form have been defined by the pots intended function raised inner edge, alter the rim into an oval or quadrilateral, and by the inherent limitations of the clay, but it is the energy and articulate the changes from a narrow foot swirling into a expressed in the line of the profile that excites me. The swollen belly, through high shoulders and a twisting neck. sensation of skin stretched almost to the point of bursting The music filling my studio is gently urging me on until gives form that essence of life I am searching for. In this the throwing is complete. I love this moment. This is why moment...my vision is nakedly revealed. I make pots. But this moment has not always been so joyous. I clearly In fact, it was the magic of throwing that first seduced me remember sitting at the wheel three years ago as a vague 28 years ago. Some of my most satisfying moments have dissatisfaction was gnawing at my subconscious. It seemed been stepping back from a freshly thrown pot, the clay still like my finished pots never quite lived up to the promise of glistening with a hint of slurry on the surface, and letting the those wet forms. Having been increasingly troubled by the

58 CERAMICS MONTHLY “Cypress Ewer,” 19 inches in height, stoneware, thrown and altered, with pulled spout and handle, sprayed with manganese-saturated glaze, single fired.

April 1998 59 Platter, 20 inches in diameter, thrown and altered stoneware, with sprayed contrasting glazes emphasizing brushed slip spiral.

visual relationship between glaze and form, I was ready for a Lookin’ low and lookin’ high, lookin’far and lookin’ wide, change of direction. The process of change was nothing new, Try to tell myself that I’m fine, but it just ain’t true. as I’ve been facing and sometimes even embracing it through­ Actually, I have never questioned the importance of form out my career. Twenty-five years ago, my dilemma was how in my work. My blindness to these surface distractions arose to continue single firing without the salt kiln I had come to out of the intimacy I felt with those wet pots. No matter how depend on in school. In the mid ’80s, it was how to lighten many competing waves of color and contrast were splashed and brighten my glaze palette without switching to low fire. around a form, I still saw the soft patina of a leather-hard pot And many times along the way I have quit making pots glowing through. whose inspirational fires had burned out, even though they Although increasingly dissatisfied with glitzy surfaces, I were received well. Change, although sometimes a frighten­ didn’t quite know how to proceed. The richness of terra ing and uncertain beast, has been the one constant factor sigillata was enticing, but my pots seemed to require the that has kept my life in pottery fresh and exciting. As I sat at the wheel that day, I was pondering this need for change. Just then, the plaintive voice of Townes Van Zandt wrapped his words around my consciousness. His song’s use of the road as a metaphor eased me into my upcoming journey. Ah, Mother thinks the road is long and lonely, Little brother thinks the road is straight and fine, Little darlin thinks the road is soft and lovely, Im thankful that old road's a friend of mine. For 20 years, I had been refining a personal approach of using slip and glaze as if I were painting. Transparent and matt glazes often cut diagonally across my forms, roughly symbolizing water and shoreline. Textures were applied and layers of glaze overlapped to create visual depth. I eventuallyRibbing the rim into a wide flange with a raised inner edge. became aware, though, that in my zealous use of color and texture, clarity of form had often been the victim.

60 CERAMICS MONTHLY “Melon Pitcher,” 12 inches in height, thrown and altered stoneware, with trailed slip and sprayed Sohngen Stony Yellow.

relative permanence of stoneware. The hardness, the durabil­ Then came Italy. Two years ago my family and I had the ity, the oneness of clay and glaze, all figured into it. Wood- opportunity to spend two glorious weeks in Tuscany. The art, and soda-fired pots are a genuine inspiration, but being an the food, the countryside and the people were all incredible; urban potter prevented me from pursuing those firing meth­ Michelangelo’s David, the interior of St. Peter’s Basilica, the ods. And I certainly couldn’t see myself applying just one ancient Roman roads lined with towering cypress trees, all glaze to each piece. One thing I experienced during years of left their mark. But the single most inspirational aspect for increasingly complex glaze application was a seduction, not me was the architecture. It wasn’t just the spatial relationships so much by color, but by rich and varied surfaces. How could and the details of buildings, but the way in which architec­ I give that up? tural form has stood the test of time. Seeing buildings that have been in constant use for hundreds, even thousands, of Time flows through brave beginnings, years gave me a new appreciation for surface quality and how And she leaves her endings beneath our feet... it relates to form. The weather-worn stone, painted wood and stucco, with numerous layers of color exposed, seemed to communicate the spirit of the buildings and the genera­ tions of people who have inhabited them. In America, peel­ ing paint is disgraceful; in Italy, it reveals the soul. After returning home, I found myself thinking about the relationship of glaze and form differently and seeing the architectural elements of my pottery more clearly. Although I work with organic form, I use the details of rims, feet and handles to add definition in much the same way that a door frame defines an opening, or the way the soffit and fascia visually articulate form changes where wall and roof meet. Your dead misconceptions have proven you wrong... For the first time, I could clearly see how my glazing Pulling on opposite sides to reshape the rim as an oval. techniques had been denying much of what I had been saying with form. Shouldn’t I be applying glaze to emphasize form instead of treating my pots as if they were a three-

April 1998 61 Adding a spout extension to a leather-hard melon pitcher; an important design consideration is the line that begins at the tip of the spout, sweeping across the rim and continuing down the handle in an S-curve.

dimensional canvas? Why not glaze the rim of my pots to contrast with the body, much like a window frame is painted to make it stand out from the wall of a building? And what if I used subtle, textured matt glazes to enhance and unify the body? My new-found awareness occurred after I realized how much one of the matt glazes I use, Sohngen Stony Yellow, reminded me of the textured walls I had seen in Tuscany. The next step was to imagine the pot’s rim as a door or window frame. The problem of how to apply contrasting glazes to adjoining areas, such as rim, handles, neck, shoulder, belly and feet, was a challenge, though. Dipping and pouring were out, as they create hard edges that aren’t likely to coincide with form changes. Brushing has its possibilities, but I’ve never been too comfortable with a brush and I didn’t want the marks that result from uneven application. That left spraying as the most logical alternative. I use an automotive touch-up gun for all the detail work, and a larger gun to spray the body of each piece. It is a

relatively straightforward process, and the small amount of Teabowli 5 jnches hjgh thrown and a|tered overspray doesnt prevent me from making abrupt color stoneware, with sprayed Shino and manganese changes from rim to neck to body, etc. In fact, overspray glazes emphasizing the spiraling form.

62 CERAMICS MONTHLY Oval tray, 19 inches in length, thrown, altered and assembled stoneware, single fired.

allows the additional opportunity to blend glazes together for subtle variation. The downside of spraying is the compressor noise, the need to wear an appropriate mask and the difficulty judging thickness of glaze application. Nevertheless, any negatives were more than offset as I discovered the flexibility that spraying offered. Soon, I was glazing pots to emphasize the various elements of their form, influenced by those ancient walls of Tuscany. You cannot count the miles until you feel them... In retrospect, it all seems so simple. The changes I have made are obvious to me now, but they didn’t come easy. There were no maps to lead the way and the road was initially obscured by my own preconceptions and resistance to change; however, once my objective of emphasizing ar­ chitectural elements was established, the puzzle pieces began falling into place. While my journey was mostly intuitive, and it’s only in Spraying glazes allows subtle variations, looking back that I can see with this much clarity, I would yet the small amount of overspray does like to suggest that pottery deserves as much in-depth analy­ not prevent abrupt color changes. sis as any other form of art. Furthermore, perhaps intuition

April 1998 63 Covered jar, 4½ inches in height, thrown and altered stoneware, with contrasting glazes sprayed to emphasize spiral on lid, single fired, by Steven Hill, Kansas City, Missouri.

and analysis are no more separate or disconnected than statement if you were around while I was unloading a disap­ breathing in and out. It is this breath that sustains our life pointing kiln!). By remaining open to change, I hope to and growth. come to a deeper understanding of myself and the ceramic Working within the relatively narrow framework of func­ processes I am involved in. And if I’m lucky, I might leave a tion should not be a limitation for a potter, but a point of few good pots behind. departure. The small design decisions we make are magnified To live is to fly, both low and high, in importance, and no aspect of form or surface is insignifi­ So shake the dust off your wings, and the sleep out of your eyes. cant. Without paying attention to these details, our tech­ niques can easily take on the stagnant, lifeless and mindless For now, I’m enjoying the feeling of satisfaction derived repetitiveness of factory work. Is this what we want? Isn’t from seeing the need for change, following through with it, this the antithesis of why we got into this potter’s life in the and finally achieving a sustained level of success. Although first place? excited about my latest solution, I know it won’t be my last. If we approach each piece as if it had the potential of being Pretty soon, complacency is likely to settle in. The road will the best pot we’ve ever made, however, then the way is clearonce again beckon and as the late Townes Van Zandt said, for an important journey. The explorations we make will “I’m thankful that old road’s a friend of mine.” keep our work alive for us and ensure that we will be in a Yes, those pots that were ready for change three years ago different place tomorrow than we were yesterday. are finally good and gone, and even though we’ll all be good For me, this road of discovery is more important than the and gone someday too, it’s the gettin there that keeps giving finished pots (although you might not believe I mean that us the opportunity to make it count. ▲

64 CERAMICS MONTHLY Blue Plate Special by Jeff Huebner

X hanks to “Blue Plate Special,” eluded plates by Tim Anderson, many Chicago collectors will now be Daniel Christmas, Paul Elledge, able to dine with works by their fa­ Charise Mericle, Marya Veeck, vorite local artists—that is, if they Daniel Wenk and Glenn Wexler. choose to. (Prices ranged from $300- Rosby, a ceramist with more than $ 1000 a plate.) Presented at Chicago’s two decades of experience, was re­ Eastwick Gallery, the exhibition cruited as the project technician. He brought together a baker’s dozen of says that working with the initially high-profile and cutting-edge artists clueless “Blue Plate Special” artists who (with one exception) had never was an eye-opening experience. worked in the medium before, much “The plates were not revolution­ less had a hand in producing cobalt- ary in terms of ceramic technique,” decorated porcelain in the style of explains Rosby. “It was more about Ming or Delftware. Porcelain plate with cobalt underglaze the concept of using contemporary The idea, according to curator decoration, sprayed with clear glaze, images with historic references. fired to Cone 10 in reduction, by Sam Tom Billings, was to arrange for an Rosby, who produced, glazed and fired eclectic array of artists-painters, all the plates decorated by the other printmakers, photographers, illustra­ “Blue Plate Special” artists. tors to transpose their distinct, some-

about making a set of porcelain plates. But soon, says Billings, the idea of making plates in collabora­ tion with other artists in Chicago “reared its ugly head.” He made some phone calls, started commut­ ing, and “Blue Plate Special” was on the menu. The inclusion of such nationally recognized painters as Ed Paschke, Paul Sierra and the Zhou Brothers, Tim Anderson lent the exhibition a cachet of art- world respectability. Not that the There’s this incredibly academic ar­ other participants aren’t respected gument in the ceramics world of, ‘Is Glenn Wexler in Chicago and elsewhere. Besides it craft, or is it art?’ But these artists Billings and Rosby, the show in­ didn’t care about that. I found that times subversive, imagery onto tradi­ really refreshing.” tional forms, and in the process break­ It wasn’t an issue for Veeck, a ing “that barrier of fine art as craft, and painter who brushed garden and ar­ craft as fine art.” The results—52 one- chitectural scenes onto her plates. “I of-a-kind plates, or four by each art­ don’t necessarily consider it a craft— ist—were proficient, whimsical and it’s art that’s functional,” she says. “It technically sophisticated. was my first venture into ceramics, The process of organizing and fa­ but it was still a flat picture plane to cilitating the collaboration was as me. It wasn’t a big leap. It was fun, much a part of the project as the very interesting.” finished ware itself. When Billings, a Working in his Ukrainian Village longtime Chicago painter, relocated home/studio, Rosby produced scores to Dallas in mid 1996, he began of wheel-thrown and handbuilt thinking of ways to stay creatively plates, which he delivered to the art­ active with former associates in the ists along with the cobalt blue un­ Chicago art scene. Last winter, he Ed Paschke derglaze. On their return, Rosby approached ceramist Sam Rosby sprayed them with a clear porcelain

April 1998 65 glaze, then used the kiln at Harper produced,” says Rosby, who often worked organizer Billings, who’s been bartering College in suburban Palatine (where alongside the artists. unexhibited ware with the other artists. he has taught for ten years) to fire Sierra, who’s known for his intensely “But I can’t wait ’till I’m eating off them to Cone 10 in reduction. Though colorful figural landscape paintings, ad­ Paschke s face.” some of the artists’ early attempts failed, mits he had reservations about working “You might have to regurgitate your they grew more competent with prac­ in one hue. “Painting implies color, and food,” Paschke countered. “This is for tice. “They were amazed at what they if you paint in just one color, that’s draw­ bulimics only.” ▲ ing,” he says. “And the blue you apply may not be the blue you get.” The project’s trickiest technical chal­ lenge fell to Wexler, a printmaker and mixed-media artist. Though he has screen-printed images onto numerous unconventional objects, he’d never done so on a wet, sticky surface. The first step, explains Wexler, was to take a high-con- trast photograph and shoot a halftone of it onto film transparency so that the image could be transferred to a screen. Through trial and error, he discovered that there was a one-hour window of opportunity in which to screen-print on Paul Elledge a flat, wet porcelain slab (before shaping Charise Mericle and firing). “If you print too soon, the clay and the image will distort,” says Wexler. “But if you wait too long, you might get a nice print, but when you go to shape it into a plate, it’ll crack.” He also found that he had to squeegee over the screen mesh three to four times per piece, ap­ plying just the right amount of pressure so the image wouldn’t distort. Nearly a year in the making, “Blue Plate Special” was more than porcelain packaged as postmodern event. The project fostered a vital exchange of tech­ nologies, energies and ideas among a diverse group of Chicago artists. They Marya Veeck saw it as a fresh, intriguing opportunity Paul Sierra to broaden their creative palates—uh, palettes—and to keep from going stale. “I’m always up for learning new things, always curious to expand my ho­ rizons and to see how my sensibilities adapt to a different medium,” says Paschke, whose hard-edged, neony figural paintings became associated with Chicago imagism 30 years ago and whose work has since become identified with the city’s visual art aesthetic. Working on porcelain, he says, was “really not that far from the painting I do.” But will buyers display the plates, or actually dine with them? “People will Zhou Brothers probably be afraid to eat off them,” says Tom Billings

66 CERAMICS MONTHLY Recycle That Old Kiln by David G. Wright

I have been salt firing off and on for over 15 years—first as a student at the Phila­ delphia College of Art, later at the Uni­ versity of Colorado, Peters Valley Crafts Center, University of the Arts, and cur­ rently at the Perkins Center for the Arts in Moorestown, New Jersey. My initia­ tion to salt glazing was like many other beginning potters, taking the advice of someone who said, “Don’t trash that pot. Put it in the salt kiln. Besides, it couldn’t get any worse.” Well, it did, and I have since learned that you must make the clay work for the benefits of salt glazing, or as Don Reitz puts it, “The pots must de­ mand it.” I started by using straight salt in a hardbrick kiln and firing about 24 hours to Cone 10. I also experimented with soda and wood firing, and was equally pleased with the results. There is nothing like the rich effects of a wood or salt firing to make you feel closer to the elements of the earth, indeed more directly connected to your pottery. I eventually dropped my firing tem­ perature to Cone 6 because of the energy crunch and a desire to do my part. I also began using a mixture of half salt, half sodium bicarbonate, and the addition of 3% borax to melt the mixture at Cone 6. The Perkins Center salt kiln, made by removing the elements This combination resulted in a glossy and from an old electric kiln, cutting holes for flues and coating fairly respectable salt surface, but with the interior with a wash of equal parts alumina and kaolin. little to none of the orange-peel effect one expects. (More recently, I have eliminated dependence on these kilns to finish my trash, into a propane-fired, updraft kiln the borax completely.) Nevertheless, the work. I needed a change; however, I couldfor salt, soda and wood. We fire within a results were acceptable to me because my not afford to build the type of salt kiln I temperature range of Cone 1-8. interest in vapor firing was changing, and wanted, so I decided to put salt firing on This type of kiln is certainly not meant I no longer desired the thick, heavy, peb­ the back burner for a while and try other to be a permanent long-time equipment bly look of salt. Rather, I was more con­ things that I had been wanting to do. solution, but rather a way of introducing cerned with unifying the disparate parts Over the years, I had noticed a great the fundamentals of gas and vapor firing of my pottery and creating a feeling of number of kilns being discarded, mostly to students, without the usual expense or sensuality on its surface. because of broken elements, or softbricks commitment to construction and space. At that time, I was using the salt kiln that were chipped. Many of these kilns Eventually, the bricks will disintegrate, at the University of the Arts, or firing the could have been repaired easily by replac­ but by then the kiln will have served its wood kiln at the Chester Springs Studio ing parts or patching holes. Often the purpose as a teaching tool. (the only place I know that will rent a 40- owners were either uninformed or just The particular kiln that we resurrected cubic-foot wood kiln), but I was growing too lazy. I always felt that too many of was circular, just one wall of softbrick, tired of the packing and unpacking, the these kilns were simply wasted. held in place by sheet-metal casing. The breakage that occurred, the traveling back As luck would have it, I had the op­ floor was connected to the wall and could and forth, and the extremely long hours portunity to conduct a workshop on “Al­ not be easily separated. We had decided involved with the process. Because I workternative Kilnbuilding” at the Perldns to make an updraft kiln, so we started by slowly and the pots are small, it took Center for the Arts in Moorestown, New cutting a hole in the lid for an exit flue, forever to make enough work to fill the Jersey. So, with the help of a great group and another on the lower side of the kiln, kiln. If I had a bad firing, a great deal of students, I altered an old 12-cubic-foot just above the floor, for the burner. We could be ruined. I especially disliked my electric kiln, which was headed for the pulled the electrical components out, and

April 1998 67 Glazes for Salt, Soda and Wood Firings

Many standard glaze recipes are suitable for salt, soda and wood firings, but because of the differ­ ences in temperature within the Perkins Center recycled kiln, I pre­ fer to use glazes that have greater than normal firing ranges. Teapot, 6 inches in height, thrown, altered and assembled stoneware, salt fired. Amber Gloss Glaze (Cone 1-6) filled the element grooves with a mixture the kiln. As an inexpensive and experi­ Cedar Heights Redart...... 50% of fireclay, grog and alumina. We also mental teaching tool, this kiln is extremely Gerstley Borate...... 50 coated the entire interior with a wash of beneficial and a whole bunch of fun. Of % equal parts alumina and kaolin. The course, we don’t achieve the kind of drippy, 100 shelves we had available to us at the timeash-covered richness that you expect from A burnt orange where thin and am­ were made of cordierite. These were a Cone 10 firing, but that is not what ber where thick in oxidation; celadon washed with the same mixture on top, we’re after. The firings are softer and not green in reduction. For a purple gloss, while the bottoms received a much thin­ so severe or labor intensive. add 0.25% cobalt carbonate and 2% ner coating. We eventually replaced these Old kiln bricks are another wonderful manganese dioxide. shelves with silicon carbide. To date,I resource for small experimental kilns. have fired this ldln at least 30 times with Many brickyards or tile companies are Wright s Water Blue Glaze very little wear and tear on the sidewalls. glad to give away their discards. Building (Cone 1-6) The bottom of the kiln, however, has kilns from single bricks is a great learning Lithium Carbonate...... 3 % begun to deteriorate and will soon need tool, as you can easily alter the shape of Strontium Carbonate...... 9 to be replaced with a hardbrick floor. the kiln to discover which design works Frit 3110...... 59 The kiln is fired with propane to Cone best. You might build one type of kiln for Edgar Plastic Kaolin...... 12 5-6 in about five hours. A neutral atmo­ straight reduction, then rebuild it to be Flint...... 17 sphere is maintained until Cone 4 starts used for sawdust firing. 100% to bend, at which time both salt and Many electric kilns, as well as loose Add: Bentonite...... 2% wood (about 2-3 pounds of salt and ten soft- and hardbricks are simply tossed Copper Carbonate...... 5 % lxlxl 2-inch sticks or branches) are in­ away, when they could be put to good use troduced. Over the next half hour, the for teaching purposes. The experience of A glossy turquoise in oxidation. temperature reaches Cone 6 at the bot­ designing, building and firing a tempo­ Blue-Green Matt Glaze tom, but is usually lower at the top, around rary kiln is a wonderful group project for (Cone 4-8) Cone 2. all age levels. Before scrapping old kilns Whiting...... 30% Every firing is unique, asI like to try and damaged refractories, I hope every­ different approaches and techniques each one reading this short article will consider Cornwall Stone...... 45 time. I usually throw any combustible I donating them to a local art center to be Edgar Plastic Kaolin...... 20 can find lying around the art center into recycled for just this purpose. A Gerstley Borate...... 5 100% Add: Tin Oxide...... 4% Copper Carbonate...... 4% A wonderful glaze for both oxida­ tion and reduction. Peach Terra Sigillata Cedar Heights Redart .. 20 grams Kentucky Ball Clay (OM 4) ...... 180 Water...... 800 1000 grams Add: Calgon...... 10 grams “Bagel Bottom Bowl,” 8 inches in height, Cone 6 stoneware, For bone-dry ware. Flashes nicely. by David Wright, Moorestown, New Jersey.

