October 1995 1 Spencer L. Davis...Publisher and Acting Editor Ruth C. Butler...... Associate Editor Kim Nagorski...... Assistant Editor Tess Galvin...... Assistant Editor Lisa Politz...... Editorial Assistant Randy Wax...... Art Director Mary Rushley...... Circulation Manager Mary E. May...... Assistant Circulation Manager Connie Belcher...... Advertising Manager

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Ceramics Monthly {ISSN 0009-0328) is published monthly except July and August by Professional Publications, Inc., 1609 Northwest Boulevard, Columbus, Ohio 43212-0788. Second Class post­ age paid at Columbus, Ohio. Subscription Rates: One year $22, two years $40, three years $55. Add $10 per year for subscrip­ tions outside the U.S.A. In Canada, add GST (registration number R123994618). Change of Address:Please give us four weeks advance notice. Send the magazine address label as well as your new address to: Ceramics Monthly, Circulation Department, Post Office Box 12788, Columbus, Ohio 43212-0788. Contributors: Manuscripts, announcements, news releases, photographs, color transparencies (including 35mm slides), graphic illustrations and digital TIFFor EPSimages are welcome and will be considered for publication. Mail submis­ sions to Ceramics Monthly, Post Office Box 12788, Columbus, Ohio 43212-0788. We also accept unillustrated materials faxed to (614) 488-4561. Writing and Photographic Guidelines:Printed information on standards and procedures for submitting materials is available upon request. Indexing:An index of each year’s articles appears in the December issue. Additionally, Ceramics Monthly articles are indexed in the Art Index. Printed, on-line and CD-ROM (computer) index­ ing is available through Wilsonline, 950 Univer­ sity Avenue, Bronx, New York 10452; Informa­ tion Access Company, 362 Lakeside Drive, For­ est City, California 94404; and from daai (design and applied arts index), Design Documentation, Woodlands, Stone Cross, Mayfield, East Sussex, TN20 6EJ, England. These services are also avail­ able through your local library. Copies and Reprints:Microfiche, 16mm and 35mm microfilm copies, and xerographic re­ prints are available to subscribers from University Microfilms, 300 North Zeeb Road, Ann Arbor, Michigan 48106. Back Issues: When available, back issues are $4 each, postpaid. Write for a list. Postmaster: Send address changes to Ceramics Monthly, Post Office Box 12788, Columbus, Ohio 43212-0788. Form 3579 requested. Copyright © 1995 Professional Publications, Inc. All rights reserved

2 CERAMICS MONTHLY October 1995 3 4 CERAMICS MONTHLY Volume 43, Number 8 • October 1995

Feature Articles

East Meets West in Southern Arizonaby Cathy Murphy ...... 34 Steve Welch...... 39 Walter Dexter: Surface and Sculpture by Paula Gustafson ...... 40 The Mecklenburger Vogelby Scott Frankenberger ...... 41 Wood-Firing Dialogue An Interview with John Balistreriby Jim Leedy...... 45 Wisconsin Potters Invitational ...... 48

The Mecklenburger VogelSince reunifi­ The Latest on Glaze Calculation Softwareby Rick Malmgren...... 50 cation, former East German potters Sille Thrown Togetherby Yimlei Yep...... 54 Barke (left) and Regine Schonemann now sell their work “by whatever means they Opening Doorsby Michael Smyser with Hugh Schuck...... 56 can”—from their own gallery, and at Top- Alfred Nowby Mary Seyfarth ...... 59 fermarkts (above), the pottery-only fairs, they attend several times a year; page 41. Shards, Time and Human Endeavorby Delia Robinson...... 62 Kevin Niermanby David Brin ...... 63 The Latest on Glaze Calculation Software Rick Malmgren evaluates two new pro­ Five Steps to Stop Glaze Shiveringby JeffZamek ...... 92 grams as well as updated versions of two others reviewed previously; see page 50.

Opening DoorsDissatisfied with “clean, Up Front traditional, controlled work that followed the rules,” Pennsylvania potter Michael Anna Fariello ...... 10 Architectural Installation Smyser began experimenting with form, Auction Benefits Emergency in Italy by Nino Caruso ...... 16 texture and color. In the process, he discov­ ered that a pot could be removed from a salt Relief Fund ...... 10 Experiencing a Japanese kiln at Cone 10, accented with raku glaze Ron Meyers and Michael Simon .. 10 Tour Group by Kathryn Holt .... 18 and returned to the kiln; see page 56. Frank Ozereko ...... 12 Julian Jadow ...... 20 An American Ceramics Slide File Susan Beecher...... 22 in Prague by Robert Rustermier ... 12 Breaking Barriers ...... 22 Helen Gorsuch ...... 14 Eva Stettner...... 22 Kate Malone ...... 14 Saggar Firing with Shells Edith Ehrlich ...... 14 by Kelvin Bradford ...... 24 Glenn Takai ...... 16 VivikaHeino, 1910-1995 ...... 24

Departments

Kevin NiermanTeaching children (such Letters ...... 8 Solo Exhibitions ...... 78 as Stephany Kong, above) in his studio has New Books ...... 26 Group Ceramics Exhibitions ...... 80 influenced this California potter’s own ap­ Video ...... 30 Ceramics in Multimedia Exhibitions ...... 81 proach to clay. “When I sit down to work Call for Entries Fairs, Festivals and Sales...... 84 now, I bring that playful part of myself to International Exhibitions ...... 68 Workshops ...... 86 the worktable,” he says; page 63. National Exhibitions ...... 68 International Events...... 87 Regional Exhibitions ...... 70 Questions ...... 90 The coverArizona potter Peter Chartrand Fairs, Festivals and Sales...... 70 Classified Advertising...... 94 glazing a series of goblets. His collabora­ Suggestions ...... 74 Comment: tions with Toni Sodersten “reflect the ideas Calendar Language in Ceramics and experiences of both artists”; see page Conferences ...... 78 by Jane Larson ...... 96 34. Photo: Cathy Murphy. International Conferences ...... 78 Index to Advertisers...... 96

October 1995 5

entire United States, she has been unable to modest proposal: include articles and ideas Letters find one piece of pottery that doesn’t offend that would have been of interest to Leach, her oh-so-highly developed sense of taste Cardew, Hamada, maybe even William vis-a-vis “care” in pots made here as opposedMorris or some of us Luddites! Derivation, Plagiarism and Synthesis to Japan and its “warm and alive” and “ever- Paul Weinberg, Oakland, Calif. I am writing in consternation, with refer­ so-pure” ceramics. ence to two photos in the September 1995 As for using a hair dryer to speed drying: A Good Balance issue: the first, a Magdalene Odundo pot on Well, my dear, I shudder at the thought. I like the current CM editorial mix. page 18; and the second, a Robin Hopper As for those dreadful pinholes: There is a Assorted letters to the editor complain of vase with mocha diffusion on page 42. To saymarvelous suggestion in the same issue on “too much this” or “too little that,” but I the two pots are derivative is an understate­page 77 that those of us with slightly devel­ believe the magazine has struck a good bal­ ment. But derivation is no crime. After all, oped senses of taste, elegance and caring will ance. It appears that considerable effort has art is essentially a process of synthesis. I be happy to try. been expended in keeping the balance, and suppose one could say everything is derivative. Helene Benardo, Bronx, N.Y. this deserves kudos for a job well done. Beyond that, both pots pictured are plagiaris- Mark Betoume, Marietta, Ga. tic—at least as presented in the magazine. Get a Life In the case of Ms. Odundo’s pot, I feel In reference to the Comment article “A Cover Delight pretty certain the fault lies in the writer’s View from Abroad” by Linda Kiemi Sawyer: I love the cover photos of smiling potters ignorance and CM’s oversight. It is obviousIf this was written as a tongue-in-cheek in their studios. to anyone who has studied pottery as art spoof, I think it is extremely humorous. If C. Grand, Menlo Park, Calif. rather than craft that Ms. Odundo’s pot doeswritten seriously, I find it to be the most not, as the curator [Marla C. Burns, director ridiculous article ever published in CM, or More Tech Info of the Santa Barbara University Art Mu­ anywhere else. I can appreciate CM’s wanting to cover as seum] says, reflect a “love for the universal Ms. Sawyer, have you seen 100% of all much of the field as possible; however, as a language of clay and a familiarity with...the the so-called finished pieces in America to hobbyistlpotterlartist, I would prefer more legacy of Bernard Leach,” but rather a direct come up with this figure of 99.9% as being technical information and advice. Maybe the and complete influence of the work of Lucie uncaring? Puhleeze. Who calls pots “finishedstaff should devote entire issues to specific Rie, whose legacy far surpasses Leach’s work pieces” anyway? areas of interest rather than trying to address (which—in comparison—is artisan). Can you imagine my horror after finding them all in each issue. Ms. Odundo captures perfectly the grace out that Americans use electric mixers to get Again, I personally would like more of Rie’s marvelously delicate work and adds all the glaze off the bottom of the bucket? I’mtechnical data, though I occasionally do find her own, pregnant, African touch that brings shocked. the other information interesting, especially if her own voice through loud and clear— I can only hope that the work of those I happen to be traveling in an area where judging from the photo. It is an example of ignorant and totally unnatural potters in there is a ceramics show in progress. synthesis and progression in art from teacherAmerica—like Peter Voulkos, Richard Roger Locniskar, Andover, Mass. to pupil to teacher to pupil—plagiarism of DeVore, Don Reitz, David Shaner and the only acceptable kind. Toshiko Takaezu—can someday be accept­ Pots Monthly? I don’t know how to say this other than able enough to Ms. Sawyer so that her per­ CM often prints letters from readers in directly, but the picture of Robin Hopper’s centage of uncaring pots and potters will which we request to see more or less of this or work shows none of the deft touch of an come down at least to the low 90s. that. The public’s awareness of clay as a artist, and barely the deft touch of an artisan. As for her comment about “creativity viable medium for artistic expression is grow­ There can be no doubt that the pot is a going to waste”: The only thing I can say to ing and CM has responded by dedicating direct—and badly executed—copy of shapes this is, “Get a life.” more and more pages to ceramic sculpture. I Hans Coper spent his life digging out of his Rick Berman, Atlanta would never request that CM polarize its own inner clay. (Some of that time spent at coverage, but I must say that I invariably Lucie Rie’s studio, I might add.) The tech­ Comment Tolerance thirst for more pots after reading each issue. nique is terrible, but how would one know The September issue of CM has been in Why not also publish Pots Monthly? I have a that without having seen the original? And my house less than a half hour, and I find strong feeling that a large number of CM the thought that this pot is in an American myself writing a letter. I feel that I must readers would keep their current subscription university teaching collection is shocking. respond to “A View from Abroad” by Linda and also hastily subscribe to Pots Monthly. I Why the concern on my part? Because I Kiemi Sawyer. This is my second letter of thecertainly would. grew up with Lucie and Hans. They were day—my first was long and critical, a real Keep up the good work, and don’t forget friends. They deserve a lot better than to haveventing session! about all of us who are dying to be exposed their incredible legacy to the pottery world I trashed that first letter after reflecting onto the wealth of great pots and potters out enmired by faulty journalism. a quote from George Santayana: “Intolerancethere. Paul Martin, Lyons, Mich. itself is a form of egoism, and to condemn Joe Davis, Clay City, Ky. egoism intolerantly is to share it.” Taste and Caring Thanks for another great issue. And, Shared Benefits In regard to the September Comment: Linda, welcome to America. Now go home. I especially appreciate and benefit from My stars! Poor Linda Kiemi Sawyer. In the Tom London, Kennewick, Wash. the tidbits of information and problem solving from other potters. How any artist Share your thoughts with other readers. All letters Less of Interest works in the studio is of special interest. Most must be signed, but names will be withheld on I have noticed that it is easier to read eachof us work alone and yet need information request. Mail to The Editor, Ceramics Monthly, issue of CM, and that it takes less time. That from each other. The magazine is a good way Post Office Box 12788, Columbus, Ohio 43212- equates to the fact that there is less of interestto get it. 0788; or fax to (614) 488-4561. to me, or, more to the point—I’m bored. A Catherine Ruane, Wrightwood, Calif.

8 CERAMICS MONTHLY October 1995 9 event, which raised over $50,000—exactly the same amount Up Front realized during the organizations first three years. Kathleen Guzman, president of Christies East, conducted the auction

Anna Fariello “Icons and Idols,” an exhibition of handbuilt earthenware sculpture and mixed-media works by Virginia artist Anna Fariello, was presented recently at the Alleghany Highlands Center in Clifton Forge, Virginia. Primarily symbolic architec­ tural forms, Fariello s works are perceived as dwellings for ideas and emotions rather than for people. After casting the elements (stones, buildings and columns) in white earthenware, Fariello then alters scale and depth to produce “psychologically discon­ tinuous” scenes. Inspired by artists of the pre-Renaissance and Byzantine eras, Fariello makes “a conscious effort to infuse each piece with a magical and mysterious wonder. The past accorded greater attention to mystery and the irrational than does the contempo- Kathleen Guzman, president of Christie’s East, auctioning works by ceramist Michael Sherrill during the CERF auction at Peter Joseph Gallery in New York City.

of ceramic, glass, wood, metal and fiber objects. Prices ranged from $1500 to $7000. Since 1985, CERF has provided assistance to artists who have been unable to work because of natural disasters, illness, robbery or fire. The anniversary party was, according to board president Leslie Ferrin, “a wonderful celebration of ten years of hard work and the achievement of a simple idea—immediate relief that allows a craftsperson to face a crisis and return to work.” Ceramists Albert Green, Indira Freitas Johnson, Karen Koblitz, Matt Nolen, Joellyn Rock, Michael Sherrill, Susan Sipos and Triesch Voelker were among the 26 artists who contributed works to the auction and limited-edition sale. Sipos was not only a contributor to, but a recipient of, CERF s help. In 1994, she was unable to work because of health problems. Today, she has returned to full production, thanks, in part, to support from CERF.

Ron Meyers and Michael Simon Pots by Georgia artists Ron Meyers and Michael Simon were exhibited recently at the Clay Studio in Philadelphia. The two also discussed their working philosophies during a talk given at Anna Fariello’s “Re-Construction III,” from the “Temple” series, 14 inches high, cast and handbuilt earthenware; at the Alleghany Highlands Center, Clifton Forge, Virginia. rary mind. Incomprehension yielded a wealth of stories and myths as explanations for all aspects of the human condition. “Our contemporary belief in science has eroded the need for these elaborately creative explanations,” she continued. “But in relying on the rational, we sacrifice the wonder of mystery. I am exploring symbols that have the capacity to induce mystery and wonder, and produce questions rather than provide answers.”

Auction Benefits Emergency Relief Fund The Craft Emergency Relief Fund (CERF) recently celebrated its tenth anniversary with a fund-raising auction, limited-edition sale and party at Peter Joseph Gallery in New York City. More than 150 collectors, artists and gallery owners took part in the You are invited to send nevus and photos about people, places or events of interest. We will be pleased to consider them for publica­ tion in this column. Mail submissions to Up Front, Ceramics Michael Simon’s “Persian Jar,” 5 inches in height, Monthly, Post Office Box 12788, Columbus, Ohio 43212-0788. stoneware; at the Clay Studio, Philadelphia.

10 CERAMICS MONTHLY October 1995 11 Up Front relationships between the drawings and the sculpture, the exhibition also traces the process of their development. “Until I began this series of wall pieces, my ceramic work the Moore College of Art and Design, as part of the studio’s had been growing bigger and more complex,” Ozereko com­ lecture series. mented. “Arriving at a scale that seemed to dwarf my intentions, Making no apologies for his utilitarian approach, Meyers I found it refreshing to retreat into a smaller arena. creates a wide range of functional shapes upon which to carve “On one level, the wall pieces are compositions, still and brush his view of the world. Using slips and underglazes, lifes...but I’ve come to think of them as dramas—not great tragedies or romances, but depictions of tiny gestures frozen in a small space,” he continued. “Even though the objects are abstract or generic creations, they seem to possess a personality that lifts them to the status of a character in a drama. This exhibit, seen as a progression, represents problem solving as well as the evolution of an idea before the eyes of the viewer.”

An American Ceramics Slide File in Prag^ by Robert Rustermier When I arrived in Prague in the Czech Republic on a Fulbright Fellowship for postgraduate study at the Academy of Applied Arts, Leslie High (First Secretary of Cultural Affairs) encouraged everyone at the orientation to lecture as much as possible. This sounded like a fine idea and one that would support the under­ lying premise of the Fulbright mission—to promote intercul- tural understanding and exchange. The only problem, however, was that I hadn’t come prepared for this. Sure, I’d brought a few slides, but only for my own enjoyment. I decided to scour local libraries for periodicals, find a photocopy center and structure a lecture. I began by contacting reference services at all the major libraries in and around Prague. I even contacted the main library in Vienna, Austria, which I had heard was one of the best. If they couldn’t help, no one could. They couldn’t. Ironically, all routes led me back to two main reference Ron Meyers “Jar,” 11 inches in height, earthenware. sources: the Academy of Applied Arts Library and the Museum of Decorative Arts Library. The library at the museum had he produces sometimes whimsical, often disturbing, images of virtually nothing on contemporary American ceramics. While animals and people. the library at the Academy of Applied Arts did have a few issues Simon, in turn, manipulates his thrown pots into squared- of Ceramics Monthly, they were sparsely scattered over a ten-year ofF shapes to emphasize structure and proportion. “The appre­ period and didn’t contain enough information to compile the ciation of a pot demands not so much a thoughtful analysis,” he kind of comprehensive lecture needed to address the changes believes, “but a kind of everyday, sensual response.” that had occurred in American ceramics over the past 50 years. After some consideration, I arrived at an alternative solution. Frank Ozereko If I were to contact artists directly to ask for slides, an artist’s “Little Dramas,” an exhibition of ceramic wall sculpture and statement and resume—all of which would be donated to the drawings by Massachusetts artist Frank Ozereko, was presented museum’s library—not only would this establish a reference recently at Ferrin Gallery in Northampton, Massachusetts. The source in Prague for American ceramics, it would also provide ceramic dioramas were based on a series of pen-and-ink draw­ me with an excellent resource to draw from when structuring ings of abstract yet anthropomorphic objects. Depicting the lectures. When I presented the idea to the museum’s chief librarian, Jarmila Okrouhlikova, she was ecstatic. From the beginning, my goal was to make this collection as comprehensive as possible. By referencing a two-year-old NCECA (National Council on Education for the Ceramic Arts) membership directory I’d miraculously brought with me, as well as a few magazines and books, I compiled an initial list of about 400 names. A few artists responded to my request for referrals, bringing the final number to about 450. The list included not only well-known leaders in American ceramics, but many artists who had gained national notice in recent years and several who were just beginning to show their work. The result of one initial contact letter and two follow-up letters, the project I had begun almost a year and a half ago is Frank Ozereko “Untitled,” 18 inches in length; at Ferrin now complete. Nearly 250 artists responded, creating a collec­ Gallery, Northampton, Massachusetts. tion of more than 2000 slides, several books and catalogs,

12 CERAMICS MONTHLY October 1995 13 Up Front periodicals, artists’ statements and resumes for most of the artists, piles of exhibition announcements and other related infor­ mation—more than I’d ever dreamed we’d have. Needless to say, both Okrouhlikova and I were overwhelmed by the project’s success. To put the magnitude of this collection into perspective, one needs only to realize that the museum’s entire slide collection, prior to this additional infor­ mation, consisted of only 4000 slides.

Helen Gorsuch Raku-fired anthropomorphic figures by Pennsylvania artist Helen Gorsuch were featured in an exhibition shown through June 4 at the Southern Alleghenies Mu­ seum of Art in Loretto, Pennsylvania. Satirical comments on human behavior, British artist Kate Malone incising a large pitcher in her London studio. Gorsuch’s works are inspired by nature, various religions and mythology, as well as classical pottery, and Malone’s earthenware pieces are coil built and press molded, ancient and folk cultures. “I enjoy using techniques employed then fired anywhere from 10 to 50 times to achieve the desired depth of surface. She has recently started experimenting with crystalline glazes on stoneware, with a carefully controlled firing and cooling process to achieve the desired effects. Edith Ehrlich Handbuilt vessels by New York artist Edith Ehrlich were fea­ tured recently at the Garrison Art Center in Garrison, New York. Trained as a painter, Ehrlich has concentrated on ceramics for over 25 years: “Without conscious planning, over the years my pieces seemed to synthesize the history of pottery,” she noted. “I felt an involvement with the impulses of early humans who made and decorated their pots for utilitarian reasons.” Ehrlich’s latest work consists of tall, thin vessels, and short,

Helen Gorsuch “Sekhmet—Lion,” 20 inches in length, handbuilt, raku fired; at the Southern Alleghenies Museum of Art, Loretto, Pennsylvania. by sculptors of the distant past in creating my work,” she explained. “Simple techniques, such as slab and coil, form the foundations for each construction. “The process of problem solving and the construction of each piece are important for me,” Gorsuch added. “The way a sculpture evolves is dictated by the limits of working with clay.” Kate Malone Vessels by London ceramist Kate Malone were presented recently at the Scottish Gallery in Edinburgh. Much of her work is inspired by various fruit (pineapples, gourds, pumpkins) as well as images from the sea (starfish, seashells, coral). An inveterate traveler, Malone takes many of the forms and colors Edith Ehrlich’s “Trifocal,” 7 inches in height, slab- and for her pots from sketchbooks of her trips to India, the Far East coil-built, glazed stoneware, $300; at the Garrison Art and South America. Center, Garrison, New York.

14 CERAMICS MONTHLY October 1995 15 Up Front round, tambour and basket forms. “I am involved in making sculptures of vessels as containers of anything and everything from food to light to sound to secrets,” she explained. “The vessels depict the covering of whatever is contained, beaten by time and usage, broken but still standing.” Wheel thrown or slab and coil built from stoneware and porcelain, her vessels are brushed with glazes, underglazes, slips or oxides, then fired in oxidation to Cone 6. The interaction between surface texture and glazes is important to Ehrlich: “Texture can be used for light and shadow; for gesture; to emphasize the framework of a piece, whether forms are joined neatly or with tears left on the surface.” To achieve a worn look, she is experimenting with soda- and wood-ash glazes, as well as lowering the temperature of high-fire glaze recipes (with the addition of colemanite or lithium) for a dry finish when fired to Cone 6. “If a surface is too shiny, I sandblast the piece so that the glaze partially sinks back into the clay. “I have discovered that I want my work to be balanced but to follow the uneven tentative qualities of nature and man- made objects softened by time,” Ehrlich continued. “The

Glenn Takai’s “Kiln Man (Tribute to Arneson),” 47 inches in height; at John Natsoulas Gallery, Davis, California.

vessel forms and tomb architecture to figurative sculptures that bear personal mythologies. Citing ancient civilization and the Renaissance as influences, Takai refers to his work as architec­ tural with figurative relief images. Glazes are applied in a painterly fashion; he also incises marks to resemble hieroglyphics. Chalky earth tones of bone, terra cotta, sapphire, forest green and black underlay and cross- section the surfaces.

