March 2000 1 2 CERAMICS MONTHLY March 2000

Volume 48

Number 3

“Leaves in Love,” 10 inches in height, handbuilt stoneware with abraded glaze, by Michael Sherrill, Hendersonville, North FEATURES Carolina. 34 Fast Fossils 40 Carbon-Film Transfer on Saggar-Fired Porcelain by Dick Lehman 38 Steven Montgomery The wood-firing kiln at Buck Industrial imagery with rich texture and surface detail Pottery, Gruene, Texas. 40 Michael Sherrill 62 Highly refined organic forms in porcelain 42 Rasa and Juozas Saldaitis by Charles Shilas Lithuanian couple emigrate for arts opportunities 45 The Poetry of Punchong Slip-Decorated Ware by Byoung-Ho Yoo, Soo-Jong Ree and Sung-Jae Choi by Meghen Jones 49 No More Gersdey Borateby JejfZamek Why, how and what to do about it 51 Energy and Care Pit Firing Burnished Pots on the Beach by Carol Molly Prier 55 NitsaYaffe Israeli artist explores minimalist abstraction in vessel forms “Teapot,” approximately 9 inches in height, white 56 A Female Perspectiveby Alan Naslund earthenware with under­ Female form portrayed by Amy Kephart glazes and glazes, by Juozas and Rasa Saldaitis, 58 Endurance of Spirit St. Petersburg, Florida. The Work of Joanne Hayakawa by Mark Messenger 62 Buck Pottery 42 17 Years of Turnin’ and Burnin’ by David Hendley 67 Redware: Tradition and Beyond Contemporary and historical work at the Clay Studio “Bottle,” 7 inches in height, wheel-thrown porcelain, saggar 68 California Contemporary Clay fired with ferns and sumac, by The cover:“Echolalia,” San Francisco invitational exhibition Dick Lehman, Goshen, Indiana. 29½ inches in height, press molded and assembled, 115 Conquering Higher Ground 34 by Steven Montgomery, NCECA 2000 Conference Preview New York City; see page 38. Includes program, exhibitions and maps

March 2000 3 UP FRONT

12 Wichita National Biennial competition at Wichita (Kansas) Center for the Arts Editor Ruth C. Butler 12 Stefani Gruenberg Associate EditorKim Nagorski Potter receives “Golden Trowel” award fromGarden Design magazine Assistant EditorConnie Belcher Assistant EditorSherman Hall 14 Gillian Hodge Editorial AssistantRenee Fairchild Retrospective of sculpture at North Tahoe Art Center in Tahoe City, California Design Paula John Advertising ManagerSteve Hecker 14 National Ceramics Invitational in Illinois Advertising AssistantDebbie Plummer Works by approximately 30 artists at Rockford College Art Gallery Customer Service Mary R. Hopkins 14 Flora and Fauna Show Circulation AdministratorMary E. May PublisherMark Mecklenborg Invitational at the Florida Craftsmen Gallery in St. Petersburg Editorial, Advertising and Circulation Offices 16 Mary Engel and Andy Nasisse 735 Ceramic Place Figurative sculpture at Bank of America Plaza in Atlanta Post Office Box 6102 Westerville, Ohio 43086-6102 18 Robin Johnson Telephone: (614) 523-1660 Best of show at the Gallery at University of New Haven in Connecticut Fax: (614) 891-8960 E-mail: [email protected] 18 Functional Ware in San Francisco [email protected] [email protected] Pottery by 4 artists at Evolving Space [email protected] 18 A Workshop with D. Hayne Bayless by Patricia Hubbard Website: www.ceramicsmonthly.org Handbuilding and extruding taught at the Clay Art Center in Port Chester, New York Ceramics Monthly (ISSN 0009-0328) is published monthly, except July and August, by The American Ceramic Society, 735 Ceramic 20 Canadian Ceramics Exhibitionby Jim Weaver Place, Westerville, Ohio 43081; www.ceramics.org. Periodicals postage paid at Westerville, Ohio, and additional mailing offices. Functional ware and sculpture at the Canadian Craft Museum in Vancouver Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The American Ceramic 20 Carol Brody-Luchs Society. Pottery at the Clay Place in Pittsburgh Subscription Rates: One year $28, two years $53, three years $76. Add $15 per year for subscriptions outside North America. In 22 Cynthia Jenkins and Cynthia Spencer Canada, add GST (registration number R123994618). Sculpture and vessels at the Northwest Craft Center in Seattle Change of Address: Please give us four weeks advance notice. Send the magazine address label as well as your new address to: Ceramics 22 Linda Mau Monthly, Circulation Department, PO Box 6102, Westerville, OH 43086-6102. Raku sculpture at Iwasawa Oriental Arts Gallery in Los Gatos, California Contributors: Writing and photographic guidelines are available on 24 A Sampling of Pottery and Sculpture from Provence request. Send manuscripts and visual support (slides, transparen­ cies, photographs, drawings, etc.) toCeramics Monthly, 735 by Edie C. Miles Ceramic PL, PO Box 6102, Westerville, OH 43086-6102. We Touring the south of France also accept unillustrated texts faxed to (614) 891-8960 or e-mailed to [email protected]. 26 Jean Noble Parsons, 1929-2000 Indexing: An index of each year s feature articles appears in the December issue. You may also visit theCeramics Monthly website at www.ceramicsmonthly.org to search an index of all feature 26 David Blasdell, 1950-1999 articles since 1953. Feature articles are also indexed inArt the Index and daai (design and applied arts index), available through public and university libraries. Copies: For a small fee, searchable databases and document delivery DEPARTMENTS are available through The American Ceramic Society’s Ceramic Information Center, PO Box 6136, Westerville, OH 43086-6136; 8 Letters e-mail [email protected]; or telephone (614) 794-5810. Also through 28 New Books University Microfilms, 300 N. Zeeb Rd., Ann Arbor, MI 48106. 72 Call For Entries Authorization to photocopy items for internal or personal use 72 International Exhibitions beyond the limits of Sections 107 and 108 of the U.S. Copyright Law is granted by The American Ceramic Society, ISSN 0009- 72 United States Exhibitions 0328, provided that the appropriate fee is paid directly to Copyright 74 Regional Exhibitions Clearance Center, Inc., 222 Rosewood Dr., Danvers, MA 01923, 76 Fairs, Festivals and Sales USA; (978) 750-8400; www.copyright.com. Prior to photocopying 80 Suggestions items for educational classroom use, please contact Copyright Clearance Center, Inc. 82 Calendar This consent does not extend to copying items for general 82 Conferences distribution, or for advertising or promotional purposes, or to 82 Solo Exhibitions republishing items in whole or in part in any work in any format. 83 Group Ceramics Exhibitions Please direct republication or special copying permission requests to the Director of Publications, 735 Ceramic PL, Westerville, OH 86 Ceramics in Multimedia Exhibitions 43081, USA. 87 Fairs, Festivals and Sales Back Issues: When available, back issues are $6 each, plus $3 88 Workshops shipping and handling for first issue and $ 1 each additional issue (for 92 International Events international orders, shipping/handling is $6 for first issue and $2 94 Questions each additional issue). Postmaster: Send address changes toCeramics Monthly, PO Box 105 Classified Advertising 6102, Westerville, OH 43086-6102. Form 3579 requested. 108 Comment: Copyright © 2000 Style by Gil Stengel The American Ceramic Society 112 Index to Advertisers All rights reserved