68 CERAMICS MONTHLY April 1998

Biennale, PO Box 184, Florida Hills 1716, shown at the Clay Studio and who rarely show in Call for Entries Gauteng, R. S. A.; or telephone/fax Gail de Klerk, the Philadelphia area. Juried from up to 12 slides Application Deadline for Exhibitions, (27) 673-3748 or telephone Cynthia McAlpine with description sheet, and resume (withSASE). (27) 768-5341, fax (27) 768-5342. Contact K. E. Narrow, The Clay Studio, 139 N. Fairs, Festivals and Sales August 28 entry deadline Second St., Philadelphia 19106. Zanesville, Ohio “1998 International Ceram­ Philadelphia, Pennsylvania “Tiles” (October). ists Invitational Biennial” (October 25—Novem­ Juried from slides. No entry fee. For application, International Exhibitions ber 29). Juried from slides. For prospectus, send send SASE to the Clay Studio, 139 N. Second St., business-size SASE to Zanesville Art Center, 620 Philadelphia 19106 or download from website May 15 entry deadline Military Rd., Zanesville 43701. www.libertynet.org/-claystdo; or, for informa­ Naples, Maine “101 Clayart Mugs” (June 25- September 30 entry deadline tion only, telephone (215) 925-3453. September 7), open to potters who subscribe to Columbus, Ohio “ Ceramics Monthly Interna­ July 1 entry deadline Clayart. Juried from slides, photos, actual works tional Competition” (March 15-21, 1999), open Lindsborg, Kansas “Aesthetics ’98” (October- or digital files. Entry fee: $10 (refunded if not to utilitarian and sculptural ceramics. Location: November), open to all media. Juried from slides. selected). For further information, contact Columbus Convention Center, in conjunction Awards. Location: Sandzen Memorial Art Gal­ Marshall Talbott, c/o Pottery By Celia, PO Box with the National Council on Education for the lery. For application, send business-size SASE to 4116, Naples 04055; telephone (207) 693-6100 Ceramic Arts (NCECA) 1999 conference. No en­ Aesthetics, 300 N. Main, McPherson, KS 67460. or e-mail [email protected] try fee. Juried from slides. Cash awards. Color July 22 entry deadline Naples, Maine “Second Annual Clayarters In­ catalog. For prospectus, contact CM Interna­ New Castle, Pennsylvania “The 17th Annual ternational” (June 25-September 7), open to art­ tional Competition, PO Box 6102, Westerville, Hoyt National Art Show” (October 4-November ists who subscribe to Clayart. Juried from slides, OH 43086-6102; fax (614) 891-8960; or down­ 7), open to artists over 17 years old working in any photos, actual works or digital files. Contact load from www.ceramicsmonthly.org medium. Juried from slides. For prospectus, send Marshall Talbott, c/o Pottery By Celia, PO Box SASE to Hoyt National, 124 E. Leasure Ave., New 4116, Naples 04055; telephone (207) 693-6100 United States Exhibitions Castle 16101. or e-mail [email protected] Dieulefit, France “International Ceramic Com­ April 17 entry deadline Regional Exhibitions petition: The Ceramic Phone Booth” (May 30- Laramie, Wyoming“Second Annual Wyoming April 24 entry deadline August 31). Juried from drawings of the booth at Pottery Show” (May 1-30).'Theme: teapots and Gatlinburg, Tennessee “Spotlight ’98” (August 1:5 scale and/or other visual support needed for pitchers. Juried from actual works; up to 4 entries. 13—October 24, then traveling), open to artists presentation, plus resume. Works should not ex­ Cash awards. For prospectus, sendSASE to Arti­ over 18 residing in Alabama, Florida, Georgia, ceed 1100 pounds, 7½ feet in height or 13 square sans Gallery, 213 S. Second St., Laramie 82070. Kentucky, Louisiana, Mississippi, North Caro­ feet. Four finalist awards of US$300; winner will April 19 entry deadline lina, South Carolina, Tennessee, Virginia and receive US$2500 at completion of project in Southport, North Carolina Exhibition of two- West Virginia. J uried from slides of up to 3 works. Provence. No entry fee. Contact Maison de la and three-dimensional work (July 1-August 1). Juror: David McFadden, chief curator, American Terre Parc de la Baume, 26220 Dieulefit; e-mail Juried from slides. Juror/3-D: Sid Oakley. Awards: Craft Museum, New York City. Entry fee: $20. [email protected] or see website at $5000; best of show, $ 1000. For prospectus, send Cash and merit awards. For entry form, send SASE www.ceramic.com/Maison.Terre. Dieulefit/ SASE to Associated Artists Southport, PO Box to Billi R. S. Rothove, Arrowmont School of Arts June 1 entry deadline 10035, Southport 28461. and Crafts, PO Box 567, Gatlinburg 37738; or Mashiko, Japan “The 2nd Mashiko Ceramics April 30 entry deadline telephone (423) 436-5860. Competition ’98” (October 4-November 29). Middletown, Ohio “The Miami Valley Annual May 1 entry deadline Juried from actual works. Jurors: master potters Cross Roads in Clay Exhibition” (June 26-July Kingston, Rhode Island “Earthworks: Open Tatsuzo Shimaoka, Shinsaku Hamada, Hideyuki 23). Juried from slides. Fee: $10 per entry or $25 Juried Clay Annual” (May 7-23), open to current Hayashi, Ryusaku Miwa; plus art critics Hiroshi for 3. Juror: Josh DeWeese, director, Archie Bray and former residents (or students) of Rhode Is­ Aoki, Mitsuhiko Hasebe, Kenji Kaneko and Foundation, Helena, Montana. Contact Cross Roads land. Juried from work. Juror: Robert Green. Fee: Hiroshi Mizuo. No fee. Awards: Shoji Hamada in Clay, Arts in Middletown Building, PO Box 441, $8 per entry; up to 6 entries. Cash awards. For Award and Shoji Kamoda Award, each, 1,000,000 Middletown 45042; or telephone (888) 844-4246. prospectus, send #10SASE to Earthworks, South yen (approximately US$7800), plus judges’ spe­ May 30 entry deadline County Art Association, 2587 Kingstown Rd., cial awards, 100,000 yen (approximately US$780). Philadelphia, Pennsylvania “Invitational Artist Kingston 02881. For further information, contact Secretariat, Series” (three solo exhibitions throughout 1998— Bellingham, Washington “Eighteenth Annual Mashiko International Pottery Contest Executive 1999). J uried From slides. No entry fee. For appli­ Northwest International Art Competition” (July Committee, 2030 O-aza Mashiko, Mashiko- cation, send SASE to the Clay Studio, 139 N. 10-October 10), open to artists residing in Ore­ Machi, Haga-Gun, Tochigi-Ken 321-42; or fax Second St., Philadelphia 19106 or download from gon, Washington, and British Columbia, Canada. (81) 285-72-6430. website at www.libertynet.org/-claystdo Juried from slides. Fee: $8 per entry; up to 3 entries. July 25 entry deadline June 1 entry deadline For application, send SASE to Allied Arts of Sandton, South Africa “1998 National Ceram­ Chester Springs, Pennsylvania “Working with Whatcom County, PO Box2584, Bellingham 98227. ics Biennale” (September 18-October 10), now Function” (September 18-October 11). Juried open to artists around the world. Juried from 3 from 5 slides per entry. Juror: Linda Sikora. Entry Fairs, Festivals and Sales slides. Awards: first place, R10,000 (approximately fee: $15 (refunded if not accepted). For applica­ US$2024); Altech Sculpture Award, R5000 (ap­ tion, send #10 SASE to Working with Function, April 6 entry deadline proximately US$1012); 5 merit awards, R1000 Chester Springs Studio, PO Box 329, Chester Chautauqua, New York “Chautauqua Crafts (approximately US$200) each; best New Signa­ Springs 19425; telephone (610) 827-7277 or Alliance” (July 10-12 and/or August 7-9). Juried ture, R1000; best handwork, R500 (approximately e-mail [email protected] from 3 slides of work plus 1 of booth. Entry fee: US$100); best thrown piece, R500. For further June 12 entry deadline $10 per show. Booth fee: $175 per show. For information, contact the Association of Potters of Milwaukee, Wisconsin “Constant Cravings: A prospectus, send business-sizeSASE to Devon Tay­ Southern Africa, 1998 National Ceramics Juried Exhibit” (August 9-September 19), open lor, Festivals Director, Chautauqua Crafts Alli­ to works reflecting the cravings and/or obsessions ance, PO Box 89, Mayville, NY 14757-0089. For a free listing, please submit informa­ people have for food. Juried from slides. Fee: $25 April 7 entry deadline tion on juried exhibitions, fairs, festivals for up to 3 entries. Contact Constance Lindholm Boston, Massachusetts “Crafts at the Castle” and sales at least four months before the Fine Art, (414) 964-6220. (December 2-6). Juried from 5 slides. Entry fee: event’s entry deadline (add one month forJune 15 entry deadline $25. Booth fee: $550-$850 for an 8x10- or listings in July and two months for those in Helena, Montana “ANA 27” (August 28-Oc- 10x10-foot space. For application, send name August). Regional exhibitions must be tober 27). Juried from slides. Juror: Peter Frank. and address to Gretchen Keyworth, Crafts at the open to more than one state. Mail to CallCash awards. For prospectus, sendSASE to Holter Castle, Family Service of Greater Boston, 34½ for Entries, Ceramics Monthly, PO Box Museum of Art, 12 E. Lawrence, Helena 59601. Beacon St., Boston 02108; or fax (617) 523-3034. 6102, Westerville, OH 43086-6102, e-mail June 30 entry deadline April 10 entry deadline to [email protected] or fax to Philadelphia, Pennsylvania Exhibition of func­ Staten Island, New York “First Annual Out-of- (614) 891-8960. tional works (April 1999), open to professional Hand Fine Craft and Performance Festival” (Octo­ artists making utilitarian work who have never ber 16-18). Juried from 5 slides. For application,

April 1998 71 Call for Entries

send SASE to Snug Harbor Cultural Center Crafts Fair, Att: Alison Johnson, Out-of-Hand Director, 1000 Richmond Terr., Staten Island 10301; or telephone (718) 448-2500. April 15 entry deadline Evergreen, Colorado “32nd Annual Evergreen Arts Festival” (August 22-23). Juried from 4 slides of work plus 1 of display. For application, contact Evergreen Artists’ Association, Danna Cuin, PO Box 1511, Evergreen 80437; or tele­ phone Danna Cuin (303) 674-5521. New Britain, Connecticut “American Arts Fair” (September 19-20). Juried from 3 slides or pho­ tos. Entry fee: $10. Booth fee: $100 for a 10x10- foot space. Jurors: Laurene Buckley, director/ curator, New Britain Museum of American Art; Ann Grimm, painter; Robin Johnson, ceramist; Kari Lonning, basket maker; Elizabeth Mac­ Donald, ceramist; and Thomas Michie, curator, decorative arts, Rhode Island School of Design. Contact New Britain Museum of American Art, 56 Lexington St., New Britain 06052; or tele­ phone (860) 229-0257. May 1 entry deadline Richmond, Virginia “34th Annual Hand Workshop Art Center’s Craft and Design Show” (November 13-15). Juried from 5 slides. Entry fee: $15. Booth fee: $325 for a lOxlO-foot space, $490 for a 10x15-foot space, or $650 for a 10x20-foot space. Contact the Hand Work­ shop, 1812 W. Main St., Richmond 23220; tele­ phone (804) 353-0094 or fax (804) 353-8018. May 5 entry deadline Tampa Bay, Florida “ACC Craft Show Tampa Bay” (December 4—6). Juried from slides. Tele­ phone the jAmerican Craft Council (800) 836-3470. Charlotte, North Carolina “ACC Craft Show Charlotte” (December 11—13). Juried from slides. For further information, telephone the American Craft Council (800) 836-3470. Bellevue, Washington “Second Annual Belle­ vue Showcase of Fine Crafts” (September 18- 20). Juried from slides. Telephone the Ameri­ can Craft Council (800) 836-3470. May 15 entry deadline San Francisco, California “1998 Celebration of Craftswomen” (December 4—6 and 11—13). Juried from slides. Entry fee: $15. For application, send business-size SASE to Celebration of Crafts­ women, c/o San Francisco Women’s Building, 3543 18th St., San Francisco 94110. June 1 entry deadline Tampa, Florida “CraftArt ’98 Outdoor Fine Craft Festival” (October 17-18). Juried from 3 slides of work plus 1 of booth. Entry fee: $15. Booth fee: $185 for a 12x12- or 12xl5-foot space. Juror: Lloyd Herman, former director, Renwick Gallery, Smithsonian Institution. For application, send largeSASE to Florida Craftsmen, Inc., 501 Central Ave., St. Petersburg, FL 33701; or telephone (813) 821-7391. Mason City, Iowa “MacNider Museum Out­ door Art Market” (August 23). Juried from up to 5 slides. Fee: $40. Cash awards. Contact Charles H. MacNider Museum, 303 Second St., SE, Mason City 50401; or telephone (515) 421-3666. August 17 entry deadline Zanesville, Ohio “Zanesville Art Center Out­ door Festival” (September 19). Juried from slides. Entry fee: $10. Exhibitor’s fee: $25. No commis­ sion. Awards. For prospectus, send business-size SASE to Zanesville Art Center Festival Committee, 620 Military Rd., Zanesville 43701.

72 CERAMICS MONTHLY April 1998 73 floor sealer purchased from a concrete sup­ A“peel”ing Trimming ply house. The glaze will harden as if it had Trimming small pots with thin necks is Suggestions been sintered, so that transportation and sometimes difficult, but using a vegetable From Readers handling seldom result in any damage, and peeler facilitates this task. When trimming at the sealer burns off without affecting the the leather-hard stage, the sharp blade re­ glazes.—DonaldAdamaitis, Vancouver, Wash. moves a lot of clay at a time without grab- Oodles of Noodle Uses When cut into various shapes and Free Packing Material lengths, the 4-foot-long foam “noodles” Furniture stores are a good source of free that children use for swimming are great as packing material, as they regularly throw out shaping tools or for bracing sculptural thin blankets of closed-cell foam that have pieces. They can also be used to wipe tools protected headboards and mirrors during clean; after the clay dries, simply squeeze shipment.—Van Moore, College Park, Md. the noodle several times and it will be clean. I even cut a disk from one noodle Inventorying Supplies and put it inside a jar; now I can drop in all For an orderly and efficient studio, make my sharp tools without danger of ruining a large computer-printed chart of all your the points. Available in glowing colors un­ suppliers’ main chemicals, frits, clays, etc. (I A vegetable peeler can aid in the der various trade names in toy stores and made mine 2 feet square.) Attach this chart to trimming of small pots. swimming departments, noodles are sold a wall or handy closet door, and cover with a for $2—$3. What a bargain!—Suzanne sheet of clear Plexiglas. Use a dry-erase markerbing chunks. An old credit card makes a Hershey, Rocky Hill, Conn. to record the number of pounds, bags, etc., great rib for smoothing the surface after­ available. ward.—Linda Strydom, Secunda, Republic Transporting Glazeware Letter coding can be used to indicate in of South Africa I am often invited to a “kiln party” to which cupboard (C), hall (H), kiln room which everyone brings glazeware for the (KR), etc., the supply is located. A quick wipeInterlocking Extruded Coils firing. This used to pose a problem, due to of the Plexiglas with an eraser or your shirt Extruded coils in the shape of an inverted the chipping of raw glaze during transpor­ sleeve will allow you to bring your inventoryU or chevron are easier to work with when tation. When I had the time, I used to up to date, which in turn will aid in reorder­ throwing or handbuilding because each addi­ sinter the glazes, now I simply spray over ing your stock at the appropriate time.— tional coil locks over the previous coil. Build­ the dry glaze with a commercial acrylic Brother Llewellyn Kouba, Richardton, N.D. ing with such interlocking coils is also

74 CERAMICS MONTHLY

Suggestions from hands, tools, sponges, etc. Allow the easier grip. Palette knives also come in a residue to settle overnight. The next day, variety of shapes, which opens further possi­ more structurally sound than using rounded pour or siphon the clear water from the bilities.—Mona Arritt, Huntington, W. Va. coils. To make an extruder die for an inter­ top, then pour the glaze sediment into the locking coil to your desired specifications, original glaze bucket.— Diahanne McBride, Pad Sponges design on paper (using a copy machine to Hokes Bluff, Ala. Women’s shirts frequently come with increase or decrease size incrementally), sewn-in shoulder pads. If you are like me then transfer to ½-inch hardwood and cut Easier Grip (or know someone like me), you remove out with a scroll saw.—Jeannie Cole, Due to carpal tunnel syndrome, my handsthese doodads as soon as possible. But, Broomfield, Colo. are not as strong as they once were, so I’ve don’t thrown them away! The thin foam devised alternative ways of doing things wheninside is perfect for use as a smoothing Eliminating Glaze Waste throwing. The hardest part was holding a sponge around handle joins.—Mary Ella To eliminate waste when glazing, set a flexible rib to smooth the surface of a platter.Yamashita, Monroe, La. companion bucket of water beside each I found that a bent palette knife worlds as well glaze bucket, then use it to rinse that glaze as a rib and the handle allows me to have anCoarse Sieve Use an old 5-gallon bucket to make a coarse sieve by cutting out the bottom and gluing on window screen.—Ben Shelton, Las Cruces, N.M.