“Tall Forms I and II,” to 16 inches in height, slab- and coil- Architectural Installation in Italy built, glazed stoneware, $350 and $330, by Edith Ehrlich. by Nino Caruso continuity of civilization indicates that with their successes, Brufa is a medieval castle in the province of Perugia, Italy, that insecurities, attempts, imperfections, ethnic and religious from its hilltop position dominates the territory where wine and conflicts, people endure.” ceramics have been produced for a thousand years. The sur­ rounding landscape is characterized by vineyards and olive Glenn Takai groves; the ceramists work in nearby Torgiano and Deruta. Ceramic sculpture by Glenn Takai was presented recently at For the past eight years, a sculptor has been invited by the John Natsoulas Gallery in Davis, California. A group of self- village of Torgiano to exhibit either in the inhabited area or portraits, the series pays tribute to Robert Arneson. along the road that overlooks the vineyards. The community Over the years, Takai s work has evolved from traditional also purchases one of the works. It is remarkable that a village

16 CERAMICS MONTHLY October 1995 17 Up Front 9 A.M.: Found my group, then spent 30 minutes listening to instructions from the travel company and speeches about the importance of the symposium. I understood about every tenth word. 10 A.M.: Boarded the right plane and found the right seat; also spotted our English-speaking tour guide (she proved to be a great help). During the flight, I managed a goofy sort of conver­ sation in Japanese and English with my neighbor to the left. She was going to Seoul to see old friends, not ceramics, because the tickets were so cheap! 11:30 A.M.: Got through customs and onto the right bus. Everyone was pretty friendly, but they also wondered what a gaijin (Western foreigner) was doing there. Noon: Speed eating, picture taking. My tour mates began to realize that with a little effort and my minimal Japanese, we could actually have a conversation. Early afternoon: A quick driving tour of Seoul. I saw a lot, but had no idea what it all was. Later: Drove through lovely countryside to Rikawa, a pottery village where Koryo-style celadons are made. It’s a tourist spot, but the pots were lovely anyway. I watched them throw, carve, Nino Caruso terra-cotta installation at Brufa, a medieval castle near Torgiano, Italy; the doorway (approximately inlay slips and glaze. It is meticulous work, exquisitely done. I 10 feet in height) overlooks a vineyard and is dedicated bought three small dishes with mishima and sgraffito decoration to the Greek god Dionysus and his bacchante. to show my students. A large noborigama was being fired. We then went to a private museum of Koryo ceramics and with 700 inhabitants of very modest economic resources is able worlds by Yoo Hae-Gang, who reestablished this line of work in to finance an artistic operation that is enriching. the early part of this century. Fine pieces, great catalog—this This year, I was invited to exhibit my work in the town. I visit alone made the trip worthwhile. I understood almost every worked out a plan in which my sculptures could be integrated conversation. into the urban context. The installation began with a work Early evening: Back to Seoul and the biggest duty-free shop I placed permanently in the area that faces the S. Ermete Church, have ever seen. I bought brushes,suzuri (ink stones), paper­ then slowly progressed into the village, finding the best sites for weights, water droppers, paper—all inexpensive, but heavy. the integration of sculpture and urban space. How will I ever get this stuff home? 6:30 P.M.: Arrived at the Silla Hotel for the symposiums Experiencing a Japanese Tour Group opening ceremonies, which included a magnificent feast, by Kathryn Holt speeches and entertainment (lovely Korean dancers in tradi­ After teaching ceramics for 17 years, I decided I needed a break. tional costumes, ear-piercing string music, great drums and a When the Japanese sister institution to my college asked for a panoramic slide show of Korea), and ended with the partici­ teacher for their English program, my 20-year-old undergradu­ pants joining hands in a huge circle and singing a folk song. I ate degree in English finally paid off. didn’t understand the words, but it didn’t matter; the moment While in Japan, I had the opportunity to visit many potteries was poignant enough. and museums, and to meet with potters, researchers, curators 11 P.M.: Crawled into a Western-style bed in my luxurious and collectors. One day, a Japanese friend handed me a trans­ hotel room, and watched an old Western movie—Gary Cooper lated newspaper article about a ceramics symposium that was to sure sounds strange in Korean. be held in Seoul, Korea. Many areas of interest to me were Reflections: In the course of my first day, my tour compan­ going to be discussed. ions had become friendlier and friendlier. The reserve and The symposium was sponsored by a variety of groups, formality I had often experienced in Japan dissolved. I began to including several Japanese tour companies that were making feel like the new baby in the family—being passed from hand to arrangements for travel, hotels, meals and trips to the museums hand all day long; people gesturing to me to sit with them at and sites involved. The only way to attend the symposium was meals; others maldng sure I knew where the bus was or what to sign up for the tour. After calling one of the companies and time we were supposed to meet again, trying out their English finding someone who could speak English, I received the and praising my very limited Japanese. prospectus and went to the travel office to sign up. Day 2, 8 A.M.: Great American-style breakfast—waffles, The gentleman at the tour company was a little nervous bacon, hash browns—something I hadn’t had for a long while. about my joining the group—foreigners generally don’t sign up This is one posh hotel. for Japanese tours. My Japanese is very limited, but I assured 9:30 A.M.: Off to the National Museum. There were too him that I would be fine. I paid the fees, got the required visa many good things to list. I wandered through room after room; for the three-day trip, and waited patiently for the directions he the time passed much too quickly. translated into English for me. Noon: Great lunch. Korean food is spicy and flavorful, with Day 1, 8:30 A.M.: Got to the airport; tried to find the right a lot of variety. I was getting to know the others better. We were tour group. The travel company had given me a map to the an eclectic group—ceramics designers, an importer of Asian meeting location, but they didn’t tell me there would be ten ceramics, a man whose family makes high-grade copies of Asian other groups gathering in that same area. earthenware, two professors of medicine who are tea aficiona-

18 CERAMICS MONTHLY October 1995 19 Up Front more when I returned home. Our normally lively group was subdued, the return trip to Seoul unusually quiet. 1 P.M.: An unscheduled visit to another small, private dos, one high-school history teacher who spoke excellent museum, showing only a few but excellent examples of pieces English, one collector of Danish porcelain, businessmen, etc. from all of the periods in Korean history. It was a nice surprise 2 P.M.: Two hours of symposium officials speaking with before we headed for Kimpo Airport. simultaneous translation into Korean and Japanese. Chin-jukan, Later: At the airport, I shared cold cuts and beer with some whose family was brought to Japan from Korea during the of the group. There were also exchanges of meishi (business “Potter Wars” of the late 16th century, was the featured speaker. cards) and promises of visits and trips yet to come with several He is the foremost potter in southern Kyushu, an area that has people. I gave one of the ceramics designers a deer-tail brush I’d maintained Korean traditions over the centuries. made. He quickly pulled out a small watercolor set and water- Later: Returned to the museum by taxi after promising the color paper postcards for me. Sitting in the waiting area, we all tour guide I would not get lost, robbed, arrested or lddnapped. looked through the catalogs we’d each purchased, and un­ Browsed through antiques shops in two areas of the city—so wrapped and passed around pots. Then came the nonstop many beautiful objects; so many more expensive than my picture taking. budget could manage. The flight home was full of chatter and pantomime. Ex­ One shop owner started chatting with me in Japanese. I hausted but elated, I felt like I had seen one of the warmest sides admired several items, but by pulling out the empty lining of of the Japanese character, as well as some damn fine pots. my pockets, I was able to explain that I couldn’t afford anything. He took me into a back room and pulled a tarp off a pile of interesting, but imperfect, pieces with prices that I could afford. Julian Jadow I bought three small bowls of various ages and types, and he Large platters and vessels by New York City artist Julian Jadow gave me another. He made tea and we talked about many of the were on view recently at the National Arts Club in New York things in the shop, the bowls I had purchased and about my trip City. A potter for over 30 years, Jadow usually has a classical to Korea. His wife, a Japanese woman, had recently died, and he shape in mind before he begins throwing but, as he works, the spoke of her affection for the ceramics in the shop. His own pot changes. “I love the feel of the clay as it takes shape, and interests were in the wood boxes and furniture. Speech was when the kiln is opened and the fire has done its work, difficult for us both, but we managed by using gestures, sketches there...are always surprises in the way the colors finally trans­ and humor. form from the glazes and the raw clay,” he commented. 5 P.M.: Stopped for coffee and apple pie. (Koreans make very “My latest large platters and vases are heavy so that I can good pie!) Saw a TV news brief about North Korean President have a thick organic rim or body,” Jadow continued. “On these Kim II Song’s death. No one seemed to know for certain what platters I like to break the surface with a fragment of hard clay was happening. There was a sudden tension in the air. Korea’s just after the piece is thrown so that after firing there is the military went on full alert. appearance of something organic imbedded in the surface—a 7 P.M.: Watched CNN back at the hotel. U.S. forces had little visual mystery.” been put on alert. I had planned to have dinner with a Japanese Dry glazes and oxides are then sifted onto the wet surfaces. newspaper reporter who was covering the symposium. More “The effect is a gentle blending of color. The surfaces have the urgent news would keep him overwhelmingly busy for days. Day 3, 9 A.M.: Climbed onto the bus for our final scheduled tour. Everyone was a little tired and a little nervous. We headed for Panmunjam and the demili­ tarized zone. It is a bleak place, even in the middle of summer. This was the first time I’d been frustrated by the language barrier. I wanted to know more about what I was seeing, but the tour guide spoke very quicldy in Japanese. Most of what I knew about the Korean War I’d learned in tenth-grade history, by listening to family and friends who were there, or by watching “M*A*S*H.” I promised myself that I would find out New York City artist Julian Jadow with his latest series of large vases and platters.

20 CERAMICS MONTHLY October 1995 21 Up Front were ceramic sculpture, vessels and wall forms by Viola Frey, Michael Lucero and James Tanner. In the accompanying catalog, curator Matthew Kangas look and feel of roughness, almost crusty sand, alternating with explained that the artists in this exhibition, “through technical glossy-smooth surfaces.” After glazing, the work is fired in a 40- mastery combined with intellectual, social, formal and psycho­ cubic-foot, downdraft, gas kiln. logical content, illustrate the maturity of American craft in the late twentieth century. They break with tradition in basic ways: Susan Beecher content, scale, technique, material and function....They have An oval-footed casserole by New York studio potter Susan frequently crossed cultural boundaries in their search for indi­ Beecher was among the works chosen by juror Val Cushing vidual expression, thus creating an American sensibility that (ceramics chair at Alfred University) from 772 entries for reflects trends in world craft.” After closing at the Portland Art Museum, the exhibition traveled to the Madison Art Center in Wisconsin, then to the Albany Museum of Art in Georgia, where it will remain on view through December 30. It can then be seen at the American Craft Museum in New York from March 14 to June 23, 1996. Eva Stettner Raku figures by New York artist Eva Stettner were exhibited recently at Gallery Juno in New York City. “This show brings together for the first time all of the various themes I have been

Susan Beecher oval casserole, 11 inches in height, thrown and altered, with temmoku and aqua glazes, reduction fired in a gas kiln; at the Greater Denton (Texas) Arts Council. inclusion in the “Ceramics USA 1995” exhibition at the Greater Denton Arts Council in Texas. Beecher’s pottery is housed in a 100-year-old barn in the Catskill Mountains. Much of her work is wheel thrown and altered, glazed with traditional recipes, then high fired in reduction. She hopes her “pieces will enrich the daily lives of the people who use them. I want to bring the beauty of the hand­ made into their lives.”

Breaking Barriers “Breaking Barriers: Recent American Craft,” a traveling exhibi­ tion of more than 60 objects created by 17 artists, opened at the Portland Art Museum in Oregon. Among the works on view

Eva Stettner’s “Cooper,” 49 inches in height, raku fired; at Gallery Juno, New York City.

exploring for the past 14 years,” Stettner noted. Finding “the beauty of the human figure staggering in all of its multitudinous shapes, proportions and textures,” she has created life-size figures, body-fragment wall pieces, small figures and fragments in the round. Michael Lucero “Anthropomorphic Jug Form w/Leaping “Central to the work is the theme of body as object/object as Frog” (front view), 18 inches in height, earthenware with body,” she explained. “I am interested in objectifying the low-fire glazes; at the Albany (Georgia) Museum of Art. human figure to discover some truth or meaning that lies

22 CERAMICS MONTHLY October 1995 23 Up Front outside of myself. My sculptures are to me, first and foremost, objects. I attempt to make them powerful objects, imbued with a sense of importance and mystery. “In creating the sculpture, the body is treated objectively in the casting of the model,” Stettner continued. “The sculptured object in turn acquires a life of its own in this process.” Saggar Firing with Shells by Kelvin Bradford In the early 1980s, I attended an exhibition of anagama-fired work by Australian potter Chester Nealie and was astonished by the natural effects achieved but somewhat mystified by the asymmetry of some of the forms. Two years later, I contacted Nealie, and asked to visit and see the kiln. My first visit was something of a revelation, as I had only seen anagama Idlns in photographs or diagrams. The simplicity and range of effects it could achieve amazed me. Although I was working with a gas kiln, I decided to experi­ ment with asymmetrical forms. When glazed, they were too contrived, so, with some frustration, I abandoned them and reverted to more orthodox shapes. A friend later explained the technique of using seashells to texture work during anagama firing. Intrigued, I decided to try the technique in a saggar firing and was able to produce effects

Vivika Heino, Ojai, California.

with husband Otto. They met when he enrolled in a pottery class she was teaching for the League of New Hampshire Arts and Crafts, and were married three years later. Vivika had taken the job as the league’s assistant director shortly after earning a master’s degree from Alfred University. She was the second ceramist in the school’s history to receive an M.F.A.; Daniel Rhodes was the first. During the next 20 years, she also taught ceramics at the University of Southern Califor­ nia, Chouinard Art Institude, Rhode Island School of Design and New England College. By the late 1960s, she and Otto had decided to devote themselves to potting full time. “True craftspeople do more than just make things; they live within their work, formulate a philosophy about the field, feel the aliveness of the materials and are aware of the qualities possible in the medium,” Vivika wrote. The Heinos returned to New Hampshire to establish a pottery, but after a couple of harsh winters, jumped at the chance to buy Beatrice Wood’s studio in Ojai, California. By Kelvin Bradford vase, 6 inches in height, saggar fired with 1972, they had settled in and begun production, firing their seashells; at Palms Gallery, Auckland, New Zealand. ware in the gas kiln they had purchased from Wood. Later, they added a salt kiln, and most recently a wood kiln. similar to those of anagama-fired works. With further experi­ Though no longer a college teacher, Vivika was always quick mentation, I soon found that different shells produce different to share pottery knowledge. In the catalog for a retrospective results. Salt content and the firing cycle are also critical factors. I exhibition of the Heinos work at Ventura (California) County now use a neutral glaze and a specially constructed saggar, and Museum last summer, curator Tim SchifFer noted that “from pack the shells according to the effects I am seeking. the time they moved to Ojai, Vivika and Otto sold their work The first exhibition of these “shell” pieces was presented directly from their pottery, allowing visitors the opportunity to recently at Palms Gallery in Auckland, New Zealand. see how and where the work is made.” “The challenge is ever present for us,” Vivika commented Vivika Heino, 1910-1995 recently. “There’s always something new to try: new clays, Following a brief illness, California potter Vivika Heino died making new glazes and now our exciting wood kiln. We are on September 1; she was 85. During her 55-year ceramics interested in the simplicity and directness of form in pottery. career, Vivika worked both independently and in collaboration We always hope the next pot will be better than the last.”

24 CERAMICS MONTHLY

ries and reclaim the same creative autonomy New Books as that of a painter or sculptor.” Studio pottery began in 1920, when art­ ists became interested in a more hands-on The Potter’s Art approach—mixing clay bodies, formulating A Complete History of Pottery in Britainglazes, firing kilns, etc. Clark divides this by Garth Clark movement into three periods: traditional, Tracing the evolution of pottery making modern and postmodern. From 1920 until in Great Britain from the Neolithic Age to the mid 1950s, the field was dominated by the present, this well-illustrated survey “is notthree traditionalists: Bernard Leach, Michael a handbook,” emphasizes the author. “What Cardew and William Stake Murray. this study seeks to be is a selective, historical With the modernist period in the 1950s narrative.” The book is divided into four and ’60s, interest in alternative lifestyles grew sections—peasant, industrial, artist and stu­ and careers expanded in the arts and humani­ dio potter—one for each type of maker activeties. Three refugees from Europe—Hans in British ceramics over the last 5500 years. Coper, Ruth Duckworth and Lucie Rie— Throughout, works by individual makers are became the modernist leaders. The three given as examples for the broader field. “created city pots rather than country pots,” Until the 17th century, the potter was Clark observes. “While they drew from the considered of a lower class; thus, the designa­past, they did so without Leach’s sense of tion “peasant.” Clark break the peasant pot­ morality or Cardew’s implied revivalism. They tery tradition down into three broad phases. were able to transform what they had learned The first, the primitive, used very simple from their past into an expression that was techniques, handbuilding or throwing on a fresh and up-to-date.” slow wheel. The second phase, the Medieval Postmodern ceramists emerged in the late period, saw the improvement of kilns, throw­1960s and early ’70s. According to Clark, ing skills and produc­ these artists ignored the taboos of the mod­ tion efficiency. Deco­ ernist movement, incorporating into their rated slipware or folk work “pattern and decoration, literal subject pottery of the 17th matter, figurative imagery, humor and the century marked the appropriation of styles, techniques and his­ third phase: “Up to torical asides from pottery’s past. Many re­ this point there was jected the austere colors of stoneware and only one class of pot­ embraced earthenware (particularly white- ter in Britain,” notes ware) and the bright, brash, polychromatic Clark. “But then, from around 1600 on­ palette that this low-fired ware offered.” wards, British potters began to divide into As for the future of studio pottery, Clark two groups: those who were influenced by says, “every 25 years or so the studio potter European and Asian art, and those who clunghas produced a new generation, decidedly to the native peasant pottery traditions. The different from the one that preceded it. If the result was a hierarchy amongst potters for thecycle continues, British ceramics is about to first time, with the peasant potter at the see the arrival of a new wave of ideas, forms bottom of the ladder.” and images.” 240 pages, including a selected It was at this time that the industrial potterbibliography, selected chronology, glossary began to explore the “widening horizons of and index. 221 color and 86 black-and-white his craft. This was part of a growing mood ofphotographs; 19 sketches. $59.95. Phaidon enlightenment and inquiry in England, whichPress, 2 Kensington Square , London W8 5EZ, concentrated on the arts and sciences.” Tin- England. Distributed in the United States by glazed earthenware and salt-glazed stonewareChronicle Books, 275 Fifth Street, San Fran­ were introduced in England, and Stafford­ cisco, California 94103; (415) 777-7240. shire became the center of ceramics produc­ tion, with almost 150 potteries, by the Modelling in Clay mid-18th century. by Dorothy Arthur As competition increased and profits went Sculpting from life “is really not as diffi­ down, many potteries began concentrating cult to do as many might think, and the on commercial design, turning over the mak­interest and pleasure that can be obtained, ing of unique wares to the artist-potter. Al­ even with a first attempt, can enthrall a though art pottery lasted a relatively short sculptor for life,” says the author of this while—from about 1870 to 1920—“it was handbook on modeling portrait busts and the bridge between the industrial potter and figures. After a brief summary of the materials the studio potter, providing a period of tran­and equipment needed, as well as an explana­ sition so that the individual maker could shedtion on how to make an armature, Arthur the industrial shackles of the past three centu­begins by guiding the reader through the

26 CERAMICS MONTHLY October 1995 27 New Books paste” (similar to Egyptian paste) was devel­ oped. “The impetus for the production of stone-paste was the desire to imitate the steps required to model a child’s head, a fineness and translucency of imported Chi­ female torso and a ballet dancer for plaster nese porcelain,” Porter explains. and bronze casting. The principal techniques used to decorate For all three examples, sketches of the Islamic tilework are luster, underglaze and model are completed first. Clay is then built overglaze painting, as well as cuerda seca up around an armature, and the head or (Spanish for dry cord) separated pigments. figure gradually filled From the 9th to the 11th centuries, tile­ out in greater detail. work was j ust a small part of ceramics produc­ “Try to refrain from tion, the main emphasis being on vessels. The finishing one part 12th through the 14th centuries “mark the more than another,” first of the great eras of Islamic tilework. Arthur cautions. Experimentation and innovation took place After creating the in a whole range of ceramic techniques.” clay originals, she de­ The main center of production was Kashan scribes molding and in central Iran. Most of these tiles were glazed casting techniques: “It either turquoise or blue. Many were deco­ is a process that should hold no fears for the rated with figural as well as nonfigural motifs, sculptor,” she asserts. Mounting and mock and inscribed with verses from the Qur’an or bronzing (to hide the white of the plaster) arePersian poetry. The human figures often also discussed. For mock bronzing, Arthur conformed “to a common physical type rep­ suggests applying two coats of thinned, dark resenting Persian ideals of beauty,” Porter brown paint with a hint of green added. notes. “With their moon faces, long narrow Next, Arthur shows how to sculpt and eyes, joined eyebrows and long thick locks of prepare for firing a terra-cotta head, torso andhair, they reflect the stylized Turldc features motherlchild pair. The head and the mother/of the Seljuq and Mongol invaders.” child pair are begun by wrapping paper around During the Timurid period (from the last the armature, then packing clay around it. quarter of the 14th century to the beginning The paper facilitates hollow construction, of the 16th century) allowing the figures to be put directly into the in Iran and Central kiln after drying. When paper is not used, the Asia, the vessel and tile sculptures are built solid, but have to be industries separated. hollowed out to an even thickness. Tilemakers began us­ A final chapter briefly discusses other ing a “bewildering materials that can be used in molding and range” of techniques, casting, such as fiber glass, silicones and vi­ from glazed bricks, nyls. 128 pages, including a list of suppliers carved and glazed terra and index. 162 black-and-white photographs; cotta, and tile mosaic 136 sketches. US$29.95 (£14.99), softcover. to overglaze enamel­ A &C Black, 35 Bedford Row, London WC1R ing, underglaze-painted relief and luster. “Par­ 4JH, England. Distributed in the U.S. by ticularly strildng in the Timurid period is not Gentle Breeze Publishing, P. O. Box 621484, only that tiles seem to cover every available Oviedo, Florida 32762-1484. surface,” says Porter, “but that in the same building two or three techniques may be used Islamic Tiles for different areas.” by Venetia Porter Demand for tilework increased during “Tilework was a favorite means of deco­ the mid-16th century in Syria and Turkey, rating architecture throughout the Islamic coinciding with the development of a bril­ lands,” notes the author of this historical liant red underglaze and the move toward survey based on the collection at the British naturalistic floral decoration: “An elegant Museum. “Employed in different ways de­ floral style with realistic drawings of tulips, pending on the building material of the hyacinths, carnations and other flowers ap­ region and whether for internal or exterior pears on both vessels and tiles.” 128 pages, use, tiles seems to have grown naturally as anincluding suggestions for further reading and adjunct to brick architecture. From tiny exte­index. 47 color and 73 black-and-white pho­ rior elements of color in brick facades, they tographs; 2 sketches. US$ 16.95 (Can$21.95), end up clothing entire buildings.” softcover.British Museum Press, 46Bloomsbury Porter first looks at the tilemakers and the Street, London WC1B 3QQ. Distributed in materials, decoration techniques and kilns the United States by Interlink PublishingGroup, used. For the most part, tiles were made of 46 Crosby Street, Northampton, Massachusetts local clay, but in the 12th century a “stone- 01060; (413) 582-7054.

28 CERAMICS MONTHLY October 1995 29 Video carefully,” she says. Having already erected bisqued mold. The wampum plate is so three of the sides, Cartwright makes and named because it is shaped by placing a thick, attaches the final side, emphasizing the use ofcircular slab of clay inside heavy-duty paper thin coils to reinforce the corners. The cup plates (stacked two or three deep for strength) Six Easy Pieces and tall bottle are both shaped by wrapping aand dropping it several times. With Virginia Cartwright slab around another form: the cup, around a Each tape concludes with a brief visit to In this two-video set intended for teach­ salt container; the bottle, around a rolling Cartwright’s classroom to show some of the ers, California ceramist Virginia Cartwright pin. Cartwright also shows how to glaze the technical problems students may run into. demonstrates six handbuilt projects that be­ bottle, first brushing glaze over the seams, And, throughout both videos, she provides ginning students can make fairly easily and then pouring it inside and outside. tips for quicker and/or easier methods of quickly. In part one, she makes a “burrito” In part two, she demonstrates the making working with ldds and clay. To add color to cup, a square box with an embossed design of a slab dish, a coil bowl and a “wampum” a pot, for instance, she recommends applying and a tall bottle. The slab box “looks like a plate. Cartwright says her students begin underglaze to the relief areas, then coating the simple project, but it’s really the most com­ with the coil pot, which is created by arrang­ whole piece with a clear glaze. plicated and it’s one that you have to monitoring coils and dots in various patterns on a She also advises, “Students are really criti­ cal of their own work, and I think it’s impor­ tant to point out to them how beautiful the imperfections can be.” 39 and 31 minutes, respectively. Available as VHS videocassettes. $39.95 each or $76 for the set; includes shipping. Virginia Cartwright, 475CliffDrive, Pasadena, California 91107.

The Canadian Potter In this “how-to” video, Canadian potter Domenic Stanzione shows how he throws 12 different forms. While he demonstrates, a narrator explains the process. Stanzione be­ gins by wedging 25-30 pounds of clay, from which he weighs out several balls for the succeeding projects. Although the video is intended for beginners and intermediates, it is assumed the viewer has some experience. For example, the narrator states that “center­ ing is literally the foundation from which a good pot is made,” but Stanzione does not demonstrate the process in much detail. Cylinders, mugs and chowder bowls are thrown, then trimmed on a leather-hard chuck (a technique used throughout). As he throws, Stanzione frequently uses a broom- straw gauge to check the height and width of production pieces. Handles are made by roll­ ing a coil, then slapping it down on the table, shaping it into a question mark and allowing it to dry about an hour before attachment. Next, Stanzione makes a goblet, throwing the cup first, then the stem (upside down); the two pieces are attached on the wheel after the cup is trimmed. He also demonstrates throwing a candlestick, as well as a pitcher and casserole. A pasta bowl, dinner plate, lasagna dish and an 18-inch platter are then thrown and trimmed on chucks. Stanzione completes the demonstrations by throwing a 32-inch platter—“not a project for beginners or intermediates,” the narrator warns. 57 minutes. Available as VHS videocassette. Can$69.95; US$54.95 plus $4.95 shipping and handling. The Canadian Potter, 15 Bal­ sam Street, Collingwood’ Ontario L9Y 4H7, Canada; (705) 444-9210. To order by credit card, telephone (800) 462-0709.

30 CERAMICS MONTHLY October 1995 31 32 CERAMICS MONTHLY

East Meets West in Southern Arizona by Cathy Murphy

The exotic colors of Spain and Mo­ rocco flow around the classic forms. Flowers, faces and birds emerge from geometric patterns, as figure and ground shift back and forth, simulta­ neously creating a sense of mystery and lyricism. The collaborative pieces of Toni Sodersten and Peter Chartrand reflect the ideas and experiences of both artists. Sodersten grew up in the inner city, playing on the streets of Oakland, tour­ ing museums, watching the sunset over the Golden Gate Bridge. Chartrand grew up surrounded by forests in Mas­ sachusetts, the son of a woodcarver who produced art shows in the hotels that he managed. Both were searching for a place to be with other artists, to create in an atmosphere unhindered by the distractions of city life when

Toni Sodersten decorates collaborative Peter Chartrand throws individual ware with commercial stains. pieces from a Grolleg porcelain body.

Platter, 16 inches in diameter, $85; and small pitcher, 8 inches in height, $60; wheel-thrown white stoneware with brushed stains, by Peter Chartrand and Toni Sodersten, Bisbee, Arizona.

34 CERAMICS MONTHLY Collaborative pitchers, 14 and 8 inches in height, wheel-thrown white stoneware, brushed with commercial stains mixed with Gerstley borate, clear glazed, fired to Cone 7, $90 and $60.