4 CERAMICS MONTHLY March 2000 5

The most significant comment in the Letters whole article is in the last paragraph. Britt says, “We must stand on the shoulders of history and tradition, and express our own Target Shooting vision from that position of strength. Most John Britt’s jaundiced rantings make me importantly, we must create new ways of think (sadly) of the lines in Bob Dylan’s song seeing and reflecting our world as it exists “Brownsville Girl,” in which he sings about a today. ” (Italics added.) gunfighter in a movie: It’s time to return to our studios and He was shot down by a hungry kid, produce something of lasting value. Tryin’ to make a name for himself. Dan K. Feibig, Corrales, N.M. As the dying gunfighter lay in the sun And gasped for his last breath, Bullseye ‘Turn him loose. Let him go. CM hit the proverbial mark with the Let him say he outdrew me fair and square. piece on Larry Davidson (January 2000 I want him to feel what it’s like issue). This potter stands for integrity, purity To every moment face his death.’ and focus. What a pleasure to share the It’s easy to take aim at influential, cre­ ceramic life of a potter who is concerned with ative, outspoken, fortunate, pioneering quality and pursues the basic tenets of tradi­ bridge builders. Seems like the man on top tional studio ceramics. always becomes a target. Davidson’s vessels are a quantum leap Bernard Leach certainly never called ahead of the many potters selling nothing but himself a folk potter or advocated child labor. glitter and shock. I hope that CM will cover His essential point was that any average more artists of the Davidson genre. Classic person has the potential to make good pots quiet forms are timeless. and can learn to paint beautiful patterns. Tom Tumquist, Lakewood, Colo. Sarah Center, Bellvue, Colo. Cracked Pots Lasting Value Over the years that I have been selling Well CM—that’s more like it! pottery out of my retail location, I have had John Britt’s Comment article “The ‘Un­ several interesting encounters with customers known Craftsman’ Is Dead” (February 2000) who claim that my pottery is defective. With­ is just the sort of discussion the magazine out going into all the boring details, I once should be publishing. This will spice up the had a customer insist that the shattered Letters column for months to come. casserole in the gift box had never been Britt has had the audacity to point out dropped. Yesterday, a woman asked me to that the emperor has no clothes. The “funda­ give her credit for a cracked pie plate that she mentalist” potters of the world, with righ­ had already thrown away, and she did not teous indignation will, no doubt, scream for have a receipt. Today, a couple came in the execution of the “blasphemer.” But asking for credit for a casserole purchased before everyone takes sides, and the battle of five months ago that suddenly developed a words is joined (it’s probably already too crack. After much discussion about the treat­ late), let’s take a good look at several points ment of the casserole and denial of any possi­ worth remembering: bility that the pot had suffered a blow, it First of all, Britt never says that Bernard came out that this couple has a maid, and are Leach (or his pottery) produced “bad” pots. not home all day. He simply points out their historical influ­ I would like to know how other crafts­ ences, and the discrepancies between Leach’s people are dealing with this issue. I have lifestyle and his philosophy—a gap most of posted a 30-day limit on returns and will us have in our own lives. insist on a receipt to prove the date of sale, Years ago when I was a student, my ce­ but I do not want to ignore the importance ramics instructor, Jerry Rothman, hammered of maintaining goodwill. What is the statute home a point concerning this: What artists of limitations on cracked pots (or crackpots)? say isn’t nearly as important as what they J. Glazebrook, Miller Place, N.Y. produce. (Thank you, Jerry.) This is true for Leach, for John Britt, and for myself. Hooked I recently came home from the Ventura In keeping with our commitment to provideCollege Library with a stiff neck, red eyes, an open forum for the exchange of ideas racing brain and pounding heart. Was I ill? and opinions, the editors welcome lettersWas I coming down with the latest flu bug? from all readers. All letters must be signed, I caught a bug all right. But it wasn’t the but names will be withheld on request. Mail common flu. It was the mighty Ceramic Bug. to Ceramics Monthly, PO Box 6102, Reading my first Ceramics Monthly (Novem­ Westerville, OH 43086-6102, e-mail to ber 1999) was the final defeat of my immune [email protected] or fax to system. Little by little, article by article, the (614) 891-8960. Bug worked its way toward my heart. I read

8 CERAMICS MONTHLY March 2000 9 Letters

about events and artifacts. I perused the ads filled with specialty supplies, books, equip­ ment and videos. I was even saddened upon reading the obituaries of well-known ceram­ ics artists. I also read a feature on Southwest pottery traditions and innovations. When I saw the photos of the shiny black pottery, I knew that I must try that technique soon or certainly I would perish from the strength of the Bug. Though my eyes grew weak, my throat became parched and my neck stiffened, the wonders of the Ceramic Bug forced me to continue reading. Then it happened. I read an article featur­ ing a married couple. Since my husband was also coming down with the Bug, this feature really hit home. By working together on ceramics, the couple was strengthened. Their artwork became a collaboration of souls. Their love of ceramics made them “joined by destiny for a lifetime adventure.” My last defense crumbled like a dry pinch pot. No doctor can cure me now. My only hope is to provide the Ceramic Bug with the regular feedings it demands. To prepare for this great work, I now have a Iciln, glaze ingredients, gloves, tongs, pyrometric cones, tools, sponges and...oh yes, a subscription to Ceramics Monthly. May the Bug be with you! Gayle Weyman, Ventura, Calif.

Unhooked I will not be renewing my subscription to Ceramics Monthly magazine. The last few years of extremely ugly, grotesque and mean­ ingless presentations of what the editors consider to be interesting “art” have offended my sensibilities for the last time. I have en­ joyed and benefited from this magazine for several years, earlier versions presenting art and functional pieces of beauty, grace and peaceful, eye-pleasing decor admired by the rank and file of potters and artists. When the magazine returns to its proper and most useful function, then I will again be among your subscribers. Betty Parsell, Hurst, Tex.

On Center I am an occasional potter constantly struggling with her “center,” and now living in an area with an abundance of natural clay deposits, and Ceramics Monthly serves to inspire continued efforts to create “the pot.” Thanks for the timely articles, profiles, etc. Carol Lowery, Red Cliff, Alta., Canada

Lifeline Ceramics Monthly has been a godsend for me. Actually, I used to be too busy giving Please turn to page 100

10 CERAMICS MONTHLY

Up Front

Wichita National A biennial competition open to all crafts media, the “Wichita National 1999” was on view recently at the Wichita Center for the Arts in Kansas. From over 500 submissions, juror Wendell Castle selected approximately 90 pieces. “Historically, the ‘Wichita National’ has been a premier exhibit for the arts and crafts movement,” observed the center’s gallery director David Murano. “Holding true to our heritage,

Eric Vickery’s "Turbulence,” 22 inches in height, slab-built stoneware; at the Wichita Center for the Arts, Wichita, Kansas. especially of the handle, is a critical aspect of the piece. The handle and spout also add a horizontal to the overwhelmingly vertical shape. The surface texture is of lesser importance to me, but I hope that it enhances the overall form.” Abstract sculpture, such as “Turbulence,” by Midland, Texas, artist Eric Vickery, provided contrasts in style and subject. Stefani Gruenberg Todd Turek’s “Black Teapot II,” 21 inches in height. Los Angeles potter Stefani Gruenberg recently received the “Golden Trowel” award from Garden Design magazine for her we’ve brought in an internationally known juror and, conse­ handbuilt garden containers. Gruenberg designs these pots “to quently, the artists and artwork submitted for the 1999 exhibit look like a chunk torn out of nature into which I can plant.” reflect the historical diversity and high caliber of the exhibits past, while showcasing the future direction of the contemporary craft movement.” Teapots were prevalent in this year’s show. Ceramists Yoshiro Ikeda and Scott Dooley, both of Manhattan, Kansas, received the first- and third-place awards, respectively, for their teapots. Also on view was “Black Teapot II” by Todd Turek, Juneau, Alaska. Influenced by the human shape, Todd Turek’s handbuilt teapots are “characteristic of my interpretation of the teapot shape,” he says, “and while they are entirely functional, my focus has been on their form....The positive and negative space,

Submissions are welcome. We would be pleased to consider press releases, artists' statements and photoslslides in con­ junction with exhibitions or other events of interest for publi­ Stefani Gruenberg garden containers, to 16 inches in cation in this column. Mail toCeramics Monthly, Post Office height, stoneware; winner of the “Golden Trowel” award Box 6102, Westerville, Ohio 43086-6102. from Garden Design magazine.

12 CERAMICS MONTHLY

Up Front

They “will fit the habits of the plant—be it need for good drainage, bog conditions or preference for hanging in trees. “The pot must visually enhance the plant and the plant enhance the pot,” Gruenberg noted. “This is the art part. It requires trial and error. Not all of the ideas will fly when you are depending on a living thing for cooperation.”

Gillian Hodge A retrospective exhibition of ceramics and works on paper by California artist Gillian Hodge was presented recently at the North Tahoe Art Center in Tahoe City, California. Influenced

Richey Bellinger lidded jar, 13 inches in height; at the Rockford College Art Gallery, Rockford, Illinois.