Recycled Mailers When transporting tall vases to craft shows, I protect them with recycled pad­ ded envelopes (used to ship kiln ele­ ments and other mail-ordered items) by sliding one of the envelopes over each pot before crating.—Pat Kelly, West Hyannisport, Mass.

Keeping Track of Slides To keep track of slides or photos taken at exhibitions or conferences, go prepared with a numbered sheet of paper to make notes as you take each shot.— Glen B. Blakley, Saint George, Utah

Bag Cap Those potters with bad wrists who fre­ quently lose the twist ties and want to avoid the stress of lifting and inverting a bag of clay to store can use an empty commercial glaze jar for a sufficiently tight closure. Just stuff the top of the bag in the inverted jar.—Carol Ratliff, San Diego

Hand Dryer I keep a stack of single sheet, quarter- page newspapers in my studio for drying my hands between projects. The wadded- up newspaper then goes directly into my wood stove. It is much cheaper than paper towels and helps in the recycling process.— Val Prophet, Dillon, Mont.

Share your ideas with others.Ceramics Monthly will pay $10 for each one published. Suggestions are welcome individually or in quantity. Include a drawing or photograph to illustrate your idea and we will add $10 to the payment. Mail toCeramics Monthly, PO Box 6102, Westerville, Ohio 43086-6102, e-mail to [email protected] or fax to (614) 891-8960.

76 CERAMICS MONTHLY April 1998 77 American Ceramic Society, PO Box 6136, [email protected] or see website at www. Calendar Westerville, OH 43086-6136; telephone (614) extension, ualberta.ca/finearts/fireworks 890-4700, e-mail [email protected] or see website Canada, Ontario, Mississauga May 22-24 Events to Attend—Conferences, www.acers.org “Different Paths,” annual conference of Fu­ Exhibitions, Workshops, Fairs Ohio, Dayton May 27-30 “First Annual Artists sion: The Ontario Clay and Glass Association, Marketing and Skills Development Conference,” will include workshops with Peter Powning and designed for beginning and intermediate artists, Chris Staley, panel discussion, slide presenta­ although all artists may attend. Contact the Artists tions, glaze consultations with Ron Roy, exhibi­ Conferences Marketing and Skills Development Conference, tion. Fee: Can$240 (approximately US$160), in­ do DeEarnest McLemore, Riverbend Art Center, cludes 1-year membership; students/seniors, North Carolina, Charlotte May 29-30 “Cer- 1301 E. Siebenthaler Ave., Dayton 45414; or Can$205 (approximately US$140); members, MATECH ’98” will include keynote speech “Mar­ telephone (937) 278-0656. Can$185 (approximately US$125); student/se­ keting and Marketing on the Web” with Sheri Australia, Gulgong May 7-13 “Hyperclay nior members, Can$l65 (approximately US$110). Marshall, potter/marketer/designer. Also includes Gulgong 1998” will include hands-on workshops Late fee of Can$25 (approximately US$15) after sessions on clay bodies, orange and red stains, in making pottery, sculpture and installations, April 30. Contact Fusion: The Ontario Clay and controlling glaze properties using electrolytic building and firing the Red Bellied Black, plus Glass Association, Gardener’s Cottage, 225 Con­ methods, glaze and body fit, use of gold in exhibitions and tours. Presenters include Dan federation Dr., Scarborough, Ontario MIG 1B2; decoration, rheology, prepared clays and test­ Anderson, Claude Champy, Ross Mitchell-Anyon, telephone (416) 438-8946, fax (416) 438-0192 or ing, reduction firing, gas vs. electric kilns, plas­ Alan Peascod, Don Reitz (keynote speaker), e-mail [email protected] ter mold forming,extrusion techniques and equip­ Gabriele Schnitzenbaumer, Sandra Taylor and England, Preston September 4—6 “International ment, and pressing. Contact CerMA, PO Box Masamichi Yoshikawa. For further information, Festival of Ceramics: Fired Print” will include dem­ 2188, Zanesville, OH 43702-2188; telephone contactCeramics Art and Perception, 35 William onstrations, lectures and workshops by Greg Bell, (740) 452-4541, fax (740) 452-2552, e-mail St., Paddington, NSW, 2021, Australia; telephone Neil Brownsword, Maria Geszler, Juliette Goddard, [email protected] or website http:// 02 9361 5286, fax 02 9361 5402, e-mail Jefford Horrigan, Mo Jupp, Les Lawrence, Patrick www.offinger.com/cermatech [email protected] or see website King, Philomena Pretzell and Helen Talbot. Con­ North Carolina, Winston-Salem April 23—26 www.ceramicart.com.au tact Caroline Till, 21 Hamilton Way, Acomb, York, “Congress of Craft and Art Educating Communi­ Canada, Alberta, Edmonton May 21—24 “Fire­ Y02 4LE, United Kingdom. ties,” symposium for artists, students, educators works ’98” will include keynote speaker Janet Lithuania, PanevezysJuly 26—31 “Panevezys In­ and administrators, will include ceramics work­ Mansfield, plus guest artists Ryan Cameron, ternational Symposium 10th Anniversary Con­ shops with Mary Louise Carter and Lana Wilson. John Chalke, Jun Kaneko, Warren MacKenzie, ference” will include demonstrations and slide Fee: $150, full session; or $100 per day. Contact Frederick Olsen, Diane Sullivan, Barbara Tipton lectures by Romualdas Aleliunas, Vilija Balciu- the Sawtooth Center for Visual Art, 226 N. and William Truchon. A pre-seminar kiln- niene, Eugenijus Cibinskas, Nerute Ciuksiene, Marshall St., Winston-Salem 27101; or telephone building workshop will also be held May 18- Philip Cornelius, Greg Daly, Luisa Figini, Makoto (336) 723-7395. 21. For further information, contact Fine Arts, Hatori, Nina Hole, Yih-Wen Kuo, Juozas Ohio, Cincinnati May 3-6 The American Ce­ Faculty of Extension, University of Alberta, 93 Lebednykas, Peteris Martinsons, Hans Meeuwsen, ramic Society’s “100th Annual Meeting and Ex­ University Campus NW, Edmonton T6G 2T4; Fred Olsen, Thomas Orr, Egidijus Radvenskas, position.” For further information, contact The telephone (403) 492-3034 or 492-3093, e-mail Giancario Scapin, Mitsuo Shoji and Rimas

78 CERAMICS MONTHLY April 1998 79 Rayl; at the Folk Art Center, Milepost 382, Blue Calendar Ridge Pkwy. North Carolina, Durham through April22 Gayle Tustin, wall reliefs; at the Durham Art Guild, 120 VisGirda. Also includes exhibitions. Contact Morris St. Jolanta Lebednykiene, Director, Panevezys Civic North Carolina, Seagrove April 1-30 David Gallery, Respublikos 3, 5319 Panevezys; or fax Byron, copper-matt raku-fired vessels, vases and (370) 542-4721. body sculptures; at Blue Moon Gallery, 1387 Hwy. 705, S. Solo Exhibitions Pennsylvania, Philadelphia April 3—26 Ken Vavrek, Clay Studio founder, sculpture. Resident Arizona, Phoenix through April 19 Ah Leon ce­ artist Doug Herren, monumental stoneware ves­ ramic bridge; at the Phoenix Art Museum, 1625 sels. May 1-24 Kukuli Velarde, Evelyn Shapiro N. Central Ave. Foundation Fellowship recipient; at the Clay Stu­ Arizona, Tempe through April 19 Richard Shaw; dio, 139 N. Second St. at Tempe Arts Center, 54 W. First St. Pennsylvania, Pittsburgh through May 24 California, Berkeley April 3-25 Jane B. Grimm, “Michael Lucero, Sculpture 1976-1995”; at the sculpture from the “Evolution Series”; at the Fig Carnegie Museum of Art, 4400 Forbes Ave. Tree Gallery, 2599 Eighth St., #42. Pennsylvania, Sewickley through April 15 Mark California, Los Gatos April 5-26 Teresa Hotta, Yasenchack, terra-cotta boxes and vessels; at Native American pit-fired pottery and sculpture; at Sweetwater Center for the Arts, 200 Broad St. the Friendship Gallery, First United Methodist Texas, Commerce through April 3 Marty Ray, Church, 19 High School Ct. illustrated pottery; at Texas A &: M University- California, San Franciscothrough May 2 Richard Commerce, University Art Gallery. Shaw, porcelain sculpture; at Braunstein/Quay Texas, Houston April 19—May 23 Gary Kosmas, Gallery, 250 Sutter St. “Tables of Content,” porcelain, bronze, alumi­ April 1—14 Bonita Cohn, “Dances with Fire,” num and found wood; at Archway Gallery, 2013 anagama-fired pottery and photographs ofwood- W. Gray. burning kilns; at Ruby’s Clay Studio and Gallery, Texas, Lancasterthrough April5 Mary Law, soda- 552A Noe St. fired stoneware and porcelain. April 6—May 3 Illinois, Chicagothrough April 19] ohn R. Kevern, Sandi Pierantozzi, terra cotta. Neil Patterson, sculpture; at Vale Craft Gallery, 230 W. Superior St. wood-fired stoneware; at the Cedar Valley College Indiana, Indianapolis May 1-31 Judith Titche; at Ceramics Gallery, 3030 N. Dallas Ave., E Bldg. Artifacts Gallery, 6327 N. Guilford Ave. Virginia, Bridgewater through April 3 Tamara Louisiana, New Orleans May 9—August 2 “Picasso Laird; at the Kline Center Gallery, Kline Campus Ceramics from New Orleans Collections”; at the Center, Bridgewater College. New Orleans Museum of Art, City Park, 1 Collins Diboll Circle. Group Ceramics Exhibitions Maryland, Hagerstown through April 5 Scott R. Jones platters and pots, “Many Styles”; at Wash­ Arizona, Phoenix through April 18 “Legacy of ington County Museum of Fine Arts, City Park. Generations,” works by 28 Native American Massachusetts, Boston April 1—30 Stephen women potters; at the Heard Museum, 22 E. Robison and Kathleen Guss, soda- and wood- Monte Vista Rd. fired functional pottery with carved slip designs; California, Davis through April 25 “More than at Infinity Gallery, 645 Tremont St. Clay: Toki Collection of Ceramics”; at Pence April 4—May 5 Fance Franck, “The Poetry of Gallery, 212 D St. Nature”; at Pucker Gallery, 171 Newbury St. through May 3 “12th Annual Thirty Ceramic Massachusetts, Northamptonthrough April 19 Sculptors Show”; at John Natsoulas Gallery, 140 Megan Hart, porcelain; at Ferrin Gallery, 179 F St. Main St. April 2—May 15 “Wallwork,” ceramic sculpture Michigan, Ferndale through April 11 Susanne by Steve Braun, Robert Charland, Linda Fitz Stephenson vessels and platters; at Revolution, Gibbon and Arthur Gonzalez; at SMUD Art Gal­ 23257 Woodward Ave. lery, SMUD Customer Service Center, 6301 S St., Michigan, PontiacApril 4-May 2 John Wood­ off 65th St. ward. May 8—30 Lee Stoliar, “One of the Ways”; April 3-May 2 “1998 California Clay Competi­ at Shaw Guido Gallery, 7 N. Saginaw St. tion”; at the Artery, 207 G St. Minnesota, Minneapolis through April 18 Eddie California, Laguna Beach through June 30 Ce­ Dominguez, “Influences of Home, Land and ramics from the Igal and Diane Silber collection; Culture”; at the Northern Clay Center, 2424 at the Laguna Beach Museum of Art, 307 Cliff Dr. Franklin Ave., E. California, La Jolla through April 3 “Current Clay through April 18 Eddie Dominguez, “Influences VII,” juried exhibition of works by artists residing of Home, Land and Culture”; at CreArte, Chicano in southern California; at Gallery Eight, 7464 Latino Art Center and Museum, 1921 Chicago Ave. Girard Ave. New York, Alfred^4pn718-July23 “The Stonewares California, Lincoln May 16—June 7“ Feats of Clay of Charles Fergus Binns: The Father of American XI”; at Gladding McBean terra-cotta factory. Studio Ceramics”; at the International Museum of Reservations required; telephone (916) 645-9713. Ceramic Art at Alfred, Alfred University. California, San Franciscothrough May 31 “Brit­ New York, New York through April 4 Ralph ish Potters: Dixon Long Collection”; at the San Bacerra. Junko Kitamura. Beatrice Wood.April7— Francisco Craft and Folk Art Museum, Building May 2 Ken Ferguson. Michael Cleff.May 5-June 6 A, Fort Mason. Bodil Manz. Claudi Casanovas; at Garth Clark California, Santa Monica through April 1 Gallery, 24 W. 57th St. Clayworks by Akio Takamori and Kurt Weiser; at New York, Nyack April 16-May 14 Stephen A. Frank Lloyd Gallery, 2525 Michigan Ave., B5b. Rodriguez; at the Klay Gallery, 65 S. Broadway. Connecticut, Brookfield through May 3 “Salt New York, Port Chester April 3-25 Julia Galloway, Fired: Form and Surface”; at Brookfield Craft functional ceramics.May 1—30 Christina Pitsch, Center, 286 Whisconier Rd. “Transmogrified Interpretations”; at the Clay Art Hawaii, Makawaoy4pr/l77— May 9“Y\.u\ No’eau Center, 40 Beech St. Juried Ceramics Show”; at Hui No’eau Visual North Carolina, Asheville May 8-June 23 Scott Arts Center, 2841 Baldwin Ave. Continued

80 CERAMICS MONTHLY April 1998 81 Calendar

Illinois, Chicago through April 26 “Vessels That Pour,” works by over 45 clay artists. May 9-June 21 “Unaffected: The New Naturalism of Four Emerging Women Ceramists,” works by Tanya Behrbass-Schulze, Jessica Bohus, Adelaide Paul and Angelica Pozo; at Gallery 1021: Lill Street, 1021 W. Lill. Kansas, Baldwin City through April 7 “The 1998 International Orton Cone Box Show”; at Baker University, 618 Eighth St. Louisiana, New Orleans May 9-August 2 “Sing­ ing the Clay: Pueblo Pottery of the Southwest Yesterday and Today”; at the New Orleans Mu­ seum of Art, City Park, 1 Collins Diboll Circle. Maryland, Baltimore through April 26 “A Fresh Perspective,” work by resident and member art­ ists; at Baltimore Clayworks, 5706 Smith Ave. Massachusetts, Boston May 2-June 28 “Func­ tional Clay,” works by 12 ceramists; at the Society of Arts and Crafts, 175 Newbury St. May 5—June 26 “Emerging Artists*Functional Clay”; at Society of Arts and Crafts, 101 Arch St. Massachusetts, Ipswich April4—30 “Oceanlines.” May 2—June 30 “Garden Adornments”; at the Ocmulgee Pottery and Gallery, 317 High St. (Rte. 1A). New Mexico, Roswell through May 24 “Ceram­ ics: Celebration ’98”; at Roswell Museum and Art Center, 100 W. Eleventh St. New York, Alfred through September 18 “The Students of Binns”; at the Ceramic Corridor In­ novation Center, Rte. 244, 200 N. Main St. New York, New York April 2—June 14 “Art and Industry: 20th-Century Porcelain from Sevres,” featuring almost 200 one-of-a-kind and limited production works, plus artists’ original drawings and designs; at the American Craft Museum, 40 W. 53rd St. North Carolina, Charlotte through August 23 “The Knouff Collection of Asian Ceramics”; at the Mint Museum of Art, 2730 Randolph Rd. May 5-30 “Attention to Detail,” pottery by Terry Gess, Maren Kloppman, Jeff Noska and Jane Shellenbarger; at gallery W. D. O., 2000 South St., Ste. 610. North Carolina, SeagroveMay 1-31 Susan and Jim Whalen, pit-fired vessels and organic sculp­ tural wall forms; at Blue Moon Gallery, 1387 Hwy. 705, S. Ohio, Chagrin Falls May 15-June 14 “Raku Festival and Exhibit”; at Valley Art Center, 155 Bell St. Ohio, Clevelandthrough July 5 “Gifts of the Nile: Ancient Egyptian Faience”; at the Cleveland Museum of Art, 11150 East Blvd. Ohio, Wooster through April 18 “Functional Ceramics 1998,” works by 25 potters; at the Wayne Center for the Arts, 237 S. Walnut St. Pennsylvania, EphrataMay 3—24 “Sixth Annual Strictly Functional Pottery National”; at the Mar­ ket House Craft Center, 100 N. State St. Pennsylvania, PhiladelphiaMay 1-24 “Made at the Clay Studio,” sculpture and functional ware created during international artist residencies.May 31-June28 “Contemporary Puerto Rican Ceram­ ics,” works by 20 artists; at the Clay Studio, 139 N. Second St. Pennsylvania, Pittsburghthrough May 24 “ Pitts­ burgh Collects Clay”; at the Carnegie Museum of Art, 4400 Forbes Ave. Texas, Dallas through April 1 Pottery by Richard Aerni and Malcolm Davis; at the Creative Arts Center, 2360 Laughlin. through April 5 “Clay Traditions: Texas Educators and Their Teachers,” works by 14 ceramics edu-