October 1995 35 “Four Triangles—Urban,” 30 inches in length, steel-framed porcelain tile, hand formed, brushed with commercial stains, clear glazed, $1000, by Toni Sodersten.

they discovered Bisbee, Arizona, in the acteristic of art deco and art nouveau early 1970s. It was in this small moun­ flowed around, in and under Char­ tain community that they met one trand s classic forms. another, and began sharing studio The forms came alive with a mix­ space and kilns. After 15 years of work­ ture of old and new, East and West. ing independendy, they decided to col­ They moved away from the Hamada/ laborate. Leach tradition and merged images Chartrand had been a production they had collected on their two trips potter. Concentrating on perfecting to Spain and Morocco. As fast as classic forms and studying Japanese Chartrand and Sodersten could com­ ceramics occupied the first decade of plete them, the pieces were purchased his career. About the time that he be­ by galleries and shops in Tucson, gan to suffer from mid-life crisis, won­ Scottsdale and, of course, Bisbee, Ari­ dering what new meaning could be zona; as well as Los Angeles, New brought to his work, Sodersten started York and Washington, D.C. brushing stains on some of the forms Sodersten put aside her larger-than- that sat, as if in waiting, around the life metal and clay figures, which of­ studio. She painted images from her ten dealt with political issues, to past; flowers, birds and symbols char­ concentrate on brushing joyful birds

Pitcher, 14 inches in height, porcelain with Electric Ash Glaze, $90, by Peter Chartrand.

36 CERAMICS MONTHLY Wheel-thrown porcelain vase, 10 inches in height, glazed when bone dry, single fired to Cone 9 in an electric kiln, $60, by Peter Chartrand.

October 1995 37 Recipes

Clear Glaze Electric Ash Glaze eline syenite by 10%. Color varia­ (Cone 7-9) (Cone 9) tions are achieved with various per­ Gerstley Borate...... 21% Dolomite...... 7 % centages of stains. Wollastonite...... 8 Whiting...... 31 Nigel Wood Black Glaze Variation Nepheline Syenite...... 30 Nepheline Syenite...... 4 (Cone 9) Kentucky Ball Clay (OM 4).. 10 Kentucky Ball Clay (OM 4).. 40 Wollastonite...... 21.14% Flint...... 31 Flint...... _18 Potash Feldspar...... 21.72 % 100% 100 Edgar Plastic Kaolin...... 17.14 For a more “melted” look, decrease Kentucky Ball Clear Glaze the ball clay and increase the nephe­ Clay (OM 4)...... 8.00 (Cone 7-10) line syenite by 5%. For a drier look Flint...... 32.00 Frit 3124 (Ferro)...... 60% and less plastic mix, decrease the clay 100.00% Edgar Plastic Kaolin...... 30 content to 30% and use Edgar Plas­ Add: Cobalt Carbonate .... 1.72 % Flint...... 10 tic Kaolin instead of Kentucky Ball Manganese Dioxide.. 3.72 % 100% Clay (OM 4), then increase the neph­ Red Iron Oxide...... 10.29%

and flowers on white stoneware pot­ body, glazed when bone dry and single timeless energies, sometimes connect­ tery that Chartrand throws from a fired to Cone 9 in an electric kiln in ing, sometimes juxtaposed. Just as the commercial body. The decoration is about 8-9 hours. To facilitate single media manipulate us, Sodersten ma­ laid out in pencil on bone-dry ware. firing, he adds 3 grams CMC gum per nipulates her audience, teasing us (The pencil graphite burns off in the 1000 grams of dry ingredients to each with realities that remain shrouded in bisque.) No stencils or patterns are batch. In addition, if there is little (less mystery. used, though designs are repeated of­ than 5%) or no clay in the recipe, She talks of connecting with the ten over a period of time until they 2%-3% bentonite is added. If differ­ world through the choices of images tire of them or find they are not sell­ ent glazes are to be overlapped, the she uses on the tiles. Mood, time stop­ ing. Stains usually are mixed with an one with the higher clay content goes page and forms in space all influence equal part (by volume) Gerstley bo­ on first and is allowed to dry com­ these choices. “The randomly selected rate, then applied with watercolor pletely. Glazing is done one day, then shots from movies and TV babble like brushes. Because the stains vary in pots dry a day before firing. visual white noise. Every frame is sin­ refractory qualities as well as weight, While Chartrands individual di­ gular, but in a group of 48 to infinity, this 50:50 ratio can vary from color to rection continues to push the techni­ it is vastly unimportant and casual. color. After a bisque to Cone 06, the cal limits, Soderstens wall forms push Although all images are gathered in­ decorated ware is clear glazed and fired buttons in our minds, forcing us to tentionally, each can be discarded—as to Cone 7. look at time, space and sequential re­ a second watched on TV.” Although these collaborative pieces lationships through narrative art. The Although they never make anything continue to be in high demand, both images on these modular tile pieces that they don’t like, Chartrand and artists still feel the need to follow indi­ flow like a storyboard for a movie. In Sodersten keep their audience in mind vidual paths. Chartrand is currently fact, some of the images are from old at all times. Besides sales through the perfecting a series of glazes that have black-and-white classics. But as one galleries and museums that carry their the appearance of salt and ash glazes scans the tiles for clues to the story, it work, Chartrand attends craft fairs but are fired with the ease of electric­ becomes evident that pieces are miss­ throughout the West and finds it takes ity. His color palette of pale pastels ing and what we are viewing is only both craftsmanship and uniqueness dripping slowly down the vessels is an illusion of remembered realities. to please the general public. And it is often interrupted by large dots of grays We are left with questions whose this support from the galleries and and greens. answers float somewhere in between public that allows them the luxury of Chartrand’s porcelain pots are the images on the tiles and our memo­ continued experimentation and expan­ thrown from a commercial Grolleg ries of themes of passion and intrigue, sion. A

38 CERAMICS MONTHLY Steve Welch

“Building,” 21 inches in height, slab-built terra cotta, with underglazes, once fired to Cone 3, 1995, $1200, by Steve Welch, Philadelphia.

^Jn view recently at the Clay Studio work is built from pre-painted sections in Philadelphia were vessel sculptures of slabs, then once fired to Cone 3.” by resident artist Steve Welch, the 1995 He has “a very broad definition of recipient of the Evelyn Shapiro Foun­ Vessel.5” With their passageways, tun­ dation Fellowship. Awarded to young nels and windows, Welch’s forms refer ceramists just starting their careers, the to hollow objects “as diverse as shoes, grant includes a stipend, plus a solo boats and buildings. The passage­ exhibition and a catalog. ways...serve as a transition between in­ Welch’s work is built “with an im- terior and exterior. provisational attitude, using colored sec­ “My interests are in man-made ob­ tions of clay to construct a whimsical jects which contain the spirit of their patchwork,” he explained. Inspiration makers,” Welch continued. “I look for comes from industrial structures, but beauty in the human environment....I his construction method “is similar to am also inspired by self-taught or out­ both stone masonry and quilt making.” sider’ artists, whose work emphasizes “I use a commercial terra cotta with expression with a humorous irreverence grog and commercial underglazes. The for tidy craftsmanship.” A

“U-Shaped Building,” 16 inches in height, assembled from terra-cotta slabs brushed with underglazes, once fired to Cone 3, 1995, $1200.

October 1995 39 “Red Dot in Black Landscape,” 24 inches in height, “Forest Landscape,” 28 inches in height, by Walter Dexter, Victoria, British Columbia. raku-fired stoneware.

Walter Dexter: Surface and Sculpture by Paula Gustafson

^A^hen Victoria, British Columbia, pot­ Traversing the artist s path, we are drawn in 1957, long before most potters in North ter Walter Dexter won the 1992 Bronfman into a vision of abstract serenity. Simulta­ America had heard of the technique. What Award (Canadas highest honor in the neously, we are aware that, behind the “Surface and Sculpture” shows is not more field of crafts), everyone agreed it was a edges of the picture plane, there is an­ of Dexter’s virtuoso decoration. Having well-deserved tribute to a much-loved other perhaps more ominous side, as well met death face to face (and been granted teacher and accomplished ceramics artist. as the darkened, unknowable volume of a reprieve), he integrates color and form But life is seldom predictable. Just when the interior. with a new depth of understanding, a the winds of fate seem to finally start In the catalog essay accompanying consciousness of the precarious equilib­ blowing your way, along comes a twister “Surface and Sculpture,” curator Linda rium, the interface between life and death. that throws you off course. Dexter didn’t MacNayr suggests that the “Landscape As recently as five years ago, it seemed anticipate that within a year he would Series” takes its inspiration from the paint­ as if Dexter had gone as far as any one suffer a minor stroke, or that 18 months ings of the Italian artist Alberto Burri, man could with his work. When his ce­ later his wife would be the victim of a and that the blackened portion of the ramic pieces became too large to manipu­ serious car accident. sculpture is a reference to Dexter’s life­ late with tongs, he wrapped himself up in “Surface and Sculpture,” an exhibi­ long passion for the smoky effects of raku. protective gear and physically manhandled tion of Dexter s large-scale sculptural formsWhile these explanations appear likely, the red-hot pots out of the kiln and into presented recently at the Art Gallery of they don’t articulate the Zen-like sense of the raku reduction chamber. This proce­ Greater Victoria, reflected the challenges a weighted moment, or the bodily pres­ dure would be daring in a younger per­ he has encountered in the past three years. ence of the sculpture as a tactile entity. son. At age 60, it became a risk. Big, bold and beautiful, they are perhaps MacNayr also proposes that “surface” Now 64, with adversity (and the rub­ the most exciting work Dexter has ever as a verb and “surface” as the exterior sldnbery right arm caused by the stroke) as produced. Where he previously used the of an object are the key words to under­ things of the past, Dexter has found a flat surfaces of plates or shallow bowls for standing Dexter s current work. She notes new kind of strength and discarded dis­ calligraphic portraits, or allowed the sinu­ that his love of painting and his personal tinctions between the medium and the ous curves of a vessel to signify “body,” philosophy come to the surface in his message. He has bridged the separation his figures and forms are now integrated. new sculptures. between clay as a material and its surface In the “Landscape Series,” for example, There is no question that his surfaces as a place of decoration. His clay sculp­ the vitality and mystery of the painterly are fascinating. They have been for more tures are both skin and spirit, affirming scenes are inseparable from the sculpture than 30 years. Dexter is a master potter the sensuality, and the primacy, of the shaped as both portal and primal human. who started experimenting with raku back living human vessel. A

40 CERAMICS MONTHLY The Mecklenburger Vogel byScott Frankenberger

A opportunity to spend some time Both of these women have previous ex­ garage and a studio/gallery/home. The in Hamburg, Germany, made it pos­ periences with other potteries, but have kiln, designed and built with Gunter’s sible for me to visit several potters and been operating the Mecklenburger assistance, is a 1-cubic-meter, wood-fired learn about their production styles, edu­ Vogel for three years now. The name crossdraft that achieves Cone 11 in 16- cation and marketing practices. As a honors the numerous varieties of birds 20 hours with sawmill scraps. Working college student some 20 years ago, I that make their home in this formerly alone (with orders not to be bothered), had studied in Germany for six months, marshy farm region, and refers as well Sille conducts the firing in a trancelike so I had some familiarity with the lan­ to the cranes and other birds that deco­ state, stoking and fine-tuning the damp­ guage. Over the next six months, I set rate many of their salt-glazed pots. This ers and other adjustments. Their pots out to locate people to visit and to pol­ busy and successful pottery is in a re­ are single fired in alternating oxidation- ish my speaking skills. gion that is burdened by high unem­ reduction cycles, and Sille diligently Locating Hamburg-area potters from ployment (50% and higher in some watches the signs to achieve a surface stateside was more problematic than I areas). Of course, “success” is a relative that is not muddied from overreduction thought it would be. To begin with, I term in an economy whose standards or oversalting. contacted various ceramics publications are now being measured against those The studio is at the front of the and tourist services requesting advice. in the West for the first time in decades. house, connected by a hallway to the Time passed with few useful leads. I According to Gunter, many potteries in display gallery at the back. The build­ then made use of on-line computer ser­ the former East folded because the local ing required considerable improvements. vices, posting requests for information economies became so devastated, and Sille was trained as a building engineer in several of CompuServes forums. The because their work could not compete before becoming a potter about ten years response was nearly immediate. On-line in an open (nonsubsidized) marketplace. ago, and she has used her skills to reno­ contacts became my most generous The pottery is housed in three main vate the complex. She and Regine have source of names, as well as an invitation structures: a kiln shed, a storage barn/ done most of the work themselves. to dinner. One name kept popping up from all sources: Gunter Haltmeyer. He is a past leader of the national ceramics organi­ zation called Kalkspatz e.V. (lime spar­ row, literally, but idiomatically meaning lime-popout), so named (somewhat ir­ reverently) to refer to that universal pot­ ter’s nightmare. Though not a potter himself (he is in fact a tile-oven builder), he is a friend to many potters. We cor­ responded and arranged to meet after I got settled in Hamburg. I was able to visit several potters on my own in Hamburg, but Gunter be­ came my guide outside the city. He kidnapped me for a tour to the former East German province of Mecldenburg- Vorpommern. As we drove, we talked about ceramics in Germany, his pottery organization, the East since the removal of the Wall, oven building, various beers and Germany’s unique ceramics certifi­ cation process. The highlight of Gunter’s tour was the Mecklenburger Vogel (the birds of Mecklenburg), a Topferei(pottery work­ Wood-fired pitcher, 11 inches tall, stoneware with brushed- shop) established by Regine Schone- slip decoration, by Sille Barke and Regine Schonemann. mann and Sille Barke in Rusch, a tiny village about 90 miles east of Hamburg.

October 1995 41 Sille Barke (left) and Regine Schonemann at work in their studio; Sille decorates with slips while Regine glazes the once-fired ware.

Their workspace is small, but well utilized. They use a highly plastic, nearly grogless stoneware from Leipzig (where Regine studied), which allows them to throw very thinly. Surfaces are enliv­ ened with a variety of slips. The content of their decorative motifs is admirably in tune with their environment and out­ look on life, full of a vivacious and mischievous spirituality. Many of their pots incorporate a pair of cranes ren­ dered from a few confident brushstrokes swiftly applied over a combed mark, which imitates a cranes feathering. The two came to potting via differ­ ent routes. Regine, who was born in Leipzig, originally wanted to be a gold­ smith, but couldn’t find any training opportunity. It was a job in a tile factory that led her to daywork. She attended art school from 1982 to 1985 and, after passing the journeyman exam, worked in several studios. In 1988, after passing the master exam, she set up her own studio with another artist. Shortly there­ Teapots, 9 and 10 inches in height, wheel-thrown stoneware, after, she met Sille. They soon found once fired with wood to Cone 11. that they worked well together and in­ spired each other. Sille, who is from Berlin, came to

42 CERAMICS MONTHLY pottery by a longer route. She had al­ ting—Frank was manning a booth education or industrial design. There is ways enjoyed art, but pursued a career among the beer stalls and raw-fish stands no concentration in ceramics only. Tu­ in architecture and engineering from in an outdoor fair in downtown Ham­ ition is nearly free, but it is a lengthy 1976 to 1988. During that time, she burg.) There is also a steady tourist busi­ and often frustrating commitment. was able to get her hands into clay with ness developing at their out-of-the-way The other avenue (and the one more small informal groups. It wasn’t until home gallery. appropriate for potters) is to attach ones 1987 that she took formal classes in Their work is priced on par with self to a certified Meister (master) as a ceramics. She passed the journeyman Western potters; cups are about $14, Lehrling (apprentice) and proceed exam in 1989 and soon met Regine. In pitchers about $35, retail. Things are through a series of government-speci­ 1990, they began working together, set­ going well enough that they are con­ fied stages. As a Lehrling, one learns the ting up their current studio not long templating purchasing the neighboring ins and outs of the studio and produc­ after. property and eventually expanding into tion. At the end of a specified period of They tend to work some during the the buildings there. time, usually two to three years, the day, but it is in the evening after Silles Being a craftsperson in Germany is Lehrling applies to take a government- two daughters are in bed that the seri­ not just a matter of taking a class and administered exam that allows passage ous work takes place. This allows them deciding to go into business. Potters to the next stage. While I was staying in to set aside parts of the day for house or and other craftspeople must go through Rusch, Frank received notification from garden work, or to run errands. They a series of stages and tests to become authorities that he would be allowed to may work until 2 A.M., throwing and certified. There are two avenues to be­ take the exam. The discussion that decorating, or finishing pots produced coming a potter. The first is to attend morning centered on whether he had by their apprentice, Frank Verchau, dur­ art school and obtain a Diplom, as did learned enough to pass it, or whether he ing the day. Regine; this process is roughly equiva­ should wait (and not incur the exams Regine and Sille market their work lent to a masters program. Acceptance costs). Having passed the exam, the as­ by whatever means they can. Germany is based on a portfolio presentation, piring potter becomes a Geselle, or jour­ has a tradition of Topfermarkts, roughly which may come after as much as two neyman. During this stage, lasting three equivalent to American art fairs, but for years wait. The program itself may take to five more years, the individual learns potters only. They attend several of these from four to eight years to complete. more technical information, including each year. (In fact, I later chanced upon The student opts to specialize in one of kiln dynamics and glaze chemistry. An­ their work in a somewhat unusual set­ three areas: free art (like fine arts), art other exam, more complicated and ex­

The pottery is located in Rusch, a tiny village in the former East German province of Mecklenburg-Vorpommern, about 90 miles east of Hamburg

October 1995 43 pensive, awaits the Geselle at the end of law. I spoke with one man who told of a German beer began to have its inevi­ this period. It is only after these stages Freikunstler ceramist who had tried to table effect), my grasp of the conversa­ have been successfully endured and the market “unauthorized work” and he was tion lessened considerably. I was treated, exams have been passed that the potter reported to the government. He was however, to the irrepressibility of the can become a Meister, or master crafts- attempting to subsidize his one-of-a- artistic spirit. person; and it is only as a Meister that a kind raku objects with production- Our hosts, a young German couple potter can open a Topferei and market thrown earthenware planters. The who were raised behind the Wall, are finished work directly to the public. repeated forms were considered “craft- happily exploring new-found freedoms Prior to that, the finished work of the work,” not art. Since he had not passed of expression. Both unemployed, they aspiring potter can only be marketed the exams, he was in violation, and could scrounge whatever materials they can through the Meister s retail outlet. have been shut down. After consider­ and are filling their centuries-old barn/ The law is written in such a way, able time and legal expense, a compro­ home with bizarre (but delicate) and though, that it is commonly bypassed. mise was worked out. modern (by the most chic standards) As I was told by several potters (so it This may all become moot in the lamps composed of stretched paper and must be a national joke): “If you make near future as the European Economic wire, hoping for a buyer someday. They four cups that are alike, you must pass Community effects changes. Germany also had installed an incredibly elabo­ the exams; if you make four that are not is the only nation in the league that has rate wall mosaic in their kitchen and alike, you are a Freikunstler (fine artist) such laws, and the other countries are bathroom, composed entirely of thou­ and are exempt from the exams.” An­ not likely to adopt its system. Right sands of shards of commercial dinner- other version of this is: “If you call your­ now, inconsistencies surface whenever ware, tiles and other found objects, with self a Werkstatt (workshop), you must potters move across national borders. teacup handles sticking out invitingly take the exams. If you call yourself an German potters encounter no certifica­ here and there. Atelier (studio), you needn’t.” tion regulations in other European na­ We left as the full moon ascended A holdover from the medieval guilds, tions if they relocate. Likewise, foreign into the glowing “white night” sky, a the system has its champions and its potters who immigrate to Germany to phenomenon in the northern latitudes critics. Some say that it weeds out pre­ set up shop are exempted from the cer­ where the sky never totally darkens in tenders, and provides a high level of tification process. late June. quality and safety. Others maintain that After the work of the day was Morning broke on a crisp, sunny it imposes outdated notions, and inhib­ finished, Regine and Sille invited Gunter day with the crackle of burning wood its creativity and experimentation. and me along to a birthday party in mingling with the songs of various birds. This system is fairly rigidly en­ nearby Bergrade. Similar to many such Our too-short visit came to a close with forced—with occasional exceptions— artists’ events in the U.S., this was a a delightful and hearty breakfast out­ and those who try to circumvent or potluck dinner around a campfire. As doors near the kiln as Sille nudged it violate it are subject to the forces of the the evening progressed (and the good through its early warm-up. A

The Mecklenburger Vogel Pottery is housed in three structures: a kiln shed, a studio/home/gallery, and a storage barn/garage.

44 CERAMICS MONTHLY Wood-Firing Dialogue An Interview with John Balistreri by Jim Leedy

I n his recent work, Colorado potter John Balistreri has been exploring the concep­ tual potential of wood firing. His com­ ments about anagama-fired sculpture shown at the Leedy-Voulkos Art Center in Kansas City follow:

Interviewer:Since building your anagama in 1988, your work has gone through many transformations, beginning with traditional pots and moving toward sculpture. Could you explain why your work has taken the direction it has? Balistreri:I have always responded very strongly to 17th-century Japanese ceram­ ics and other traditional wood-fired work. I also love good pots in general, but I have never been comfortable trying to make ware based on a tradition and aesthetic I can understand only in an academic way. I built the kiln, hoping to find out what some guy from Denver could bring to the process. My work has subsequently moved toward sculpture rather than functional ware. Interviewer:There is one piece in particu­ lar that I feel is historically significant. “Re­ flection of the Flame” actually records a firing in one cohesive unit. Normally, work is fired together, but then the individual pieces are dispersed and must exist alone as a pot or sculpture. Its relationship to the other works, the role that they play in its final appearance, is lost, except of course in the memory of the person who unloads the kiln. How did you come up with the idea of recording a firing in this manner? Balistreri:I think the most important mo­ ment in the development of this piece came when we removed the wooden arch sup­ port from the interior of the kiln during its construction. We found ourselves sitting John Balistreri with “Monument to the Unknown in this wonderful space. At that point, I Craftsman #6,” wood-fired stoneware. realized that the kiln itself is a piece of sculpture. The next step was to incorpo­ rate this discovery into the context of the the final outcome of the work. That means Interviewer:This piece is 60 feet long and work that I was making. I began to look at each firing is unique and different from must weigh tons. It obviously must have the entire process in a more analytical way. any other. What happens around the kiln taken a lot of time and physical energy to It became clear that an art event was hap­ during the six-day firing and what ulti­ construct. How do you feel about how it pening each time the kiln was fired. mately comes out of the ldln varies greatly turned out after the firing? I found the physical act of firing a very from one firing to the next. So, I thought Balistreri:That’s an interesting question. intense and complex event. A diverse groupit would be interesting to capture a single Every time you open the kiln there are of people come together, interacting and firing event, which could be shown in a many surprises; some are good, some are making decisions, which have an effect on gallery situation. not. That’s what happened with this piece.

October 1995 45 “Reflection of the Flame,” 60 feet in length, a modular sculpture conforming to the interior dimensions of Balistreri’s anagama.

“Monolith #7,” 40 inches in height, stoneware with slip, wood fired.

46 CERAMICS MONTHLY There are things that happened to play with arranging these to it which are really nice and various elements to set up dif­ other things I would change. ferent types of sculptural dia­ But that's the nature of the pro­ logue. “Reminiscentia” can be cess anyway. The piece is suc­ arranged and installed in many cessful in the sense that it ways, according to the space captured what happened inside available. Ultimately, I hope the the kiln during that particular piece conveys the essence of its firing. title, in terms of recording a Interviewer:So what you’re say­ lineage of firings, and a more ing is that if you would have universal sense of history, both had a bad firing the piece would human and geologic. still be just as successful? Interviewer:How do your Balistreri:Exactly, because the other works relate? quality of the firing is second­ Balistreri:All of my work has ary to the conceptual purpose the same goal, which is to find of physically recording it. something that I consider new Interviewer:I think that any­ and interesting personally. The one who has wood fired, salt “Unknown Craftsman Series” fired, pit fired or has done raku pays homage to the pottery tra­ can appreciate how the kiln dition. The “Cubist Series” is sculpture conveys the relation­ about scale and technical prob­ ship between the firing process lems that arise when, for ex­ and the final aesthetics of a ample, loading a 600-pound piece. How has this piece af­ chunk of greenware into an fected your attitude toward anagama. And the “Monolith wood firing? Series” deals with nonvessel Balistreri:Well, for me, it has objects that exist, without a confirmed the postmodern no­ pedestal, purely as sculpture. I tion that something very old can don’t know at this point be used as a tool to say some­ whether these paths will con­ thing new. I believe that the pro­ verge into one specific state­ cess reveals many sculptural ment or if a bunch of new implications, which I am now paths will begin. trying to explore. Interviewer:What do you fore­ Interviewer:A piece of yours see for American wood firing? recently shown at the Kemper Balistreri:So far, I think wood Museum in Kansas City seems “Cubist Structure #7,” 5 feet in height, firing in this country has gravi­ handbuilt stoneware with slip, single fired to support that statement. with wood in an anagama. tated toward the traditional Could you explain how that wares, which have always been piece evolved? associated with this process, Balistreri:Yes. The title, “Reminiscentia,” meaning great pots. Whether this phenom­ means the act or process of recalling past enon is important or not will depend on experience or events, which is exactly what what else artists have to say with it, besides this sculpture is composed of—elements the predictable ash and flash. A and objects from many previous firings. The piece actually began with my first firing. During the unloading of the kiln, there is a selection process that separates work into three major groups. The first includes successful work, which ideally is shown and sold; the second culls rejects; and the third is composed of works that are compelling but for unknown reasons— “Reminiscentia,” 8 feet in height, wood- everything from bizarre cone packs to fired porcelain and stoneware, by John melted sections of the sand floor. I began Balistreri, Denver, Colorado.