College Art Gallery. While focusing on the Midwest, the show included works by artists from all over the United States. Curator Philip Soosloff chose both functional forms (ranging anywhere from wheel-thrown pottery to intricate handbuilt teapots) and sculpture (including realistic figures, abstract pieces and work alluding to the vessel). “Some of the work is serious, some playful,” he noted. “However, all are held together by a common thread—the material. Each artist has chosen clay to create his or her respective objects, and the love of the material is evident.” Gillian Hodge’s “Morwenna and the Shark #3,” 30 inches in height, with brushed under- and overglazes, ash glaze and slip, reduction fired to Cone 10; at the North Tahoe Art Flora and Fauna Show Center, Tahoe City, California. Seven artists—Adrian Arleo, Lolo, Montana; Neil Forrest, Halifax, Nova Scotia, Canada; Ovidio Giberga, Gainesville, by her childhood in India, Hodge s works “have a strong narrative component incorporating and reinterpreting mytho­ logical figures while externalizing the flux and flow of daily existence and internal experience,” she explains. The figures in this exhibition refer to Morwenna, a mer­ maid who resides in Hodge s native Cornwall, England. The mermaid is a “potent image,” she says, “transitional between land and sea, ambiguous in relationship with humans.” Each was surfaced with ashes, clays and minerals, then fired in reduction to Cone 10, deliberately provoking “unforeseen accidents, elements of surprise, adding ambiguity to intent, and forcing reconsideration of changed circumstances.”

National Ceramics Invitational in Illinois Neil Forrest’s “Trivet: Trunk,” 19½ inches in length, “Clay Pasa,” an invitational exhibition of works by approxi­ porcelain, faience, mortar and grout; at Florida Craftsmen mately 30 ceramics artists, was on view recently at Rocltford Gallery, St. Petersburg.

14 CERAMICS MONTHLY March 2000 15 Up Front

Florida; Marilyn Lysohir, Moscow, Idaho; Keisuke Mizuno, Saint Cloud, Minnesota; Adelaide Paul, Lubbock, Texas; and Chris Weaver, Prairie Grove, Arkansas—were invited by curator Cary Esser to present work in the exhibition “Flora and Fauna.” On view recently at the Florida Craftsmen Gallery in St. Peters­ burg, the show, says Esser (associate professor and chair of the ceramics department at the Kansas City Art Institute), explored “a vast array of natural motifs. “The idea for this exhibition began several years ago, inspired by my curiosity regarding plant and animal imagery in historical architectural ornament,” Esser explained. “Images and abstrac­ tions from nature have been used for centuries to create the shapes and embellish the surfaces of artistic forms. To read the Mary Engel’s “Bullet Elephant,” 25 inches in height, meanings of these motifs, I searched for their sources. Ancient ceramic and mixed media. embellishments were often derived from indigenous plants and animals. For example, representations of the Egyptian papyrus, Also interested in exploring themes of memory, as well as the Grecian acanthus and the Indian lotus were images that instinct and intuition, Andy Nasisse uses “the figure, the vessel carried symbolic or visual significance. As well, they provided a and the landscape as a primary image (mythic image)” to connection, a mediation, between the domesticated shelter of “express some thoughts about the human condition. I have tried the built environment, the culture, the society and the enig­ matic, unpredictable aspects of nature. “Disseminated, recycled and reworked over centuries and in various cultures and continents, ancient motifs entered the visual lexicons of many artistic traditions. They gathered new and altered meanings, and in many cases, their meanings were consumed. Regardless of a motif’s specific significance, plant and animal images used for ritual, special or serviceable objects became visual and tactile referents to nature. They provided humans with the means to examine, reflect upon and express their relationships to other kinds of living beings, and by extension, the natural world. “Flora and fauna are scientific terms used to describe, classify and order the animals and plants of a given time period or region. These artists redefine the terms by inventing new forms to explore the relationships between our contemporary indus­ trial world, human culture and the natural environment. “In these works, we see the creations of hybrid figures that combine animal and plant with human and mechanical anato­ mies. Each of these artists uses the hybrid form to question the place of humans in both the cultural and natural realms.” After closing at the Florida Craftsmen Gallery, the exhibition will travel to the Kansas City Art Institute in Missouri, where it will be on view from March 3 through April 22; then to Ply­ mouth State College in Plymouth, New Hampshire, where it will be displayed from June 9 through August 13.

Mary Engel and Andy Nasisse Human and animal figures by Georgia artists Mary Engel and Andy Nasisse were exhibited recently at Bank of America Plaza in Atlanta. Engel coil builds her sculptures, then adds found objects, such as buttons, keys, etc., to the surface. “Animals, especially dogs, are central to my work and philosophy,” she explained. “For me, the animal image symbolizes a bridge Andy Nasisse’s “Green King,” 31 inches in height, ceramic between the rational world of humans and the instinctual world with lights; at Bank of America Plaza, Atlanta, Georgia. of nature. “The surfaces...refer to human creations, memory and to present a unified theme that ties together work that ranges patterns,” she explains. “African grave markers and old Southern from small utilitarian pots to large-scale vessels and figures.” memory jugs inspired the embellishments. The mosaics are He prefers to “work improvisationally, finding figures in the meant to suggest the spiritual presence I feel animals possess, a material, and developing them into an image that seems to have passage of time and how objects in our culture reveal their age.” life. It’s almost as if these figures are part of a family of images

16 CERAMICS MONTHLY March 2000 17 Up Front on the potters wheel. “After the piece is formed, it is then torn, punched, squeezed, decorated and finally fired,” he explained. “Sometimes the shape is so beautiful that I would allow the that find their way through my hands into the outer world. At form itself to suggest decoration. Since different firing methods their best, they present an enigmatic expression, somewhere between whimsy and fear.”

Robin Johnson “Inner Shell #3,” a wood-fired stoneware vessel by Woodbury, Connecticut, ceramist Robin Johnson, won Best of Show at the “Annual Juried Exhibition” at the Gallery at the University of

Robin Johnson’s “Inner Shell #3,” approximately 18 inches in length, stoneware with flashing slip, wood fired; at the Gallery at the University of New Haven, Connecticut.

New Haven in Connecticut. More than 80 works by 29 craftspeople were selected for the show. Johnsons work is influenced by elements of nature, such as rocks, hornets’ nests, etc. Hsin-Chuen Lin’s “Untitled,”1 /2 9 inches in height, thrown Functional Ware in San Francisco and altered stoneware. An exhibition of functional ceramics by California potters contribute unique effects, I carefully choose how to fire each Teresa Chang, Mary Law, Hsin-Chuen Lin and Jan Schachter piece depending on what I want to express.” was on view recently at Evolving Space in San Francisco. Jan A Workshop with D. Hayne Bayless by Patricia Hubbard Connecticut studio potter D. Hayne Bayless recently presented a workshop on handbuilding and extruding techniques at the Clay Art Center in Port Chester, New York. In his work with stoneware and porcelain, Bayless likes to “take advantage of the clays ability to be plastic, record processes...[and] to not get in the way of what the clay wants to do, what the clay can do.” Explaining that it is important to maintain an open mind, look for the unexpected and take advantage of accidents, Bayless began the workshop by demonstrating methods of texturing slabs. First, he pressed found objects (needlepoint grids, plastic car mats and metal sheets) into the slabs, then stretched the clay to exaggerate and soften the grid patterns. Such slabs are then used to construct the body of a vase, teapot, pitcher or platter. While waiting for the slab to reach the leather-hard state, Bayless prepared an assortment of spouts and handles for his Jan Schachter’s “Triangle Plate,” 9 inches in width, slab-built stoneware with coiled feet, fired to Cone 10; coffee cups and teapots. These components are made from at Evolving Space, San Francisco. hollowed, extruded shapes. To achieve the sculptural lines he prefers, he constructs and welds his own metal die tools. Schachter enjoys “making pots for everyday use; each is a subtle Contrast is another crucial element in Bayless’ work. For variation of a form—usually thrown in a series. I am a perfec­ example, a platter, organic in nature, is given structure by drape tionist (as much as the process allows),” she admits, “and am molding the slab over square and rectangular shapes. Most of constantly in search of the perfect surface and ideal form while his platters have unglazed edges, which act as frames to the striving to create pots that have life and vitality.” textures derived from his Shino and barium matt glazes. Strongly influenced by traditional vessels (early Chinese Bayless received most of his ceramics training in a nonaca­ objects in particular), Hsin-Chuen Lin creates most of his work demic environment. His interest in clay began in high school;

18 CERAMICS MONTHLY

Up Front floor-to-ceiling windows that look out upon the garden, a lovely setting for a recent exhibition of contemporary clay and glass. Museum curator Ron Kong invited 26 Canadian artists to later, he worked at a pottery co-op in Seattle, Washington, participate in “Efflorescence I: Clay and Glass.” The show had a then studied pottery in Japan for six weeks. He stopped making pottery for ten years to study and work as a journalist, but began taking classes while a reporter in Connecticut. In 1992, he became a full-time studio potter.