82 CERAMICS MONTHLY April 1998 83 Burroughs and Helen Otterson; at Vermont Clay at the California Palace of the Legion of Honor, Calendar Studio, 24 Main St. Fine Arts Museums of San Francisco, Lincoln Virginia, Alexandria April 1-26 “Works from Park, 34th Ave. and Clement St. Mother Earth,” ceramics by Washington Kiln April 16—July 28 “Art from Around the Bay: cators and their mentors; at Dallas Museum of Club members; at Scope Gallery, Torpedo Fac­ Recent Acquisitions”; at the San Francisco Mu­ Art, 1717 N. Harwood. tory, 105 N. Union St. seum of Modern Art, 151 Third St. through April 24 “Texas Tea,” works by John Connecticut, New HavenApril 13-May 22 “Vi­ Britt, Sally Campbell, Mark Epstein, Barbara Ceramics in sual Poetry: Word as Image”; at Creative Arts Frey, Ginger Geyer, Gary Huntoon, Susie Moody, Multimedia Exhibitions Workshop, 80 Audubon St. Michael Obranovich and Marty Ray; at Edith Connecticut, NewMilford through April 26“ Col­ Baker Gallery, 2404 Cedar Springs at Maple. Arizona, Mesa through April 18 “The Draping ors of Spring,” three-person exhibition including through May 1 “Fireworks: On and Off the Wall,” Game. ” April 28-May 30 “Myths, Metaphors and ceramics by Mary Lou Alberetti; at the Silo, Hunt works by approximately 35 Texas ceramists. Icons”; at Mesa Arts Center, 155 N. Center St. Hill Farm, 44 Upland Rd. through May 2 “Two Peas Outta the Pod,” salt- Arkansas, Little Rock April 26-June 14 “Pure D.C., Washington through April 26 “Japanese and raku-fired stoneware by Randy Brodnax and Vision: American Bead Artists”; at Arkansas Arts Arts of the Meiji Era (1868-1912)”; at the Freer Michael Obranovich; at the Dallas Visual Arts Center, MacArthur Park, Ninth and Commerce. Gallery of Art, Smithsonian Institution. Center, 2917 Swiss Ave. Arkansas, Springdale April 6-May 25 “16th An­ Florida, Hollywood through May 10 “45 th Florida Texas, El Paso through April5 “From the Ground nual Women’s National Juried Art Exhibition”; Craftsmen Exhibition”; at the Art and Culture Up XVII,” juried regional; at Los Paisanos Gal­ at the Art Center of the Ozarks, 214 S. Main. Center of Hollywood, 1650 Harrison St. lery, Chamizal National Park. California, Fresno April 7—August 9 “A Taste for Florida, St. Petersburg May 8—June 19 “Young Texas, Ft. Worth through April 3 “Within the Splendor: Russian Imperial and European Trea­ Floridians,” juried exhibition of crafts by college Borders,” juried exhibition of works by Texas sures from the Hillwood Museum,” over 180 students; at Florida Craftsmen Gallery, 501 Cen­ potters; at Bank One Texas, 500 Throckmorton. decorative and fine-art objects; at the Fresno tral Ave. Texas, Irving through April 8 “Making It in Clay: Metropolitan Museum, 1555 Van Ness Ave. Florida, Tampa April 18—June 10 “Artful Toys”; Celebrating Student Success,” works by past and California, La Jolla May 5—30 “Tea for Two,” at Artists Unlimited, 223 N. 12th St. present students of North Lake College; at North ceramic or glass, paired teacups; at the UCSD Georgia, Atlanta through May 1 “Convergence 8: Lake College Gallery, 5001 N. MacArthur Blvd. Grove Gallery. Annual City of Atlanta Art Centers Faculty and through April 26 “To Have and to Hold: Ceramic California, Sacramento April 2—25 “Figurative Staff Exhibit”; at the City Gallery at Chastain, Vessel Making in Texas,” works by approximately Works,” dual exhibition with bronze and clay 135 W. Wineca Rd., NW. 50 ceramists; at the Irving Arts Center, 3333 N. sculpture by Helen Post; at Solomon Dubnick Georgia, Savannah May 8—June 1 “Arts on the MacArthur Blvd. Gallery, 2131 Northrop Ave. River Festival 19th Annual Juried Fine Arts Com­ Texas, San Angelo April 16-May 31 “Twelfth California, San Diego through April 30 “Arts of petition”; at the West Bank Gallery, 322 Martin San Angelo National Ceramic Competition”; at the Amazon,” 250 art and ritual objects; at Mingei Luther King Jr. Blvd. San Angelo Museum of Fine Arts, 704 Burgess St. International Museum of Folk Art, Balboa Park, Hawaii, Makawao May 30-July 11 “Juried Mem­ Vermont, Montpelier April 1-30 “The Pottery of Plaza de Panama. bers Exhibit”; at Hui No’eau Visual Arts Center, Mata Ortiz, Central American Village Pottery.” California, San Franciscothrough April 19 “Trea­ 2841 Baldwin Ave. May 1—29 “Women in Clay,” works by Nancy sures of African Art from the Tervuren Museum”; Illinois, ChicagoApril 5—May 11 “Teapots, Fun,

84 CERAMICS MONTHLY April 1998 85 April 5-26 Three-person exhibition including Calendar ceramics by Denise Romecki; at the Cultural Arts Center, 139 W. Main St. Funky and Functional”; at Chiaroscuro Galleries, April 25-June 28 “The Best of 1998,” juried 700 N. Michigan Ave. exhibition of Ohio crafts; at the Ohio Craft Mu­ Illinois, Galesburg through April 11 “GALEX 32”; seum, 1665 W. Fifth Ave. at Galesburg Civic Art Center, 114 E. Main St. Ohio, Dayton May 3-31 “The Art of Tea and Kansas, Wichita through April2“Art Show at the Coffee”; at the Woodbourne Gallery, 175 E. Alex Dog Show”; at the Foyer Gallery, Century II Bell Rd. Convention Center. Ohio, Lancaster through May 9 “Garden Sculp­ April 3-5 “Art Show at the Dog Show”; at the ture—Art for Your Garden”; at the Gallery at Sunflower Cluster Dog Shows, Kansas Coliseum. Studio B, 140 W. Main St. Louisiana, Lafayette through April 23 National Pennsylvania, Philadelphia April 1-30 Exhibi­ juried exhibition of 2- and 3-dimensional art; at tion including ceramics by Gary DiPasquale, Frank the Lafayette Art Gallery, 412 Travis St. and Polly Martin; at the Works Gallery, 303 Massachusetts, Boston through May 17“A Grand Cherry St. Design: The Art of the Victoria and Albert Mu­ Tennessee, Chattanooga through May “1997-98 seum”; at the Museum of Fine Arts, Boston, 465 Sculpture Garden Exhibit”; at River Gallery, 400 Huntington Ave. E. Second St. Massachusetts, Cambridge through April 12 “Il­ Tennessee, Gatlinburg through April 11 “New luminations: Into the Light,” juried exhibition of Form/New Function: Surface.” “National Spring lighting devices, including candlesticks, lamps, Faculty Invitational Exhibition.” April 15—May lanterns and sconces; at Cambridge Artists Coop­ 16 “Artists-in-Residence Exhibition”; at Arrow- erative, 59A Church St. mont School of Arts and Crafts, 556 Parkway. Massachusetts, Lexington through May 3 “Clay/ Tennessee, Nashville April 18-May 30 “The Best Paper/Paint and Glazes,” with architectural ce­ of Tennessee Crafts”; at Parthenon Gallery, Cen­ ramics by Joan Carcia; at Depot Square Gallery, tennial Park. 1837 Massachusetts Ave. Texas, Dallas through April 4 “Surfaces,” three- Massachusetts, Wellesley through June 7 person exhibition with ceramic sculpture by Lisa “Memory: Luba Art and the Making of History”; Ehrich and Marla Ziegler; at Craighead-Green at the Davis Museum and Cultural Center, Gallery, 2404 Cedar Springs, Ste. 700. Wellesley College, 106 Central St. Utah, Salt Lake City through April 5 “ME WE,” Massachusetts, Worcesterthrough April 25 “New collaborative exhibition of works by ceramist Tre Traditions ’98 Visiting Artists Exhibition,” in­ Arenz and metal sculptor Amie McNeel; at the Salt cluding ceramics by Karen Karnes.April 3-May Lake Art Center, Main Gallery, 20 S.W. Temple. 16 “Bread and Butter—In the Spirit of Everyday Wisconsin, Milwaukee May 15—June 26 “Mess­ Living: Works in Clay, Fiber, Metal and Wood,” ing About in Boats”; at Constance Lindholm Fine with pottery by Robbie Lobell; at the Worcester Art, 3955 N. Prospect. Center for Crafts, Main Gallery, 25 Sagamore Rd. New Jersey, Morristown through April 19 “Flora Fairs, Festivals and Sales ’98,” including pottery by Debra Betancourt; at Macculloch Hall Historical Museum, 45 Mac- California, Lincoln May 16“Lincoln Clayfest”; at culloch Ave. Beermann Plaza, Fifth and F sts., downtown. New York, Albany through April 26 “The 1998 California, Sierra Madre May 16—17 “Sierra New York State Biennial”; at the New York State Madre Art Fair”; at Memorial Park, 110 W. Sierra Museum, Empire State Plaza. Madre Blvd. New York, New York through April 4 “Animals Connecticut, HamdenMay 2 “Hamden Arts and Animal Designs in Chinese Art,” 25 artworks, Commission Arts and Crafts Festival”; at Hamden including ceramics, dating from the Shang period Arts Commission, 2901 Dixwell Ave. to the late Ming period; at Eskenazi, 28 E. 78th St. D.C., Washington April 23—26 “Smithsonian through May 2 “The Dragon’s Tale,” calligraphy Craft Show”; at the National Building Museum, and art objects, including ceramics; at E & J401 F St., NW. Frankel, 1040 Madison Ave. Florida, Jacksonville May 15-17 “ArtWorks”; at through May 3 “Great Cities Small Treasures: The Prime Osborn Convention Center. Ancient World of the Indus Valley,” approxi­ Georgia, Savannah May 9-10 “20th Annual Arts mately 100 objects, including ceramics; at theon the River Festival”; on River St., Historic District. Asia Society, 725 Park Ave. Illinois, Chicago May 29—31 “ACC Craft Show through June 28 “Finnish Modernism in Design: Chicago”; at Navy Pier. Utopian Ideals and Everyday Realities, 1930- Maryland, Baltimore April 18—26“ National Clay 1997”; at Bard Graduate Center, 18 W. 86th St. Jewelry Exhibition and Sale”; at Baltimore North Carolina, Asheville through May 10 Clayworks, 5706 Smith Ave. “Haywood Community College Graduating Stu­ Maryland, Frederick May 15—17 “24th Annual dents’ Exhibition.” August 8-November 8 “An­ Frederick Craft Fair”; at the Frederick Fairgrounds. nual Members’ Exhibition: The Cubic Foot: An Maryland, Gaithersburg April 3—5 “Sugarloaf Exhibition of Miniatures”; at the Folk Art Center, Crafts Festival”; at the Montgomery County Milepost 382, Blue Ridge Pkwy. Fairgrounds. Ohio, Cincinnati through May 24 “Designed for Maryland, Timonium April 24—26 “Sugarloaf Delight: Alternative Aspects of 20th-Century Crafts Festival”; at the Maryland State Fairgrounds. Decorative Arts”; at the Cincinnati Art Museum, Massachusetts, MerrimacApril 25—26 “Open Eden Park. House and Sale”; at Purple Sage Pottery Studio, 3 May 3-31 “The Art of Tea and Coffee”; at Mechanic St., Studio D. Woodbourne Gallery, 9885 Montgomery Rd. Massachusetts, Worcester May 29-31 “28th Ohio, Columbus through April 1 “A Change of Annual Craft Fair”; at the Worcester Center for Place,” works by Ohio Arts Council arists-in- Crafts, 25 Sagamore Rd. residence, including ceramics by Walter Zurko; atMichigan, East \,&nsm%April 30-May 2 “Greater the Ohio Arts Council, 727 E. Main St. Lansing Potters’ Guild Annual Spring Sale”; at All through April 30 The “118th Student Exhibi­ Saints Church, 800 Abbott Rd. tion”; at Columbus College of Art and Design, Michigan, Kalamazoo May 30“25th Annual May­ Canzani Center, 60 Cleveland Ave. fair”; at Bronson Park, downtown. Continued

86 CERAMICS MONTHLY April 1998 87 Contact Quien Sabe Pottery, Kay Roberts, 4246 Calendar C.R. 203, Durango 81301; (970) 247-3393. Colorado, Glenwood Springs May 16-17“Raku M ichigan, N oviApril 17-19“ S ugarloaf Art F air”; Workshop” with Robert Piepenburg; participants at the Novi Expo Center. should bring 4 bisqued pieces. Fee: $225. All skill Minnesota, St. Paul April 17-18 “St. Paul Art levels. For further information, contact Glenwood Crawl,” tours of 150 artists’ studios; downtown. Spring Center for the Arts, (970) 945-2414. April 17—19“ACC Craft Show St. Paul”; at the St. Connecticut, Brookfield April 4 “Paper Clay” Paul Civic Center at River Centre. with Rebecca Peck Jones.April 18 “Working with Missouri, St. Louis May 8—10 “Laumeier Sculp­ Porcelain” with Angela Fina. April25-26“l,ow- ture Park Contemporary Art Fair”; at Laumeier temperature Salt Firing” with Richard Launder. Sculpture Park, 12580 Rott Rd. May 2-3 “Colors, Clays and Firing” with Penelope New Hampshire, Hampton May 2 “Rockingham Fleming. May 9—10 “Spirit/Bird Houses” with Craftsmen Fair”; at Hampton Junior High. Barbara Allen. May 30-31 “Throwing Large NewJersey, Flemington^4pnl 18— I.9“FlemingtonForms” with Maishe Dickman. Contact Brook­ Crafts Festival”; at the Flemington Fairgrounds. field Craft Center, PO Box 122, Rte. 25, Brookfield New Jersey, Somerset May 15-17 “Sugarloaf 06804; or telephone (203) 775-4526. Crafts Festival”; at Garden State Exhibit Center. Connecticut, New Canaan April25-26Hands-on New Jersey, Verona May 16-17 “Fine Art and workshop with Woody Hughes, low-fire hand­ Crafts Fair”; at Verona Park. building and wheel-thrown components, plus dis­ New York, Hempstead May 3 “15th Annual cussion on glazes. Fee: $150. Contact Silvermine Dutch Festival”; at Hofstra University. Guild Arts Center, 1037 Silvermine Rd., New Canaan New York, Long Island May 29-31 “Planting 06840; or telephone (203) 966-6868. Fields Art and Fine Craft Festival”; at Planting Connecticut, New Wzvzn April25 “An Overview of Fields Arboretum, Oyster Bay. Korean and Japanese Ceramics from the Neolithic New York, New Yorkv4pn7,9-12 “SOFA NYC”; atPeriod to the 20th Century,” lecture with Robert the Seventh Regiment Armory, Park Ave. and Moes. Fee: $30; members, $27. Contact Creative 67th St. Arts Workshop, 80 Audubon St., New Haven 06510; Oregon, Portland May 8—10 “Ceramic Show­ or telephone (203) 562-4927. case,” sale of works by Oregon Potters Association Florida, Atlantic Beach April 4—5 “Throwing, members; at the Oregon Convention Center, 777 Altering and Assembling Utilitarian Pottery” with N.E. Martin Luther King Jr. Blvd. Steve Loucks. Contact the Atlantic Beach Potters, Pennsylvania, AllentownMay 21—25 “Mayfair (904) 249-4499 or e-mail [email protected] Festival of the Arts 1998”; at Cedar Beach Park, Florida, Belleair^4pnli?“Insights through Deco­ Hamilton and Ott sts. rative Arts,” lecture with Cynthia Duval. April 17 Pennsylvania, PhiladelphiaApril 17-19 “Phila­ “Lunch with an Artist Series” with clay artist Mark delphia Furniture and Furnishings Show”; at the Fehl. April 24—. 2dT“Pueblo Pottery,” demonstration Pennsylvania Convention Center. by N athan Youngblood. Contact Florida Gulf Coast Vermont, Montpelier May 23—24 “Benefit Sec­ Art Center, Education Dept., 222 Ponce de Leon onds Sale and Open House”; at the Vermont Clay Blvd., Belleair 33756; or telephone (813) 584-8634. Studio, 24 Main St. Florida, Pensacola May 11—16“ Architectural Ce­ Virginia, Manassas May 1—3 “Sugarloaf Crafts ramics Workshop” with Peter King. Fee: $550. Festival”; at the Prince William County Fair­ Limited registration. Contact StoneHaus, 2617 grounds. N. 12th Ave., Pensacola 32503; telephone (850) Wisconsin, Stevens PointApril 5 “Festival of the 438-3273 or fax (850) 438-0644. Arts”; at the University of Wisconsin-Stevens Hawaii, Makawao April 4—5 “Clay Pots: An Ex­ Point, Fine Arts Building, Interior Courtyard. perience of Intimacy, Delight, Uncertainty and Revelation” with Randy Johnston. Contact Hui Workshops No’eau Visual Arts Center, 2841 Baldwin Ave., Makawao 96768; telephone (808) 572-6560 or California, IrvineApril 25 “A Viewpoint: The Art- fax (808) 572-2750. ist-Teacher,” slide lecture on the role of an artist in Illinois, EvanstonApril 24—26 “Postmodernist the classroom and demonstration on large, thrown/ Majolica: Historical Context, Contemporary Prac­ handbuilt vessels with Patrick Crabb. Contact the tice” with Walter Ostrom, handbuilding, throw­ Irvine Fine Arts Center, (714) 724-6880. ing, decoration. May 1-3 “Handbuilding Func­ California, Northridgeylpnl24-26Hands-on mask- tional Pots” with Gail Kendall. May 22—24 making with Lynette Yetter. Fee: $40; members, “Teaware, Baskets and Dinnerware” with Anne $35. Materials: $5. Call Patti Hallowes, Program Co­ Fallis-Elliott. All skill levels. Contact Vanessa ordinator, American Ceramic Society-Design Chap­ Smith, Native Soil, 602 Davis St., Evanston 60201; ter, Southern California Section, (818) 848-9691. telephone (847) 733-8006 or fax (847) 733-8042. California, Rancho Palos Verdes May 16A session Maine, Portland April 21 or May 23 “Raku Work­ with Mary Ogawa, Japanese and majolica brush- shop,” participants should bring up to four me­ work and calligraphy. Participants must bring 2-3 dium-sized pots; fee: $35. A/ay .9 “Porcelain Wheel bisqued pieces and small/medium Oriental brushes. Throwing and Glazing” with Laurie Adams. May Beginning through advanced skill levels. Fee: $30; 21 “Clay Sculptress” with Abby Huntoon. Con­ members, $25. For further information, contact tact Portland Pottery, 118 Washington Ave., Port­ Janene Ferguson, Palos Verdes Art Assn., 5504 W. land 04101; or telephone (207) 772-4334. Crestridge Rd., Rancho Palos Verdes 90275; tele­ Maryland, Frederick April 1 “Raku—From Zen phone (310) 541-2479, fax (310) 541-9520 or Tradition to Modern Innovation,” lecture with e-mail [email protected] Patrick Timothy Caughy. April 4 “Eastern and California, Walnut Creek May 16Slide presenta­ Western T echniques in T rimming, ” lecture/dem­ tion and demonstration with Frank Boyden. Fee: onstration with Richard Lafean; fee: $60. April25 $45, includes potluck lunch. Contact Walnut and May 9 “Playing with Words—Painting with Creek Civic Arts Education, PO Box 8039, Wal­ Fire,” producing ware (April 25) and raku firing nut Creek 94596; or telephone (510) 943-5846. (May 9 in Baltimore); fee: $145, includes 25 Colorado, Durango May 26—31 Hands-on pounds of raku clay and firing. April 26 “Tin- kilnbuilding with British potter Svend Bayer. Glazed Earthenware: Who, What, Why, Where, Focus on Sukhothai/Sawankhalik type kiln. Lim­ When and How,” lecture with Louana Lackey. ited enrollment. Deadline: May 1. Fee: $375. May 7—2 “Ceramic Restoration,” lecture and work-