October 1995 47 Oval dish, 14 inches in length, stoneware with slip and glazes, salt glazed, $75, by Jeff Noska, Dousman. Wide-rimmed bowl, 13½ inches in diameter, wheel-thrown stoneware, $40, by Winthrop Byers, Rock Springs. Wisconsin Potters Invitational Marnie Pottery in Milwaukee pre­ show, gallery owner/potter Marnie sented its fifth annual invitational fea­ Elbaum has also noted “growth in the turing functional works by Wisconsin individual potters style. This is a visual potters last spring. Each of the follow­ statement about the strength of the cre­ ing was represented by ten or more pots: ative process. New glazes, subtle changes Winthrop Byers, Rock Springs; Abra­ in old glazes, new clay bodies and firing ham Cohn, Fish Creek; John Dietrich, techniques are evidence of technical Ellison Bay; Willem Gebben, Colfax; growth. The spiritual is evident, as well, Bill Grover, Verona; Diana and Tom measured in new gestures, attitudes and Johnston, Mineral Point; Bruce Jordan, the strength that can come from the Menomonie; Joanne Kirkland, Madi­ repeated throwing or handbuilding of a son; Greg Miller, Colgate; Jeff Noska, “Spiral Jar,” 7 inches in diameter, given functional form. The inner confi­ Dousman; Tim Senn, Bloomington; porcelain with wax-resisted decoration, dence that comes with the mastery of and Dick Woppert, Boscobel. $40, by Joanne Kirkland, Madison. materials and, thus, the form is a spring­ In keeping with the evolution of the board to a new vitality.”A

Terra-cotta bowl with layered glazes, 10 inches wide, fired to Cone 3, $50, by Bill Grover, Verona.

Wheel-thrown and faceted stoneware Pitcher, 9 inches in height, teapot with semimatt glaze, 7½ inches stoneware with finger wipes through ash in height, wood fired to Cone 10, glaze, single fired with wood, $34, $70, by Tim Senn, Bloomington. by Willem Gebben, Colfax.

48 CERAMICS MONTHLY Slab-built stoneware bowl, 14 inches wide, $75, by Diana and Tom Johnston, Mineral Point.

Serving dish, 13 inches wide, slab-built stoneware with Cone 10 reduction glazes, $85, by Bruce Jordan, Menomonie.

Porcelain teapot, 12 inches in height, sprayed with iron glaze, salt glazed, Vase, 36 inches tall, porcelain $150, by Dick Woppert, Boscobel. with brushed and trailed glazes, Cone 10 reduction fired, $1000, by John Dietrich, Ellison Bay.

Casserole, 8 inches in diameter, wheel-thrown and faceted Wheel-thrown porcelain vase, porcelain, coated with temmoku glaze, stamped with rutile pattern, 11½ inches in height, resisted with wax, accented with white glaze, NFS, with reduction-fired copper glaze, by Abraham Cohn, Fish Creek. $110, by Greg Miller, Colgate.

October 1995 49 The Latest on Glaze Calculation Software by Rick Malmgren

It seems an odd perspective, being on the technological cutting edge of an an­ cient craft. Though some of our tools have changed, our concerns and goals have not. The ability to calculate the underlying chemical analysis of a glaze doesn’t alter how it looks or feels. Search­ ing, sorting and transferring informa­ tion at the speed of light does not eliminate the need to handle the dust, mix the clay and glazes, and fire. This article takes a look at two new software programs and the latest versions of two others that were first reviewed inCe­ ramics Monthly in January 1992.

Foresight Written by Tony Hansen, Foresight is an extremely powerful database pro­ gram for IBM-compatible computers. Screen print of Foresight recipe and analysis: This program was designed for the It has been in development for severalserious researcher who needs a way to store information from thousands of tests. years as a companion program to his well-known glaze calculation program language using FoxPro file and index of materials and amounts with a one- Insight (an updated review follows). Likeformats. Relational databases are a com­or two-word description about the color Insight, Foresight is very fast, but it pact and efficient way of storing infor­ of a glaze. requires some work to learn. It is de­ mation. This speed and efficiency calls As mentioned previously, this pro­ signed for the serious ceramics artist or for thoughtful structuring of the rela­ gram is perfect for some, but possibly engineer who may do thousands of teststionships between collections of infor­ too complex for others. It is therefore in a lifetime of work and needs some mation, and careful maintenance of data.wisely being distributed as shareware. way to store and retrieve all that infor­ The information in Foresight is sepa­You can have the program shipped to mation. It is not suited for the casual rated into eight main sections, includ­ you for a mailing cost of $ 15 to try it user whose interest is to store or retrieveing recipes, glaze descriptions, materialsfor 90 days. If, at the end of that time, only a few dozen recipes and glaze tests.analyses, an address and contact man­ you want to continue using it, the cost I work with Cone 10 reduction glazesager, and a bibliography. Each section is $99 plus $8 shipping. in my studio at home, Cone 6 reduc­ works well to record the essential infor­ Hansen also has a generous offer for tion and Cone 04 oxidation at one col­ mation that one might need to store. artists or engineers who may have col­ lege, and Cone 6 oxidation at another The screens are clearly laid out, and lected enormous amounts of informa­ college. For my needs, the file structure movement throughout the program is tion about materials as well as recipes offered by Insight is quite adequate. Anyeasily done through a straightforward during their careers. Realizing how frag­ additional notes about glazes and glaze menu system. ile that wealth of information may be tests are kept in a moderately extensive In addition to the program and the and, in some cases, how it could be lost log in my word processor, which I can basic structure that it provides, Fore­ with the passing of that person, he has easily search for any key word. Unless sight has an extensive list of analyses offered a free copy of Foresight to se­ you have well over 100 glazes and testsand descriptions of over 600 ceramic lected people who are willing to share to keep track of, I would suggest that materials. Ceramic oxides are also de­ that information and enter it into the you work first with a notebook or file scribed in a separate data collection. Foresight format. Anyone interested cards, or possibly a word processor and An entire data area of the program isshould contact him directly. a calculation program as I do. devoted to collecting detailed descrip­ The program is fast, strong and effi­ For those with serious glaze storage tions of glazes. People using this sectioncient, but there are a few changes that and retrieval needs, Foresight is well will be able to collect substantial and would enhance its overall use. Complex designed. It uses a relational database extremely useful information about theirsearches that might involve looking for structure based on the standard dBase tests. It goes well beyond the simple listtwo different words in a file, or use of

50 CERAMICS MONTHLY one word but not another, are very dif­(403) 527-2826; Fax (403) 527-7441; ides is to understand glazes. That is ficult to do, requiring more knowledge BBS (403) 527-6074; or E-mail where the computer comes in: It does of database programming than the av­ [email protected],com the arithmetic. It remembers how much erage user is likely to have. of each oxide is in each of the materials The program offers a “pick list” for EZ Glaze and figures out those relationships. the basic categories of descriptions of EZ Glaze (Version 3) is a glaze calcu­ Limit formulas, or average analyses glazes, such as “color,” but does not lation and development program writ­ of glazes that are known to work at each offer such a list for the possible choicesten for IBM-compatible computers by temperature, are used as the basis for that might be entered in that category, potter and aerospace engineer Alan Leaf.developing the new glazes. Glaze devel­ such as “orange.” The danger in any While most of the software programs opment begins with an analysis, then database is that one s typing will be poorthat have been developed so far focuscalculation of a recipe of materials that and that a record with a minor mis­ on the chemical analysis, and on stor­ would create that specific chemical spelling will not be retrieved on searches.ing and retrieving glaze recipes, Leafs analysis. With EZ Glaze, the process is Additional pick lists would be a huge EZ Glaze is aimed at developing new not automatic, but is directed by the advantage to the speed and accuracy ofglazes. It accurately performs virtually user. The program suggests materials entering data into the database. all of the functions that have become and does all the calculations. The installation of the program is standard for this type of program. It Studying the complex relationships very fast and easy, requiring about 3 toalso works well as a database to store among the oxides in particular families 5 megabytes of hard-disk space on an and retrieve glaze recipes, material analy­of glazes seems to be the future in glaze IBM-compatible computer with at leastses and glaze notes. calculation programs. It promises a more a 286 microprocessor and 580K of free Unfortunately, EZ Glaze is also one fully developed understanding of how DOS memory. of the most difficult programs to use. glazes “work.” In describing his ongo­ Independent Micro Consulting, the The menu structure is complex, and ing work in this area, Leaf said he is company that produces and sells In­ the key strokes required to move arounddeveloping “an advanced version of EZ sight and Foresight, also operates a com­are inconsistent and sometimes unclear.Glaze, which will attempt to identify puter bulletin board that can be used to The best part is the way it works to relationships between glazes, glaze types download shareware, and materials da­ demystify the world of glazes and to and glaze characteristics.” tabases, along with a variety of other show potters how to develop new reci­ A special section of the program, files and information about ceramics pes for workable glazes from materials called “Glaze Popper,” was designed to and glazes. Registered users can access that they already have. The heart of assist beginners in developing glazes. It the bulletin board to download pro­ glaze chemistry is reducing complex offers a little more assistance than the gram updates and leave messages for materials like feldspar or clay to the main program and works extremely well. the programs author. The number is basic oxides they are made of. The theory The solid tutorial is marred by the (403) 527-6074. is that oxides act pretty much the same,fact that the screen shots, which show Foresight is available from IMC, regardless of whether they come from ahow the actions of the tutorial actually 134 Upland Drive, Medicine Hat, feldspar, a frit or a carbonate. To under­look, are not presented with the text, Alberta, Canada TlA 3N7. Telephone stand the relationship of these basic ox­but are located in an appendix. You have to flip back and forth until you wind up as I did, just stumbling along in the appendix. EZ Glaze is packed with informa­ tion about glaze materials and how they interact to form glazes. Unfortunately, the information is spread throughout the program. The intent was, no doubt, to present the help when it would be needed. The result is that it is impos­ sible to find when you want it. It would be very helpful to have it grouped to­ gether in a single section and to have the option to print it out. The extensive discussion of materi­ als completely fails regarding the poten­ tial dangers in using the raw glaze materials or hazards to the user after pieces have been fired. While ultimately the individual potter needs to take re­ Screen print of EZ Glaze’s “Glaze Popper”: Though awkward to use, this program sponsibility for knowing about the ma­ shows how to develop workable glazes from materials on hand. terials and how to handle them safely,

October 1995 51 programs like this can and should pro­ 1994 issue of Ceramics Monthly) are recipe changes might affect the overall vide proper warnings. quite adequate. I would recommend glaze. I have found limit formulas one Throughout, lead is included as a trying them first. of the fastest ways to adjust a glaze that normal ingredient and part of the ma­ EZ Glaze, version 3, is available forhas a flaw. HyperGlaze offers a visual jority of limit formulas. One might get $109, plus $5 shipping and handling, representation of the relationships of the feeling from the program that lead from A Glazed Leaf, Post Office Box the components of a glaze using bar is a necessary part of any well-stocked 14583, Phoenix, Arizona 85063; tele­ graphs. It is easy then to see if one ceramics studio. In todays world, noth­ phone (602) 873-0517. component falls outside of the normal ing could be further from the truth. All range and how far out it falls. of the dangers associated with lead are HyperGlazeIIx Update Custom limit formulas go a step fur­ dismissed with the statement, “Lead in­ HyperGlaze is clearly the most able ther in this process. While the normal corporated into a frit is no longer poi­ of all of the glaze calculation and data­ limit formulas that are published in ce­ sonous.” Sadly, it is not that simple, butbase programs. Unfortunately, it runs ramics textbooks are generally quite users of this program might be lulled only on the Macintosh. (There are morebroad, HyperGlaze has the ability to into believing that it is. than a few of us who have considered create a narrower set of limits for any Similarly, the program skips over thechanging over to Macintoshes for this collection of glazes. We have all ob­ health concerns associated with barium carbonate, both in the unfired and fired states. Strontium carbonate, as a non- toxic substitute that approximates many of bariums effects on color and surface texture, is never discussed. Also, cryolite is cited as a quick way to add insoluble fluxes without over­ loading the silica limits for the recipe, but there is no warning about the fact that it releases fluorine, a very poison­ ous gas, during firing. The final sad note on an otherwise innovative program is that it is awk­ ward to use. While it has structured menus, the placement of simple tasks is not at all obvious or intuitive. After more than a day of going through the 106-page tutorial, and trying all the ex­ amples and generally poking around, I Screen print of a HyperGlaze IIx complex search: The entire collection of recipes found myself not immediately certain can be searched for glazes meeting specific criteria. how to convert a recipe to a molecular analysis, or how to convert that analysis to a percent analysis. Having to hunt program alone.) The improvements to served that glazes fall into certain fami­ around is always frustrating. version 2.2.4h are quite broad and, in lies, and work together because they Equally frustrating is the fact that fact, nothing short of amazing. have similar relationships among the keystrokes vary in their use. For part of Complex searching is very powerfulcomponent oxides. Shino glazes, for ex­ the program, the “escape” key carries and one of my favorite new features. ample, tend to be high in sodium and you forward to the next stage. Of course,The entire collection of recipes can be lithium and have a relatively low silica- that is not intuitive since it is the reversesearched for glazes meeting a host of to-alumina ratio. I have had the experi­ in most programs, but you get used to specific criteria. So, for example, one ence of a Shino glaze that I use in my it. The problem comes when the escapecould find all the Cone 6 glazes that are classes at a community college acting key carries you backward, and you find red in oxidation, not shiny and that erratically and often flaking off the pot yourself losing the analysis you so care­mention the name “Cushing.” Having after it had been fired. When I com­ fully entered. The function key tem­ a large collection of glazes is of little usepared that glaze to six other Shino reci­ plate is helpful, but it fails to mention if you cannot find the ones that you arepes, it was immediately obvious that any of the “Alt” key combinations. looking for. This program handles the this one stuck out with a particularly The program is strong in glaze de­ problem handsomely. low silica-to-alumina ratio. The com­ velopment, and for that reason deserves Limit formulas are average ranges, parison also told me exactly how much a serious look. For most glaze calcula­ or normal ceramic oxide limits, for glazesto adjust the silica to put it in normal tion work, though, the freeware pro­ in any specific category. They are one oflimits. The adjustment solved the prob­ grams by Christopher Hogg and the most useful tools for understandinglem. Using HyperGlaze to make the Richard Zakin (reviewed in the March how glazes function and seeing how calculations saved hours of testing.

52 CERAMICS MONTHLY HyperGlaze offers another nifty fea­excitement about the possibility of run­with 256K of RAM and two 360K or ture that allows you to shift the amountsning HyperGlaze on an MS-DOS com­one 720K floppy diskette drive. of each ingredient in a recipe so that it puter using an emulation program called The most notable changes make the will fire at a different temperature. Say the Executor. Unfortunately, while we updated Insight even more flexible and you have a Cone 9 glaze that you love,were able to get HyperGlaze to come easier to customize than before. For ex­ but you want to fire at Cone 6. Simply up on screen, we were unable to get a ample, the section for collecting notes entering in the new cone setting causes viable program to operate on a 386-33 has been expanded to create a new text the program to recalculate the ratio of mHz computer with 4 megs of RAM. file for each recipe, allowing such notes ingredients using normal glaze limits so Stay tuned on this. Faster MS-DOS to be any length. that the mixture would be likely to melt machines with more RAM may make Throughout, there is little or noth­ at the new temperature. The program such emulation programs a real alterna­ing that cannot be adjusted to suit the cautions that the recipe suggestions tive for those of us who would love toperson using the program. It is possible should only be used as a starting point use HyperGlaze but are not using to expand the list of oxides that the for testing. It is tremendous, though, in Macintoshes. program will use to calculate analyses its ability to not only point out the The upgrade to the newest version from the 20 available in previous ver­ appropriate direction toward which to of HyperGlaze costs $ 15 for the disks sions to 30. Printer control codes can move the recipe, but also to tell you alone, $20 for the disks and the manual.now be sent to further enhance the out­ exactly how much to move. The full version is $50. For $150, a siteput from a variety of printers. Finding materials with similar chemi­license allows the full program to be The program installs easily with a cal analyses that could be used as a installed on up to 20 computers and smooth setup. It also provides a way of substitution in a recipe is another new includes the student version. They are saving the old materials definition table. feature of this update. While it won’t all available from Richard Burkett, 6354This is particularly important if you make suggestions about the ratios to Lorca Drive, San Diego, California have made many additions or adjust­ use in the substitution, it will list mate­ rials that have similar analyses. Glaze recipes can also be searched to find ones with comparable analyses. This is particularly useful in finding glazes that might react similarly, or to clean up and condense a large database that might have duplicate recipes stored under dif­ ferent names. Describing glazes for later reference is one of the most difficult parts of developing a database. Color descrip­ tions of almost any sort are either too broad or too cumbersome to be useful. HyperGlaze offers an innovative solu­ tion to that dilemma with color swatches that can be picked off a color wheel. The swatch can then be viewed on any color monitor. It is a fast way to store Screen print of Insight recipe and analysis: Flexible and easy to customize, much more detailed visual descriptions the updated version of this program allows notes of any length on each recipe. of glaze color than simply words. HyperGlaze is also available in a stu­ dent version, which is essentially an elec­92115. Telephone (619) 283-6059, or ments to your old one. The manual, tronic notebook for storing recipes and E-mail [email protected] or which was excellent in the last edition, glaze descriptions. It is similar to the [email protected] has had extensive revisions to make some regular version but cannot recalculate sections clearer. the glaze analysis. It is available for $10 Insight Update The Insight upgrade along with a and can be distributed in unlimited The latest version of Insight for DOS,manual is $20, plus $8 shipping. It is quantities to enrolled students so each Tony Hansen’s excellent and extremely without question worth the cost. A full student in a class could have his/her fast glaze calculation program, offers a version for either the Macintosh or MS- own collection of glazes. wide variety of worthwhile enhance­ DOS costs $149, plus $8 shipping, from The program still runs on Macin­ ments. While there is a version of the IMC, 134 Upland Drive, Medicine Hat, tosh using System 6.0.5 with 2 megs of program that runs on the Macintosh Alberta, Canada TlA 3N7. Telephone RAM or on machines using System 7 computer, I have looked at only the (403) 527-2826; Fax (403) 527-7441; with a minimum of 4 megs of RAM. update to the MS-DOS version. It still BBS (403) 527-6074; or E-mail There has been a recent flurry of runs on IBM-compatible computers [email protected],com A

October 1995 53 Thrown Together by Yimlei Yep

It is true that most architects I know are frustrated artists. I trained and worked as an architect in Canada for many years, and enjoyed the challenges involved. However, when my husband and I moved to England during the economic recession five years ago, I de­ cided to change my focus. Ceramics is related to architecture, with its three- dimensional form combining elements of both sculpture and function. For me, working in clay was a natural choice. My latest work, a series of figures called “Thrown Together,” was shown recently at Galerie Kohler in central Lon­ don. These pieces are best viewed in groups where there is interplay between the positive and negative spaces. I became interested in expressing the human figure in clay while studying ceramics at Goldsmiths College at the University of London. In the book Ce­ ramics by Philip Rawson is a section called “Body Images,” which describes how, throughout the ages, we have al­ ways made reference to the functional vessel with parts of the human body. For instance, a jug always has a belly or waist; a bottle has a neck, shoulders, etc. We always assume that the vessel stands erect on its foot as humans do. Only rarely do pots have heads. Rawson goes on to say that since women use the pots for cooking and, in some coun­ tries, potting is womens work, we think of vessels as being inherently female. I was really intrigued with this con­ cept and thought: Why not take it liter­ ally? Why not make vessels in the form of a standing female figure, but without a head? Reinforcing this idea are the classical Greek statues that have come down to us without heads and arms. “Aphrodite,” 20½ inches in height, wheel-thrown and altered Despite the missing parts, we can still porcelain and T-Material, unglazed, by Yimlei Yep. appreciate their beauty. The first posi­ tion I thought of was the contrapposto

54 CERAMICS MONTHLY In the beginning, I made standing vessels with the figure cut off just below the shoulders. From there, the forms became more and more sculptural, with the top partially and finally fully closed. Making a human figure from thrown forms proved to be difficult. It would have been much simpler to use tradi­ tional methods—by carving from a solid or by adding clay to an armature. How­ ever, I would have lost the vitality that the throwing gave. Working with hollow cylinders, I found that any indentation or pull on one part affected the rest of the form. Therefore, the result was never static. There was a flowing movement that was inherent in the technique as each altered cylinder affected the cylinder on top. Attention to balance limited any extreme positions, but I was still amazed at how strong and tenacious the clay was as I forced it to lean outward to near collapse. No other material can be so stretched and extended unaided. “Black and White Interplay,” 18½ inches in height, thrown, altered and joined porcelain and T-Material, with black stain. It also occurred to me that the wall of the cylinder was made stronger by the throwing. On the wheel, the flat (standing with one knee bent), a classi­ ery became more flowing with more plates of the clay particles are forced to cal and serene pose. I later wanted moremovement, as if caught by the wind. align in one direction, creating a cohe­ movement, and decided to base my I wanted to recall the lines of the sive memory. When I shape the wall to work on a small bronze figure at the drapery so I decided to throw my figure-form a figure, the clay particles try to Victoria and Albert Museum, which hasvessels, keeping the throwing lines. retain the circular shape and hold to­ both knees bent with a twist of the Through the spiral of the throwing linesgether, no matter how stressed they are. body to look backward. The final posi­ would come the form of the body. Also,If I had coiled the cylinder by hand, I tion with the figure leaning forward I did not want to imitate stone or know from experience that the thin walls and almost run­ marble; I wanted would have a tendency to shear off with ning was again a technique that any asymmetrical pressure. The flat clay from Hellenistic was unique to clay. particles in this case would be randomly Greece. Next came ma- and loosely stacked. Once I knew quette studies to All the figures were made from por­ what I wanted to work out how to celain and a porcelaneous sculpture clay do, I had to deter­ actually make tempered with Molochite, and fired to mine which tech­ them. I did some Cone 9. Although I did not want to nique would be Yimlei Yep in her London studio. detailed drawings imitate natural stone or marble, I still the best to use— with dimensions wanted to have the quality of stony handbuild by carving, modeling or coil­showing the sizes of the thrown cylin­ brilliance that only vitrified porcelain ing; throwing; slip casting; or any ders, as well as the adjustments neces­ can give. The hardness of the fired ma­ combination of these. The Greeks againsary to join the parts together. The terial contrasted with the softness of the inspired me. In the Classical period, themethod of working out the details for throwing lines that formed the drapery. Greek statues were clothed, but throughthe figure was quite similar to how I The search for meaning in my work the many vertical lines of the drapery, would work out the details for a build­ is as important to me as the making. I the form of the body is visible, as in theing, completely in three dimensions buthave to admit, too, that working with caryatids (female columns). Later, in sketched on paper in plan and side views.clay is less frustrating than working as Hellenistic times, the lines of the drap­ Old habits are hard to break. an architect. A

October 1995 55 Opening Doors by Michael Smyser with Hugh Schuck

^Afithin the past two years there has been a major shift in my work and, perhaps more importantly, in my out­ look toward both my life and my work. This was brought about by dramatic occurrences in what had been, up to then, a very stable career. I used to make standard pots, some­ times with “things” stuck on them. My work tended to be very clean-edged, very controlled, done with what I call “student knowledge.” Now I have reached the point where the stuck-ons have become as important as the vessel.Safety is an important factor when opening a kiln door at Cone 10. For protection, Looking back, I realize I was following Michael Smyser dons an arc welder’s mask and Kevlar gloves, and uses raku-style rules. Now I am following intuition. steel tongs and an 11-gauge galvanized steel shield attached to a hand truck. Today the clay and I communicate on a different level. I have opened newwith the firing than before. I’ve had yond. I began to experiment, opening doors—really big doors for me. success with different flameware clay doors to follow whatever excited me. I I have been unbricking part of the bodies; it also works with some fireclay would wake up in the middle of the door after salt glazing at Cone 10, and stonewares. (Anyone trying this needs night with a flood of ideas to pursue in taking pots out of the kiln. They are to take proper precautions—wear pro­ the studio the next day. I was finding white hot, but withstand the shock. I tective clothing and eyewear, and use my own way, discovering what I could let them cool in the air for a little while,heat shields—and be willing to accept use and how things such as texture, then douse them with water. This yieldssome losses.) color and form related. a lighter clay color and brighter glazes— This experimental stage has not been It’s as if a conversation was taking they don’t turn as brown. limited to firing. I am opening other place between me and the piece I was On one occasion, I took a pot out doors, traveling new corridors in everybuilding, and that gave it a “history.” when the temperature had reached Conestage of my work. The piece grew, began to develop, 10. The burners were off at this point, I was dissatisfied with my clean, tra­ evolved, encountered torturous stretch­ but the kiln was still at white heat. I ditional, controlled work that followed ing events—much like humans develop dipped the upper rim in a raku glaze, the rules. I had to go beyond tradition character through the give and take of put the pot back in the kiln for three or and accepted practices. I had to ignore everyday living. four minutes, then pulled it out. The the rules, even those that are rather logi­ Salt glazing added another dimen­ raku glaze had matured on the salt- cal—i.e., this element should counter­ sion for me to explore. Salt has a great glazed pots rim. balance that; certain proportions are unifying effect. If a piece happens to This means its possible to actually good, some are not; the bottom should crack, the salt can “heal” it. If a part take a piece out of the hot kiln and never be the same dimension as the top;falls off, the salt glazes that area, and apply another glaze color, then put it and so on. Most of us either learn thesethat becomes part of the “history” of right back in. It doesn’t take long to see rules in school or absorb them as we the piece. You have to decide if the the colors once the piece is out of the develop. However, each can be a closedresult is good or bad. Usually, the salt kiln; the heat disperses very quickly, door. If it remains shut, we cannot moveimproves the pot. and colors set up almost immediately. into the new and exciting dimensions Previously, glaze and color had pre­ You are still in communication with thethat lie beyond. sented problems for me because of high- piece when you take it out of the lain, Stagnating behind these closed doors,fire reduction limitations. I wanted more and you are more intimately involved I began to wonder what might lie be­ passion in my new work, more emo-

56 CERAMICS MONTHLY Salt-glazed compote, approximately 14 inches in height, thrown and handbuilt, brushed with colored slips.

Wheel-thrown vase, approximately 16 inches in height, decorated with incising and brushed slips, salt glazed.