Canadian Ceramics Exhibition by Jim Weaver The Canadian Craft Museum, established in its present form in 1992, is located on a busy street in downtown Vancouver, British Columbia. To enter it, the visitor must pass through a beautiful courtyard garden. Once inside, one is immediately Charmian Johnson’s “Panics,” 14½ inches in height, aware of the natural light that floods the main gallery from the handbuilt stoneware with celadon glaze. botanical theme, and included both functional and sculptural works. Kong described it as “a bright, bountiful exhibit that resounds with colorful floral, fruit and vegetable shapes. “We did not ask people to produce anything specifically for this exhibit, but to draw upon work they had done in the past or were currently exploring,” he explained. “Many visitors to the museum are not fully aware of the immense variety of craft expressions,” Kong continued. “One of our purposes is to expand people’s knowledge and appreciation of the diversity of crafts.” Several visitors to the exhibition commented on this point. A visitor from Reston, Virginia, wrote in the guest registry: “These are works of fine art, and not simply craft.” Another stated that it was good to see craft art so professionally presented in such an appropriate venue. Paul Mathieu’s “Tantric Tulip Bowl,” 8 inches in height, porcelain, thrown and altered, with luster; at the Canadian Carol Brody-Luchs Craft Museum, Vancouver, British Columbia,photo : ken mayer Functional forms by Baltimore potter Carol Brody-Luchs were exhibited recently at the Clay Place in Pittsburgh, Pennsylvania. Brody-Luchs began making pottery in the 1970s, but stopped

Carol Brody-Luchs bowl, 5½ inches in height, porcelain, $65; at the Clay Place, Pittsburgh, Pennsylvania.

when she opened a gallery in order to support herself and her two children. After the 18-year hiatus, she is once again working in clay and finds it “more challenging than I expected. Looking at and Kathryn Youngs’ “Night Pears,” 96 inches in height, slab evaluating ceramics as part of ones job does not necessarily built and slip cast, with glazes. enable one to produce the work one envisions! At first, I was

20 CERAMICS MONTHLY March 2000 21 Up Front

unable to get out through my hands what I could see and understand in my mind. “What I am learning is that while progress and growth are much quicker today (there are many more tools and tricks than in 1978), I still need to start from where I stopped 18 years ago to sharpen my skills and the understanding of exactly what I can make the materials do,” she observed. “Finding balance, or centering’ as M. C. Richards so elo­ quently wrote, is one of life’s biggest challenges. In todays instantaneous and global world, the slow meditative process of creative effort and the strenuous, physically demanding work help me to maintain a sense of stability. My daywork seems to reflect my strivings to find balance between structure and spontaneity in my everyday life. “I make tight, refined vessel forms with thick slip ‘dripped’ on the outside. I made them before I understood why I chose to make this shape. I now believe that thoughtful work does represent some intuitive feeling for most of its makers.”

Cynthia Jenkins and Cynthia Spencer A dual exhibition featuring works by Cynthia Spencer, Corvallis, Oregon, and Cynthia Jenldns, Seattle, Washington, was presented recently at the Northwest Craft Center in Seattle. Jenkins’ series of platters and “Palace Pots” are decorated with lush floral and figurative images achieved through multiple layers of underglaze, glaze and luster. Spencer exhibited stoneware vessels and posed “Goddess Torsos,” which were formed from coils and compressed into Cynthia Jenkins’ “Palace Pot,” 24 inches in height, porcelain with multifired underglazes, clear overglaze and gold luster.

shape over several days. When leather hard, the surfaces were worked with a Surform plane, metal ribs and wet sponges. Incised markings were then inlaid with porcelain, and the surfaces scraped smooth.

Linda Mau Raku kimonos and bronze sculptures by California artist Linda Mau were exhibited recently at Iwasawa Oriental Arts Gallery in Los Gatos, California. Mau’s kimono series demonstrates not

Linda Mau’s “Copper Brocade Kimonos,” to 11 inches in height, slab built, raku fired; at Iwasawa Oriental Arts Gallery, Los Gatos, California.

Cynthia Spencer’s “Trophy Wife,” 24 inches in height, only her admiration for Japanese design, but her ongoing use of coil-built stoneware with inlaid porcelain, fired to Cone 10; geometric forms in her sculpture. “There is a quiet elegance in at the Northwest Craft Center, Seattle. Japanese design that I find very powerful,” she noted. “It is both

22 CERAMICS MONTHLY March 2000 23 Up Front potter or a sculptor working (often in an ancient building), beyond the eager and inquisitive eyes of most tourists. Absent from such unassuming studios, or ateliers, is the peaceful and exciting to me. The kimono is, in fact, a series of fanfare typically associated with world-famous French ceramics rectangles assembled into a garment of perfect proportion and enterprises such as the Quimper produced in Brittany, or the visual harmony.” Limoges porcelain painstakingly crafted southwest of Paris. Instead, visitors to Provencal ateliers will find something under­ A Sampling of Pottery and Sculpture from Provence stated, spontaneous and—perhaps most important of all— by Edie C. Miles something that reflects the countryside in which it is made. The spectacularly beautiful area often referred to as the The tradition goes back over 2000 years to a time during “South of France” is also known to many simply as “Provence.” Roman rule when an especially high-quality clay, able to with- Here, one can find ancient chateaus and mansions, vineyards that produce incomparable wines, and fields of lavender that nestle into the valleys of the Luberon. Less well known, but every bit as interesting, are the many ceramics studios through­ out the countryside. Even the most obscure village usually has a

Porcelain sculpture, wood fired, by Christiane Filliatreau, Buoux. stand higher firing temperatures than earthenware, was discov­ ered in the region surrounding Sophia-Antipolis, a village just to the northeast of modern-day Cannes. Transported to nearby Vallauris and Biot, this clay was used to make large functional vessels. Biot, in particular, became lmown for using it to pro­ duce durable jars for the storage and transportation of the regions fine olives, olive oil and palm oil. Though Provencal potters now use a variety of clays from all over France, the tradition of producing quality ware is still very much alive today. Their ateliers are easily overlooked as cars whisk by, often only a few feet from the front door, but most of these potters are well worth the trouble of visiting. The welcome is almost always warm, even effusive. Visitors are often invited to stay for coffee or a glass of wine, perhaps even for dinner. Christiane Filliatreau is one of the many exceptionally gracious artists working in Provence. She has lived for 25 years in her modern home, which was improbably and ingeniously constructed among the remaining walls of a 16th-century chateau, in the village of Buoux. Christiane’s large wood-fired sculptures are textured and undulating studies in contrast— glossy white porcelain set against raggedly textured ocher backgrounds. By looking at past worlds on display at the chateau, it is As is typical, pottery is displayed hanging and stacked possible to trace her growth as an artist. In 1973, when she outside a shop in Vallauris. graduated from L’Ecole des Beaux Arts in Marseille, her sculp-