88 CERAMICS MONTHLY April 1998 89 Calendar shop with Colin Knight-Griffin; participants can bring a piece for appraisal. Workshop fee: $65. Lecture fee: $5. Contact Hood College Ceramics Program, 401 Rosemont Ave., Frederick 21701; or telephone (301) 696-3456 or (301) 698-0929. Massachusetts, Plymouth April 10-11 Demon­ stration and slide lecture with Svend Bayer. Con­ tact the Plimoth Plantation, (508) 746-1622, ext. 356, or (781) 837-4263. Massachusetts, StockbridgeMay 2—3 “Throw­ ing with Porcelain” with Angela Fina. Contact the Interlaken School of Art, (413) 298-5252. Massachusetts, Williamsburg April25-27 “Work­ ing with Colored Clays: A Japanese Approach to the Vessel” with Debbie Freed. May 9-11 “Get Hot! Alternative Firing and Decorating Techniques” with Bob Green. Contact Horizons, 108 N. Main St., Sunderland, MAO 1375; telephone (413) 665-0300, fax (413) 665-4141, e-mail horizons@horizons- art.org or website www.Horizons-art.org Massachusetts, WorcesterApril 4—5 A session with Karen Karnes. Fee: $175; members, $140. Contact Worcester Center for Crafts, 25 Sagamore Rd., Worcester 01605; telephone (508) 753-8183. Minnesota, Minneapolis April 18 “Regis Masters Series,” lecture with Ruth Duckworth.May 16 “Regis Masters Series,” lecture with James Melchert. Free. Location: Minneapolis Institute of Arts. Con­ tact the Northern Clay Center, (612) 339-8007. Montana, Helena April30-May 3 “Cone 6 Soda Glaze Firing Workshop” with Julia Galloway. Fee/session: $150, includes firing. All skill levels. Contact Josh DeWeese or Teresa Hastings, Archie Bray Foundation for the Ceramic Arts, 2915 Country Club Ave., Helena 59601; tele­ phone (406) 443-3502, fax (406) 443-0934, e-mail [email protected] or see website at www.archiebray.org New Jersey, Layton May22—24 “What and How: Exploring the Dialogue between Idea and Pro­ cess” with Mary Barringer. Fee: $249. May 29-31 “Raku” with Mike Carroll. Fee: $269. Contact Jennifer Brooks, Peters Valley Craft Education Center, 19 Kuhn Rd., Layton 07851; telephone (973) 948-5200, fax (973) 948-0011 or e-mail pv@warwick. net New Mexico,Albuquerque to Santa Fe April 18- 25 “Clay into Spirit” with Anita Griffith. Contact Horizons, 108 N. Main St., Sunderland, MA 01375; telephone (413) 665-0300, fax (413) 665- 4141, e-mail [email protected] or website www.horizons-art.org New Mexico, Roswelly4pnl23-2^Demonstration of throwing large double-walled vessels with J ames Watkins. Fee: $50. Contact the Roswell Museum and Art Center, (505) 624-6744, ext. 16. New Mexico, TaosMay 4—9 “Micaceous Cook­ ware” with Jeri Track. Contact Taos Institute of Arts, 5280 NDCBU, T aos 87571; telephone (800) 822-7183 or (505) 758-2793; see website at www.taosnet.com/TLA/ or e-mail [email protected] New York, East Setauket May 2-3 “Japanese Throwing and Altering Techniques” with Peter Callas. Contact Hands on Clay, Inc., 128 Old Town Rd., East Setauket 11733; or telephone (516) 751-0011. New York, Port Chester April 18-19 “Two Ap­ proaches to Wheel Work” with Polly Ann and Frank Martin. Contact the Clay Art Center, (914) 937-2047. New York, West Nyack April 19 “Surface Strat­ egies for the Electric Kiln” with Mary Barringer. Fee: $65. Contact Rockland Center for the Arts, 27 S. Greenbush Rd., West Nyack 10994; or telephone (914) 358-0877. New York, White Plains April 13-15 “The Func-

CERAMICS MONTHLY April 1998 91 Fee: $125. All skill levels. Contact Mark Burleson, Materials” with Lenore Vanderkooi. May 24-30 Calendar Odyssey Center for the Ceramic Arts, 236 “Making Pottery” with Terry Gess. Skill require­ Clingman Ave., Asheville 28801; telephone (704) ments vary. Fee (unless noted above): $258. For tional Teapot” with Lisa Stinson, handbuilding 285-0210, fax (704) 253-3853 or website further information, contact Registrar’s Office, and throwing. Fee: $141.25; currently enrolled [email protected] John C. Campbell Folk School, 1 Folk School students, $103. April 24 “Creative Stretches in North Carolina, Bailey April 25-26 Hands-on Rd., Brasstown 28902; telephone (800) FOLK- Clay” with Vera Lightstone. Fee: $40; current workshop with Siglinda Scarpa, paper clay. Fee: SCH, fax (704) 837-8637, website www.grove.net/ students, $25. May 8 “Form and Texture” with $90. Contact Jackie Allen, (919) 859-6847 or -jeefs or e-mail [email protected] Sandi Pierantozzi. Fee: $40; current students, [email protected]; or telephone Dan Finch, Ohio, Kent May 18-29 “Blossom Ceramics Work­ $25. Preregistration required. Contact SUNY/ (919) 235-4664. shop,” lectures and demonstrations on hand­ Westchester Community College, Westchester North Carolina, Brasstown April 5-11 “Hand­ building, throwing, slip painting, firing, plus tile Art Workshop, Westchester County Center, 196 building with Coils” with Julie Larson. April 12- and mosaic, and large ceramic sculptures, with Central Ave., White Plains 10606; or telephone 18 “Porcelain: On the Wheel and under the Eva Kwong and visiting artists Aurora Chabot and (914) 684-0094. Brush” with David Voorhees. May 1-9 “Wood Tony Marsh. Intermediate through professional. North Carolina, Asheville April 4 “A Day with Firing in a Grand Manner” with Hogue Vernon. Fee: $608; plus $45 lab fee. Contact Becky Sum­ Chris Staley,” demonstration of throwing tech­ Fee: $400. May 10—16 “A Bird in the Hand,” mers, Kent State University Art Dept., Kent 44242; niques. Fee: $50, includes lunch.May 8-9 Dem­ handbuilding animal sculptures with Mary telephone (330) 672-2192 or fax (330) 672-4729. onstration and slide lecture with Svend Bayer. Dashiell. May 17-23 “Clay Vessels with Natural Ohio, Wooster April 15-18 “Functional Ceram­ ics Workshop,” including demonstrations with Cynthia Bringle, Pete Pinnell and Patty Wouters; plus presentations by Tom Huck on approaching galleries, and Pepper Fluke on her trip to Mata Ortiz. Fee: $ 180/students, $90; three days, $140/ students, $75; includes lunches, 1 dinner and catalog of “Functional Ceramics” exhibition. Contact Phyllis Blair Clark, 102 Oakmont Ct., Wooster 44691. Oklahoma, Norman April 23-25 Lecture and workshop with Louis Marak. Fee: $69. Contact the Firehouse Art Center, 444 S. Flood, Norman 73069; or telephone (405) 329-4523. Pennsylvania, Farmington May 22—24 “Wood- firing Workshop” with Kevin Crowe. Contact Touchstone Center for Crafts, RD #1, Box 60, Farmington 15437; or telephone (724) 329-1370. Pennsylvania, Pittsburgh April 21 “Adults Ob­ sessed with Fired Mud,” lecture on collecting ceramics with Garth Clark. Contact Carnegie Museum of Art, (412) 622-1975. Rhode Island, Kingston May 3 “Pit Firing” with Bob Green. Fee: $45; members, $40. For further information, contact South County Art Associa­ tion, 2587 Kingstown Rd., Kingston 02881; tele­ phone (401) 783-2195. Texas, Ft. Worth May 15-17 Throwing and altering workshop with Ellen Shankin. Fee: $75; Texas Pottery and Sculpture Guild members, $50; membership, $20. Limited registration. Contact Rachel Bates, (817) 732-8038 or e-mail [email protected] Texas, Houston April24—25 A session with Tom Clarkson, altering thrown forms. Fee: $40. Con­ tact Barbara Phillips, 16710 Halkin Ct., Spring, TX 77379; or telephone (281) 251-9933. Vermont, Montpelier April 17 Demonstration with Elizabeth Roman, throwing and altering vessels. Fee: $4; members, $3. May 8 Demonstra­ tion with Helen Otterson, handbuilding large open vessels. Fee: $4; members, $3. For further information, contact the Vermont Clay Studio, 24 Main St., Montpelier 05602; or telephone (802) 223-4220. Virginia, Gainesville May 23—24 “Traditional Nigerian Handbuilding” with Winnie Owens- Hart. Fee: $100, includes materials, sawdust fir­ ing and lunch. All skill levels. Contact the Clay Connection, PO Box 3214, Merrifield, VA22116- 3214; telephone (703) 435-5820 or e-mail [email protected] Wisconsin, La Crosse April 22—24 “Traditional Japanese Craft Workshops in Ceramics and Metal,” with ceramic demonstrations by Ryoji Koie. Fee: $75; students, $15. Contact William Fiorini or Karen Terpstra, University of Wisconsin-La Crosse, Art Dept., 1725 State St., La Crosse 54601; or telephone (608) 785-8230. Wisconsin, McNaughtonApril 17—19 “Fast-fire Wood-fueled Workshop” with Joan Slack- DeBrock. All skill levels. Fee: $150, includes

92 CERAMICS MONTHLY April 1998 England, London through April 5 “Japanese Calendar Influences”; at Crafts Council Shop at the Victoria & Albert Museum, S. Kensington. materials, firing and meals. Contact Joan Slack- through May 1 Exhibition of new work by Claudi DeBrock, River Run Pottery, PO Box 95, Casanovas. May 13-June 26 Ceramics and glass McNaughton 54543; telephone (715) 277-2773 by Bernard Dejonghe; at Galerie Besson, 15 Royal or e-mail [email protected] Arcade, 28 Old Bond St. April 9-June 28 Three-person exhibition featur­ International Events ing ceramics by Walter Keeler and Janice Tchalenko. “Handmade in India,” exhibition of Canada, Alberta, Banff May 16-18 “Clay and contemporary Indian crafts; at the Crafts Council Mythology: The Trickster” with George Kokis, Gallery Shop, 44a Pentonville Rd., Islington. storytelling and clay forming. Fee: Can$249 (ap­ France, Burgundy May 4-9, 4-15 or 4—22 “A proximately US$170). May 30-31 “Explorations Korean and Japanese Approach to Ceramics: in Raku” with Ed Bamiling. Fee: Can$l45 (ap­ Throwing and Decoration Workshops” with Dau- proximately US$100). For further information, phine Sealbert (1 -, 2- or 3-week sessions). Contact contact Office of the Registrar, Banff Centre, Terres est-Ouest, Le Manoir, 89560 Lain, France; (800) 565-9989 or (403) 762-6180, fax (403) telephone (86) 45 27 74 or fax (86) 45 27 65. 762-6345, e-mail [email protected] or France, Paris through April 4 Exhibition of ce­ website www-nmr.banffcentre.ab.ca ramic sculpture by Jana Bednarkova; at Galerie Canada, B. C., Nanaimo April26-May 9“ Anagama Bernanos, 39, ave. Georges Bernanos. Kiln Firing” with Jackson Hirota, loading, firing and France, SevresApril 7“Franz Anton Bustelli et la unloading anagama. Advanced skill level. Fee: porcelaine de Nymphenburg,” lecture with Can$300 (approximately US$200), includes firing. Katarina Hantschmann. May 5 “La ceramique Contact Jackson Hirota, Malaspina University-Col- montee de Louis XIV a la Regence,” lecture with lege, 900 Fifth St., Nanaimo V9R 5S5; telephone Jean-Neret Ronfort./une.9“La faience fine anglaise (250) 741-2432 or fax (250) 741-2667. Or contact de 1740 a 1800,” lecture with Diana Edwards. the Tozan Cultural Society, RR 4, Ladysmith, BC Contact the Societe des Amis du Musee National V0R 2E0; telephone (250) 245-4867, fax (250) de Ceramique, Place de la Manufacture, Sevres 245-4225 or e-mail [email protected] 92310; or telephone (41) 14 04 20. Canada, B.C., Victoria May 2—3 Workshop with Italy, Tuscany April 18-25 “Mosaics: An Ancient Michael Sherrill, unusual techniques in throwing, Italian Tradition Made Contemporary” with Eliza­ altering and assemblage. Fee/session: Can$100 (ap­ beth MacDonald. Contact Horizons, 108 N. Main proximately US$67). Contact Meira Mathison, St., Sunderland, MA 01375; telephone (413) 665- Metchosin International School of Art, 650 Pearson 0300, fax (413) 665-4141, website www.horizons- College, Victoria V9C 4H7; telephone (250) 391- art.org or e-mail [email protected] 2420 or e-mail [email protected] Jamaica, Montego Bay April 16—25 “Making May 30-31 “Fired Up—Contemporary Works in Pottery in Jamaica” with David Pinto and Jeff Clay,” exhibition and sale; at Metchosin Commu­ Shapiro. Contact Anderson Ranch Arts Center, nity Hall, 4401 William Head Rd. PO Box 5598, Snowmass Village, CO 81615; Canada, Ontario, Bowmanville through April 9 telephone (976) 923-3181 or fax (976) 923-3871. “Winter’s Harvest,” juried exhibition of crafts; at Netherlands, Delft through April 18 Stoneware the Visual Arts Centre of Clarington, Cream of bowls by Alev Siesbye. April25—June Stoneware Barley Mill, 143 Simpson Ave. wall plates/slabs by Cathy Fleckstein; at Terra Canada, Ontario, Haliburton May 4-8 “Crystal­ Keramiek, Nieuwstraat 7. line Glazes.” Intermediate and advanced skill lev­ Netherlands, Deventer through April 4 Ceramics els. Fee: Can$173.37 (approximately US$115). by Felicity Aylieff. April 18-May 76Glazed stone­ Contact Haliburton School of Fine Arts, Sir ware by Vincent Potier. May 23—June 20 Ceram­ Sandford Fleming College, Box 839, Haliburton ics by Anne Floche, Ulla Hansen and Inger Rokk- K0M ISO; telephone (705) 457-1680, fax (705) jaer; at Loes and Reinier, Korte Assenstraat 15. 457-2255 or e-mail [email protected] Netherlands, Landsmeer April4—June 7“Global Canada, Ontario, Toronto April 2—25 Exhibi­ Ceramics,” works by 64 artists from Europe, tion of ceramics by Mimi Cabri; at Prime Gallery, North America, Australia and South Korea; at Gallery 11, 52 McCaul St. Babel, Van Beeksstraat 272. April 30-May 3 “Fifteenth Annual Summer Show Netherlands, Oosterbeek through April 12 Exhi­ and Sale”; at Woodlawn Pottery Studio, 80 bition of collaborative works by ceramist Resi Arts Woodlawn Ave., E. and painters Ad Gerritsen and Klaas Gubbels. Canada, Quebec, Montreal May 7-27“Micro- April 26-May 25 Exhibition including ceramics cosmos,” ceramic sculpture by Rose Szasz; at the by Arja Hoogstad and Nicoline Nieuwenhuis; at Canadian Guild of Crafts, 2025 Peel St. Galerie Amphora, van Oudenallenstraat 3. England, Chichester April 72—77 Handbuilding New Zealand, Auckland May 1-June 2 “Fletcher and throwing workshop with Alison Sandeman. Challenge Ceramics Award”; at the Auckland Contact the College Office, West Dean College, Museum. West Dean, Chichester, West Sussex PO 18 0QZ; Switzerland, Geneva through May 77 “Scent Bottles or telephone (243) 811301. of the 18th Century”; at Ariana, Swiss Museum of England, Hundon May 25-29 Workshop on Ceramics and Glass, 10, ave. de la Paix. handbuilding, smoke and organic firing with Jane April 21-June 20 Exhibition of sculpture by Perryman. Fee: £240 (approximately US$392), Daphne Corregan; at Galerie d’Art Couleurs du includes materials, firing and lunch. Contact Jane Temps, 24, rue de la Cite. Perryman, Wash Cottage, Clare Rd., Hundon, Suffolk CO 10 8DH; telephone/fax(440) 786228. For a free listing, submit announcements of England, Ipswich Spring Two-week workshops conferences, exhibitions, workshops and ju­ on handbuilding, throwing, decorating with sprigs ried fairs at least two months before the and slips, firing a salt kiln, plus wood-fired raku, month of opening. Add one month for list­ with Deborah Baynes. Fee: £590 (approximately ings in July; two months for those in August. US$964), includes materials, firing, lodging and Mail to Calendar, Ceramics Monthly, PO meals. Contact Deborah Baynes Pottery Studio, Box 6102, Westerville, OH 43086-6102, e- Nether Hall, Shotley, Ipswich, Suffolk 1P9 1PW; mail to [email protected] or telephone (473) 788300 or fax (473) 787187. fax to (614) 891-8960.______

94 CERAMICS MONTHLY April 1998 95 tic Kaolin 5.4%, flint 20.3%, plus colorant. larger oil molecule could seep out. As we both Questions What is the problem?—A. V. have discovered, that is unfortunately not Answered by the CM Technical Staff I have had similar problems with my oil what is occurring. lamps and have also wondered why this hap­ What is apparently happening is that water Q I am having a problem with my oil lamps. pens. The problem is not in your glaze or in hydrogen bonds to unpaired electrons in the The oil I use, Ultra Pure Paraffin, leaks out the way you are firing the lamp base but in the clay and glaze. This acts to dam up the gaps the bottom, seeping through the foot. I have very nature of the oil itself. You will probably that exist in any clay cross section, similar to broken some open and found my glaze appli­ note that the same ceramic vessel will hold the way blood clots to close a wound. A few cation to be okay on the inside. water without seeping as you described with molecules attach to the clay and then a few I use a commercial clay, bisqued to Cone 08. the light lamp oil. One would think that more until openings are thoroughly blocked The glaze is then applied and fired to Cone 6. because the hydrocarbon molecules in the oil with water. Test cones show that my kiln is firing to tem­ are so much larger than the water molecules, Oil has no such affinity because it is perature. My glaze recipe is: Gerstley borate it would mean that the smaller water mol­ nonpolar and does not react with the surface 27.0%, nepheline syenite 47.3%, Edgar Plas­ ecule would surely slip through if the much molecules. Oil therefore does not dam the gaps (on a microscopic level) like the water, but simply passes through the clay wall, thus the oil seep. I remedied the problem in my studio by lining the inside of the lamp with an oil- based urethane sealer. You can buy this sealer in any paint store. It is typically used as a wood finish. I poured the sealer into the lamp base, sloshed it around and poured it out. Several days to a week are required to allow the sealer to cure completely before you can fill the base with lamp oil. Your climate will drastically affect the curing time. You will have to do a series of tests with your clay body and lamp oils to find the best way to seal the inside of your bases, but this should point you in the right direction. Leaking oil lamps can pose a danger of fire as well as ruin furniture. It is certainly our responsibility to thoroughly test any product we sell. W. Lowell Baker The University of Alabama Tuscaloosa, Alabama

Q I am currently using a copper red glaze that contains borax, which does not keep very long when mixed with water. I know that it disassociates after a while; however, I am still not certain why it does this exactly. I hate to waste the excess glaze needed to dip the piece or to spray it. I also read somewhere that it can be dried out and reused again. If this is true, what happens to it after it is dry? Could you please help me out with this and possibly suggest a never-fail copper red recipe that I can test at Cone 10 reduction? —J.M. Borax compounds tend to reduce viscos­ ity in glazes. Too much borax can render a glaze solution unworkable. It is important to understand glaze viscosity as well as specific gravity, as they both affect applica­ tion of the glaze, its subsequent thickness on the ware, and finally, its developed color, or for that matter, the lack of successfully devel­ oped color. Specific gravity is the weight of a specific solution, as compared to the weight of the

96 CERAMICS MONTHLY April 1998 97 Questions

same volume of water. It is also the barometer for the amount of solids present in the mix­ ture, or its corollary, the amount of water present in a mixture. Usually, the known amount is a pint of water, which weighs 454 grams, or 1 pound. Glazes are suspensions of material in water, and like slips, weigh more than the same volume of water, expressed as 1 point some­ thing. There is no standard for specific grav­ ity of glazes, as there are variables from shop to shop and manufacturer to manufacturer. We adjust our glazes between 1.45 and 1.60 depending on the glaze, the type of ware and the application. The only reliable way to ascertain the specific gravity of a slip or a glaze is to weigh a known volume. Hydrometers do not work. Viscosity is defined as the resistance to flow, and it can be used to define a quality in the wet glaze batch or in the fired glaze, as in “this is a highly viscous glaze.” A glaze needs to have a good “set” on the ware and this is indeed affected by both the specific gravity of the glaze, its viscosity, as well as additives and binders used in the glaze. To answer your question, there is really no problem in recycling dried glaze. We recycle the overspray that we scrape off by adding it to new batches and sieving before it is used. There are many variables in copper red production. Copper red glazes depend not only on the recipe (whether there is tin present), but also on the heating cycle and the early start of reduction, as well as the end point and the cooling cycle of the kiln. Some stellar copper red glazes can be found in Tom Coleman’s book Glazes I Use (see page 110), available from the author. I would not wish to suggest a never-fail copper red glaze, nor for that matter, any glaze that is never fail. I can only suggest glazes that work for me in my pottery under our con­ trolled conditions. There is always a chance that a recipe that may work splendidly for others might not work for you under your specific circumstances. Always test. Jonathan Kaplan Ceramic Design Group Steamboat Springs, CO

Have a problem? Subscribers’ questions are welcome, and those of interest to the ceramics community in general will be an­ swered in this column. Due to volume, letters may not be answered personally. Mail to Ceramics Monthly, PO Box 6102, Westerville, Ohio 43086-6102, e-mail to [email protected] or fax to (614) 891-8960.