October 1995 57 Recipes for Salt Glazing

Peter Callas Clay Body Mason 6265 (Leaf Green) (Cone 10-13) Mason 6363 (Sky Blue) G-200 Feldspar...... 50 lbs. Mason 6202 (Florentine Blue) A. P. Green Missouri Milled Mason 6305 (Teal Blue) Fireclay (20 mesh)...... 100 Mason 6407 (Marigold) Cedar Heights Goldart...... 25 For a peach color, 6 parts Mason 6020 Kentucky Ball Clay (OM 4).. 100 to 4 parts Drakenfeld 41545 are added Sand (30 mesh)...... 25 to White Slip in the following propor­ 300 lbs. tions: 20% stain to 80% slip, dry tion. Its hard to do this in drab colors. I weight. (Thanks to Linda Glick, one needed a brighter palette. By opening Ron Propst Flameware Body of my students who loves to work on doors, I discovered something I really (Cone 9-10) this sort of project.) didn’t expect to find—some commer­ Spodumene (200 mesh)...... 30% cial stains hold up in high-fire reduc­ Pyrophyllite...... 10 Penland Pearly Green-Blue Slip tion and in salt. G-200 Feldspar...... 10 (Cone 9-10) The studio is a place for us all to Kentucky Ball Clay (OM 4).... 20 G-200 Feldspar...... 30% stretch and explore. When we experi­ A. P. Green Fireclay...... 30 A. P. Green Fireclay...... 15 ment, good, fine, excellent things hap­ 100% Kentucky Ball Clay (OM 4)... 30 pen—such as finding an unexpectedly Add: Bentonite...... 2% Flint...... _25 magnificent glaze combination. Of Macaloid...... 1% 100% course, there are those unfortunate in­ I do not add the Macaloid when mix­ Add: Cobalt Carbonate...... 5% cidents as well—pots blow up; attach­ Rutile...... 5% ments fall off. We learn from it all. ing this recipe. Vessels made from this body are removed from the salt kiln I don’t mean to imply we should Jane Hamlyn Blue Slip while at white heat (Cone 10). If ignore traditional studio teaching meth­ (Cone 9-10) cooled in the kiln, the glaze will shiver. ods, and I certainly do not suggest we Nepheline Syenite...... 62.0% toss out everything we potters have White Slip Kentucky Ball Clay (OM 4).. 38.0 learned over the centuries. For years, I 100.0% was a production potter, and I know (Cone 9-10) G-200 Feldspar...... 32.14% Add: Cobalt Oxide...... 1.5% what that means. When producing a Titanium Dioxide...... 1.0% certain kind of work, control is essential Bentonite...... 3.57 to get the result you want. However, I Edgar Plastic Kaolin...... 28.57 Flint...... 35.72 Michael Casson Blue Ash Glaze believe that all of us can grow by travel­ (Cone 9-10) 100.00% ing into unexplored areas. It can add Unwashed Hardwood Ash... 40 % new life to your work. I think we need The following stains work well in the G-200 Feldspar...... 40 to get over the idea that playing around White Slip: Kentucky Ball Clay (OM 4)... 20 is simply wasting time. It is part of Drakenfeld 41715 (ZrVBlue) 100% learning. Drakenfeld 41545 (ZrPr Yellow) Add: Cobalt Oxide...... 1% So where next? With ceramic work, Mason 6020 (Pink) Iron Oxide...... 2% it is easy to go forward. There are so many doors and so little time to open them all. I have decided I am not going to commercialize my artwork, craftwork, whatever you want to label it, anymore. I am making things that for me have integrity and truth. I don’t want slick cliche answers. I see a lot of that in galleries. As Don Reitz said recently on the telephone, “A lot of work is created now that has had a heart by-pass opera­ tion.” I want to create work from my Committed to following his intuition heart—work that is intuitive, respon­ instead of rules, Michael Smyser (Schwenksville, Pennsylvania) believes sive, spontaneous. To find out what’s potters “need to get over the idea that inside me, what excites me as an artist playing around is simply wasting time. and as a potter, is my goal. ▲ It is part of learning.”

58 CERAMICS MONTHLY Alfred Now by Mary Seyfarth

“Alfred Now: Contemporary American As vessels are metaphors for contain­ Ceramics,” an exhibition featuring ment and/or the body, Wayne Higby s works by five members of the faculty atraku bowls and lidded jars contain scenes the New York State College of Ceram­ of the American West. Standing just at ics at Alfred University, was presented the right place, visually lining up the recently at the Krannert Art Museum rim to the inside and outside walls, one of the University of Illinois, Urbana- falls metaphysically into the great glazed Champaign. Curator Mark Warwick, lakes and smoked canyons of Higby s an alumnus of Alfred and, presently, a landscape bowls. His lidded containers, member of the Krannerts exhibition lined up next to one another, are almost design staff, noted that this is the first like an Oriental folding screen. The eye “Night Sands Reach,” raku-fired time Anne Currier, Val Cushing, An­ follows around the geological shapes— earthenware bowl, 11½ inches in drea and John Gill, and Wayne Higby but there is a vanishing point and one isheight, by Wayne Higby, 1991. have shown collectively. always moving toward it. It was a democratic display. No par­ Val Cushings functional work is titions separated or grouped the works. nothing less than masterfully centered The walls were bare and dark as all and satisfying. Whether his surfaces are

“Rollway,” 22 inches in length, glazed earthenware, by Anne Currier, 1992.

lights were on the 48 objects positionedfaceted or combed, or the inside bulges in the middle of the room. out here and there, his round forms are There is a sense of passage about complete and rich. And his warm, high- Anne Curriers constructions. Though fire glazes, be they black, blue, gray, she may enclose an opening in her work,green or brown, are flawless. she does not make vessels, unlike the In his essay in the exhibition catalog, other four artists. To take in her sculp­ Donald Kuspit (professor of art history ture, one s eyes travel over contours andand philosophy at the State University curves around angles, across planes andof New York, Stony Brook) raises the lines, down diagonals and into cones, question, can “the imagination enhance “Covered Jar #2,” 35 inches in height, circles and ellipses. Her colors are subtlefunctionality without undermining it?” high-fired stoneware, with wood-ash and close to nature. Can a functional pot be philosophical? glaze, by Val Cushing, 1992.

October 1995 59 “Airy Transparencies,” 42 inches in height, terra cotta with engobes, by Andrea Gill, 1992.

60 CERAMICS MONTHLY “Soup Tureen,” 13 inches in height, glazed stoneware, by John Gill, 1993.

He then answers himself by noting thatswirl around and fan out from the bodyfind a way to understand ceramics.” In “Cushing faces this problem by styliz­ of the vessel. fact, she asserts, “ceramics is the sage of ing the vessel, without making it seem Tradition sits like a raven on the all arts.” stylish.” The vessel “remains practical potters/clay sculptors shoulder. It is our John Gill is the overt “pluralist” of but becomes aesthetic....conceptually, bystrength; it speaks to us, it warns us andthe group. Although his pots are func­ association, that is, its allusion to clays it guides us. In todays art world, how­ tional, “they are like no others,” writes naturalness.” ever, cynics criticize history and “think Weekly. How an acorn planted in the groundpejoratively about tradition,” writes To Kuspit, Gill stretches the limits grows into an oak—into a Cushing Nancy Weekly (the Charles Rumsey until there seem to be no more; his pot—is a “poetical conceit.” For Curator at Burchfield Penny Art Cen­ works “are in a perpetual, protean state Cushing, according to Kuspit, the ves­ter, Buffalo State College, Buffalo, Newof exploratory evolution.” sel is a “historical” form. York) in her catalog essay. Too often Gills space is like a game. Looking at Andrea Gill also considers the his­ clay has been a victim of history. Clay his ewers, one cant help wonder where torical precedent of the vessel. She has been given a bum rap, specifically the water goes in, and how it comes chooses Hispano-Moresque decorativebecause many of the objects made of it out. According to Kuspit, he sets up a vessels, the Alhambra vase and Italian are, or can be, useful. In the world of dialectic between “enclosure” and “open­ maiolica ware as her models. Her por­ postmodern theory, utilitarianism has ness.” Gill speaks of his work as “a dia­ trait pots are “all somewhat biographi­ brought the material down. logue in form and surface.” cal or narrative”; her amphorae are Cannot genius find its expression in With history looking over his shoul­ winged—prepared to fly or to stir up any medium? Clay can stimulate meta­ der, Gills sculptures, concludes Kuspit, the surrounding space. Colored engobesphoric thought as much as any mate­ “are about the struggle between the ra­ decorate, generally, with floral motifs, rial. The old “art or craft” argument is tionality of the vessel form and the irra­ the curvilinear planes that, like veils, obsolete. Weekly behooves art critics “totionality of the impulse to shape.” ▲

October 1995 61 Shards, Time and Human Endeavor by Delia Robinson

the beach at Caesarea, Israel, en­ croaching waves lap at the fallen granite columns of a ruined city. Built with royal splendor around an artificial harbor on the Mediterranean Sea by Herod the Great, King of Judea under the Romans, the ruins are a reminder of how the mighty have fallen. But underfoot, everywhere, is evidence of the ordinary people who were the matrix of that lost empire and the source of its wealth. As a wave laps the beach, small pebbles rattle and shift. Leaning closer, one can see that the sand is intermixed with count­ less shards. A dump? Ancient landfill? Sturdy handles found on the beach at Caesarea, Israel, The beach is a graveyard for tons of pot­ demonstrate the Roman need and admiration for strong, tery, a serendipitous memorial to the pot­ serviceable ware. ters of the Roman Empire and the everyday people who used their wares. Roman pots, produced on an indus­ of this pottery. When emptied, amphoraeheaps, fragments from rough unglazed trial scale in factories in Gaul and Italy, were purposely broken for ship ballast, kitchen ware and coarse dishes, probably were shipped throughout the empire andthus continuing their usefulness. Am­ of local manufacture, are tumbled together far beyond. Pottery was not only vital inphorae shards found at Caesarea have beenin wild promiscuity with delicately em­ the cooldng and serving of food, it hadattributed to points of origin as diversebossed as fragments of finer workmanship. myriad other uses: oil lamps, cosmetic Spain, Italy, Greece, the Dalmatian coast,These more elegant pots crossed the Medi­ boxes, toys, sculpture and ornaments, and possibly North Africa, and remain terranean in merchant ships to be sold in loom weights, storage containers for boththe strongest evidence of the city’s livelythe local markets for more upwardly as­ wet and dry commodities, and shipping commercial past. piring citizens. The very rich used glass containers. Pottery provided packaging While on military campaign, the Ro­ and silver dishes, which were mimicked and safe storage for everything from foodman leaders brought their own potters in the finer pottery designs, but the ma­ to manuscripts to hoarded treasure. along with their conquering armies. In jority of the shards at Caesarea are from The shards heaped in such profusionthis way they were assured a continuoussturdy, practical pots. on the beach at Caesarea are a mixed lot,supply of cooking wares and dishes for When seeing such profusion, one is but the remains of amphorae predomi­ the troops. After conquest, supplies of overwhelmed by the accumulated human nate. In making these vessels, the designpottery for the soldiers controlling the effort in the making of each pot, reduced emphasis was on graceful, strong potteryterritory had to be maintained. Ultimately,now to broken fragments and dust. The that could be easily stacked for storage it proved to be more practical to have digging of the clay, its preparation, the and shipping. Containers for olive oil, them produced by local artisans. The rawactual making and finishing of the vessel, wine, grape syrup and a fish sauce used materialsin for pottery manufacturing wereall the arrangements, schemes and ex­ cooking, were for one-time use. The con­abundant in Judea, so an inexpensive sup­changes over shipping and marketing be­ tents soaked into the unglazed clay, be­ ply of everyday pottery was assured. fore a dish was finally set upon a table. came rancid and spoiled the pot. The In all things, the Romans encouragedOne can become lost in a dizzying con­ aphorism warning against putting “old indigenous peoples to assimilate and adopttemplation of all the uses a shard might wine in new bottles” must be descriptiveRoman ways. This, in combination withhave seen: wine jugs, chamber pots and the Roman obsession for civil engineer­storage vessels; dishes, used, washed and ing and technical proficiency, profoundlyput away, then set out again for the next influenced pottery manufacture through­meal. The great cycle of daily life for out the empire. Even the potters in re­countless people was tied entirely to the mote outposts were influenced by and repeated use of these vessels. adopted the functional forms of the lead­ The waves continuously wash over the ing Roman pottery centers. In a potteryshards, rounding the edges and polishing workshop excavated at Caesarea, the re­them away to nothing. It seems a fitting mains of simple dishes and cooldng pots,metaphor for the lost history of simple transport and storage containers, and everyday objects and the people who made Shards are at least 2 feet deep in molds for lamps and figurines have beenand used them. In this light, the smallest Caesarea, a port city built by Herod, found, in shapes and with motifs admiredfragment of a pot glorifies the long vista King of Judea under the Romans. by the Roman conquerors. In the shardof human endeavor.A

62 CERAMICS MONTHLY Earthenware bowl, 12 inches in height, burnished, bisqued, broken, sawdust fired, accented with torched sawdust, and reassembled.

Kevin Nierman by David Brin

Ait the age of 40, Kevin with painting and sculpture, Nierman still has a boyish then started making pots quality about him, and when when he was 22. His first he says that all he’s done his teacher was Carol Robinson. adult life is play with clay, When he first saw Robin­ one can almost believe it. He sons sawdust-fired pottery, brings a youthful enthusiasm “it was as if I’d come home. to his work, believing that Her pots are primitive, an­ the artist’s creative side needs cient looking. I felt as if I to be cared for and nurtured had been in the desert all like a child. my life, and suddenly there When he was a boy, Nier­ was something I resonated man painted and repainted with so deeply. I just knew Kevin Nierman maintains a working/teaching studio the walls of his room, built in Berkeley, California; teaching children has encouraged this was it.” sculptures in the house and him to “bring that playful part of myself” to his own work. After a six-week class with experimented with all kinds Robinson at the Colson of decorations. “More than anything, I she gave me enough structure to keep School of Art, Nierman built a potter’s got an unspoken message from my me focused, she gave me the materials,wheel, bought an old kiln and set up a mother that its valuable to create, to and then she let me go.” studio in the vestibule of his apartment play,” he recalls. “She gave me the tools, As a teenager, Nierman experimentedin Sarasota, Florida. “I spent hours and

October 1995 63 to him by Blue Corn, a Native Ameri­ can potter. For a high shine, he then applies vegetable oil and burnishes again. The burnished pots are bisqued in the kiln, then put upside down in a pit or a garbage can and fired slowly with wood, cow dung or sawdust. That’s what creates the smoky patterns overall. Nierman recently began breaking pots, smoking the pieces separately, then gluing them back together, so that the pot seems to be whole and in pieces at the same time. Nierman credits Rick Dillingham, a New Mexico potter who died in December 1993, with develop­ ing the technique. “I always loved Rick’s work,” comments Nierman. “I wouldn’t crack pots for years and years, because it was Rick’s thing, and I didn’t want to copy him.” But Nierman’s attitude changed when he was commissioned to make a large cauldron, and at the very end of Wheel-thrown pot, broken and reassembled, 15 inches in height, raku fired. the process, it cracked. “I was heartbro­ ken. When I told the woman who had commissioned it, she said, ‘So what?’ So I fired it and then glued it back hours just throwing pots. I worked a long time to unglazed vessels, I pushedtogether. And this was my way in. I long, long time by myself, in my studio,the edges of smoke,” Nierman explains.realized that what Rick Dillingham did experimenting—Im not the kind of per­For example, he sometimes burns “saw­was offer all of us a technique, and its son who can reach out and get a lot of dust right on the pot. I hold the pot one that appeals to me.” advice or information. Because I didn’tsideways, then I take a propane torch to Now, after the bisque firing, Nierman get much formal training, something in it. After I burn my fingers and start my puts down a towel and breaks the pots me didn’t ask questions of other people,shoelaces on fire, I put another bit of right on the cement floor of his studio. or connect with other potters. But be­ sawdust on the pot, and I torch that, all“Once I hear them crack, I get nervous. cause I worked for so long, all of that the way around, until the whole thing I’ve intentionally destroyed what I’ve eventually started to come to me—moreis done.” made. I know the vessel’s not whole any information, more connection. Of course, he’s joking about the burntmore,” he explains. “What amazes me now is that I kept shoelaces. He actually approaches his The pieces are then raku or pit fired, going for all those years. I think it was work much more seriously. “It takes or torch and sawdust fired. Sometimes because there is something in me that hours and hours to do one pot. Then I he uses all three firing techniques on a has to create. I have to work with my look at it and decide if I want more single pot. Afterward, the parts are glued hands, and I have a deep, deep love ofsmoke somewhere. I can control the together with epoxy. clay. There was something naive about pattern somewhat by the amount of There is no way to tell exacdy how a me. I just continued to play with clay.” sawdust I use. And I can get some colorpot is going to break, just like there is As he “played,” Nierman’s vessel stylevariation depending on the kind of saw­no way to exercise complete control over changed, but he retained his interest in dust and clay body.” the ethereal patterns of smoke. Giving the use of smoke in some form or an­ Burnishing yields other effects. Whenup some control and allowing chance other—through raku, pit or sawdust the pots are almost dry, Nierman rubs to take its course is part of the creative firing. “Because I limited myself for a them with a special stone that was givenprocess for Nierman, a process he shares

64 CERAMICS MONTHLY with students at his current studio in Berkeley, California. Taking a cue from how his mother fostered artistic growth in him as a child, he gives his students structure but also allows them to take their own creative paths. Nierman delights in the spirit of originality that his students exhibit. “I get a sense of happiness and joy and playfulness when I’m around the kids,” he says. “They always remind me to explore, to have fun.” The mixture of structure, freedom and encouragement results in a kind of glee that is almost palpable. When I visited a class recently, I was struck by the enthusiasm and concentration the students brought to their projects. That day there were eight, ranging in age from about 7 to 14, in the class. As they came in, pots and sculptures fresh out of the kiln were waiting for them on a shelf near the entrance, and their works- in-progress were waiting for them on tables. Eight potter’s wheels line one wall of the studio, and a row of shelves filled with current projects line another. Be “light handed” whenever you first touch or release clay The center of the studio holds a glazing spinning on a potter’s wheel, Nierman advises Cody Whaley. table, a wedging table and several work­ tables. A kiln sits in one corner. One unusual component of Nier­ man's classes is that he teaches young cause you’re not getting all the air out. Kathy Neprud and Diane Atturio at a kids to throw on the potter’s wheel. He Then all the way up. That’s it.” workshop in Idyllwild, California. They reasoned that if they were interested, “Isn’t it called kneading?” another were teaching an after-school program they should have the opportunity to kid chimed in. called Backyard Pottery, and encour­ “give it a try and see what happens. I “You can call it kneading,” Nierman aged Nierman to start his own classes. found that if they had a small enough answered. He began with a couple of kids from his piece of clay, they could get it centered “I have too much to do,” a third neighborhood, and the number of stu­ and they could throw,” he says. Now hechild complained. dents soon multiplied. is teaching children as young as six to “What do you mean?” Nierman “Kids ’N Clay has been a success throw. He also teaches handbuilding, asked. mainly because I love teaching and I mold making, sculpture, burnishing, “I have to glaze this, make more carslove children, and because I have a tre­ glazing, underglazing, pit firing, saw­ for my train, throw a vase and make a mendous amount of respect for them,” dust firing and raku. pig;” Nierman explains. “There is a sacred While I was there, Nierman patiently “Well, you don’t have to do it all trust that exists between a teacher and a showed a child how to wedge a large today,” Nierman replied; this answer student. The teacher must always honor piece of clay. “If you can’t wedge that seemed to satisfy the boy, who went the child’s creativity.” whole thing, cut it in half and wedge back to glazing. As word of his classes spread, each half. Then slam them together. Nierman started Kids ’N Clay Pot­ Nierman began to get so many calls Now watch—push down like this, be­ tery Studio™ in 1988 after meeting that his small studio couldn’t hold the

October 1995 65 Nierman shows Brittany Grant how to attach a piece of clay without trapping air by carefully joining and smoothing.

number of kids who wanted to study “Teaching has changed the way I’veburgundies, browns, greens, blues and with him. After adding a room onto his felt about working with clay,” Nierman yellows. “I’m going to get into it,” he studio, he took a few more students, says. “When I sit down to work now, I says, with characteristic enthusiasm. but the calls kept coming, so he rented bring that playful part of myself to the “There’s incredible potential for fun.” the space he is now in. It was designed worktable.” by ceramist Nancy Selvin, whose studio Recently, he has started to explore The author An avid ceramics collector, occupies the top floor of the two-story ways to play with color. One involves David Brin is the editor of ClassicNotes, building (see the cover story for the applying a patina wash to his cracked published by KDFC radio, a classical mu­ November 1989 CM). pots. The washes create muted grays, sic station in San Francisco.

66 CERAMICS MONTHLY October 1995 67 awards of merit, NZ$5000 (approximately tion” (January 2-February 3, 1996). Juried from Call for Entries US$3370) each. For further information, contact slides. Entry fee: $20 for up to 4 slides. Awards: , Fletcher Challenge Ceramics Award, Post Office $ 1500. For prospectus, contact Vahki Exhibition, Application Deadline for Exhibitions Box 33-1425, Takapuna, Auckland; or telephone/ GaleriaMesa, Post Office Box 1466, Mesa 85211- Fairs, Festivals and Sales fax (94) 80 63 69 or (94) 45 88 31. 1466; or telephone (602) 644-2242. January 30, 1996, entry deadline October 15 entry deadline International Exhibitions Seoul, Korea Sixth annual “Jinro International Sacramento, California “North American Ceramic Art” (June24-July 14); workshop, semi­ Works ’95” (November 22—December 23), open November 7 entry deadline nar and exhibition competition. Selected artists to all Canada and United States artists. Juried Mississauga, Ontario, Canada “Donor Com­ will receive air fare, accommodations, materials from slides. Jurors: Conrad Atkinson and Marga­ memorative Competition” (permanent site at Liv­ and other travel expenses. For an application form ret Harrison. Fee: $8 per entry; up to 5. Cash ing Arts Centre Foundation). Juried from slides or and further information, U.S. residents should awards plus $25 honorarium to each accepted photos, and “expression of interest” form. Entry send an SASE to Tony Marsh, Ceramics/Art De­ artist. For prospectus, send SASE to Matrix Gal­ fee: $10. For application, contact Kelly Romeo, partment, California State University-Long Beach, lery, 1725 I Street, Sacramento 95814; or tele­ Living Arts Centre Foundation, 201 City Centre 1250 Bellflower Blvd., Long Beach, California phone (916) 441-4818. Dr., Ste. 1101, Mississauga L5B 2T4; or tele­ 90840. All other applicants, send an SASE to October 27 entry deadline phone (905) 306-6060, fax (905) 306-6101. Hongik University, Ceramic Research Institute, Tempe, Arizona Sculpture garden project com­ November 15 entry deadline 72-1 Sangsoo-Dong, Mapo-Gu, Seoul, Korea; mission (to be installed March—April 1996), open New Haven, Connecticut “Women in the Vi­ telephone 82-2-320-1222; fax 82-2-325-4449. to sculptural works suitable for arid climate expo­ sual Arts 1996” (March 6-29, 1996). Juried from January 31, 1996, entry deadline sure. Juried from up to 15 slides of site-specific slides. For prospectus, send SASE to Women in the Koblenz, Germany “Collector’s Cups—But and/or sculptural work, plus resume. Project con­ Visual Arts 1996, Erector Square Gallery, 315 with Handles and Made of Clay” (Summer 1996). tingent on grant funding. Contact Tempe Arts Peck Street, New Haven 06513; or telephone Juried from a maximum of 5 cups. Contact Galerie Center, Post Office Box 549, Tempe 85280- (203) 865-5055. Handwerk Koblenz, Sammeltassen-Rizzastrasse 0549; or telephone (602) 968-0888. December 1 entry deadline 24-26, D-56063 Koblenz; or telephone (261) November 1 entry deadline Auckland, New Zealand “20th Fletcher Chal­ 398-239, fax (261) 398-282. Pensacola, Florida “It’s a Small World” (Janu­ lenge Ceramics Award” (Summer 1996). Juried Koblenz, Germany “Salzbrand ’96” (Summer ary 29-March 2, 1996), open to miniature works from 3 slides of 1 work. Awards: Premier award, 1996), open to salt-glazed ceramics. Juried from in any media. Juried from up to 3 slides. Entry fee: NZ$20,000 (approximately US$13,500), plus as­ at least 3 but no more than 5 works. Awards: $25. Awards: $1000 in cash and/or purchase. sistance to travel to opening of exhibition; 4 18,000 DM (approximately US$12,700). Con­ Send SASE to SOHO Gallery, 23 Palafox Place, tact Handwerkskammer Koblenz, Galerie Pensacola 32501; or telephone (904) 435-7646. Send announcements of juried exhibitions, fairs, fes­ Handwerk Koblenz, Rizzastrasse 24-26, Post Of­ University Park, Pennsylvania “Holiday Orna­ tivals and sales at least four months before the event’s fice Box 929, D-56068 Koblenz; or telephone ment Juried Sale and Exhibition” (November 17— entry deadline (add one month for listings in July and (261) 398-239, fax (261) 398-282. 19), open to ornaments weighing up to ½ pound. two months for those in August) to Call for Entries, Juried from actual work. Entry fee: $10 for up to Ceramics Monthly, P. O. Box 12788, Columbus, National Exhibitions 5 ornaments. Award: one commission to create Ohio 43212-0788; or telephone (614) 488-8236. the “Special Limited Edition Ornament” for 1996. Fax (614) 488-4561. Regional exhibitions must beOctober 10 entry deadline For entry form, send SASE to True Fisher, Friends open to more than one state. Mesa, Arizona “18th Annual Vahki Exhibi­ of the Palmer Museum of Art, Penn State Univer-