24 CERAMICS MONTHLY March 2000 25 Up Front nirs to sophisticated art for the discriminating collector, is available for sale. Among the many fine works seen in Vallauris are the figures tures were much smaller. Now, her work is much larger, and has created by Alexis and Uta Kostanda. Working with an electric become more angular and starkly contemporary. kiln, fired to about 2055°F, they create fanciful creatures that Dominique and Katherine Baronne of Sannes, north of Aix- peer disconcertingly from tall shelves and from inside nooks and in-Provence, once fire their functional stoneware to 2300°F in crannies. They combine humor, horror and whimsy, bearing a reduction in a top hat kiln. In addition to pottery, Dominique is striking similarity to the beasts featured in Maurice Sendak’s known for his wistful sculptures of young men and women in childrens book Where the Wild Things Are. 17th-century garb. Rather than a slab roller, he prefers using a Although his home and atelier are in Cabrieres-d’Aigues, you wine bottle, which he manipulates with remarkable efficiency, will also find the work of Philippe Duriez on display in to prepare slabs imprinted with dentelle, or lace. He works Vallauris. He fires red earthenware to 1845°F in the bisque quickly to sculpt a young girl in a sunbonnet. White porcelain is firing and slightly cooler, to 1800°F, in the glaze firing. His pots used to create a pearl necklace and a decorative rose, contrasting are distinctively reminiscent of the region—sapphire blue gloss the blue-gray of his clay, or gres as it is known by the French. at the rims of platters and bowls passes through shades of blue Dominique and Katherine enjoy the quiet of the country, and green to a vibrant glowing yellow at the center. and work in relative solitude; few visitors stop by their shop, Another potter whose work echoes the colors of the country­ and they rely on markets, shows and boutiques to sell most of side is Alain Briffa; his color of choice is the same rich red ocher that saturates the cliffs and hillsides surrounding his home in Rousillon. Alain takes about eight hours to reach 2345°F in his gas kiln, then begins a reduction and continues firing down for six hours to approximately 1920°F. Alain combines red ocher with the characteristic yellow-gold of the many stone farm­ houses that dot the countryside. As an accent, he uses lavender, a shade that derives its name from the flower that is widely cultivated throughout this region for its lovely fragrance. In the village of Villelaure, Gabriel Vorburger produces black-and-white raku pieces. His clean, contemporary shapes provide a stark contrast to most other Provencal potters. He is also one of the few to stray from traditional wood-, electric- and gas-firing techniques. His crackled white gloss on a black ground is achieved by firing the glazed pitch-black clay to between 2035° and 2283°F, then plunging it into water. The ceramists of Provence are a richly diverse group, people whose personalities, products and ateliers seem bound together only by an unspoken code of graciousness. They are part of a tradition that is as alive and healthy today as it was when the first clay deposits were mined in Sophia-Antipolis. Just as the jars produced in Biot echoed the shapes, colors and textures of Provencal life 2000 years ago, the pottery of today mirrors the lifestyle and hospitality of contemporary Provence. Jean Noble Parsons, 1929-2000 Jean Noble Parsons, a charter member of the faculty at Interlochen (Michigan) Arts Academy, passed away at her home on January 17, after struggling with cancer for"several months. She studied at the Cranbrook Academy, where she received an M.F.A. in ceramics ini 958. At the inception of the Interlochen This handbuilt stoneware figure will be fired to Cone 9 in Arts Academy in 1962, she accepted a teaching position, stating reduction, by Dominique Baronne, Sannes. that the institution’s “philosophy toward the artist’s individual work and his relationship to the student greatly impressed me. I their work. They will laugh and tell you that they almost never shall endeavor to balance both equally.” see Americans in their atelier because they become impossibly lost in the French countryside. David Blasdell, 1950-1999 By contrast, the bustling village of Vallauris hums with David Blasdell, a founding member and resident artist of the activity, traffic, tourists and the occasional dog sniffing for Nottingham Center for the Arts in San Marcos, California, died crumbs under the tables at the local brasserie. Pottery crams of a heart attack on December 8, 1999, while working at the shelves and tables, and literally overflows onto the streets. There center. Blasdell received his B.A. in political science and eco­ are pots perched on rooftops, hung from walls, stacked on nomics from the University of California, Santa Barbara. Like window ledges and heaped in great piles on the ground. many contemporary potters, he did not plan a career in ceram­ The town, whose fading pottery industry was revived by ics; he filled a semester in his last year of school with a ceramics Picasso in the 1950s, is filled with shops carrying work from all class, and that changed his life. He became a full-time potter, over Provence. Every possible variety, from inexpensive souve­ whose work echoed the arts and crafts style of the early 1900s.

26 CERAMICS MONTHLY March 2000 27 special medium [that] never dries until fired; New Books so in contrast with other methods, it allows for all the retouching you like. But take care,” advises the author, “this advantage can also be Macro-Crystalline Glazes a drawback for perfectionists, who are never entirely satisfied with what they have done.” The Challenge of Crystals After identifying the materials needed, by Peter Ilsley she talks about mixing paints and choosing “The resurgence of the macro-crystal glazebrushes, then about getting started and in our era has clearly come about through the creating a design. The great technical advances in controlling the succeeding chapters kiln....Technology has opened up an endless describe the two dif­ vista of experimentation,” explains the au­ ferent approaches to thor of this how-to guide. “I have seen crystals the American tech­ grown as large as 6 inches in diameter, and nique: the traditional there is no reason why this size could not be method in which the exceeded if desired.” design is painted on in Ilsley begins with the history of crystalline layers, with a firing glazes, describing the clay bodies used (pri­ between each layer; marily porcelain), as and the impressionist method, which is pro­ well as various build­ duced in only one or two stages. “The tradi­ ing techniques and tional method,” says Bergoin, “is the toughest, form. “One has to the most time-consuming and the one that consider the compat­ demands the most attention to detail.” ibility between glaze In the final chapters, she demonstrates the and pot when design­ painting of a mountain landscape, and briefly ing. Because of the discusses firing and retouching. 80 pages. overall flamboyance of 133 color photographs; 9 sketches. $19.95, the crystals, simplic­ softcover. Distributed by Trafalgar Square, ity must be the keyword in design. Other­ North Pomfret, Vermont 05053; see website at wise, you are going to get the crystal glaze andwww.trafalgarsquarebooks.com . Distributed in the pot competing, when what you are at­ Great Britain by Andre Deutsch, 76 Dean tempting to create is a beautiful marriage Street, London W1V5HA. between the two.” Glazes and glazing are covered next, then The Potter’s Art Idlns and firing. In the final section, 13 artistsby Henry Glassie detail the methods of creating their indi­ In this collection of essays, the author (a vidual crystalline-glazed ware. professor of folklore at Indiana University) For example, German artist Susan writes about traditional ceramics from Meredith Bunzl uses “frit glazes with a high- Bangladesh, Sweden, Georgia, Acoma Pueblo silica, low-alumina content. Calcined zinc in New Mexico, Turkey and Japan. “Pottery oxide is added, 20-25% of the total formula. is the most intense of the arts,” he observes. Because the glazes run so much, I make “It brings the most to cylinders of the same clay body for each piece, bear within the small­ attaching them with wood glue, and then set est compass. the vase with the cylinder on a saucer, which “Coming into be­ will catch the pool of glaze when it melts.” ing, the work of art, 144 pages, including appendix on safety in this very pot, creates the studio, glossary, bibliography, partial list relations—relations of British suppliers, list of periodicals and between nature and index. 146 color photographs; 7 sketches. culture, between the $50. The Crowood Press, Rams bury, individual and society, Marlborough, Wiltshire SN8 2HR, United between utility and Kingdom. Distributed by Trafalgar Square, beauty. Governed by desire, the artist’s work North Pomfret, Vermont 05053; see website at answers questions of value. Is nature favored, www. trafalgarsquarebooks. com. or culture? Are individual needs or social needs more important? Do utilitarian or Decorating Porcelain aesthetic concerns dominate?” by Catherine Bergoin Glassie suggests that those for whom “the The focus of this how-to guide is on the functional shift from utilitarian to ornamen­ “American technique” of painting on porce­ tal seems modern, or even perhaps post­ lain (also known as soft painting or the modern” should go to a country where pottery diffusion technique), which is “based on a has been decorative for half a millennium.