98 CERAMICS MONTHLY April 1998 99 Michael Simon (July 27-31). “From the Ground Summer Workshops Up” with Arnie Zimmerman (August 3-7). “Color, Continued from page 34 Color, Color” with Eva Kwong (August 10-14). Skill requirements vary. Fee/session: $345, includes mate­ Jimmy Clark (August 3—7). “Porcelain Workshop” rials and firing. Contact John Addison, Santa Fe Clay, with Malcolm Davis, focusing on the teapot (August 1615 Paseo de Peralta, Santa Fe 87501; or telephone 10-14). “Ceramic Workshop” with Robert Winokur, (505) 984-1122. discussion of salt-glaze techniques (August 15-16); fee: $120; members, $100. “Carving Clay” with “Artists’ Retreat IX: Micaceous Clay Pottery,” first Stephen Fabrico; participants should have experienceweek consists of coiling and scraping, burnishing, pit with throwing (August 17-20). “Thrown, Handbuilt firing with Felipe Ortega; second week consists of and Touched” with David Wright (August 24-28). making large vessels with Jacobo de la Serna (July 5— “Clay as Sculpture” with Mark Davies (August 31- 18,9 AM-3 PM). Instruction in English and Spanish. September 4). All week-long sessions run from 9:30 All skill levels. Fee: $1300, includes materials, firing, AM to noon. Skill requirements vary. Fee (unless lodging, breakfast, lunch and field trip. Contact Dr. noted above): $90; materials and firing not included. Marion F. Jefferson, Dept, of Art and Art History, Contact Meg Mathews, Executive Director, Long University of Miami, PO Box 248106, Coral Gables, Beach Island Foundation of the Arts and Sciences,FL 33124-4410; telephone (305) 284-2542 or e-mail 120 Long Beach Blvd., Loveladies 08008; telephone [email protected] (609) 494-1241, ext. 301, or fax (609) 494-0662. New Mexico, Taos New Mexico, Abiquiu “ATewa Woman and Her Clay” with JeriTrack (June Handbuilding, glass slumping and soft slabs with 14-17, 20). “Contemporary Figurative Sculpture of Kathy Triplett (June 4—7); fee: $145, includes firing; Taos Pueblo” with Sharon Dryflower (June 17-19, or $176, includes firing, lodging and meals. All skill 22). “Beginning Anasazi Pottery” with Clint Swink levels. Contact Penne Roberts, New Mexico Potters (July 12-15, 18). “Advanced Aiiasazi Pottery” with Association, 4530 Bermuda Dr., NE, Albuquerque, Clint Swink (July 19—22, 25). “Mask Making” (July NM 87111; telephone (505) 293-3107 or e-mail 23-31). “Pueblo Pottery” with Sharon Dryflower [email protected] (August 3-6, 8). “Pueblo Storytellers” with Juanita Suazo Dubray (August 9-12,15). “Traditional Pueblo New Mexico, Santa Fe Pottery” with Soje Track (August 16-19, 22). For “Traditional Micaceous Pueblo Pottery” with Bea further information, contact Taos Art School, PO Tioux; instruction in English and Tewa (June 8-12). Box 2588, Taos 87571; telephone (505) 758-0350 or “Micaceous Pottery, Pit Firing and Poetry” with e-mail [email protected] Camilla Truillo and Joan Logghe; instruction in English and Spanish (June 15-20). “Design and “Mask Making” with Bernadette Track (June 21- Fabrication of Tile Installations” with Shel Neymark 27). “Micaceous Cookware” with Jeri Track (June (June 22-26). “Mold Making for Sculpture and 28-July 4). “Building the Traditional Horno” with Pottery: Bronze and Ceramic Casting Molds” with Carmen Velarde, building a beehive-shaped adobe Brett Chomer (June 29-July 3). “Creative Figure oven (June 29-July 3); fee: $345, includes materials. Sculpture and Armature Building” with Lisa Gordon “Traditional Coil Handbuilding Techniques” with (July 6-10). “Portrait Sculpture” with Ed Lane (July Sharon Dryflower Reyna (July 5-11). “Storytellers” 13-17). “Ceramic Tiles: Traditional Glazing and with Juanita Dubray (July 12-18). “Creative Tiles” Decorative Techniques” with Jay Bonner (August with Aliah Sage (July 27-31); fee: $395, includes 17-21). Skill requirements vary. Fee/session: $325; materials and firing. “Emerging from the Flames: or $525 for 2 workshops. Contact jArt and Clay Secrets of Raku” with Richard St. John Hawley Studio, 851 W. San Mateo #4, Santa Fe 87505; or (August 2-8). “Traditional Coil Handbuilding Tech­ telephone (505) 989-4278. niques” with Sharon Dryflower Reyna (August 30— September 5). Skill requirements vary. Fee (unless “Covered Vessels” with Cynthia Bringle (June 15- noted above): $385, includes materials and firing. 19). “Functional Form: Relationships, Handbuilding Most sessions take place on Taos Pueblo. For further and the Wheel” with Mark Pharis (June 22-26). information, contact Judith Krull, Associate Direc­ “Construction Zone” with Dan Anderson (July 6— tor, Taos Institute of Arts, Box 5280 NDCBU, Taos 10). “Building and Carving” with Christine Federighi87571; telephone (800) 822-7183 or (505) 758- (July 13-17). “The Magic of Majolica” with Nansika 2793, fax (505) 737-2466, e-mail [email protected] or Richardson (July 20-25). “Functional Pottery” with website www.taosnet.com/tia/

Handbuilt and decorated pots are fired in a trench kiln during a workshop with Gregory Wood in Mesa Verde, Colorado.

100 CERAMICS MONTHLY New York, Alfred Sang Joon Park (July 20-23); fee: $245; members, “New Voices, New Systems, New Solutions” with $230. “The Figure in Relief’ with Sarah Coble (July John Gill and 4 emerging ceramics artists, exploring 20, 22, 27 and 29, 10 AM-1 PM). “Japanese Potters’ throwing, handbuilding and mold making as interre­Tool-making Workshop” with Keiko Ashida and lated processes (June 15-July 10). “Glaze Calcula­ William Gundling; instruction in English and Japa­ tions” (July 13-24). Contact Kathy Isaman, Alfred nese (July 25); fee: $90; members, $75. “Form and University, (607) 871-2412 or Marlene Wightman Texture” with Sandi Pierantozzi, Neil Patterson (Au­ (607) 871-2425. gust 1-2); fee: $165; members, $150. Skill require­ ments vary. Fee (unless noted above): $125; mem­ New York, Clayton bers, $110. Contact Alan J. Davidson, Director, “Garden Sculpture” with Kevin Mulcahy (July 13- Ceramics Dept., Craft Students League, 610 Lexing­ 17). “Raku” with Inyo Bayer (August 3—7); fee: $235, ton Ave., New York 10022; telephone (212) 735- includes clay and glazes. “Basic Throwing” with Kevin9804 or fax (212) 223-6438. Mulcahy (August 10-14). Skill requirements vary. Fee (unless noted above): $170, includes materials Handbuilding with Tom Kerrigan; or throwing with Lisa Stinson (July 8-12). Introduction to throwing with Barry Bartlett; or handbuilding with Kim Dickey (July 15—19). Handbuilding with Eddie Dominguez; or throwing with Ron Meyers (July 22-26). Throw­ ing with Mary Roehm (July 29-August 2). Skill requirements vary. Fee/session: $330, includes mate­ rials; plus $10 registration fee for new students. Contact Lynne Lerner, Greenwich House Pottery, 16 Jones St., New York 10014; telephone (212) 242- 4106 or fax (212) 645-5486. New York, Oneonta Forming, glazing, decorative techniques for moist clay, sawdust and oxidation firings (June 28—July 18). Beginning and intermediate. Fee: $975 and up, in­ cludes lodging and meals. Contact Nancy Brandow, Assistant Director, Hartwick College, West St., Oneonta 13820; telephone (607) 431 -4416, fax (607) 431-4527 or e-mail [email protected] New York, Otego “August Clay Workshop” with Elizabeth Nields, covers all aspects of production, including hand­ Student Anna Babcock detailing a building, throwing, constructing large sculptures, sculpture during a workshop with glazing, firing in an 80-cubic-foot gas kiln, and setting John Mason at Santa Fe Clay in up a show (August 3-16); fee: $690, includes materi­ als and lunch on weekdays. “Raku Workshop” with New Mexico. Elizabeth Nields, making suitable clay, throwing, handbuilding, glazing and firing (August 17-18,24- and firing; members receive 15% discount. Contact 25); fee: $135, includes materials and firing for 8 Lisa Larue, American Handweaving Museum and pieces; extra pieces, $5 each. All skill levels. Contact Thousand Island Craft School, 314 John St., Clayton Elizabeth Nields Clay Workshops, 429 Chicken Farm 13624; or telephone (315) 686-4123. Rd., Otego 13825; or telephone (607) 783-2476. New York, Middlesex New York, Port Chester Apprenticeship in a production pottery, clay and “Introduction to Majolica” with Posey Bacopoulos glaze making, throwing, handbuilding, surface deco­(June 5); fee: $55, includes materials and firing. ration, kiln loading Quly 28-Fall); participant must “Raku: Throwing and Firing” with Steve Branfman be willing to share in other chores of the farming craft(June 19-21); fee: $125, includes firing. “Tiles, Plus” community. Beginning and intermediate. Contact with Annabeth Rosen (June 26); fee: $60. “Ceramics Annie Schliffer, Rochester Folk Art Guild Pottery, for Teachers” with Harriet Ross (J une 30—J uly 2); fee: 1445 Upper Hill Rd., Middlesex 14507; or telephone $245, includes materials and firing. “Raw Glaze/ (716) 554-3539 or 554-5463. Single Firing” with Jane Herold (July 15—18); fee: $220. “Pots for the Table Top” with Silvie Granatelli New York, New York (August 10-14). Skill requirements vary. Contact Beginning throwing with Frank Bosco (June 1-July Reena Kashyap, Clay Art Center, 40 Beech St., Port 8, Mon. and Wed., 6—9 PM). Tile studio with Frank Chester 10573; or telephone/fax (914) 937-2047. Giorgini (June 4—July 9, Thurs., 10 AM-5 PM). Intermediate throwing with Carmen Soriano; in­ New York, Rochester struction in English and Spanish (June 1-July 8, “Clay: Color/Texture/Surface” with Moi Dugan (June Mon. and Wed., noon-3 PM). “Handbuilding— 1-12); fee: $1101, includes 3 credits. Beginning Illustrative Sculpture” with Bruce Morozko (June 2- through advanced. Contact Robert D. Schmitz, Col­ July9,Tues. and Thurs., 6-9 PM). Skill requirements lege of Imaging Arts and Science, School for Ameri­ vary. Fee/session: $70, includes materials and firing. can Crafts, Rochester Institute of Technology, James For further information, contact DeBorah Goletz, E. Booth Bldg., 73 Lomb Memorial Dr., Rochester Parsons School of Design, Product Design Dept., 214623-5603; telephone (716) 475-5778, fax (716) W. 13th St., New York 10011; telephone (212) 229- 475-6447 or e-mail [email protected] 5867 or fax (212) 229-5885. A one-day workshop on raku firing/glazing with “Japanese Wheel-throwing Techniques” with Yuji Mike Carroll and Andrew Denney (July, Sat.); fee: Yasui (July 6-9); fee: $245; members, $230. “The $65, includes materials and firing. Beginning skill Personal Place Setting,” throwing with Virginia Pi­ level. Contact Rick White, Genesee Pottery, 713 azza (July 7, 14, 21 and 28, 6-9 PM). “Creative Monroe Ave., Rochester 14607; telephone (716) Stretches in Clay,” handbuilding with Vera Lightstone271-5183 or e-mail [email protected] (July 7, 14, 21 and 28, 10 AM-1 PM). “Little Things Mean a Lot: An Exploration in Terra-cotta Minia­ New York, Rosendale tures” with Thomas Folino (July 13-16); fee: $245; “Maiolica Madness” with Liz Quackenbush (June members, $230. “Introduction to Porcelain: Wheel 22-26); lab fee: $40. “Earthenware Processes: The Throwing” with Arthur Gerace Quly 14, 15, 22 and Power of Objects” with Gina Bobrowski (July 6-10). 29, 10 AM-1 PM). “Glaze Chemistry” with Richard “Roll, Throw, Flip, Stack: Building Up Pots in Terra Zakin (July 17-18); fee: $165; members, $150. “East Cotta” with Jane Dillon (July 13-17); lab fee: $40. Meets West: Tradition Meets Contemporary” with “Wishbones and Dream Soup” with Mary Forker and

April 1998 101 land Institute of Art, 11141 East Blvd., Cleveland Summer Workshops 44106; telephone (216) 421-7460, fax (216) 421- 7438 or e-mail [email protected] Gretchen Stevens Cochran (July 27-31). “On the Ohio, Logan Surface” with Ellen Huie (August 10-14). “Figura­ “Pipe Sculpture Workshop” with Jerry L. Caplan, tive Ceramics” with Helen Hosking (August 17—21).building sculptures from industrial extrusions 6 and 8 All skill levels. Lab fee (unless noted above): $35. inches in diameter (May 31-June 6); fee: $375, Limited to 9 participants per session. For further includes materials and firing. Intermediate through information, contact Women’s Studio Workshop, professional. Location: Logan Clay Products. For PO Box 489, Rosendale 12472; or telephone (914) further information, contact Jerry L. Caplan, Pipe 658-9133. Sculpture Workshops, 5819 Alder St., Pittsburgh, PA New York, Saratoga Springs 15232; or telephone (412) 661-0179. Two sessions from beginning to independent study inOhio, Oxford handbuilding, throwing, glazing, kilnbuilding, tile “Single Firing: Functional Stoneware in the ’90s” making, raku, pit firing and slip casting (June 1-July with Steven Hill (June 15-19). “Beginning Throw­ 2 or July 6-August 6). Instructors: Regis Brodie, Ted ing” with Kris Nelson (June 22-26). “Glaze Chemis­ Camp, Cookie Coyne, Doug Klein andjill Kovachick. try and Formulation” with Vince Burke (June 29- All skill levels. Fee: $130, includes firing. Contact July 3). “Handbuilding Functional Pots” with Sandi Marianne Needham, Coordinator, Skidmore Col­ lege, 815 N. Broadway, Saratoga Springs 12866; telephone (518) 580-5052, fax (518) 581-8386 or e-mail [email protected] New York, Southampton One- and two-week workshops on various topics, including colored clay techniques, throwing, glazing and firing (June 29-July 31). Instructors: Richard Baumann, Phyllis Kudder-Sullivan and Marc Leuthold. Beginning through advanced. Fee: $433- $457, includes materials and undergraduate/gradu- ate credit. Contact Carla Caglioti, Summer Director, Southampton College of Long Island University, 239 Montauk Hwy., Southampton 11968; telephone (516) 287-8349, fax (516) 287-8118, e-mail [email protected] or website www. southampton.liu.edu New York, Walton “Wood-Firing Workshop” with guest artist Reinaldo Sanguino (June 5-8, July 3-6,30-August3). Instruc­ tion in English and Spanish. Beginning through advanced. Fee/session: $150. Limited to 6 partici­ pants per session. For further information, contact Maxine Krasnow, c/o East Meets West Pottery, 1456 E. Hedrick Dr., Tucson, AZ 85719; or telephone (520) 327-3949. North Carolina, Asheville Robert Compton demonstrating the “Teapot Workshop” with Peter Pinnell (July 6—10); coil-and-throw technique during his fee: $225, includes materials and firing. “Hand­ “Throwing Giant Pots Workshop” in building Workshop” with Kathy Triplett (July 13— Bristol, Vermont. 17). “Throwing: Altered and Combined Forms” with Gay Smith (July 20-24). “Wheel-Thrown Porcelain” with Malcolm Davis (July 27-31); fee: Pierantozzi (July 6-10). “Handbuilding on the Wheel: $175, includes materials. Skill requirements vary. Low-fire Solutions” with Woody Hughes (July 13- Fee (unless noted above): $150, includes materi­ 17). Skill requirements vary. Fee/session: $325, Ohio als and firing. For further information, contact undergraduate; add $15 for graduate; add $381 for Mark Burleson, Odyssey Center for the Ceramic out-of-state fee. Contact Joyce Ponder, CraftSummer, Arts, 236 Clingman Ave., Asheville 28801; tele­ Miami University, Rowan Hall, Oxford 45056; tele­ phone (704) 285-0210, fax (704) 253-3853 or e-mail phone (513) 529-7395, fax (513) 529-1509 or e-mail [email protected] Craftsummer@muohio. edu North Carolina, Brasstown Oregon, Ashland “Colorful Raku Pottery” with Robert Chance, em­ Workshops on handbuilding, sculpture (July 6-10); phasizing handbuilding (May 31-June 6). “Throw­ and/or surface decoration on thrown works (July 13— ing Large Forms” with Leon Nichols (June 7-13). 17). Instructor: John Connors. Beginning and inter­ “Narrative Clay” with Margaret DesJardins, porce­ mediate. Fee: $250 per week, includes materials. lain, with a focus on handbuilding (June 28-July 4). Camping facilities available. Contact John Connors, “Colorful Containers—Sculptural and Utilitarian” PO Box 3343, Ashland 97520; or telephone (530) with Susie Duncan (July 12-18). “Clay Basics” with 475-0512. Bob Owens (July 19-24). “Teapots and Pitchers” with Don Davis (July 26-August 1). Skill require­ Oregon, Portland ments vary. Fee per session: $258. Contact Hanne “Low-fire Salt” with Paul Soldner, Peter Voulkos and Dalsemer, Registrar, John C. Campbell Folk School, Peter Callas (June 15-19); fee: $550, includes studio 1 Folk School Rd., Brasstown 28902; telephone fee, materials and firing. “Color and Commitment: (800) 365-5724, fax (704) 837-8637, e-mail Decorated Earthenware” with Doug Browe and Jan [email protected] or websitewww.grove.net/-jccfs Hoyman (June 22-26); fee: $395, includes studio fee, materials and firing. Skill requirements vary. College Ohio, Cleveland credit available. For further information, contact “Discovering and Developing Personal Iconography”Shirl Lipkin, Oregon College of Art and Craft, 8245 with Kristen Cliffel, handbuilding sculpture (June 1- S.W. Barnes Rd., Portland 97225; telephone (503) 12). “Tableware and Maiolica: A Throwing and 297-5544 or fax (503) 297-3155. Glaze Workshop” with Deirdre Daw (June 15-26). All skill levels. Fee: $620, includes lab fee; or $820, Pennsylvania, Chester Springs includes lab fee and 2 college credits. Living accom­Demonstration/slide lecture plus hands-on hand­ modations available. Contact William Jean, The Cleve­building, throwing, altering thrown forms with Mark