68 CERAMICS MONTHLY October 1995 69 Call for Entries October 20 entry deadline Santa Cruz, California “Clay/Fiber ’95” (No­ vember 30-December 24). Open to California and Nevada artists. Juried from slides. Cash prizes. sity, University Park 16802-2507; or telephone Fees: $ 10/entry; members, $8/entry. For prospec­ (814) 865-7672. tus, send SASE to Clay/Fiber ’95, Santa Cruz Art November 3 entry deadline League, 526 Broadway, Santa Cruz 95060. Cambridge, Massachusetts “Images of Women December 15 entry deadline in Craft” (February 22-March 31, 1996). Juried Detroit, Michigan “The Artful Cup: Form and from slides and work. No fee. For application, Function” (March 15—April 30, 1996), open to send SASE to Cambridge Artists Cooperative, 59A artists residing in Illinois, Indiana, Iowa, Michi­ Church Street, Cambridge 02138; or telephone gan, Minnesota, North Dakota, Ohio, South (617) 868-4434. Dakota, Wisconsin. Juried from actual works; up November 30 entry deadline to 3 entries. Jurors: Helen Broughton, Pewabic Rochester, New York “Canadian Clay Cur­ Pottery gallery manager; Howard Davis, coffee rents” (March 1-31, 1996); at Pyramid Arts Cen­ broker; and John Glick, studio potter. For pro­ ter. Open to Canadian artists. Juried from 5—10 spectus, send SASE to Michigan Potters Associa­ slides ofworks incorporating technological themes. tion, 29228 Summerwood, Farmington Hills, For further information, contact Melody Lind- Michigan 48334; or telephone (810) 851-1732, blom, 66 West California Avenue, Columbus, fax (313) 534-5270. Ohio 43202; or telephone (614) 263-3579. Milwaukee, Wisconsin “Teapots, Funky and Functional” (January 23-February 23, 1996). Fairs, Festivals and Sales Juried from slides. For prospectus, send business- October 12 entry deadline size SASE to Joan Houlehen, A. Houberbocken, Washington, D. C. “Smithsonian Craft Show” P. O. Box 196, Cudahy, Wisconsin 53110; tele­ (April 24-28, 1996). Juried from slides of 5 phone (414) 276-6002, or fax (414) 481-4000. works. Entry fee: $25. Booth fee: $825-$975 for January 2, 1996, entry deadline a 10x10-foot space. Contact the Smithsonian Lafayette, Louisiana “National Juried Compe­ Women’s Committee, Smithsonian Institution, tition of Two- and Three-Dimensional Art” A I Building, Room 1465, Washington, D.C. (March 9-April 12, 1996). Juried from slides. 20560; or telephone (202) 357-4000. Fee: $25 for 3 entries; $8 for each additional entry; October 16 entry deadline limit 5. Awards. For prospectus, send #10 SASE to New Smyrna Beach, Florida “Images: A Festi­ NJS Chairman, 700 LeeAve., Lafayette 70501; or val of the Arts” (March 9-10, 1996). Juried from telephone/fax (318) 269-0363 Tuesday-Friday. 3 slides. Application fee: $15. Booth fee: $90 for January 10, 1996, entry deadline a 12xl2-foot space. Awards: $35,000. No com­ Corvallis, Oregon “Women’s Vision” (March mission. Contact Jane Musson, Chair, Post Office 13—April 5, 1996), open to women artists. Juried Box 1585, New Smyrna Beach 32170-1585; or from slides. No entry fee. Awards. For brochure, telephone (904) 423-4733. send SASE to Corvallis Arts Center/Linn Benton November 13 entry deadline Council for the Arts, Women’s Vision, 700 S.W. Indio, California “ 10th Annual Southwest Arts Madison, Corvallis 97333. Festival” (January 21-22, 1996), open to works January 31, 1996, entry deadline with a Southwestern motif or theme. Juried from Grove City, Ohio “Teacup, Mug and Stein” slides or photos. Entry/application fee: $ 140. Con­ (March 22-April 20, 1996), open to work no tact Indio Chamber of Commerce, 82-503 High­ larger than 36 inches in any dimension. Juried way 1 11, Indio 92201; telephone (619) 347-0676. from slides. Fee: $15 for up to 5 works. For December 8 entry deadline prospectus, send SASE or mailing label to Coffee Gainesville, Florida “ 10th Annual Hoggetowne Break, 4046 Knapp Avenue, Grove City 43123; Medieval Faire” (February 9-11, 1996). Juried or telephone (614) 871-3035. from slides or photos. Booth fee: $85. Contact February 1, 1996, entry deadline Linda Piper, Fair Coordinator, Dept, of Cultural Ephrata, Pennsylvania “Fourth Annual Strictly and Environmental Affairs, P.O. Box 490-30, Functional Pottery National” (April 29-May 19, Gainesville 32602; or telephone (904) 334-2197. 1996). Juried from slides. Juror: Phyllis Blair December 15 entry deadline Clark. Cash, purchase, business awards. Fee: $10, Blacksburg, Virginia “25th Annual Brush 1 entry; $15, 2; $20, 3. For prospectus, send #10 Mountain Arts and Crafts Fair” (March 29-31, business-size SASE to Fourth Annual S.F.P.N., 1996). Juried from slides or photos. For applica­ 1005 Oak Lane, New Cumberland, Pennsylvania tion, send SASE to Brush Mountain Arts and 17070-1329. Crafts Fair, The Voluntary Action Center, Post March 1, 1996, entry deadline Office Box 565, Blacksburg 24060-0565. Radnor, P'ennsylvania “Why Art Is Necessary” January 12, 1996, entry deadline (April 5-28,1996), open to “hangable” art. Juried San Mateo, California" Sugarloaf s 1st Annual from slides or photos. Entry fee: $12. Location: San Mateo Crafts Festival” (November 8—10, Chilton Publishing Company. For prospectus, 1996). Juried from 5 slides, including 1 of booth. send business-sized SASE to Something for All Booth fee: $425. No commission. For informa­ Seasons, 887 Bob-O-Link Lane, West Chester, tion and application, send 3 loose first-class post­ Pennsylvania 19382. age stamps to Sugarloaf Mountain Works, Inc., 200 Orchard Ridge Dr., Suite 215, Gaithersburg, Regional Exhibitions Maryland 20878; or telephone (800) 210-9900. Gaithersburg, Mary land “Sugarloaf s 21st An­ October 14 entry deadline nual Fall Gaithersburg Crafts Festival” (Novem­ New Rochelle, New York “The New Rochelle ber 21-24, 1996). Juried from 5 slides, including Art Association 81 st Annual Open Juried Exhibi­ 1 of booth. Booth fee: $400-$500. No commis­ tion” (October 14-November 4). Juried from sion. For information/application, send 3 loose works hand-delivered on October 14, 10 A.M. to first-class postage stamps to Sugarloaf Mountain 1 P.M. Entry fee: $25 for up to 2 entries; mem­ Works, Inc., 200 Orchard Ridge Dr., Ste. 215, bers, $20. Awards: $2500 in cash/art materials. Gaithersburg 20878; telephone (800) 210-9900. For prospectus, send #10 SASE to Mary La Greca, Gaithersburg, Maryland" s 19th An­ 153 Hilburn Rd., Scarsdale, New York 10583. nual Winter Gaithersburg Crafts Festival” (De-

70 CERAMICS MONTHLY October 1995 71 Call for Entries

cember 13—15, 1996). Juried from 5 slides, in­ cluding 1 of booth. Booth fee: $275-$425. No commission. For information/application, send 3 loose first-class stamps to Sugarloaf Mountain Works, Inc., 200 Orchard Ridge Dr., Ste. 215, Gaithersburg20878; or telephone (800) 210-9900. Timonium, Maryland “Sugarloaf s 20th An­ nual Fall Timonium Crafts Festival” (October 11-13, 1996). Juried from 5 slides, including 1 of booth. Booth fee: $425. No commission. For information and application, send 3 loose first- class stamps to Sugarloaf Mountain Works, Inc., 200 Orchard Ridge Dr., Ste. 215, Gaithersburg, Maryland 20878; or telephone (800) 210-9900. Novi, Michigan “Sugarloaf s 2nd Annual Fall Novi Art Fair” (October 25-27, 1996). Juried from 5 slides, including 1 of booth. Booth fee: $425. No commission. For information and ap­ plication, send 3 loose first-class stamps to Sugarloaf Mountain Works, Inc., 200 Orchard Ridge Drive, Suite 215, Gaithersburg, Maryland 20878; or telephone (800) 210-9900. Somerset, New Jersey “Sugarloaf s 3rd Annual Fall Somerset Crafts Festival” (September 27-29, 1996). Juried from 5 slides, including 1 of booth. Booth fee: $425. No commission. For informa­ tion and application, send 3 loose first-class stamps to Sugarloaf Mountain Works, Inc., 200 Orchard Ridge Dr., Ste. 215, Gaithersburg, Maryland 20878; or telephone (800) 210-9900. Fort Washington, Pennsylvania “Sugarloaf s 2nd Annual Fall Fort Washington Crafts Festival” (November 1-3, 1996). Juried from 5 slides, including 1 of booth. Booth fee: $425. No com­ mission. For information and application, send 3 loose first-class stamps to Sugarloaf Mountain Works, Inc., 200 Orchard Ridge Dr., Suite 215, Gaithersburg, Maryland 20878; or telephone (800) 210-9900. Manassas, Virginia “Sugarloaf s 16th Annual Fall Manassas Crafts Festival” (September 6—8, 1996). Juried from 5 slides, including 1 of booth. Booth fee: $350-$450. No commission. For in­ formation and application, send 3 loose first-class stamps to Sugarloaf Mountain Works, Inc., 200 Orchard Ridge Dr., Ste. 215, Gaithersburg, Mary­ land 20878; or telephone (800) 210-9900. January 16, 1996, entry deadline Columbus, Ohio “Columbus Arts Festival” (June 6-9, 1996). Juried from 3 slides of work plus 1 of booth. For prospectus, contact Colum­ bus Arts Festival, 55 East State Street, Columbus 43215; or telephone (614) 224-2606. February 1, 1996, entry deadline Frederick, Mary land “22nd Annual Frederick Craft Fair” (May 17-19, 1996). Juried from 5 slides of work plus 1 of display (and resume for new exhibitors). Entry fee: $10. Booth fee: $300- $390. No commission. Contact National Crafts, Ltd., 4845 Rumler Road, Chambersburg, Penn­ sylvania 17201; or telephone (717) 369-4810. Gaithersburg, Maryland“21 st Annual National Craft Fair” (October 18-20,1996). Juried from 5 slides of work plus 1 of display (and resume for new exhibitors). Entry fee: $10. Booth fee: $340- $425. No commission. Contact National Crafts, Ltd., 4845 Rumler Road, Chambersburg, Penn­ sylvania 17201; or telephone (717) 369-4810. Philadelphia, Pennsylvania “Manayunk Arts Festival” (June 29-30, 1996). Juried from 4 slides of work plus 1 of booth. Entry fee: $15. Booth fee: $275 for a 10x15-foot space. For application, send SASE to Manayunk Arts Festival, 4320 Main Street, Suite 2, Philadelphia 19127; or telephone (215) 482-9565.

72 CERAMICS MONTHLY October 1995 73 rubber bumper, and the bolt and washer are Suggestions brought up from underneath the wheel head. From Readers By using several sizes of bats, I gain the most versatility. My wareboards hold four 12-inch-diameter bats or six 8-inch-diameter Speedy Production with Plaster Bats bats. I originally made plaster bats in three I prefer throwing on plaster bats for a sizes, but found the 12- and 8-inch sizes were number of reasons, not the least of which is all that I needed for most forms. the fact that I don’t distort wet pots by The larger bats are cast directly on the handling them. Plaster bats also suck waterwheel head; however, the smaller bats are cast

Plaster bats are cast directly on the wheel head. Here, a weighted pie plate reserves space for a smaller plaster bat, which will be held in place by the pin-registered collar.

from the clay so the pot pops right off when in aluminum pie pans and held in place with it’s ready to be trimmed. a plaster collar cast on the wheel head as My old electric wheel has holes for bat shown. The cottle around the wheel head is registration pins drilled through the wheel an old wet-dry sanding belt from a stained- glass shop; they come in several widths, re­ main flexible and are not damaged by moisture. A weighted pie plate reserves space for the small bats. The finished collar has bumper pin holes underneath and finger notches to facilitate bat removal. A similar system can be devised for small, mug-sized bats cast in plastic margarine con-

In addition to the pin registration holes, the finished collar has finger notches to facilitate bat removal.

head, but instead of using the regular pins to hold plaster bats, I use small, thumb-headed bolts, washers and nuts with ½-inch-thick rubber bumpers to avoid putting undue pres­ sure on the plaster. Consequently, I have Smaller bats (cast in plastic margarine never lost a plaster bat because of a chipped containersor and held in place with a collar) cracked pin hole. The nut is embedded in theare perfect for production mug throwing.

74 CERAMICS MONTHLY tainers. This size allows fast, efficient produc­ tion throwing. Of course, plaster bats are not without their problems: They take up space, break when dropped and must be dried out be­ tween use. I store most of them vertically in a wheeled rack that once held computer manuals.—Barbara Flynn, Los Osos, Calif.

Clean School Floors Teachers who want to improve their rela­ tionship with their custodial staff may benefit from the following: I obtained a carpet runner approximately 12 feet in length that stretches from inside my classroom into the hall approximately 5 feet. The carpet catches clay dust, preventing foot­ prints down the hallway. Every morning before class I also spread out a sawdust-wax sweeping compound, which absorbs classroom dust during the day. At the end of the day, the custodian sweeps up the compound.—-Joseph Opalinski, Oak Park, Mich.

Glaze Stirrers Your local paint store or discount hard­ ware store is a good source for glaze-stirring sticks. Usually free, they are better known as paint stirrers. The plastic ones (the ones with holes are especially good) can be left in the glaze bucket for quick mixes.— Gayle Tustin, Wilmington, N. C.

Table Space and Shelving For most of us with smaller studios, creat­ ing adequate table space and shelving is troublesome. I’ve found that card tables (which fold up and store out of the way) fit nicely over stacked 5-gallon glaze buckets or boxes of clay when I need more space for greenware. They also fit nicely above wheels when glazing. Shelving can be temporarily expanded by stacking shelf boards with 2x4s cut to the width of the board. Such shelving can be easily adjusted for height, or dismantled for storage.—Lisa Conley, Cerrillos, N. M.

Nylon Fiber Source The nylon fibers used to increase tensile strength in wet and dry clay can be purchased in 1 -pound bags from cement-mixing plants. They use the fibers for the same reason we do, and because they buy such large quantities, they can usually charge less than ceramics suppliers.—Louis Katz, Corpus Christi, Tex.

Rolling Work Base/Seat A mechanic’s dolly (purchased on sale for less than $10) can be turned into a great rolling work base for sculpture, or a seat for yourself. Simply center a square of thick

October 1995 75 Suggestions

plywood on the top and attach by inserting screws up through the plastic into the board. Tools can be kept in the open compartments on either side of the dolly.—Suzanne Hershey, Rocky Hill, Conn.

Equally Spaced Decoration A number of years ago, I found myself in need of a system for methodically dividing the surface of my pots for decoration. My desire was to create patterns that would be spaced both horizontally and vertically (grid), while changing size relative to the pot. I started by using a plastic, flexible ruler to draw vertical lines, and was able to space fairly evenly by eye, but not always. So I decided to evenly divide the surface of my banding wheel. Since most of the patterns I use are divisible by 2 or 3,1 decided to use a number divisible by both. For the sake of size, I settled on 24.1 then used a protractor to divide the surface into 24 sections, 15° each, with a No. 2 pencil. The key was to make certain the lines passed through the center of the wheel head. These lines were then made permanent with a printmaker’s etching tool. This done, I can place any type of thrown or handbuilt form on the banding wheel for equally spaced decoration—even plates. The piece is centered and the plastic ruler is lined up with the appropriate section line; then the ruler is stood on end (forming a 90° angle) and carefully pressed to conform to the sur­ face of the pot. All vertical lines are estab­ lished in this manner. Horizontal lines can then be spaced by eye as the wheel turns. This system works well for numerous types of decoration; e.g., banding, carving, stamping, slip trailing, applique, etc.—Dwain Naragon, Issaquah, Wash.

Handbuilding Pick The toothpick/flosser found in multipacks at drugstore check-out counters makes a good, inexpensive handbuilding tool. The pick end worlds well as a carving/needle tool, and the floss end is good for trimming pot rims or slicing ofT small segments.—Lisa Sitz and Alice Atkins, Katy, Texas

Dollars for Your Ideas Ceramics Monthly pays $10for each sugges­ tion published; submissions are welcome indi­ vidually or in quantity. Lnclude an illustration or photo to accompany your suggestion and we will pay $10 more if we use it. Mail ideas to Suggestions, Ceramics Monthly, Post Office Box 12788, Columbus, Ohio 43212-0788; or fax to (614) 488-4561. Sorry, but we cant ac­ knowledge or return unused items.

76 CERAMICS MONTHLY October 1995 77 Nguyen-Ely, mixed-media sculpture; at the Irvine Calendar Fine Arts Center, 14321 Yale Avenue. California, Los Angeles through March 3, 1996 Events to Attend—Conferences Magdalene Odundo, “Ceramic Gestures”; at UCLA Exhibitions, Workshops, Fairs Fowler Museum of Cultural History. October 7—November 1 Anne Hirondelle. John McQueen; at Garth Clark Gallery, 170 S. La Brea. California, Oakland through November 12 “The Conferences Art of Peter Voulkos”; at the Oakland Museum of California, Oak and Tenth streets. Alabama, Montevallo October 4-6“Alabama Clay California, Ojai through November 10 “Sticks &C Conference X” will include master classes by Stones...,” clay and multimedia sculpture by Myra Juroemon Fujita (October 1-6; limited enroll­ Toth; at G. Childress Gallery, 319 East El Roblar. ment) and workshop by Yih-Wen Kuo, as well as California, San Francisco November 9—December lectures, demonstrations and exhibitions. Fee: $50; 9 Viola Frey; at Rena Bransten Gallery, 77 Geary students, $30. For further information, contact at Grant. Alabama Clay Conference X, Station 6400, Uni­ D.C., Washington through January 1, 1996“ Rick versity of Montevallo, Montevallo 35115; or tele­ Dillingham (1952-1994): A Retrospective”; at phone (205) 665-6400. the Renwick Gallery, National Museum of Amer­ Michigan, Detroit October 18-22 “Tiles in the ican Art, Smithsonian Institution. Motor City: Crafting a Lustrous Place in History” Indiana, Goshen October 1—31 Dick Lehman; at will include slide lectures, workshops, demonstra­ Goshen College Gallery. tions, tile auction, antique and contemporary tile Indiana, Munster November 11—December 3 sale, and tours of historic tile installations. Con­ Darlene Nguyen-Ely; at the Center for Visual and tact Tile Heritage, Post Office Box 1850, Healds- Performing Arts, 1040 Ridge Road. burg, California 95448; or telephone (707) 431 - Iowa, Waterloo through November 12 JoAnn 8453, fax (707) 431-8455. Schnabel, “Garden of Delights: Current Works in New York, New York November 17“ 1960-1975: Clay”; at Forsberg Riverside Galleries, Waterloo The Craft Explosion” will include lectures by Museum of Art, 225 Commercial Street. Alice Adams, sculptor/fiber artist/writer; Jonathan Massachusetts, Boston October21—November30 Fairbanks, curator of American Decorative Arts Brother Thomas, “Gifts from the Fire II”; at and Sculpture, Museum of Fine Arts, Boston; Pucker Gallery, 171 Newbury Street. James Gilbert, professor of history, University of Massachusetts, Northampton through October Maryland; Toni Wolf Greenbaum, jewelry au­ 15 Mara Superior, porcelain tiles; at Ferrin Gal­ thority!writer/critic; Marvin Lipofsky, glass art­ lery, 179 Main. ist/teacher; Judith S. Schwartz, associate profes­ Michigan, Detroit through October 22 Sarah sor/ director of undergraduate studies, department Coote, teapots and ewers; at Pewabic Pottery, of art and art professions, New York University; 10125 East Jefferson. Paul J. Smith, director emeritus, American Craft Michigan, Ferndale October 21-December 2 Jim Museum; and Robert St. George, associate profes­ Melchert. Annabeth Rosen; at Revolution: A sor, folklore and folklife, University of Pennsylva­ Gallery Project, 23257 Woodward Avenue. nia. Fee: $50; museum members, $40; students/ Michigan, Pontiac October 6—28 Laszlo Fekete. seniors, $30. Contact Centenary Project Coordi­ November 10-December 2 Mary Roehm; at Hab- nator, American Craft Museum, 40 West 53rd atat/Shaw Gallery, 7 North Saginaw. Street, NewYork 10019-6316; ortelephone (212) Missouri, Springfield November 3—22 Marcia 956-3535. Polenberg, sculpture; at Art and Design Gallery, New York, Rochester March 20-23, 1996 Southwest Missouri State University, 301 South “NCECA ’96—30th Annual Conference.” Con­ Jefferson. tact Regina Brown, Executive Secretary, NCECA, New Jersey, Jersey City October 11-November 3 Post Office Box 1677, Bandon, Oregon 97411; Lynn Peters, decorated earthenware; at Courtney telephone (800) 99-NCECA. Gallery, Jersey City State College, Kennedy Blvd. NewYork, NewYork through October7Stephen International Conferences Dixon. Philip Eglin. October 10—November 4 Edward Eberle. Richard Notkin. November 7— Australia, Canberra July 6—9, 1996 “Interna­ December 2 Gordon Baldwin. Ewen Henderson. tional Connections,” national ceramics conference, Peteris Martinsons; at Garth Clark Gallery, 24 will include discussion forums, master classes, West 57th Street. demonstrations, exhibitions. International artists through October 15 Barbara Nanning; at Nancy welcome. Contact Anita McIntyre, ANU School Margolis Gallery, 251 West 21st Street. of Art, Ceramics Workshop, Baldessin Crescent, October 17—November 4 “Justin Novak: Science Acton, ACT 2601; telephone (62) 49 58 21. Without Logic”; at Synchronicity Space, 55 Mer­ cer Street. Solo Exhibitions North Carolina, Charlotte October 3—28 “New Visions: The Pottery of Ben Owen III”; at Gallery California, Berkeley through November 12 Ron W.D.O., Suite 610 at Atherton Mill, 2000 South Meyers; at TRAX Gallery, 1306 Third Street. Boulevard. California, DavisOctober 7—November 5 Ruth Oregon, Portland October5-28 Dharma Strasser, Rippon, ceramic sculpture; at John Natsoulas wall pieces and vessels; at BonaKeane Decorative Gallery, 140 F Street. Arts Mezzanine Gallery, 205 S.W. Pine St. California, Irvinethrough November 5 Darlene Pennsylvania, Harrisburg October 5-29 Beverlee Send announcements of conferences, exhibitions, ju­ Lehr, “Visual Inquiries: Sculptural Paintings in ried fairs, workshops and other events at least two Glazed Stoneware”; at Doshi Center for Contem­ months before the month of opening (add one month porary Art, Harrisburg Transportation Center, for listings in July; two months for those in August) to 441 Dr. Martin Luther King Jr. Blvd. Calendar, Ceramics Monthly, Post Office Box 12788, Pennsylvania, Philadelphia October 6-29 Ron Columbus, Ohio 43212-0788; or telephone (614) Fondaw. Sumi Maeshima; at the Clay Studio, 139 488-8236. Fax announcements to (614) 488-4561. North Second Street. Continued