28 CERAMICS MONTHLY

New Books structure, geometric designs are radially sym­eternal essences; they are to flowers as the soul metrical. From a point at the center, the is to the body. Made abstract to be symbolic, design expands in all directions, enfolding the flowers on the plate...stand for human For example, decorative ceramics have been and controlling multiplicity in a single pat­ beings—not for their mortal bodies, but for made continuously in Ktitahya, Turkey, sincetern—inscribed in a circle or pulsing toward their immortal souls.” 152 pages, including the late 15 th century. infinity—that represents abstractly the total­ bibliography and index. 24 color and 78 Modern Turkish ceramics fall into three izing, unifying power of the universe.” black-and-white photographs. $25, hard­ main classes of design. One is calligraphic, The third class of design in Turkey is cover; $ 12.95, softcover. Publishedjointly by usually the opening words of the Koran, floral. The imagery makes clear reference to Indiana University Press, 601 North Morton written in Arabic script. “It is called the nature; however, it is not necessarily rendered Street, Bloomington, Indiana 47404-3797; BesmeleGlassie explains, “and tradition says realistically. According to one of the potters e-mail [email protected]; telephone that the one who writes the Besmele beauti­ featured in the book, “Some are fantastic, (800) 842-6796; and Material Culture, fully will be blessed. dream flowers; even when they are tulips and 4700 WissahickonAvenue, Suite 101, Phila­ “The second class of design is geometric. roses and carnations, they are solid and super-delphia, Pennsylvania 19144; e-mail Wondrously diverse in detail, but one in naturally perfect....They are...revelations of [email protected]; telephone (215) 849-8030. Clarice Cliff The Art of Bizarre by Leonard Griffin Commemorating the 100th anniversary of Clarice Cliff s birth, this book considers her “unique contribution as both an indus­ trial designer and ceramics artist. Her pri­ mary role,” says the author (a collector) of this biography, “was that of a designer who focused the skills of over 100 decorators. Clarice’s unique ‘Bi­ zarre’ shop was staffed by eager and skilled young minds and hands, through which she expressed her art on pottery. Nowhere else in the world was there a factory blending studio principles with production-line techniques.” Cliff was hired as a paintress at the A. J. Wilkinson factory in 1916. She began to “show her individuality as early as 1924 when she modeled some distinctive handmade figurines,” Griffin notes. A few years later, she designed “Bizarre,” one of Wilkinson’s most popular series of handpainted ware. “No other Staffordshire designer created such delightfully different shapes,” writes Griffin. “The towns of the Potteries are asso­ ciated strongly with Josiah Wedgwood..., but Clarice Cliff was the first woman from the area to distinguish herself on a worldwide basis. She did this by freeing herself from its historical constraints, which might otherwise have tainted her achievements. She is now accepted as a thoroughly modern artist and designer.” 224 pages, including index, glos­ sary, bibliography and index. 81 color and 73 black-and-white photographs. $45. Pavilion Books Limited, Parkgate Road, Lon­ don SW11 4NQ, England. Distributed by Trafalgar Square Publishing, Post Office Box 257, Howe Hill Road, North Pomfret, Ver­ mont 05053.

30 CERAMICS MONTHLY March 2000 31 32 CERAMICS MONTHLY March 2000 33 Fast Fossils Carbon-Film Transfer on Saggar-Fired Porcelain by Dick Lehman

any years ago I discovered, while doing an American-style Mraku firing, that fresh leaves and grasses can, under the right condi­ tions, create vegetation images on hot pots: During an all-day firing mara­ thon, a storm blew up unexpectedly. The tornado-force winds arrived so quickly I didn’t have time to stop the firing that was in progress. I had just pulled a large bottle out of the kiln, flamed it in sawdust and covered it with a metal garbage can. Fierce gusts of wind unexpectedly blew the trash can half a block away, and the still-thousand-de- gree bottle rolled down a dirt embank­ ment, through some grasses, and came to rest against a fence post. To say that the retrieval of both the cover and pot was “spirited” would be an understate­ ment—but well worth the effort. After the pot had cooled, I was amazed to see that the copper-stained surface had re­ tained images from the grasses through which it had rolled. I continued to fire in the waning wind, hoping to possibly replicate the “accident” by placing the very next fresh- from-the-kiln copper-stained pot on its side, atop a mound of sawdust covered with freshly picked sumac leaves. Twenty minutes later, I had my first successful follow-up piece: a lovely, soft likeness of the sumac appeared on the pot. Subse­ quent firings also yielded successes. Several years later, however, I aban­ doned my pursuit of American raku as I had known it, as I was disillusioned by the fading/reoxidizing surfaces of the copper stain. The once-brilliant colors, after several years, became drab and muted, much to my disappointment

34 CERAMICS MONTHLY and that of my customers. It was a hard negatives in the darkroom, pots that about procedural decisions made in that decision: I loved the vivid images of had seemed so easy to produce in my particular firing and comparing the re­ vegetation against the serendipitous first attempt—and at the same time to sults with the pieces on the desk. variation of the copper coloring. So I be continually, perpetually, intermina­ If ever a character defect was an ar­ began to look for some other method of bly failing in subsequent attempts to tistic advantage, perhaps in this case my firing that might capture that magic produce any more of them. stubbornness was. Unable to believe that blend of spontaneity and explicit detail. Although I continued to experiment I couldn’t repeat the results of that first Somehow, I intuitively moved toward with the process, I was not able to ex­ firing, I kept trying. And, eventually, I saggar firing. plore it in a full-time manner (as I was began to see at least occasional results Looking back, I realize that it was an producing and supervising in a full-time that lived up to my hopes. unlikely leap of logic that caused me to production studio). Over the course of It helped to pay particular attention assume saggar firing would be the an­ about a year and a half, I tried to repro­ to several variables: a) sawdust particle swer—that saggar firing would some­ duce the effect on several hundred pots. size; b) the amount of sawdust in the how capture the explicit detail of fresh Each unsuccessful unloading had me saggars; c) the type, thickness, substance vegetation pressed against pots, while scratching my head, writing more notes and placement of the vegetation; d) the still offering unpredictable, spontane­ ous surfaces. And it was likely one of those acts of grace or good fortune that occasionally enter each of our lives that caused the startlingly successful results in my first “veggie-saggar” attempt: won­ derfully explicit images of vegetation dancing in and through the “celestial” patterning that blessed the rest of the pots’ surfaces. I say good fortune, be­ cause for the next several hundred firings, there were no successes at all. Oh yes, the pots had some markings, but no explicit plant imagery. Perhaps it was a healthy state of de­ nial that caused me to keep trying, in the face of relentless failure (surely it will happen again if I just work hard enough). Perhaps it was my life-long interest in landscape photography and my passion for images that were close up, revealing explicit and intimate de­ tail (like those made by Paul Caponigro and Arthur Lazar), that spurred me on. Then again, maybe it was the too-easy transition from tornado-accident to regular successes in the “veggie raku” realm that caused me to remain stub­ bornly optimistic. It was an odd and curious experi­ ence to see on my desk each day several successful veggie-saggar pieces—pots with delightfully delicate imagery, pots with such explicit detail that I could see the veins and tears and worm holes in “Flattened Bottle with Wooden Box,” 11 inches in height, wheel-thrown and many of the leaves, pots that were the altered porcelain, saggar fired with sumac and dill weed. ceramic counterparts to the contact prints I routinely made from my 4x5

March 2000 35 firing temperature; e) the kind of Iciln in which the saggar is fired; f) the kind of saggar used; g) the manner in which the saggar is sealed; h) the length of time the saggar is cooled; and i) the manner in which all of these variables work together. It was only after identi­ fying these variables that I was able to reproduce what I had stumbled upon in that first successful firing. However, even now, more than ten years later, the best results are sparingly attained. With a success rate for the best works at less than 20%, I’ve had to develop a toler­ ance for more failures than successes. Typically, a saggar is partially filled with 5 inches of fine sawdust. The pot is laid sideways onto the sawdust and pressed down to create a “nest.” The pot is removed, and fresh vegetation is positioned in the nest. Then the pot is put back in place—on its side atop of the vegetation. Next, more vegetation is placed onto the exposed top side of the pot. It is then covered by an additional 5 inches of fine sawdust. The saggar is then closed with a lid. During the firing, an anaerobic (no oxygen) atmosphere develops inside the lidded saggar. The vegetation turns into “activated charcoal” and, in the process, releases a film of carbon. The bisqued porcelain absorbs the carbon, capturing the image released by the vegetation. This speedup process mimics, accord­ ing to the paleontologists to whom I have spoken, the much slower fossil- formation process called “carbonization” or “carbon-film transfer” (in which vola­ tile materials, such as nitrogen and oxy­ gen, are squeezed out of vegetation, and chemical action changes the tissues of the vegetation into a thin film of car­ bon). What remains is residue, forming an outline of a portion of the leaves. If thick accumulations of plants derived from swampy coastal lagoons or deltas are carbonized more completely, coal deposits may develop. Because the saggar maintains a rela­ tively anaerobic atmosphere, the veg­ etation does not burn (instead, becomes activated charcoal), and is still present