102 CERAMICS MONTHLY Pharis (June 12-14). Intermediate and advanced. Utah, Cedar City Contact Chester Springs Studio, PO Box 329, Chester“Salt Kilnbuilding Workshop” (June 29-July 3). Springs 19425; telephone (610) 827-7277 or e-mail “Throwing/Handbuilding and Salt-glaze Firing” (July [email protected] 6-10). Instructors: Susan Harris and Wil Shynkaruk. All skill levels. Fee per week: $190, includes materials Pennsylvania, Farmington and firing. Undergraduate and graduate credit avail­ “Introduction to Ceramics” (June 5-7); fee: $140, able. Contact Rossina Felstead, Southern Utah Uni­ includes materials. “Textured Pots for the Wood Kilnversity, Dept, of Art, 213L Centrum, 351 W. Center and Gas Kiln” with Jim McDowell (June 8-13); fee: St., Cedar City 84720; telephone (435) 586-7962 or $200, includes materials. “Pinch Pots and Pit Firing: e-mail [email protected] Ancient Methods for Modern Times” with Jimmy Clark (June 15-20); fee: $220, includes materials. Vermont, Bennington “Throwing Pots for Wood Firing” with Kevin Crowe “Handbuilt Tableware” with Bruce Winn (August 2- (June 22-27); fee: $195. “Handmade Tiles” with 8). “Narrative Clay” with David Stabley, surface Denise Kupiszewski (July 6-11); fee: $210, includes decoration and embellishment (August 9-15). “Raku materials. “Thrown, Handbuilt and Touched” with and Colored Clay” with Makoto Yabe (August 16- David Wright (July 13-18); fee: $230, includes ma­ 22). Advanced. Fee/session: $630, includes materials; terials. “Low-fired Garbage Salt” with Steven Murdockor $930, includes materials, lodging and meals. Con­ (July 27-August 1); fee: $210, includes materials. tact Stephanie Adelman, Art New England Maga­ “Apprentice to Clay” with Dale Huffman (August 3- zine, 425 Washington St., Brighton, MA 02135; 8); fee: $215, includes materials. “Wheel-thrown telephone (617) 782-3008, fax (617) 782-4218 or Pottery” with Valda Cox (August 10-15 or 17-22); e-mail [email protected] fee/session: $270, includes materials. “Wood-fired Workshop” with Kevin Crowe (August 24—29); fee: Vermont, Bristol $170, includes materials. Contact Clara Pascoe, “Experiencing the Fire,” firing in 5 different kilns, Touchstone Center for Crafts, RD 1, Box 60, including a salt, raku, sawdust, pit, and climbing Farmington 15437; telephone (724) 329-1370, fax multichambered wood kiln (June 12-15 or 26—29); (724) 329-1371 or e-mail [email protected] fee/session: $495, includes materials, firing and meals. “Throwing Giant Pots,” focusing on methods that do Rhode Island, Providence not require great strength (July 10-12 or 17-19). “Object/Idea in Clay: Exploring the Source” with “Thrown and Altered Pots” (August 7-9). Instructor: Sharon Pollock-Deluzio; “The Decorated Functional Robert Compton. Intermediate. Fee (unless noted Pot” with Bruce Winn; “Porcelain” with Lawrence above): $350, includes materials and meals. For fur­ Bush Qune 22-July 30); fee/session: $1070, includes ther information, contact Robert Compton Pottery, materials and firing. Intermediate through profes­ 3600 Rte. 116, Bristol 05443; telephone (802) 453- sional. Living accommodations available. Contact 3778, e-mail [email protected] Christine Francis, Assistant Director for Summer or website www.RobertComptonPottery.com Programs, Rhode Island School of Design, 2 College St., Providence 02903; telephone (401) 454-6209, Vermont, Montpelier fax (401) 454-6218 or, for catalog requests, e-mail Making, decorating and firing ceramics in the Mata [email protected] Ortiz tradition with Cesar Dominguez (June 8—12); fee: $350. For further information, contact the Ver­ Tennessee, Gatlinburg mont Clay Studio, 24 Main St., Montpelier 05602; “Animal Imagery in Clay Sculpture” with Adrien or telephone (802) 223-4220. Arleo (June 1-5). “Pot Possibility” with Nicholas Joerling (June 8-12). “Innovative Cone 6 Ceramics” Virginia, Forest with Peter Pinnell and Lana Wilson (June 15-19). “Beginning Ceramics,” throwing, handbuilding, glaz­ “Ceramic Sculpture” with Doug Jeck; “Function ing, and firing (July 20-24, 9 AM-noon); fee: $125, Fantasy” with Diane Rosenmiller (June 22-July 3). includes 25 lb. of clay, glazes, tool kit and firing. “Pots Beyond Technique” with Bobby Silverman “Raku Workshop” with Pat Lester, making, glazing (July 6-10). “Wood Firing with the Anagama Kiln” and firing work (July 25 and August 1); fee: $65, with Jim Brashear; “Low-Fire/Tow-Tech: Hand­ includes clay, glazes and firing. “Low-Relief Sculp­ building Functional Pots” with Gail Kendall Quly ture” (July 27-31, 9 AM-noon); fee: $125, includes 13-24). “Glazing with Intent” with George Bowes clay. Instructor: Pat Lester. Skill requirements vary. (July 27-31). “From Function to Aesthetics” with Preregistration required. Contact Spun Earth Pot­ Patrick Horsley (August 3-7). Fee: $590—$855, in­ tery, 171 Vista Centre Dr., Forest 24551; or tele­ cludes materials, firing, lodging, meals and applica­phone (804) 385-7687. tion fee. For further information, contact Registrar, Arrowmont School of Arts and Crafts, PO Box 567, Virginia, Gainesville Gatlinburg 37738; telephone (423) 436-5860, fax “Decorated Surface,” hands-on workshop with David (423) 430-4101, e-mail [email protected] or website MacDonald (June 27); fee: $45, includes materials. www.smokymtnmall.com/mall/arrowmt.html Hands-on workshop with Winnie Owens-Hart, fo­ cusing on the traditional handbuilding techniques of Tennessee, Sewanee the women of Ipetumodu, Nigeria (July 25—26); fee: Individual study with a potter and apprentice (May $100, includes clay. Hands-on workshop and slide 25-August 7). Beginning and intermediate. Contact lecture with Syd Carpenter (August 22); fee: $45, Hallelujah Pottery, 15114 Sewanee Hwy., Sewanee includes materials. Limited registration. Contact 37375; telephone (931) 598-0141 or e-mail W. R. Owens-Hart, PO Box 361, Gainesville 20156; j uddcut@united. net telephone (703) 754-1307 or e-mail wowens- Tennessee, Smithville [email protected] “Put a Lid on It: Handbuilding and Throwing LiddedWashington, Ferndale Pots” with Gail Kendall and Jeff Oestreich (June 8- “Ancient Clay,” handbuilding, decorating, terra sigil­ 12). “Slab Sculpture” with William Daley; “Ancient lata, burnishing/polishing and bonfire firing (July Clay”with Vince Pitelka (June 15-19). “Earthenware 27-31); fee: $250, plus clay cost. “Color and Surface Form and Surface” with Joan Bruneau; “Raku” with with Slip Techniques,” sgraffito, slip layering, Karl Borgeson (June 22—26). “Making Pots” with stamping, resist, trailing, marbleizing, feather-comb- Kirk Mangus; “Wood Firing” with Diane Rosenmillering (August 3-7); fee: $275, plus clay cost. Instructor: and Nicholas Seidner (July 6-10). “Paperclay” with Vince Pitelka. Skill requirements vary. Camping fa­ Rosette Gault; “Tile: Making, Decorating, Market­ cilities available. For further information, contact ing” with Paul Lewing (July 13-17). “Thrown and Michael McDowell, PO Box 4125, Bellingham, Handbuilt Forms” with Kathleen Guss and Stephen WA 98227; telephone (360) 384-2543 or e-mail Robison; “Framing: Ceramics for Architecture” with [email protected] Neil Forrest (July 20—24). Skill requirements vary. Fee per session: $200, includes firing. Contact the Washington, Methow Appalachian Center for Crafts, 1560 Craft Center “Raku on the River” with Karen Krieger, handbuilding Dr., Smithville 37166; telephone (615) 597-6801 or sculpture, raku firing (June 21-28, July 19-26 or (931) 372-3051, or fax (615) 597-6803. August 16-23); fee/session: $600, includes materials,

April 1998 103 July 24); Ryan Cameron, throwing, slip decoration Summer Workshops and reduction firing to Cone 10 (June 22-July 11); Chuck Wissinger, throwing, handbuilding, glazing (June 29-July 24); Katrina Chaytor-Rozman, firing, camping facilities and 2 vegetarian meals per handbuilding and tiles (July 6—24); Noburo Kubo, day. All skill levels. Registration deadline: June 1. throwing functional and nonfunctional forms plus Contact Karen Krieger, PO Box 533, Methow 98834; Japanese brush technique (July 13—24). Participants or telephone (509) 923-9228. can work with 1 or more residents for 2-, 4-, or 8-week sessions. Fee: Can$250 (approximately US$l65)/2 Washington, Wenatchee weeks; Can$400 (approximately US$265)/4 weeks; Loading, saggar firing and unloading, plus surface Can$600 (approximately US$395)/8 weeks; includes development, throwing techniques and marketing glazes and firing. All skill levels. Contact Mona Jesse, information with Ruth E. Allan (June 25-27); fee: Medalta: International Artists in Residence, PO Box $95, includes materials and firing; plus $2 registration204, 703 Wood St., SE, Medicine Hat; telephone fee. All skill levels. Contact Ruth E. Allan, Wenatchee(403) 527-8663, telephone/fax (403) 529-1070 or e- Valley College, PO Box 2111, Wenatchee 98807- mail [email protected] 2111; or telephone (509) 662-6991. Canada, British Columbia, Galiano Island Wisconsin, Appleton Building and firing simple kilns, such as pit and “Pottery and Porcelain Restoration” with Gerlinde wood-burning raku, plus fuming, salt and post firing, Kornmesser, ethics in ceramics restoration, detectingwith Randy Brodnax (July 12-18); fee: Can$800 good repairs, removing stains and old repairs, joining(approximately US$530), includes materials, firing, single and multiple breaks, filling chips, plain and lodging and meals. Beginning through advanced. fancy, modeling and casting missing parts, synthetic Contact Sandra Dolph, Cedar Grove Pottery, Galiano glaze, color and design, crazing, texture, matting, Island VON 1P0; telephone/fax (250) 539-5814. special effects, airbrushing and supply sources (June 21-28, July 12-19 orJuly26-August 2). Fee: $1010, “Raku Workshop” for women with Meira Mathison includes materials, firing, lodging and meals. Loca­and Sandra Dolph, throwing, raku kiln construction, tion: Lawrence University. For details/registration sawdust/pit and toilet-paper firing, and postfiring form, send SASE to Gerlinde M. Kornmesser, 1011 reduction techniques (June 6-7); fee: Can$138 (ap­ Harlem Ave., Glenview, IL 60025; telephone (847) proximately US$90), includes lunch. Contact Meira 724-3059 or fax (847) 724-3060. (250) 727-9463, or Sandra (250) 539-5814. Wisconsin, Bayfield County Canada, British Columbia, Nanaimo Firing a 24-foot anagama with Mike Weber; partici­“Anagama Firing Workshop” (June 11-20). Begin­ pants must bring raw or bisqued ware (June 15-25). ning. “Noborigama Firing,” chopping wood, stack­ For further information, contact Mike Weber, ing kiln, firing, cooling, removing pots (August 7- PO Box 45, Herbster, WI 54844; telephone (715) 22). Advanced. Contact Tozan Cultural Society, 832-9610 or e-mail [email protected] RR4, Ladysmith, BC V0R 2E0; telephone (250) 245-4867, fax (250) 245-4225, e-mail Wisconsin, Drummond [email protected] or [email protected] One-week workshops with Randy J. Johnston, cover­ ing various aspects of ceramics, including throwing Canada, British Columbia, Osoyoos and handbuilding, with an emphasis on salt and raku“Handbuilding Sculpture Workshop” with Zeljko firing (June 14-20 or 21-27); fee: $445, includes Kujundzic (June 23—27); fee: US$125. Instruction in materials, firing, lodging, meals and 2 undergraduateEnglish, French, Hungarian and Spanish. Beginning credits; or $585 for 2 graduate credits. Intermediate through advanced. Limited to 8 participants. For through professional. Contact Randy J. Johnston, further information, contact Zeljko Kujundzic or University ofWisconsin, River Falls, 310 S. Third St., Elizabeth, RR2, Site 6 Comp. 9, Osoyoos V0H 1V0; River Falls, WI 54022; telephone (715) 425-3266, or telephone (250) 495-2913. fax (715) 425-0657 or e-mail [email protected] Canada, British Columbia, Salt Spring Island Wisconsin, Waukesha Handbuilding and exploring low-temperature firing Firing a 250-cubic-foot anagama with Christopher techniques (June 15-26). “Extending Your Creative Davis-Benavides and Jeff Noska, plus demonstra­ Force” (July 6—17). Instructor: Denys James. Skill tions on handbuilding, throwing, kiln design and requirements vary. Fee: Can$495 (approximately critiques of student work (June 15-July 24, Mon., US$330), includes firing. Camping facilities avail­ Tues., Wed. mornings); fee: $300, includes materials able. Contact Denys James Studio, 182 Welbury Dr., and firing. Contact Christopher Davis-Benavides or Salt Spring Island V8K 2L8; or telephone/fax (250) UW-Waukesha Registration, University of Wiscon- 537-4906. sin-Waukesha, 1500 University Dr., Waukesha 53188-2720; telephone (414) 521-5492, fax (414) 521-5528 or e-mail [email protected]

International Workshops Canada, Alberta, Banff “Clay Camera in the Rockies” with Ed Bamiling and Ernie Krueger, making and firing a pin-hole camera in clay, plus photography hiking sessions using self- made camera (August 29-September 3); fee: Can$395 (approximately US$260). For further information, contact the Banff Centre, Office of the Registrar, (800) 565-9989 or (403) 762-6180, fax (403) 762- 6345, e-mail [email protected] or website www-nmr. banffcentre. ab. ca Canada, Alberta, Medicine Hat “Open-door” workshops with the following artists- in-residence: William Truchon, wood kilnbuilding and firing (June 1-12); Yasuo Terada, throwing, handbuilding pottery (June 1-16); Robert Arch- ambeau, throwing/handbuilding functional forms, wood firing (June 1-19); Robert Harrison, handbuilding architectural sculpture (June 1-26); Diane Lopez coiling and smoothing Trudy Golley, handbuilding sculpture (June 8-29); a pot during a workshop with Vern Sandra Lancaster, handbuilding sculpture (June 15- Roberts in Penrose, Colorado.

104 CERAMICS MONTHLY Canada, British Columbia, Vancouver (August 10-14). “Raku: Special Effects II” (August “Form and Surface with Colored Clays” with Vince 10-15); fee: Can$197.10. Skill requirements vary. Pitelka (July 18-22); fee: US$275, plus clay cost. Fee (unless noted above): Can$ 173.37 (approximately Intermediate and advanced. Contact Olga Campbell,US$115). Contact Haliburton School of Fine Arts, 3866 W. 12th Ave., Vancouver V6R2N8; telephone Sir Sandford Fleming College, Box 839, Haliburton (604) 224-6730 or e-mail [email protected] KOM ISO; telephone (705) 457-1680, fax(705) 457- 2255 or e-mail [email protected] Canada, British Columbia, Victoria “Crack Pots” with Patrick Crabb (June 29-July 3); Canada, Ontario, North Bay fee: Can$315 (approximately US$210). “Kilnbuilding “Wood Kiln: Building and Firing” with Jane Agnew and Firing: Hands-On” with Randy Brodnax; “Glaze (June 1-25, 2 days/week); fee: Can$202 (approxi- and Color Development” with Robin Hopper; matelyUS$135), includes materials and firing. “Con­ “Throwing—Everything but Round” with Patrick crete Sculpture” with Jane Agnew, for sculptors want­ Horsley; “Figure Sculpture” with Bill Porteous (Juneing to experiment in a different medium (June 29- 29-July 10). “Photo Images on Clay” with Andrew July 3); fee: Can$202, includes materials. “Portrait Wong (July 4); fee: Can$60 (approximately US$40). Sculpture in Stoneware” with Christopher Vezina “Raku” with Steven Forbes-deSoule Quly 4—5); fee: (July 6-10); fee: Can$192 (approximately US$125), Can$l 10 (approximately US$75). “Paperclay” with includes materials. “Glaze Technology” with Ron Rosette Gault (July 6-10); fee: Can$315. Fee (unless Roy Quly 6-10); fee: Can$182 (approximately

Instructor Farley Tobin and student Stephan Jaskowak raku firing tiles during a workshop at Miami University in Oxford, Ohio.

noted above: Can$565 (approximately US$375); all US$120), includes materials and firing. “Raku I” with fees include lunch. Living accommodations available.Judy Lowry (July 13-17); fee: Can$187 (approxi­ Contact Meira Mathison, Metchosin International mately US$ 125), includes materials and firing. “Stone­ School of Art, 650 Pearson College, Victoria V9C ware Form” with Jim Louie (July 20-24); fee: 4H7; telephone (250) 391-2420, fax (250) 391-2412 Can$187, includes materials. “Handbuilding Clay or e-mail [email protected] Sculpture” with Dzintars Mezulis (July 27-31); fee: Can$182, includes materials. “Porcelain (Teapots)” Canada, Nova Scotia, Halifax with Keith Campbell Quly 27-31); fee: Can$192, “Studio Ceramics” with Peter Bustin, independent includes materials and firing. Skill requirements vary. study with seminars and critiques (May 11-June 22). Living accommodations: Can$96.30 (approximately “Mold Making” with Peter Bustin (May 13-June US$65) per week. Contact Keith Campbell, Direc­ 26). Skill requirements vary. Fee/session: Can$532.73tor, Artsperience, Canadore College, Summer School (approximately US$355), includes materials and fir­ of Arts, 100 College Dr., North Bay P1B 8K9; ing. Contact Walter Ostrom/Neil Forrest, Nova Scotiatelephone (705) 474-7600, ext. 5401, fax (705) 495- College of Art and Design, 5163 Duke St., Halifax 8397, e-mail [email protected] or B3J 3J6; telephone (902) 494-8225, fax (902) 423- website www.canadorec.on.ca 0121 or e-mail [email protected] Canada, Ontario, Toronto Canada, Nova Scotia, Indian Harbour “Hi-Low-Fire Ceramics Multi-Level” with Dennise “Historical Context/Contemporary Practice” with Buckley (June 8-19, weekdays, 9 AM-noon); fee: Walter Ostrom, earthenware decoration, its theory Can$277.30 (approximately US$185), includes ma­ and practice (July 20-25); fee: Can$650 (approxi­ terials. “Raku: Building and Operating a Raku Kiln” mately US$430), includes materials, firing, lodging, with Ann Cummings (June 13 and 20); fee: meals. Intermediate through professional. Contact Can$209.25 (approximately US$140), includes ma­ Walter Ostrom/Elaine Dacey Ostrom, Walter Ostromterials. “Exploring Glazes at Cone 6” with Nancy Pottery, Box 1633, Tan tallon, Nova Scotia B0J 3J0; Solway (June 22-26); fee: Can$286.95 (approxi­ telephone (902) 823-2751 or fax (902) 425-2420. mately US$ 190), includes materials. “Decorative Pot­ tery at Cone 6” with Nancy Solway (June 29-July 3); Canada, Ontario, Haliburton fee: Can$286.95, incudes materials. “Exploring Tea­ “Pottery for Beginners” with Barbara J. Peel (June 29-pots” with Debby Black (July 5-10); fee: Can$479 July 4); fee: Can$197.10 (approximately US$130). (approximately US$315). “Mold Making for Press “Pottery II” with Barbara J. Peel (July 6-11); fee: Molds: Bisque and Plaster” with Debby Black (July Can$ 197.10. “Figure Modeling and Sculpture”; “Pa­ 20-24); fee: Can$391.75 (approximately US$260), per Clay” with Grace Nickel Quly 13—17). “Clay includes materials. Skill requirements vary. Contact Relief Sculpture”; “Clay Tiles” (July 20-24). Christine Parsonage, George Brown College, PO “Underglazing Techniques” (July 27—31). “Raku: Box 1015, Station B, Toronto H5T 2T9; telephone Special Effects” (August 3-8); fee: Can$197.10. (416) 415-4867, fax (416) 415-4515 or e-mail “Handbuilding Clay Sculpture” with Dzintars [email protected] Continued