78 CERAMICS MONTHLY October 1995 79 Calendar Richard Fairbanks; at Foster/White Gallery, 126 Bobrowski and Triesch Voelker; at Joanne Rapp Central Way. Gallery: The Hand and the Spirit, 4222 North Marshall Way. Group Ceramics Exhibitions California, El Cajon through October 6 “Bald- Pennsylvania, Pittsburgh November3— 30Jeanne headed Potters of America”; at Hyde Gallery, Jaffe; at Manchester Craftsmen’s Guild, 1815 Alabama, Birmingham October 7—December 8 Grossmont College, 8800 Grossmont College Dr. Metropolitan Street. “Echizen: 800 Years of Japanese Stoneware”; at California, San Francisco October 5-28 Ceramic Texas, Houston October 7-28 Sharon Dennard, the Birmingham Museum of Art, 2000 Eighth sculpture by Jeff Irwin and Annabeth Rosen; at porcelain; at Artables Gallery, 2625 Colquitt. Avenue, North. Dorothy Weiss Gallery, 256 Sutter Street. November 3-December 14 Yoshiro Ikeda; at Alabama, Florence through October 13“ Kennedy- October 31-February 19, 1996“Vessels of a Cul­ North Harris College, 2700 W. W. Thorne Dr. Douglass Center for the Arts 1995 Monarch Na­ ture: Korean Ceramics from the Asian’s Collec­ Texas, Lubbock October 29-December 5 “Octo­ tional Ceramic Competition”; at the Kennedy- tion”; at Asian Art Museum, Golden Gate Park. pus Garden,” sculptural vessels and batiked quilts Douglass Center for the Arts, 217 East Tuscaloosa Illinois, Chicago through December 31 “Eigh­ by Ruth Rubin; at the Upstairs Gallery, Artary Street. teenth-Century French Vincennes-Sevres Porce­ Visual Communications, 4509 Clovis Highway. Arizona, Phoenix November 11-December 1 “Fired lain”; at the Art Institute of Chicago, 111 South Texas, San Antonio through November 25 Tre Up,” statewide juried ceramics exhibition; at Michigan Avenue. Arenz, “Sameness”; at Emily Edwards Gallery, Shemer Art Center, 5005 East Camelback. Kentucky, Louisville October 13—November 17 Southwest Craft Center, 300 Augusta. Arizona, Scottsdale November 1—30 “Majolica “Objects of Virtue,” ritual and functional pots by Washington, Kirkland October 12-November 5 from the Tornado Fish Camp,” works by Gina Mary Law, James Makins, David Schwartz, Scott Shafer, Byron Temple, Bill Van Gilder, David Voll and Shirley Wilkins; at Swanson Cralle Gal­ lery, 1377 Bardstown Road. Louisiana, New Orleans through November 29 “Teapots Beaucoup”; at Cone 10, 5015 Magazine Street. Maryland, Baltimore through October 14 “Some of the Best from the Midwest: MFA Alumni, Southern Illinois University at Carbondale,” works by 15 ceramists; at Baltimore Clayworks, 5706 Smith Avenue. Maryland, Columbia October 5-November 5“\n- fluence,” works by Byron Temple, plus Chris Baskin, Sheila Hoffman, Mary Law, Jim Makins, David Schwartz, Scott Shafer and Bill Van Gilder; at Columbia Art Center, 6100 Foreland Garth. Massachusetts, Amherst November 16—December 20 “Ceramics/Northeast”; at the Fine Arts Cen­ ter, University of Massachusetts-Amherst. Massachusetts, Ipswich through October 31 “The Bountiful Bake In.” November 11-December 31 “Holiday Traditions”; at Ocmulgee Pottery and Gallery, 317 High Street—Route 1A. Michigan, Detroit through October22 Collabora­ tive ceramics by Liz Quackenbush and Diane Rosenmiller. October 18-November 8 “Tile as Concept, Ornament, Artifact”; at Pewabic Pot­ tery, 10125 East Jefferson. Michigan, Royal Oak through October 7^“Steeped in Tradition: The Contemporary Teapot,” with works by 100 United States and Canadian potters; at Ariana Gallery, 119 South Main. Minnesota, Saint Paul through November 3 “Ma- jolica/Maiolica,” exhibition of works by Linda J. Arbuckle, Mary Jo Bole, William Brouillard, Phyllis Kloda and Farraday Newsome Sredl; at the Northern Clay Center, 2375 University Ave., W. Minnesota, Wayzata November 30—December 31 “Fire on the Mountain Pottery,” exhibition of works by Beth and Gregg Warner Rutter; at Cosecha Design, 746 East Mill Street. Missouri, Kansas City November 4—December 16 “Common Roots Clay Perspective,” exhibition of works by Goshen (Indiana) College alumni Lynn Lais, Dick Lehman, Mark Nafziger and Royce Yoder; at the World’s Window and Gallery, 4120 Pennsylvania. Montana, Helena through November 4 “Autio and Voulkos: Early Works,” sculpture and func­ tional pottery by Rudy Autio and Peter Voulkos; at Holter Museum of Art, 12 E. Lawrence St. New Jersey, Newark through October 22“ Amer­ ican Art Pottery: An Uneasy Evolution, 1880— 1930”; at Newark Museum, 49 Washington St. New Mexico, Albuquerque through November 3 “New Mexico Clay ’95”; at Weyrich Gallery, 2935 D Louisiana. New York, Alfred October 19-December 7<9“Vivika

80 CERAMICS MONTHLY and Otto Heino: A Retrospective”; at the Mu­ California, La Jolla October 21-November 15 Goes On!”; at the San Diego Museum of Man, seum of Ceramic Art at Alfred, Ceramic Corridor “Festival of Lights,” exhibition of menorahs, can­ 1350 El Prado, Balboa Park. Innovation Center, Route 244. delabra and other Judaica; at Gallery Alexander, California, San Francisco through October 18 New York, New York through October 7“Japa­ 7850 Girard Avenue. Two-person exhibition with ceramics by Masakazu nese Ceramics,” featuring works by Katuyuki California, Los Angeles through January 7, 1996 Kuzakabe; at Bucheon Gallery, 355 Hayes Street, Sakazume and Sansei Suzuki; at Gallery Dai Ichi “Frank Lloyd Wright and Japan”; at the Los Second Floor. Arts, New York Gallery Building, 24 W. 57th St. Angeles County Museum of Art, 5905 Wilshire through October 22 “Land of the Morning: Trea­ North Carolina, Charlotte through January 7, Boulevard. sures of the Philippines”; at the San Francisco 1996 “Built Upon Honor: The Ceramic Art of California, Sacramento through October 6"Artful Craft and Folk Art Museum, Landmark Building Ben Owen and Ben Owen III”; at the Mint Urnz,” creative crematory containers; at Michael A, Fort Mason. Museum of Art, Bridges and Levine galleries, Himovitz Gallery, 1020 Tenth Street. November 12-December25"Light Interpretations: 2730 Randolph Road. California, San Diego through October 8 “Kin­ A Hanukah Menorah Invitational”; at the Jewish Ohio, Canton through October 15 “Revolution in dred Spirits: Eloquence of Function in American Museum, 121 Steuart Street. Clay: The Marer Collection of Contemporary Shaker and Japanese Arts of Daily Life”; at the California, San Rafael through October 15 "Myth Ceramics”; at the Canton Art Institute, 1001 Mingei International Museum of Folk Art, 4405 and Magic: Oaxaca Past and Present”; at Domini­ Market Avenue, North. La Jolla Village Drive. can College of San Rafael, 50 Aracia Ave. Ohio, Cleveland through December 3 “Early Ce­ through January 3, 1996"T\\rrimg Back the Sky,” California, Walnut Creek through November 5 ramics from Japan and Korea”; at the Cleveland exhibition of contemporary Native Hawaii art “From the Home Space to the Art Space”; at Museum of Art, 11150 East Boulevard. and life, through February 19,1996"And the Bead Bedford Gallery, 1601 Civic Drive. Ohio, Lancaster October 6—28 "Sewer-Pipe Art,” with ceramic sculpture by curator Jerry Caplan, Nan Coffin-Welty, Barbara Kindler, Jeff Kohut, Sally Mclnerney, Mitchell Messina, Eva Rase, Denise Romecki, Carol Sandberg, Ted Soens and Carole Stremple; at the Gallery at Studio B, 140 West Main Street. Ohio, Lima October 27-November 26“National Teapot Exhibition”; at ArtSpace/Lima, 65/67 Town Square. Pennsylvania, Philadelphia October 1-November 15Ceramic vessels by Dan Anderson, Chris Gustin and Jeff Oestreich; at the Works Gallery, 319 South Street. November 3—26 “The Politics of Scale”; at the Clay Studio, 139 North Second Street. Texas, Austin November 12—January 7, 1996 “Revolution in Clay: The Marer Collection of Contemporary Ceramics”; at Austin Museum of Art at Laguna Gloria, 3809 West 35th Street. Virginia, Alexandria through October 22 “Past Influences—Present Interpretations,” works by Washington Kiln Club members. October 25— November26^‘For the Home,” works by Ceramic Guild members; at Scope Gallery, Torpedo Fac­ tory, 105 North Union Street. Virginia, Emory through October 8 Pottery by Ben Owen and Ben Owen III; at Emory &C Henry College’s 1912 Gallery, Emory Train Depot. Virginia, Williamsburg through October 14“ 1995 Clay National”; at Muscarelle Museum of Art, College of William and Mary. through December 31 “Designed to Deceive: En­ glish Pottery Fakes.” through January 5, 1996 “British Delft from Colonial Williamsburg”; at DeWitt Wallace Decorative Arts Gallery, Colo­ nial Williamsburg. Washington, Spokane November 2—30 “Terra Firma”; at the Corbin Art Center, 808 West Spokane Falls Boulevard.

Ceramics in Multimedia Exhibitions Arizona, Scottsdale October 1—30" Mixed-Media Still Life,” ceramic/multimedia works by June Raymond and Gregory Zeorlin; at Joanne Rapp Gallery: The Hand and the Spirit, 4222 North Marshall Way. Arkansas, Little Rock October 8—November 16 “Visual Overload: Objects and Drawings”; at the Decorative Arts Museum, Seventh and Rock sts. California, Claremont October 29-December 31 “Myth and Magic: Oaxaca Past and Present”; at Lang Gallery, Montgomery Gallery, Pomona College, 333 North College Way. California, Davis November 4—December 3Two- person exhibition with ceramic sculpture by Sean Henry; at John Natsoulas Gallery, 140 F Street.

October 1995 81 Calendar ^“The New Rochelle Art Association 81st Annual Open Juried Exhibition”; at New Rochelle Public Library, Library Plaza. New York, New York October 26-February 25, Connecticut, Brookfield November 17-December 1996“Cr2ih in the Machine Age: European Influ­ 24 “19th Annual Holiday Craft Exhibition and ence on American Modernism, 1920—1945”; at Sale,” with works by over 200 craftspeople; at the American Craft Museum, 40 W. 53rd St. Brookfield Craft Center, 286 Whisconier Road. November9-February25, 1996“A. W. N. Pugin: Connecticut, Guilford November 4-December 24 Master of Gothic Revival”; at the Bard Graduate “Artistry: A Holiday Festival of Craft”; at the Center, 18 West 86th Street. Guilford Handcraft Center, 411 Church Street. November 17-May 5, 1996 “Staten Island Bien­ Connecticut, New Haven November 11—Decem­ nial Juried Craft Exhibition”; at Staten Island ber 23 “Celebration of American Crafts”; at Cre­ Institute of Arts and Sciences, 7 5 Stuyvesant Place. ative Arts Workshop, 80 Audubon Street. New York, Rochester October 7-November 19 D.C., Washington through January 1, 1996“On “White House Collection of American Crafts.” the River,” includes four ceramic works; at Freer “54th Rochester-Finger Lakes Exhibition”; at the Gallery of Art, Smithsonian Institution. Memorial Art Gallery, University of Rochester, November 1-30 “The Rebellious Bead”; at Wash­ 500 University Avenue. ington Square, Connecticut and L streets. NewYork, Utica October 7-December 31 “Trea­ Florida, Belleair through November 19 “South­ sures for the Table”; at Munson-Williams-Proc- eastern Fine Crafts Biennial Invitational, I”; at the tor Institute, Museum of Art, 310 Genesee Street. Florida Gulf Coast Art Center, 222 Ponce de Ohio, Cincinnati October 1-January 1, 1996 Leon Boulevard. “Mingei: Japanese Folk Art from the Montgom­ Florida, Delray Beach November 14—March 3, ery Collection”; at the Cincinnati Art Museum, 1996 “Kindred Spirits: The Eloquence of Func­ Eden Park. tion in American Shaker and Japanese Arts of Ohio, Cleveland November 24-December 31 Daily Life”; at the Morikami Museum and Japa­ “Holiday Collectible Show”; at American Crafts nese Gardens, Morikami Park Road. Gallery, 13010 Larchmere Boulevard. Florida, Saint Petersburg through October 21 Ohio, Columbus through January 6, 1996“Gt&cz “Skillful Renderings: National Craft Leaders,” and Gravity,” exhibition of work by 11 Japanese with ceramics by Joseph Bennion, Kevin Crowe artists, including ceramics by Hee-Chang Yoon; and Harvey Sadow; at Florida Craftsmen Gallery, at Riffe Gallery, Vern Riffe Center for Govern­ 501 Central Avenue. ment and the Arts, High and State streets, down­ through November 7.9“Spotlight ’95,” in conjunc­ town. tion with American Craft Council Southeast’s Ohio, Lancaster November 11-January 6, 1996 annual conference (see Conferences); at the Mu­ “Two for the Road,” two-person exhibition with seum of Fine Arts, 255 Beach Drive, Northeast. ceramic sculpture by Donn Hedman; at the Gal­ Florida, Tampa October 5—10 “Florida Crafts­ lery at Studio B, 140 West Main Street. men 43rd Exhibition”; at Scarfone Gallery, Uni­ Ohio, Toledo October 13-January 7,1996“Made versity of Tampa, 401 Kennedy Boulevard. in America: Ten Centuries of American Art”; at Florida, Winter Park through October 13 “15th Toledo Museum of Art, 2445 Monroe Street. Annual Juried Student Exhibition”; at Alice and Oregon, Eugene October 31-December 23 “Le William Jenkins Gallery, Crealde School of Visual Petit 3”; at Alder Gallery, 160 East Broadway. Art, 600 Saint Andrews Boulevard. Oregon, Portland November 12-December 24 Georgia, Albany through January 1, 1996“¥>vz2k- “Holiday Gift Show”; at Oregon School of Arts ing Barriers: Recent American Craft,” includes and Crafts, 8245 Southwest Barnes Road. ceramic sculpture by Viola Frey, Michael Lucero Pennsylvania, HazletonOctober 7—20 “The Hazle­ and J ames T anner; at the Albany Museum of Art, ton Art League Open Juried Exhibition of Works 311 Meadowlark. in Clay, Glass, Wood and Metal”; at Hazleton Art Illinois, Chicago October 20-November 5 “Cur­ League, 225 East Broad Street. rents ’95”; at “SOFA Chicago 1995,” Navy Pier. Pennsylvania, New Castle October 8-November 4 Kentucky, Louisville through October 27 Two- “ 14th Hoyt National Art Show”; at Hoyt Institute person exhibition with porcelain by Fong Choo; of Fine Arts, 124 East Leasure Avenue. at the Downstairs Gallery, Kentucky Art and Tennessee, Chattanooga through August 1996 Craft Foundation, 609 West Main Street. “ 1995-1996 Sculpture Exhibit”; at River Gallery, Massachusetts, Cambridge through October 8 400 East Second Street. “Asian Art: Recent Acquisitions”; at the Arthur Tennessee, Smithville through October 12 “Fac­ M. Sackler Museum, Harvard University Art ulty Show,” including ceramics by Vince Pitelka. Museums. November 24—January 5, 1996 “Holiday Festi­ Massachusetts, Stockbridge through October 10 val”; at the Appalachian Center for Crafts, 1560 “Contemporary Sculpture at Chesterwood,” in­ Craft Center Drive. cluding ceramics by Phyllis Kulmatiski; at Texas, Denton through October 27 “Materials Chesterwood, off Route 183, 4 Williamsville Rd. Hard and Soft”; at Meadows Gallery, Greater Missouri, Saint Louis November 10—December30 Denton Arts Council, 207 South Bell. “The 31st Annual Holiday Exhibit”; at Craft Texas, Houston October 15-November 18 “Tap­ Alliance, 6640 Delmar Boulevard. estry of Images and Forms,” with ceramics by V. Montana, Helena November 16-December 31 Chin; at Archway Gallery, 2013 West Gray. “Winter Showcase,” exhibition of regional arts Vermont, Burlington through October 16 “Ebb and crafts; at Holter Museum of Art, 12 East and Flow”; at the Vermont State Craft Center at Lawrence Street. Frog Hollow, 85 Church Street. New Jersey, Newark through October 15 “1995 Vermont, Manchester through October 31 “Cre­ New Jersey Crafts Arts Annual”; at the Newark ative Harvest”; at the Vermont State Craft Center Museum, 49 Washington Street. at Frog Hollow. New Mexico, Santa Fe through October 7 “The Vermont, Middlebury through October 16 “Re­ Art of West Africa”; at Bellas Artes, 653 Canyon visiting the Arts and Crafts Style”; at the Vermont Road. State Craft Center at Frog Hollow, 1 Mill Street. NewYork, New Rochelle October 14-November Vermont, Shelburne through October 15 “Envi-

82 CERAMICS MONTHLY October 1995 83 Calendar Annual National Craft Fair”; at Montgomery County Fairgrounds. November 16-19 “Sugarloaf s Fall Gaithersburg Crafts Festival”; at the Montgomery County Fair­ sioned in a Pastoral Setting”; at Shelburne Farms, grounds. 102 Harbor Road. Maryland, Timonium October 13-15"S ugarloaf s Virginia, Alexandria October 26-November 25 Fall Timonium Crafts Festival”; at the Maryland “Beads on Target”; at Target Gallery, Torpedo State Fairgrounds. Factory Art Center, 105 North Union Street. Massachusetts, Boston November30-December3 Virginia, Richmond November 21-December 23 “The 10th Anniversary of Crafts at the Castle, “Holiday Sale.” “A Season of Lights”; at the Hand 1995”; at Park Plaza Castle, Arlington and Co­ Workshop, 1812 West Main Street. lumbus Avenue. Washington, Richland November 7—December24 Michigan, Grosse Pointe October 22 “Antique “Holiday Magic”; at Allied Arts Association, 89 and Contemporary Tile Sale,” in conjunction Lee Boulevard. with the tile symposium (see Conferences); at Wisconsin, Milwaukee through October28 “Pots, Grosse Pointe War Memorial, 32 Lake Shore. Pots and Pictures,” three-person exhibition with Michigan, Novi October27— 2j?“Sugarloaf s Novi ceramics by Marnie Elbaum and Willem Gebben; Crafts Festival”; at the Novi Expo Center. at Marnie Pottery, 2711 North Bremen. Nevada, Elko October 6-8 “Second Annual October 15—November /^“Interiors”; at Constance Craftasia: Celebrating American Craft and Salut­ Lindholm Fine Art, 3955 North Prospect. ing Native American Craft”; at the Elko Conven­ tion Center, 700 Moren Way. Fairs, Festivals and Sales New Jersey, Demarest December 1—3 “21st An­ nual Pottery Show and Sale”; at the Old Church Alabama, Birmingham November 18-19 “23rd Cultural Center School of Art, 561 Piermont Rd. Annual Alabama Designer/Craftsmen Fall Art NewJersey, Flemington October7—8"Flemington Show”; at Birmingham Botanical Gardens. Crafts Festival”; at the Flemington Fairgrounds. California, Berkeley November 25—26, December N ewJ ersey, Pennsauken November4—5"New J er- 2-3, 9-10, 16-17“Berkeley Artisans 1995 Holi­ sey Crafts Festival”; at South Jersey Expo Center. day Open Studios”; throughout south and west New Mexico, El Rito October 14—15 “El Rito Berkeley. For map, send SASE to 1250 Addison Studio Tour,” tour of 30 studios of artists and Street, #214, Berkeley 94702; or telephone (510) craftspeople; along Route 554. 845-2612. New York, Herkimer November 11—12 “20th California, Los Angeles October 14-15 “Interna­ Annual Herkimer County Arts and Crafts Fair”; tional Festival of Masks”; at Hancock Park. on the Herkimer County Community College California, Santa Barbara October28—29"Artwalk campus. ’95”; at the Santa Barbara Museum of Natural New York, Long Island November 17-19 “21st History, 2559 Puesta del Sol Road. Harvest Crafts Festival”; at Nassau Coliseum. California, Santa Monica November 3-5 “Con­ New York, Syracuse November 18-19 “Master- temporary Crafts Market”; at the Santa Monica works: A Celebration of Fine Art and Crafts”; at Civic Auditorium, 1855 Main St. at Pico Blvd. the OnCenter, South State Street. Connecticut, Danbury November 18-19 “Sec­ December 1—3 “Christmas ’95 Art and Craft Spec­ ond Annual Holiday Arts and Craft Expo”; at tacular”; at the New York State Fairgrounds. O’Neill Center, Western Connecticut State Uni­ North Carolina, Asheville October 5—8 “Indian versity. Summer Art and Craft Show”; at Asheville Mall. Connecticut, Middletown November 25-Decem- October 19-22 “49th Annual Craft Fair (Fall) of ber 10 “The Wesleyan Potters 40th Annual Ex­ the Southern Highlands”; at the Asheville Civic hibit and Sale”; at Wesleyan Potters Craft Center, Center. 350 South Main Street. November 24-26 “High Country Christmas Art Connecticut, Westport November 18-19 “20th and Craft Show”; at the Asheville Civic Center. Annual Westport Creative Arts Festival”; at Staples North Carolina, Charlotte October 6-8 “1995 High School, 70 North Avenue. Mint Museum Antiques Show”; at the Charlotte D.C., Washington December 1-3 “1995 Wash­ Merchandise Mart, 2500 E. Independence Blvd. ington Craft Show”; at Sheraton-Washington North Carolina, Winston-Salem October 20-22 Hotel, 2660 Woodley Road, Northwest, at Con­ “32nd Annual Piedmont Crafts Fair”; at the M. necticut Avenue. C. Benton Convention Center. Florida, Fort Lauderdale November 24—^“Har­ Oregon, Portland November 17—19"Best of the vest Festival”; at the Broward County Convention Northwest Fair”; at the Coliseum. Center. Pennsylvania, Fort Washington October 20—22 Florida, Gainesville November 11—12" 14th An­ “Sugarloaf s Fort Washington Crafts Festival”; at nual Downtown Festival and Art Show”; down­ the Fort Washington Expo Center. town. Pennsylvania, King of Prussia November 18-19 Florida, Orlando November 17—19"Harvest Fes­ “Valley Forge Crafts Festival”; at the Sheraton/ tival”; at the Orange County Convention Center. Valley Forge Convention Center. Florida, Tampa December 1—3 “ACC Craft Fair South Carolina, Columbia October 13-15 “South­ Tampa Bay”; at the Tampa Convention Center. eastern Art and Craft Exposition”; at the Carolina Illinois, Chicago November 2—5 “SOFA Chicago Coliseum. 1995”; at Navy Pier. Texas, New Braunfels October28-29"The Texas Illinois, Evanston November 10—12 “23rd An­ Clay Festival”; on the grounds of Buck Pottery, nual Holiday Exhibit and Sale”; at the Midwest 1601 Hunter Road, Gruene Historic District. Clay Guild, 1236 Sherman Avenue. Texas, Round Top October 7-8 “23rd Annual Illinois, Winnetka November 4-5 “Sixth Annual Winedale Oktoberfest”; on grounds of University Modernism Show”; at the Winnetka Community of Texas at Austin Winedale Historical Center. House, 620 Lincoln Avenue. Virginia, Richmond November 10-12 “31st An­ Louisiana, Lafayette November 10-12 “Nouveau nual Richmond Craft and Design Show”; at Rich­ Expo ’95”; at the Boustany Convention Center. mond Center for Conventions and Exhibitions. Maryland, Gaithersburg October 13—15 “20th Continued

84 CERAMICS MONTHLY October 1995 85 Calendar turej A session with Laney Oxman. Workshop fee (lecture is free): $50; Alliance members, $45. Work­ shop location: Fillmore Arts Center. Lecture loca­ tion: Renwick Gallery. For further information, Workshops contact Mary George Kronstadt, James Renwick Arizona, Mesa October 14-15 A session with Alliance, 4414 Klingle Street, Northwest, Washing­ Joseph Bennion. Fee: $35; Arizona Clay mem­ ton, D.C. 20016; or telephone Shelley Gollust (301) bers, $30. Location: Mesa Community College. 229-2148. For further information or registration, send SASE Kentucky, Richmond November 9 Workshop/lec­ to David Bradley, 2233 North 56 Avenue, Phoe­ ture with Dan Anderson. Free. For further informa­ nix, Arizona 85035; or telephone (602) 269-1244. tion, contact Joe Molinaro, Art Department, East­ California, Arroyo Grande October 13-15 “Ce­ ern Kentucky University, Richmond 40475-3109; ramics Handbuilding Workshop” with William or telephone (606) 622-1634. Shinn, will include use of the extruder, surface Kentucky, Somerset October 7-8 and 14-15 “Fire techniques, creating molds and tool making. Fee: and Clay” with Meg McClorey, throwing, hand­ $75. Limited registration. Contact Bill Todd, building, glazing and raku firing. Beginning and Workshop Coordinator, 645 Caudill Street, San intermediate. Fee: $140, includes materials and fir­ Luis Obispo, California 93401; or telephone (805) ing. Contact Meg McClorey, Fire and Clay, 2535 543-7487. Pumphouse Road, Somerset 42501; or telephone California, Concow November23—25“ Fall Wood- (606) 679-7897. fire Workshop” with Nolan Babin, glazing and Maine, Pordand October 5 or November 11 “Raku firing. Participants must bring bisqueware and workshop.” Fee: $30. October 75“The Mask Fantas­ favorite Cone 10 glaze. Fee: $150, includes lodg­ tic” with Randy Fein. Fee: $25, includes clay. No­ ing or camping. December 27—January 7, 1996 vember 15“Free Kiln School,” answering questions about electric kilns. November 18 “Chinese Brush “Winter Wood-fire Workshop” with Nolan Babin, Painting” with Donald Blue. Fee: $35. Contact firing a 200-cubic-foot kiln. Fee: $350 for full Portland Pottery School and Supply, 118 Washing­ workshop/$250 for 7-day session; includes mate­ ton Avenue, Portland 04101; or telephone (207) rials, firing and lodging. For further information, 772-4334, fax (207) 780-6451. contact Nolan Babin, 13191 Mullen Way, Oroville Maryland, Columbia October 7 Demonstration (Concow), California 95965; or telephone (916) and slide lecture with Byron Temple. Contact Co­ 534-9137. lumbia Art Center, Long Reach Village, 6100 California, Hesperia October 7—8 “Earth and Foreland Garth, Columbia 21045; or telephone Ceramic Architecture” with Nader Khalili. All (410) 730-0075. skill levels. Fee: $275, includes materials. Contact Massachusetts, Williamsburg October 7-9 “Tiles: Iliona Outram, Cal-Earth/Geltaftan Foundation, For Large Installations or Small Projects” with Sandy 10376 Shangri-La Avenue, Hesperia 92545; or Farrell. October 21—23 “Native American Form­ telephone (619) 244-0614. ing and Firing Techniques” with Connie Talbot. California, Mendocino November 4-5“Obsidian Contact Horizons: The New England Craft Pro­ Orchids and Ancient Seas (Within the Mountains gram, 108 N. Main St., Sunderland, Massachu­ of Mendocino)” with John Roloff. Fee: $125; setts 01375; or telephone (413) 665-0300. members, $100. November 11-12 “Clay Faces” Michigan, Detroit October 16—18 Two tile-mak­ with Beverly Mayeri. Fee: $95; members, $75. ing workshops with David Ellison and Frank November 18— i.9“Ceramic Mystical Winds” with Giorgini. Location: Pewabic Pottery. Contact Tile Janie Rezner, making musical instruments. Fee: Heritage, Post Office Box 1850, Healdsburg, $95; members, $75. Contact the Mendocino Art California 95448; or telephone (707) 431-8453, Center, 45200 Little Lake St., P. O. Box 765, fax (707) 431-8455. Mendocino 95460; or telephone (707) 937-5818. Nevada, Las Vegas October 28—29 Demonstra­ California, Walnut Creek October 28 “The Lan­ tion of glaze and slip techniques on single-fired guage of Shapes,” demonstration and slide lecture ware with Steven Hill. Fee: $70. Contact Tom or with Seth Cardew. Fee: $40. For further informa­ Elaine Coleman, Coleman Clay Studio, 6230 tion, contact Walnut Creek Civic Arts Education, Greyhound Lane, Suite E, Las Vegas 89122; or Post Office Box 8039, Walnut Creek 94596; or telephone (702) 451-1981. telephone (510) 943-5846. New Mexico, Santa Fe October 14—15 Slide lec­ Colorado, Boulder October 6—7 “Handbuilding ture and demonstration with Paul Soldner. No­ Functional Forms and Low-fire Decoration” with vember 4—5 Slide lecture and demonstration with Liz Quackenbush. Fee: $45; slide lecture only, $3. Robert Turner. Contact Santa Fe Clay, 1615 Location: Boulder High School. Contact Margaret Paseo de Peralta, Santa Fe 87501; or telephone Haydon, Boulder Potters Guild, 305 South 38th, (505) 984-1122. Boulder 80303; or telephone (303) 499-2892. New York, New York October 14 “Japanese Pot­ Connecticut, Brookfield October 14—15 “Ceramic tery Techniques” with Yuji Yasui. Fee: $75; mem­ Jewelry” with Ina Chapler. October21—22“ A Day at bers, $50. October 21 “Sawdust Firing Work­ Cornwall Bridge Pottery” with Todd Piker. October shop” with Liz Surbeck Biddle. Fee: $80; mem­ 28—29“Making Teapots” with Angela Fina. Novem­ bers, $65. October 28 “Hands-on Glaze Work­ ber 4—5 “Salt Firing” with Doug Signorovich. No­ shop” with Arthur Gerace. Fee: $80; members, vember 11-12 “Ceramic Tiles” with Lynn Peters; $65. Contact the YWCA of the City of New York, “Artist Survival Skills” with Susan Sager. November 610 Lexington Avenue, New York 10022; for I<9-75?“Master Pottery Workshop” with JeffShapiro. information, telephone (212) 735-9731; to regis­ Contact Brookfield Craft Center, Post Office Box ter, telephone (212) 735-9722. 122, Route 25, Brookfield 06804; or telephone North Carolina, Brasstown October 1-6“Porce­ (203) 775-4526. lain—The Aristocrat of Clays” with Gwen Heffner. Connecticut, New Haven October 21-22 A session Fee: $205. October 8-14 “New Techniques in with Yuji Yasui. Fee: $65; members, $59. For further Handbuilding” with Barbara Joiner. Fee: $225. information, contact the Creative Arts Workshop, For further information, contact John C. Campbell 80 Audubon Street, New Haven 06510; or tele­ Folk School, Route 1, Box 14A, Brasstown 28902; phone (203) 562-4927. or telephone (800) 365-5724. D.C., Washington October 28 (workshop)—29 (lec­ North Carolina, Durham October 6Slide lecture