36 CERAMICS MONTHLY after the firing is completed. The anaero­ bic atmosphere also explains why the carbon image on the pot is not burned away: red-heat temperatures would “per­ ceive” the carbon in the image as a fuel and burn it off the pot if oxygen were present for the combustion process. Very slight air leaks in the lid of the saggar may cause white areas on the surface of the pot to occur (in these cases, carbon is burned away). Careful control of the particle size and depth of the sawdust can lend a bit of mastery over the light and dark areas—allowing one to dictate whether the carbon im­ ages read as “negatives” or “positives,” and adding to the sense of the miracu­ lous that sometimes attends results. Regarding the miraculous: the pale­ ontologists with whom I have spoken have referred to the “miracle” of fossil preservation, due to the vulnerability of organisms to decay and destruction af­ ter death (and the resulting potential loss of record of many “individuals” or even entire species). Recently, a com­ bustion chemist visited my studio and expressed a similar perspective regard­ ing the unlikelihood of consistently cre­ ating these “fast fossils” (due in large part to the near-endless number of vari­ ables at work in “simple” cellulose com­ bustion or partial combustion). Something about the unlikelihood of this process and its elusiveness is an attraction to me. It is an arena in which there is much to learn: one could choose to take a paleontological or combustion chemistry approach in an attempt to discover what is actually happening, and “Bottle with Eared Handles,” 8 inches in height, wheel-thrown porcelain, saggar such research would, no doubt, offer fired with ferns and sumac, by Dick Lehman, Goshen, Indiana. some keys to additional methods of con­ trol in what is otherwise a rather capri­ cious process. Nonetheless, the inherent lack of con­ also full of wonder and surprise—an Indeed, there is much to master sim­ trol that will always accompany this ap­ approach that transforms me into as ply through the continued practice of proach to firing and surface articulation much a receiver as a producer. It is, in the firing process (regardless of what is also what contributes to some of its part, this mystery that propels me to one understands of the paleontological most amazing successes. I believe the continue this work. or combustion-chemistry implications process produces results that are far su­ of the method). Careful observation and perior to anything I might achieve, even The author A frequent contributor to documentation of ones decisions should if I did control most or all of the vari­ Ceramics Monthly, Dick Lehman main­ continue to yield tools that may offer a ables. In that respect, this approach, tains a full-time studio and gallery in little more control. while full of loss and disappointment, is Goshen, Indiana.

March 2000 37 Steven Montgomery

“Powermatic,” front and back views, 24 inches in height, press molded and handbuilt.

vocative of the machinery that em­ Epowered 20th-century industry, abstract sculpture by New York City artist Steven Montgomery was exhib­ ited recently at Dorothy Weiss Gal­ lery in San Francisco. “My interest in industrial imagery is completely aes­ thetic, as I have almost no practical experience in any of the technical fields from which my work is derived,” Montgomery noted. “It has been through my under­ standing of the ceramic medium and its inherent limitlessness that I have been able to invent my own technol­ ogy to suit my sculptural needs,” he continued. “My current work is a syn­ thesis of conventional clay processes, such as press molding, handbuilding and wheel throwing, fired at low tem­ perature and painted to suggest the “Static Fuel #2,” 29½ inches in height, assembled from press-molded forms. passage of time.” ▲

38 CERAMICS MONTHLY

Michael Sherrill

“The Natural Response,” an exhibition of sculpture by North Carolina ceram­ ist Michael Sherrill, was presented re­ cently at Blue Spiral 1 in Asheville, North Carolina. Sherrills latest work represents, as critic Carrie Frye observes, “a return to an organic romanticism. These pieces are Zenlike meditations, observations of the beauty of Nature s forms. One piece mimics the curl of a leaf as it shrivels inward. Another catches the thrust of a stem. “Unlike the alkaline surfaces of Sherrills previous work, these porcelain pieces are smooth and surprisingly heavy in the hand. The palette is rich but subtle; one color peeks through another, recalling the minute variations of hue and shade that can be found in even the simplest of leaves. “Set one of the artists creations next to its real-world counterparts and the attraction—and challenge—that this work must hold for a technician like Sherrill becomes clear. A leafs shrivel­ ing in upon itself may look simple to the eye—but its anything but simple to recreate that same fluid folding in thin porcelain. Likewise, the melting of green into red as a leaf turns in autumn may be familiar to most, but glaze upon glaze must be used to approximate it. “Sherrills artistry,” Frye concludes, “lies in his ability to not so much copy nature as reveal it.” ▲

“Love Is a Fiery Dance,” 21 inches in height, handbuilt porcelain with layered glazes.

40 CERAMICS MONTHLY “Michael’s Wild Flowers,” 12 inches in height, steel armature, porcelain with abraded glaze.

“Lovers' Leaves,” 9 inches in height, handbuilt porcelain with layered glazes.

“Birder's Choice,” 19 inches in height, porcelain with metallic glaze, by Michael Sherrill, Hendersonville, North Carolina.

March 2000 41 Rasa and Juozas Saldaitis by Charles Shilas

“Dviese (Two),” 42 inches in height, handbuilt white earthenware.

n 1994, Rasa Saldaitis came from I;Lithuania to the United States for a visit, and her life was changed forever. What Rasa saw in an art-supply store and galleries in Chicago gave her the Cup, 5 inches in height, whiteware with brushed underglazes and glazes. desire to work in this country. Juozas, her husband, arrived soon after to share her dream. “We were impressed by the broad and varied scope of the use of clay, and overwhelmed by the number of galler­ ies. We were surprised by the interest that Americans expressed in ceramics.” After reviewing their portfolio of ce­ ramic art, sponsors were pleased to give them an opportunity to work in this country. Certainly there was a fit for their personalities and a fit for their creativity in the United States. What did they leave behind? Rasa and Juozas had established their own studio, Unge (Fire God), in Kursenai, a small town in Lithuania, in 1991. That was the year Lithuania regained its in­ dependence, having been occupied by Lithuania emigrants Rasa and Juozas Saldaitis. the Soviets since World War II. During those years, direction and restraints were

42 CERAMICS MONTHLY Untitled figure, 26 inches in height, handbuilt white earthenware with low-fire underglazes and glazes.

March 2000 43 imposed upon language, culture, reli­ and metal for many years has led to the work has been shown in several art gal­ gion and art; however, because of their dramatic use of clay in his sculpture. leries. “As time went by,” Rasa says, “we artistic talents, both Rasa and Juozas He usually sculpts the form, while Rasa saw a need to have our own gallery. were provided the opportunity to study completes the piece with drawings. To­ Recently, we acquired a building to art in Lithuania and Leningrad (now gether, they now direct their energies to house our studio and a gallery in St. St. Petersburg). St. Petersburg has been the creation of eye-catching functional Petersburg, Florida.” Russia’s center of arts, culture and free plates and decorative sculpture. As their children grow and become expression from the time of the Czars Constantly changing in form and accustomed to living in this country, to the present. Rasa and Juozas didn’t design, their work is becoming more Rasa and Juozas see new possibilities for know each other until they met in St. aggressive in color and decoration. “Our their business and life, along with new Petersburg at the Academy of Applied current design,” the couple says, “is an ideas and opportunities for their art. Art. Soon they returned to Lithuania, eclectic combination of Oriental, Greek, Both advise their young contemporar­ where they continued their studies, mar­ South American and Northern Euro­ ies to successfully learn the basics. They ried in 1984, built their own house and pean flavor, with brilliantly glazed, eye­ suggest not sacrificing that foundation opened a studio. catching color. Our favorite clay is white for creativity. Creativity will evolve from Five years ago, they walked away from earthenware. Bright colors are achieved the basics. their life in Lithuania. The attraction with low-fire glazes and underglazes.” Young artists should identify a style and opportunity were too great. Today, Rasa draws with a copper slip to and concentrate on its development. they live and work in Chicago, Illinois, provide variety in color. This also cre­ There is no need to copy someone else’s. and St. Petersburg, Florida. ates thickness and dimension for out­ There is no limit in the ability of one to As ceramics artists, the Saldaitis com­ lines and shading. Flowers and fruit, create his or her own identity with clay. bine free form with loud dramatic col­ along with geometric designs, adorn An identity is one’s strength, one’s tool, ors and drawings. Rasa and Juozas have many of their pieces. Animals (cats, dogs, one’s language. two different talents, with their own birds, fish) seem to be the most popular Even though the English language individual styles. Juozas’ interest is in patterns with their customers. hasn’t been easy to learn, they found a the form, construction and materials The couple has participated in art way to communicate in this country— used in sculpture. Working with wood fairs all over the United States, and their with their art. A

Glazed whiteware platter, 23 inches in width, by Rasa and Juozas Saldaitis, St. Petersburg, Florida.