April 1998 105 ware, painting on china or raku (July). Instruction in Summer Workshops French. Beginning through advanced. Fee: Fr 2000 (approximately US$315), includes materials and fir­ ing. Living accommodations available. For further England, Chichester information, contact Pierre Rabiet, Rue de la Noblette, Workshop on pottery, including raku and stoneware 51600 Chalons-en-Champagne; telephone (26) 66 glaze firings, with Alison Sandeman (July 25-31). 92 81 or fax (56) 34 33 40. “Mosaics in Marble, Glass and Ceramic” with Emma Biggs; “Handbuilding Ceramics in Stoneware and Greece, Samos Porcelain” with Gordon Cooke (August 1-7). “Sculp­“Relief Sculpture/Tile Making,” prototypes will be tural Ceramics” with Tessa Fuchs, focusing on the cast in plaster and multiples made using press mold human figure and animals (August 8-14). Beginning and casting techniques, plus optional tile-installation through advanced. Fee/session: £458 (approximatelyproject (June 22-July 12). Contact Susan Trovas, US$720), includes firing, meals and lodging. Contact Director, Art School of the Aegean, PO Box 1375 Heather Way, Press and Public Relations Coordina­(CM), Sarasota, FL 34230-1375; or telephone (941) tor, West Dean College, West Dean, near Chichester, 351-5597. West Sussex P018 OQZ; telephone (243) 811301, Italy, Faenza fax (243) 811343 or e-mail [email protected] Throwing, slip casting, glazing, contemporary sculp­ England, Eye ture, kiln design and raku workshops with Emidio Three-day demonstrations on handbuilding, throw­ Galassi and Josune Ruiz de Infante (June 22-28, July ing, glazing, decorating, painting, plus slide lecture 5-11 or 13-19). Intermediate through professional. and videos with Robin Welch (Summer, Sun. PM- For further information, contact Emidio Galassi, Arte Wed. PM); fee: £240 (approximately US$375), in­ Aperto, V. Castellina4,48018 Faenza; telephone/fax cludes materials, lodging, breakfast and lunch. Begin­(54) 668-0398. ning through advanced. Contact Robin Welch, Stradbroke, Eye, Suffolk IP21 5JP; telephone (379) Italy, Florence 38 44 16. “Terra Cotta Tuscan Style” with Silvia Fossati, handbuilding, slip casting, glazing, sculpture (July England, Hundon 15-August 8 or 21-September 2); fee: 1,800,000 lira Handbuilding, smoke and organic firing, with Jane (approximately US$950), includes materials, lodging Perryman (July 27-31 or August 4—8); fee: £240 and meals. Contact Silvia Fossati, Studio Giambo, (approximately US$375), includes materials, firing Via Giano della Bella 22,50124 Firenze; or telephone and lunch. Beginning through advanced. Contact (55) 234-3735, or telephone/fax (55) 224-447. Jane Perryman, Wash Cottage, Clare Rd., Hundon, Suffolk CO 10 8DH; or telephone/fax (440) 786228. Two-week sessions on handbuilding, throwing, glaz­ ing, smoke firing, raku and sculpture (Summer). England, Ipswich Instructors: Pietro Elia Maddalena, Mo Jupp, Patrick Weekly sessions in which participants can design theirPicarelle and Takeshi Yasuda. Instruction in Italian, own experience, choosing from handbuilding, throw­English and German. All skill levels. Fee: 1,800,000 ing, glazing, kiln design, firing, marketing, etc. (Sum­lira (approximately US$950), includes materials, fir­ mer) . Instructors: Alan and Patt Baxter. All skill levels.ing, lodging and meals. For further information, Fee: £290 (approximately US$455), includes materi­contact Pietro Elia Maddalena, Loc. Bagnano 135, als, firing, lodging, meals, and travel to and from 50052 Certaldo, Firenze, Italy; telephone/fax (57) Ipswich train station. For further information, con­ 166-0084 or e-mail [email protected] tact Alan Baxter Pottery Workshop, The White House, Somersham, Ipswich, Suffolk IP8 4QA; telephone/ Japan, Mashiko fax (473) 831256, e-mail [email protected] Workshop in Japanese throwing techniques with or website www.ecn.co.uk/alanbaxter/index.htm George Dymesich at full-time functioning pottery, plus visiting museums, etc., in Tokyo (June 3-13). Weekly sessions on handbuilding, throwing, glazing, Registration deadline: May 15. Contact George pit firing, wood-fired raku with Deborah Baynes (JulyDymesich, 7475 Oak Ridge Rd., Aptos, CA 95003; 5-11,26-August 1,2-8,9-15,16-22, or 23-29). All telephone (408) 475-5614. skill levels. Fee: £300 (approximately US$470), in­ cludes materials, firing, lodging and meals. ContactMexico, La Cruz de Huanacaxtle Deborah Baynes Pottery Studio, Nether Hall, Shotley,Handbuilding using clay, bricks and tile, plus wood Ipswich, Suffolk 1P9 1PW; telephone (473) 788300 firing, with Kirk Mangus (June 15-26) or Virginia or fax (473) 787187. Scotchie (July 13-24). Instruction in English. All skill levels. Fee/session: $950, includes materials, firing, England, Ross-on-Wye lodging and meals. Contact Black Point Clay Work­ Throwing with porcelain, color and surface treat­ shop, (508) 746-0041. ment, plus soda firing with Jack Doherty (July 27— August 1 or 3-8); fee: US$400, includes materials, Netherlands, Oosterwolde firing and lunch. Intermediate through professional. Earthenware and raku workshop with Kees Contact Jack Doherty, Hook’s Cottage, Lea Bailey, Hoogendam, includes preparing clay, handbuilding, Ross-on-Wye HR9 5TY; telephone/fax (989) 750644 throwing, kilnbuilding and firing (June 15-19); fee: or e-mail [email protected] fl 550 (approximately US$280), includes materials, lodging and meals. Contact Kees Hoogendam, de England, Rye Knolle 3A, 8431 RJ Oosterwolde (Fochteloo); or Five-day sessions on slipware and high-fire earthen­ telephone (51) 658-8238. ware with John Solly (Summer); fee: £175 (approxi­ mately US$275), includes materials, firing and meals.Netherlands, Veghel All skill levels. Contact John Solly Pottery, Goldspur Workshops with G. de Rijk (June 28-July 4), C. Teer Cottage, Flackley Ash, Peasmarsh, Rye, East Sussex (July 5-11) and H. V. Alphen (July 12-18). Instruc­ TN31 6YH; or telephone (797) 230276. tion in Dutch and English. Beginning through ad­ vanced. Fee/session: $165. Lodging: $50; meals: $55. France, Allegre Contact Instituut Pieter Brueghel, Hr. P. van Melis, Two-week sessions on stoneware, throwing, glazing, Middegaal 23-25, 5461 XB Veghel; telephone (41) firing; 1-weeksessions on raku (Summer). Instructor: 336-5675 or fax (41) 335-4907. Michel Simonot. Instruction in French and English. Beginning through advanced. Fee: US$850/2 weeks; Netherlands, Waverveen US$400/1 week; includes materials, firing, lodging Handbuilding, throwing, glazing, pit firing and raku and meals. For further information, contact Michel with Susanne Gast and Hanneke Oort (June 29-July Simonot, Mas Cassac, F-30500 Allegre; telephone 4 or 27-August 1), or Martha Becker and Hanneke (66) 24 85 65 or fax (66) 24 80 55. Oort (July 13—18). Instruction in Dutch, English and German. All skill levels. Fee/session: fl 550 (approxi­ France, Bordeaux, Chalons and Perpignan mately US$280), includes materials, firing, lodging Eight-day sessions on restoring china and earthen­ and meals. Contact Hanneke Oort, Poeldijk 8, 3646

106 CERAMICS MONTHLY AW Waverveen; telephone (29) 728-3707, fax (29) week: 25,000 pts (approximately US$155), includes 727-2995 or e-mail [email protected] materials and firing. Contact J. L. Aragon, LaTacita, El Colorado, 11149 Conil (Cadix); telephone (56) 44 Puerto Rico, Guaynabo 59 12 or fax (56) 44 56 86. Three-week sessions (three days a week) with empha­ sis on handbuilding (June and July). Beginning and Wales, Pwllheli intermediate. Contact Ida Gutierrez, Manos Felices, Weekly sessions on throwing and glazing with John Taller Creativo, Urb. Ponce de Leon P2 #60, Ave. Davies (Summer); fee/session: £400 (approximately Esmeralda, Guaynabo 00969; telephone/fax (787) US$625), includes materials, firing and lunch. Inter­ 789-3443. mediate. Contact John Davies, Bryn Goleu Farm, Pwllheli LL53 6UT; or telephone (758) 612932. Spain, Agost Wales, Rhayader Two- or four-week workshop with Marcia Selsor, Throwing and finishing, including reduction firing, focusing on paper clay, using paper in various clay with Phil Rogers (June 1-6, 8-13, July 27-August 1, bodies (May 28-June 11 or June 25). Instruction in Spanish and English. All skill levels. Fee: US$2490/2 10-15); fee: £250 (approximately US$390), includes materials, firing and lunch. Beginning through ad­ weeks; US$3590/4 weeks; includes materials, firing, vanced. Contact Phil Rogers, Marston Pottery, Lower lodging, local transportation, and field trips to Cefn Faes, Rhayader, Powys LD6 5LT; telephone/fax Barcelona and Valencia (2 weeks) or Granada and Cordoba (4 weeks). College credit available. Contact (597) 810875. David Renfrow/Robert Renfrow, ARTIS, 3119 Pio­ Wales, Tenbury Wells neer Dr., Columbia, MO 65202; telephone (800) Weekly and three-day-weekend sessions on all aspects 232-6893 or (573) 886-9688/fax (573) 886-9688 or of pottery making, with emphasis on all stages of e-mail [email protected] throwing pots, pulling handles, spouts, trimming, modeling, glazing and firing with Martin Homer “Paper Clay Sculpture” with Marcia Selsor, including(Summer). Instruction in English, with some French soda, low-temperature, wood, raku and electric oxideand Italian. All skill levels. Fee/session: £229 (ap- firings (June 8-13); fee: 15,000 pts. (approximately roximately US$360) and up, includes materials, US$90), includes materials and firing. Instruction in ring, lodging, meals and transportation from sta­ Spanish and English. Intermediate through profes­ tion. For further information, contact Tina Homer, sional. College credit available. “Realizacion de UnaMartin Homer Pottery, Lower Aston House, Aston Pieza de Gran Tamano” with Arcadio Blasco (July 1- Bank, Tenbury Wells, Worcestershire WR15 8LW; 15); fee: 25,000 pts. (approximately US$155). Con­ telephone (584) 781404. tact Ilse Schiitz, Centro Agost, Calle Teuleria, 11, Agost, Alicante, ES. 03698; telephone (65) 69 11 99, Wales, Wolfscastle fax (65) 69 11 19 or e-mail [email protected] Six-day sessions on throwing, handbuilding and saw­ dust firing with Philip and Maddy Cunningham Spain, Cadix (Summer, Sun.-Sat.); fee: £375 (approximately Weekly sessions on handbuilding, throwing, glazing, US$590), includes materials, firing, lodging and meals. decoration, electric and gas firing, with J. L. Aragon Beginning through advanced. Contact Philip and Toni Cornejo (June 15-August 21). Instruction Cunningham, Wolfscastle Pottery, Wolfscastle, in Spanish, French and English. All skill levels. Fee/Pembrokeshire; or telephone/fax (43) 774-1609. Denys James firing a wood-burning adobe bottle kiln that was built during his workshop in Salt Spring Island, Canada.

April 1998 107 108 CERAMICS MONTHLY April 1998 109 110 CERAMICS MONTHLY April 1998 111 Comment I bought the favored mug in 1984 because it had been fired and vitrified at a from North Carolina potters Will Ruggles high temperature. and Douglass Rankin. I was a student at There are certain reasons why some My Favorite Cup Penland School of Crafts, and my ceram­ cups don’t come out of the cabinet. The ics class had gone up to their studio and lip is thin and has chipped. There are by Holly Hanessian home for a visit. The mug was a link to crevices where my hand cannot reach and an important period in my life. In some dark coffee stains persist. (While usage way, it was a symbol of the sense of shared stains can add a warm and lovely patina, community. The experience of living, if on majolica ware, the coffee accents craz­ Every day I open the door to my Idtchen only temporarily, among a community ing, detracting from the beauty of the cabinet and pull out a handmade mug to of students and professional potters, and decoration.) Liquids fly out too quickly fill with hot coffee. Often this ritual is eating daily off well-made pots helped from some cups. My nose, which is the attended to before my brain is fully en­ develop an early visual vocabulary of whatright size for my face, can be the wrong gaged in the selection process. In the past, constitutes a good pot. size for drinking out of other cups. The that wasn’t a problem, as I had always Later that summer, I sat in on Will handle is too big, too small, too thick, reached for my favorite mug. and Douglass’ class, and heard Will talk too thin. Goldilocks would understand. Some months ago, soon after we had about the lip of a pot and how it needs to My instincts (and the above reasons) exchanged vows, my beloved broke that be a certain shape to be comfortable when usually inform my buying process, but a mug. As he abashedly told me the mug being used. In the following years, I used quirky cup might catch me off-guard. I was in pieces, his eyes mirrored my own their cup in my own ceramics classes to take it home because of its visual impact, regret at the loss of a simple but impor­ show off its many attributes—the lovely then find it subtly loses its magic through tant part of my life. roll of the lip, how it tilted slightly to let use. On the other hand, a plain and simple I was amazed at how much it both­ the fluids gently flow out of it. Then pot can become a winsome beauty by ered me that I no longer had this specific there was the comfort of it in my hand, virtue of its ease and comfort in my hand. cup to drink from. On some level, it had the proportions that looked raw but, in I am in no hurry to replace my old become an important milestone in my fact, were balanced. It pleased my eye. favorite mug. In due time, I will buy a life. Finding another favorite would not I suspect it was inspired by a Japanese cup because I like it. If the cup feels right be easy. teabowl—it had no handle but a wall in my hand and the test of time wears The loss of this cup skewered my vi­ thick enough to grasp with hot liquid in well, I may once again wax poetic when sion and made it hard to select others it. It also had tiny black dots, which gave it tumbles to the floor. from the cabinet. Each was scrutinized as it a sense of whimsy against the cream to why it should or shouldn’t be used. and brown wood-fired palette. I believe The author Holly Hanessian maintains a Harsh judgment to be placed on a pot. that mug lasted for 13 years of daily use studio in Durham, North Carolina.

Index to Advertisers

A.R.T. Studio...... 9 Contemporary Kiln...... 98 Krueger...... 100 Ram...... 89 Aardvark...... 108 Continental Clay...... 10 L & L ...... 69 Randall ...... Ill Aftosa ...... 11 Corey...... 106 Laguna Clay ...... 13 Rhode Island School...... 95 Amaco...... 21 Cornell...... 104 Laloba Ranch...... 101 Santa Fe Clay...... 110 American Ceramic Society...... 79, 81 Creative Industries...... 72, 96 Leslie...... 108 Sapir...... 87 Amherst Potters...... 103 Davens...... 87 Lockerbie...... 95 Scott Creek...... 101 Anderson Ranch...... 99 Dedell...... 72 Sheffield...... 82 Max...... 110 Appalachian Center...... 90 Shimpo...... Cover 2 Del Val...... 105 Miami Clay ...... 108 Arrowmont...... 91 Derek Marshall ...... 72 Sierra Nevada College...... 98 Mile Hi...... 88 Axner...... Cover 3 Dolan ...... 98 Skidmore College...... 93 Minnesota Clay USA...... 84 Bailey...... 1, 6, 7, 25 Duralite...... 110 Skutt...... Cover 4 Miracle Underglazes...... 110 Southern Pottery...... 105 Bennett’s...... 5 Euclid’s...... 86 Modern Postcard...... 99 Bisque USA...... 103 Spectrum...... 76 Falcon...... 72 Montgomery College...... 107 Standard ...... 91 Bluebird...... 95 Florida Craftsmen...... 86 Studio Potter...... 100 Brent...... 85 NCECA...... 28, 29 Flourish ...... 105 Summit...... 90 Brickyard...... 94 New Mexico Clay...... 98 Geil...... 70 Brown Tool...... 90 North Star...... 75, 99 Taos Art School...... 97 Georgies...... 98 Olsen...... 87 Taos Institute...... 102 Callas...... 89 Giffin...... 23 Olympic...... 80 Tara...... 83 Ceramic Millennium 99...... 77 Great Lakes Clay...... 93 Thomas-Stuart...... 99 Ceramics Monthly...... 74, 97 Palissy...... 104 Haystack...... 90 Trinity ...... Ill Clark...... 104 Paragon...... 110 HBD...... 104 U.S. Pigment ...... 91 Classified...... 109 Peter Pugger...... 104 Hood...... 105 Clay Art Center...... 102 Peters Valley...... 98 Venco...... 27 Clay Factory...... 72 International Technical...... 98 Philadelphia Pottery...... 72 Ward...... 72 Clay Times...... 92 Jepson...... 15, 17, 19, 30, 73 Potters Guide...... 93 Westerwald...... 107 Clayworks Supplies ...... 104 Kelly Place...... 90 Potters Shop...... 90 Wise...... 90 Cleveland Institute...... 97 Kickwheel...... 2 Pottery Making Illustrated...... 78 Wolfe...... 105 Contact...... 82 Krause Publications...... 89 Pure & Simple...... 94 Worcester Center...... 108

112 CERAMICS MONTHLY