86 CERAMICS MONTHLY with Paul Soldner. Fee: $6. Contact Durham Arts Council, (919) 859-6847 or (919) 387-5750. North Carolina, Little Switzerland October 16- 22“Ringling School of Art and Design’s Wildacres Art Workshops,” includes sessions in ceramics, watercolor, printmaking, etc. Fee: approximately $375, includes lodging and meals. Contact Sandra MacDonald, Director of Continuing Education, 2700 North Tamiami Trail, Sarasota, Florida 34234; or telephone (813) 359-7577. Oregon, Portland October 7— 8 A series of 4 work­ shops: “Tastes for Artists” with Aaron Besen and Michael Davidson; “Contracts” with Sarah Conley and Amy Richter; “Alternative Dispute Resolu­ tion and Forms of Doing Business” with Amy Estrin, Larry Reichman and Sarah Rosenberg; “Copyrights” with Kohel Haver and Ira Levinson. Fee for series: $104; each workshop, $26. Novem­ ber 4—5 “New Forms and Forming Methods in Clay” with Brad Miller. Fee: $145. For further information, contact Oregon School of Arts and Crafts, 8245 Southwest Barnes Road, Portland 97225; or telephone (503) 297-5544. Pennsylvania, Chester Springs October 21—22 “Sculptural Installations” with Ron Fondaw. Fee: $140; members, $125; includes materials. Octo­ ber 28 “Silk Screens and Ceramics” with Mark Lueders. Fee: $75; members, $65; includes mate­ rials. November 11-12 “Mold Making and Slip Casting” with Barbara Botting. Fee: $100; mem­ bers, $90; includes materials. For further infor­ mation, contact Chester Springs Studio, 1668 Art School Road, Chester Springs 19425; or tele­ phone (610) 827-7277. Pennsylvania, Pittsburgh November 18—19 A ses­ sion with Jeanne Jaffe. Contact the Manchester Craftsmen’s Guild, 1815 Metropolitan Street, Pittsburgh 15233; or telephone (412) 322-1773. Tennessee, Smithville October 14, 21 and 28 “Ancient Clay: Handbuilt, Burnished, Bonfired Vessels” with Vince Pitelka. For further informa­ tion, contact Appalachian Center for Crafts, 1560 Craft Center Drive, Smithville 37166; or tele­ phone (615) 597-6801. Texas, Fort Worth October27-29 A session with Robin Hopper. Fee: $45. Contact Carole Stand- ridge, 941 Riverview Road, Millsap, T exas 76066; telephone Carole (817) 682-4782 or Bettie (817) 249-3372. Texas, Houston November 3—4 Slide lecture and demonstration with Yoshiro Ikeda. Fee: $30. Pre­ registration required. Contact Roy Hanscom, Art Department, North Harris College, 2700 W. W. Thorne Dr., Houston 77073; or telephone (713) 443-5609. Texas, San Antonio October 14-15“Small Func­ tional Objects/Big Dysfunctional World,” slide lecture and hands-on workshop with George Bowes. Contact the Southwest Craft Center, 300 Augusta, San Antonio 78205; or telephone (210) 224-1848. Virginia, Arlington October 19 “Ceramics Cri­ tique Session” with Catherine White. For further information, contact the Lee Arts Center, 5722 Lee Highway, Arlington 22207; or telephone (703) 358-5256. International Events Australia, Buccarumbi January 7-13,1996“Ves- sel Poetics—The Sculpted Surface” with Sandra Taylor and guest artist Toni Warburton. January 18-24, 1996 “Modular Works for Walls and Gardens” with Sandra Taylor and guest artist Ivan Gluck. Registration deadline: December 1. Fee: Aus$785, includes materials, lodging and meals. For further information, contact Sandra Taylor,

October 1995 87 Calendar tion of sculpture by Georges Jeanclos; at Galerie Capazza, Grenier de Villatre. France, Paris October 3—November 4 Exhibition of porcelain and earthenware by Marie-Laure Blackadder, Buccarumbi, NSW 2460; or tele­ Guerrier; at Epona, 40, rue Quincampoix. phone/fax (66) 494-134. Germany, Dusseldorf October 1—January 14,1996 Canada, B.C., Victoria October 21—22 A session “Meissner Porzellan des 18 Jahrhunderts”; at with Lana Wilson, soft-slab handbuilding, plus Hetjens-Museum Dusseldorf, Schulstrasse 4. Cone 6 and 06 electric glazes. Fee: Can$90 (ap­ Germany, Koblenz October 22-November 12 proximately US$67). Contact Metchosin Inter­ “Cans—But with Lids”; at Galerie Handwerks- national School of Art, RR#1, Pearson College, kammer Koblenz, Rizzastrasse 24-26. Victoria V9B 5T7; or telephone (604) 478-5591. Greece, Evia October 8-18 Wood-, raku- and pit- Canada, Ontario, Don Mills October21 “Fusion: firing workshop with Alan Bain. All skill levels. The Ontario Clay and Glass Association’s Eighth Fee: £725 (approximately US$1160), includes Annual Silent Auction.” Fee: before October 13, materials, firing, lodging, meals and field trips. Can$10 (approximately US$7); at the door, Contact Schoniad Bain, 340 04 Procopi, Evia; or Can$15 (approximately US$11). Location: Civic telephone (22) 74 12 98. Garden Centre, Edwards Gardens, 777 Lawrence Italy, Faenza through October 22 “49th Interna­ Avenue, East. For ticket information, contact tional Ceramic Art Competition”; at Palazzo delle Fusion, (416) 504-9899, or fax (416) 504-9905. Esposizioni, Corso Mazzini, 92. November 24-26 “Toronto Potters’ Christmas through October 22 “II giardino dipinto,” sculp­ Sale”; at the Civic Garden Centre, Edwards Gar­ ture by Betty Woodman; at Museo Internazionale dens, 777 Lawrence Avenue, East, at Leslie Street. delle Ceramiche, Via Campidori, 2. Canada, Ontario, East York November 17—19 Jamaica, Falmouth January 19—27, 1996Th.row- “Potter’s Studio Fall Sale”; at the Potter’s Studio, ing; loading, firing and unloading a Japanese- 2 Thorncliffe Park Drive, Unit 16. style, fast-fire wood/salt kiln with Scott Goldberg Canada, Ontario, Toronto through January 28, and Jeff Oestreich. Fee: $1800, includes materi­ 1996"Fakes: Deception in European Ceramics”; als, 2 meals daily, lodging and round-trip airfare. at George R. Gardiner Museum of Ceramic Art, Location: Good Hope Pottery. Contact Jeff Cox, 100 Queen’s Park. 92nd Street Y, 1395 Lexington Avenue, New November 2-25 Exhibition of ceramics by Dale York, New York 10128; or telephone (212) 415- Pereira; at Prime Gallery, 52 McCaul Street. 5565, fax (212) 415-5575. December 1-3 “Thirteenth Annual Winter Show Japan, Tajimi City October28—November5 “The and Sale”; at Woodlawn Pottery Studio, 80 Fourth International Ceramics Competition”; at Woodlawn Avenue, East. Tajimi Special Exhibition Hall (Tajimi City Gym­ Canada, Saskatchewan, Regina October 1—No­ nasium), 2-150 Obata-cho. vember 8 Exhibition of ceramics by Sandy G. Mexico, Oaxaca region October 26—November 3 Dumba, “Fish Fantasia”; at Joe Moran Gallery, or January 2-10, 1996 “Ceramics: From the Wascana Center. Zapotec Tradition and Beyond,” October work­ Denmark, Copenhagen through October 28 Exhi­ shop with Bob Green, January workshop with bition of ceramics by Richard Kjaergaard and his Nancee Meeker. Contact Horizons, 108-P North students Gunhild Aaberg, Beate Andersen, Bente Main Street, Sunderland, Massachusetts 01375; Hansen, Torben Jorgensen, Niels Laursen, Erik or telephone (413) 665-0300. Magnussen, Malene Miillertz, Ursula Munch Netherlands, Delft through October 7Exhibition Petersen, Jane Reumert, Alev Siesbye and Per of porcelain by Hein Severijns. October 14-No­ Weiss. November 3—25 Exhibition of ceramics by vember 25Exhibition of porcelain by Frans Ottink; Knud Christensen, Lisbeth Holst Jensen and at Terra Keramiek, Nieuwstraat 7. Walter Keeler; at Galleri Norby, Vestergade 8. Netherlands, Deventer through October ^Exhibi­ Denmark, Middelfart through November 11 Ex­ tion of salt-glazed ceramics by Sue Atkins and Jane hibition of ceramics by Gerd Knapper; at Hamlyn. October 8—November 3 Exhibition of Grimmerhus Museum. thrown and sculptured earthenware by Gerard England, Chichester October 29—November 2 Lachens. November 5—December 2 Exhibition of “Sculptural Ceramics” with Tessa Fuchs. Novem­ wood-fired, decorated earthenware by David ber 10—12 “Pottery—Throwing and Turning” Miller; at Loes and Reinier International Ceram­ with Alison Sandeman. January 5-7, 1996"Pot­ ics, Korte Assenstraat 15. tery—Throwing and Turning with Handle Mak­ Netherlands, Oosterbeek October 22—November ing” with Alison Sandeman. January 19—21,1996 19 Exhibition of ceramics by Adriana Baarspul “Master Potter Series: 4—Form and Surface” and Jan de Rooden; at Galerie Amphora, Van with Jim Robison. Contact the College Office, Oudenallenstraat 3. West Dean College, West Dean, Chichester, West Netherlands, ’s-Hertogenbosch November 5— Sussex P018 0QZ; or telephone (243) 811-301, January 7, 1996 Retrospective exhibition of ce­ fax (243) 811-343. ramics by Ettore Sottsass Jr.; at Museum Het England, London through October 6"Lucie Rie: A Kruithuis, Citadellaan 7. Tribute from Her Friends.” October 12—Novem­ New Zealand, Christchurch November 21—De­ ber 10 Exhibition of works by Danish potters; at cember 1 “Eclaytic,” exhibition of 38 works by Galerie Besson, 15 Royal Arcade, 28 Old BondSt. California ceramists; at the Canterbury Museum. through October 22 Exhibition of works by Gor­ Spain, Manises November 16—December 31 don Baldwin. November 22—December 23" Christ­ “Biennal Europea de Ceramica”; at Museo de mas Exhibition”; at the Crafts Council Shop, Ceramica de Manises. Victoria and Albert Museum, South Kensington. Switzerland, Nyon through October29"Triennale England, Oxford through October25Two-person de la Porcelaine”; at the History and Porcelain exhibition with ceramics by John Maltby. October Museum in the Castle. 30—November 29“Body Language,” exhibition of Switzerland, Vallorbe September 21—October 22 ceramics by Tony Bennett, Sandy Brown, Geoffrey Exhibition of ceramics by Vincent Potier. October Fuller, Mo Jupp and Linda Gunn Russell; at 28-November 26 Exhibition of ceramics by Oxford Gallery, 23High Street. Micotte Pernot; at Galeries Artcadache, Rue des France, Nancay October 7—December 11 Exhibi­ Grandes-Forges 5.

88 CERAMICS MONTHLY October 1995 89 tion, it is important that a body be tested prior Questions to use for optimum results. Answered by the CM Technical Staff One can take a processed raw clay with no other additions and fire it, perhaps successfully, to a temperature of choice. It may become hard, but may not be mature or vitrified, and may Q Every once in a while I meet a potter who promote problems if subsequently glazed. Any doesn V read CM. Makes me wonder. single clay can be improved markedly by the Anyway, Tm desperately seeking crystalline additions of other clays. If the fired color of clay glaze recipes for low firing (Cone 09—02). I X is wonderful, but it is really too short (un­ have had little luck with books, and my horribly workable), it may be improved by adding clay confused and well-thumbed stacks of CM have Y. To control excessive shrinkage of the combi­ so far not borne fruit on the subject. Could you nation of clays X and Y, a percentage of clay Z possibly be so kind as to point me in the right may be added. To optimize vitrification and direction?—P.P. glaze fit, feldspar and flint may be added. Do you still have your copy of the June/J ulylThe point at which a clay body is optimally August 1986 CM? On pages 48 and 49, Beatricematured, no free silica left over (hence com­ and Robert Pearson give several recipes for pletely taken into solution by the feldspar and “Easy Aventurine Glazes.” These are low-fireother fluxes) is what we strive for in producing glazes that contain minute crystals of metal wares that are dense, durable and vitrified. The oxides (usually red iron oxide). range for vitrification can be fairly broad, as in Years ago, I worked with the following some stoneware bodies, or quite narrow, as in recipe: Cone 06—04 talc/ball clay mixtures. If vitrifi­ Aventurine Glaze cation is not a concern, there is really no reason (Cone 07-05) why a certain body cannot be fired at a lower Borax...... 66.76% temperature. Flint...... 33.24 How we ascertain vitrification is important. 100.00% In recipes that are handed down in the oral and Add: Cobalt Oxide ...... 0.05% written traditions of current ceramics educa­ Copper Oxide ...... 0.02% tion, one assumes that they do indeed work if Red Iron Oxide...... 16.48% they worked for the source individual. How­ ever, over time, clays do change from pit to pit. Like high-fired crystalline glazes, this recipe isEven though a Kentucky ball clay may be very fluid; apply thinly, then place on a stilt referred to as Old Mine #4, its chemical analysis with a catch basin or a slice of insulating may be different from the original material. brick coated with kiln wash. In the studio, we can do some simple testing I mixed this recipe by grinding the dry (line blends of two or more materials, as well as ingredients in a mortar, then adding water. It triaxial blends) for basic information. Shrink­ was good on both white talc and red clay age and absorption tests can also yield impor­ bodies. Even though added in such small tant information. Further results can be obtained amounts, the cobalt and copper oxides seem fromto a ceramic testing service, such as the give it an extra “spark.” Orton Foundation. A DTA (differential ther­ Margaret Fetzer mal analysis) test done on a dillatometer can Ohio State University (retired) accurately graph expansion and contraction of Dublin, Ohio a fired sample during heating and cooling. The graph plots the quartz inversions and provides Q An article about Elisabeth Anderson in the definitive data on the clay body in question. October 1994 CM mentions that she uses a Cone Yes, it is best to fire a clay body to its 10 clay, yet never fires above 1800°F. Tve been maturing temperature, but this does not elimi­ told that it is always best to fire a clay to the nate the possibility that the body may be used temperature it is designed for, but Anderson gets at a lower temperature. Just remember, it may superb results by breaking this “rule. ” Would you not be totally vitrified and could promote other please discuss the pros and cons of adhering to a defects down the line. Many things in ceramics recommendedfiring range, as I believe many of us have been discovered by breaking, modifying may be limiting ourselves by not understanding or completely changing the rules. our clays ?—C. C. Jonathan Kaplan Clay bodies are compounded with both Ceramic Design Group plastic and nonplastic clays, fillers, fluxes and Steamboat Springs, Colorado glass formers. Many are usable over a wide Subscribers’ questions are welcome and those of gen­ temperature range, yet mature, or are fully eral interest will be answered in this column. Due to vitrified, only at a specific temperature. Becausevolume, letters may not be answered personally. Ad­ there are many exceptions and broad generali­dress the Technical Staff, Ceramics Monthly, Post ties that can be applied to clay body formula­Office Box 12788, Columbus, Ohio 43212-0788.

90 CERAMICS MONTHLY October 1995 91 Five Steps to Stop Glaze Shivering by Jeff Zamek

Tiough statistically not as common as glaze cool at a compatible rate, with the other defects, shivering is a severe glazeglaze coming under slight compression. problem that occurs when a glaze is Although shivering is classified as a under too much compression. The firedglaze defect, it can be corrected through glaze looks like a paint chip peeling off adjustments to the glaze recipe, the clay the underlying clay body. When shiver­body recipe or a combination of the ing is very severe (glaze under extremetwo. Several points must be considered compression), it can tear or break the before attempting to fix a glaze shiver­ underlying clay body, causing the wholeing defect: Clay bodies containing too pot to crack apart upon cooling. much free silica can cause shivering; Shivering can develop as the piece fireclays, as a group, are known to have cools or sometimes years later! Essen­ randomly high levels of free silica. Fine tially, when the glaze is under extreme grog high in silica can also cause shiver­ compression, it ing, especially if might “buckle” burnishing has at any given Although shivering is classified as brought it to the time. a glaze defect, it can be corrected clay surface in Shivering and the forming pro­ crazing are at op­ through adjustments in the glaze cess. Too much posite ends of the recipe,the clay body recipe or and/or too early same basic prob­ reduction of the lem: The glaze a combination of the two. clay body causes and clay body do an unstable car­ not fit when cool. Crazing happens bon bond between the clay and glaze when the glaze is under extreme ten­ layer that can result in shivering. Thicker sion. [See “Eight Steps to Stop Crazing”glaze applications are more likely to en­ in the April 1995 CM.] Interestingly, courage shivering if any or all of the ceramic materials fail ten times faster previous conditions are present. under tension than compression. Cor­ The following five steps are recom­ respondingly, crazing (glaze under ten­ mended to correct shivering. The first sion) is ten times more prevalent as a involves adding high-expansion materi­ glaze defect as compared to shivering. als (feldspars or other alkali-bearing Recognizing and understanding a prob­materials) to the clay body and/or glaze. lem are the first steps in solving any Decreasing low-expansion materials glaze defect. (flint) from the clay body and/or glaze Shivering can occur at any tempera­may also solve the problem. Sometimes ture range, in oxidation or reduction. a combination of both methods will be Frequently, when a glaze does shiver ornecessary. peel off the fired clay surface, it is on the 1. If only one glaze is shivering on pots edges or raised areas. The chip sizethe clay body, try additions of 5, 10 or can range from Vi6 inch to more than 2 15 parts potash feldspar to that glaze inches in size. With any correction, the (i.e., if the glaze has 10 parts feldspar, goal should be to have the clay and increase that amount to 15, 20 and 25

92 CERAMICS MONTHLY parts); do not change the amounts of other materials in the glaze recipe. Other alkali-bearing materials, such as frits, can be used to correct shivering, but keep in mind that frits can lower the melting point of a glaze. Adding any flux or glass former will increase the chance of the glaze becoming glossy or running off vertical surfaces. The ideal fix is to put just enough feldspar or frit into the glaze to correct shivering with­ out overloading the glaze with more flux than is needed. 2. Decreasing the flint in a glaze by 5 or 10 parts will also adjust the clay body/glaze fit. 3. Occasionally, adding feldspar/frit and removing flint will be necessary to stop shivering. In rare instances, the same correction must also be carried out in the clay body. 4. If many different types of glazes are shivering on the same body, correct the problem by adding 5, 10 and 15 parts feldspar (or other alkali-bearing materials) to the clay recipe. 5. A decrease of 5 or 10 parts flint in the clay body may also correct glaze shivering. Another possibility would be to sub­ stitute a soda feldspar for a potash feld­ spar, as soda feldspars have a higher coefficient of expansion (high shrink­ age). Be aware, though, that some glazes will change color due to this substitu­ tion. However effective soda feldspar corrections might be, they will often produce differences in the color, surface texture or firing range of the glaze and clay body. Other less practical methods for cor­ recting shivering include lowering the maximum firing temperature and firing faster to maximum temperature, either of which should reduce the expansion coefficient of the clay body. Reducing the amount of lime or iron in the clay body should also improve the glaze/clay body fit. In most instances, shivering can be corrected by additions of feldspar, frit or other high-expansion materials to the glaze. If the problem persists, the solu­ tion is to adjust the clay body recipe or change to another clay body altogether.

The author Ceramics consultant and potter JejfZamek resides in Southampton Massachusetts.

October 1995 93 94 CERAMICS MONTHLY October 1995 95 Comment called “sunk relief.” This term describes atime after the life forms were deposited. kind of stonework used on large build­ Often the original minerals dissolved and ings in ancient Egypt. Rather than carry­were replaced by new ones that enhanced Language in Ceramics ing raised imagery, these reliefs carry the beauty of the fossil; silica and iron by Jane Larson imagery on the surface plane while the pyrites were common replacement min­ background is removed, or “sunk.” erals (see Prehistoric Life by Richard At first, I thought of describing my Moody, 1983). More and more ceramists seem to be wall piece as sunk relief. But the term There are other words in ceramics that drawn to clay-as-canvas work for murals,wont work for embedded clay imagery bother me, but for which I have not yet architectural commissions and wall art. I, in a flat sheet of clay, because the imageryfound a solution. For instance, do other too, enjoy this type of work. A recent itself is what sinks into the soft plane, to artists dislike describing the special clays commission for Congress’ Office ofTech-be hardened into stone by the kiln. Whilethey use as “stonewares”? The word is nology Assessment brought me to a cri­ our language today accommodates tech­ forever associated with dishes and food. sis, however, when I was asked to describeniques suited to the stone carver, it doesFor my work, stonewares of the toughest and explain my wall piece and most handsome kinds are “Fantastic Life” in a paragraphLanguage has bypassed our medium; we are still stuck necessary. I think of them as to be mounted beside it. earths tones. For permanence, What I found was that lan­ with outlandishly ancient and humble terms to describe they must endure all kinds of guage has bypassed our me­ what are no longer craft materials and techniques but weather, and for beauty, they dium; we are still stuck with mustn’t be covered entirely outlandishly ancient and aesthetic statements and images in clay. with glaze. I imagine my clay humble terms to describe what murals, with their glittery are no longer craft materials and tech­ not accommodate the different techniquestouches of color, lasting 10,000 years in niques but aesthetic statements and im­ of the ceramist. the crust of the earth as a hedge against ages in clay. If we expect our medium to I think the term “bedding plane” mightextinction. develop healthily, we must start develop­solve the problem. Borrowed from pale­ I voice the same complaint about the ing an expanded vocabulary. ontology, the phrase is quite specific (fromword “pots,” since I make them. Like Just as the stone sculptor can refer to aS. J. Goulds Wonderful Life: The Burgess “pot,” the term “ware” is both honorable carving raised from a background plane Shale and the Nature of History). It de­ and ancient, but it is a symbolic word, as a “bas relief,” todays ceramists need a scribes a sheet of sedimentary rock that which we would do well to outgrow. It respectable word for clay-as-canvas work,contains imagery sunk into its surface, only serves to keep an increasingly so­ in which the imagery depresses or pen­ like fossils and trace-fossils of ancient or­phisticated medium too humble. etrates the flat clay surface. Walters Art ganisms, tracks and so on. Its creation, of Gallery in Baltimore, expert in sculptural course, involved soft clay or claylike mudsThe author Jane Larson maintains a stu­ matters, uses a word related to bas relief that hardened into shales and rock some­dio in Bethesda, Maryland.

Index to Advertisers

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