44 CERAMICS MONTHLY The Poetry of PUNCHONG Slip-Decorated Ware by Byoung-Ho Yoo Soo-Jong Ree and Sung-Jae Choi by Meghen Jones

Faceted punchong bowl, approximately 23 inches in diameter, with stamping and incised floral design, by Byoung-Ho Yoo

“What does punchong mean to you?” I asked contemporary Korean ceramics art­ ists Byoung-Ho Yoo, Soo-Jong Ree and Sung-Jae Choi (all Korean names are in Western order with family name last). My opportunity to interview these pot­ ters was the result of a Korea Foundation research fellowship, which enabled me to study punchong (white slip) and chongja (celadon) techniques at the Boogok Tobang studio in Changhung, South Korea. I was hosted by Sang-Ho Shin, dean and head of the ceramics depart­ ment at Hongik University; and Byoung- Ho Yoo guided my daily studies. In response to my question, Soo-Jong Ree echoed a sentiment heard throughout Ko­ rea when he described punchong as “my country’s identity.” Flattened punchong vase, 14½ inches in height, with incising through white slip, by Byoung-Ho Yoo.

March 2000 45 Known as mishima in Japan, sands of Korean potters were brought punchong describes a broad range of to Japan on the orders of warlord ware that is coated (by brushing, dip­ Toyotomi Hideyoshi in the late 16th ping or pouring) with white slip, then century. Skillful but nameless potters in stamped, incised or carved. Today, many Korea laid the foundation for an explo­ Korean potters look to 15th- and 16th- sion of ceramics development in Japan. century precedents for artistic ground­ Punchong was dominant for only ing and inspiration. In particular, the about 200 years in early Yi dynasty Ko­ work of Byoung-Ho Yoo, Soo-Jong Ree rea, but its impact was lasting. Even and Sung-Jae Choi approaches the raw after its decline (pure-white porcelain aesthetic strength of early Yi dynasty vessels appealed more to neo-Confu- wares, while exploring uncharted, indi­ cian taste), the heart of punchong lay vidual terrain. They manipulate and dormant but not dead. Early in the converse with the white slip, at times 20th century, even as Japanese colonists filling carefully stamped crevices, can­ destroyed most of the few remaining vassing surfaces for iron slip outbursts, kilns in Korea, leaders of the Japanese or allowing it to dry briefly before tug­ folk art movement revived interest in ging with improvisational fingers or Korean folk ceramics. In post—World bamboo slivers. War II Korea, modern artists have re­ Historically, the unselfconscious and discovered and rejoice in the Korean- direct qualities of many punchong wares ness of punchong. became important metaphors in Japa­ Vase, 26 inches in height, stoneware, The basic ingredients, a medium to nese tea aesthetics. Korean ceramics were with incising through white slip, and iron dark stoneware body and white slip, so beloved by the Japanese that thou­ slip brushwork, by Soo-Jong Ree. provide a simple base upon which ex-

Rectangular dish, approximately 18 inches in width, with white and iron slips, by Soo-Jong Ree.

46 CERAMICS MONTHLY that contrasts with gestural forms break­ ing out of symmetrical composition. He choreographs a careful white slip dance with stamps and inscriptions atop free-form faceting. Yoo’s punchong decoration can be broadly divided into two streams. One encompasses painterly landscapes. The breathtaking location where Yoo works among the dramatic granite-rich moun­ tains north of Seoul inspires depictions of massive geological structure, as well as small, delicate wildflower motifs. The second and more ground-breaking stream appears as a struggle to break away from the confines of formal, sym­ metric, precise ideas about composition, weight and mass. Irregular, faceted sides bring Yoo’s forms to life. The vessel twists from its base toward a resting point marked by peony leaves (a favorite decorative mo­ tif throughout the history of Korean crafts), then compositionally concludes at the neck with two coiled ears. All- over stamping, inhwa-mun, requires a skillful hand even in cruder versions, but his standard demands painstakingly gentle stamping and scrupulous scrap­ ing of excess slip. It is important to note that, in addi­ tion to punchong, Yoo also creates celadon wares, and many of his tech­ Bottle, approximately 14 inches in height, with duck design wiped through white niques can be applied to either. His slip, by Sung-Jae Choi. work is akin to early Yi-dynasty punchong, crafted for the elite and as plorations of line and mass take prece­ punchong ware, the basic white slip atop labor-intensive as most celadon from dence over color. The neutrality of the a darker clay body remains a constant. the earlier Koryo period. Although punchong palette encourages a calm­ Aside from their mutual integrity in punchong is often associated with rough ness that often turns dynamic, through reinterpreting the spirit and technique or crudely finished ware, it was also gestural brushstrokes or rhythmic of punchong, Yoo, Ree and Choi all commissioned in more laborious ver­ stamping. In Korea, as elsewhere, the graduated from Hongik University in sions for the elite. In early examples, irony of white slips beauty lies in its Seoul, all live in the vicinity of Seoul vessels produced for certain families of­ origin as a cheap imitation of porcelain. and all have followed the lead set by ten bear an inscription of the Chinese Somehow, the white that often breaks ceramics artist Sang-Ho Shin. Shin character for the family name. into peach flashes in reduction firing paved the way for contemporary Both in Japan and Korea, the strict surpasses porcelain in its attractive soft­ punchong potters by setting a standard code of tea aesthetics often encourages ness. Thus, for centuries, the appeal of for interpretations that push limits of stale production for monetary gain at white slip has remained strong. time, place and national identity. In turn, the cost of artistic integrity, but Yoo, Also contributing to the prolifera­ Yoo, Ree and Choi utilize the punchong Ree and Choi have managed to retain tion of punchong is Korea’s affinity for paradigm to explore both individual and their artistic visions without swaying to shades of white. In the Korean language, cultural concerns. accommodate patrons’ demands. there are over 40 ways to say white (ranging from yellow-white to blue- Byoung-Ho Yoo Soo-Jong Ree white). Although a range of firing tech­ Yoo’s style is marked by an extreme, Soo-Jong Ree is not interested in niques and materials is now used for almost rigid, attention to surface detail playing the part of a traditional Korean

March 2000 47 pulted his early career. Both in Korea and abroad, Choi portrayed social is­ sues and expressed ideas about male/ female relationships while breaking the rules of traditional Korean ceramics. After these experimentations, Choi was drawn to the “relaxed, natural en­ ergy” of punchong decoration. Still, compared to other punchong potters, his work reflects an overwhelming sense of process. His swift application of poured or dipped white slip is a sponta­ neous and unconscious effort. His forms are slab built or wheel thrown, with clean, intentionally squared profiles. The linear edges pro­ vide a crisp structure that white slip gently meanders over and around. Choi’s work reveals a sensitivity to the subtle movement of slip on clay that can transform surface into poetry. The years of training and working at the Boogok Tobang studio of Sang-Ho Shin have paid off in imparting a confidence to Choi’s working method, although as he observes, “When I make something, I’m not thinking about Korean tradition or anything. [There is] no meaning sometimes....I just want to enjoy.” His surface markings are not unlike those of traditional Chinese or Korean literati painters, a similarity that he freely Flattened bottle, approximately 13 inches in height, with poured white slip and acknowledges. He notes that literati or incised duck design, by Sung-Jae Choi. scholar’s ink paintings “include more philosophy and are more relaxed (than other painting styles),” and “they don’t potter. Rather, his work displays a di­ Ree’s slip is a simple one-to-one ratio spend a lot of time on each.” rect, unpretentious spontaneity that of ball clay and kaolin (half white/half Unhesitant incisions into the slip are springs from an informed artistic base. pink). All his work is reduction fired to made either with his bare fingers at the On the walls of his studio, photos and Cone 9. still liquid stage or with a bamboo wedge drawings of old teabowls are pasted Like Sang-Ho Shin and Sung-Jae when the slip has been absorbed slightly alongside self-portraits, childrens draw­ Choi, he shares an enthusiasm for in­ into the underlying clay body. ings, and gestural sketches as a reminder teracting with foreign artists. Most re­ Few potters in Korea have maintained of both the Korean pottery legacy and cently, he welcomed American potter a sensitivity to the root of punchong the immediacy of the present. George McCauley to his studio to cre­ expression like Yoo, Choi and Ree, with­ In his latest work, Ree shows an es­ ate American-style punchong. out either succumbing to the tastes of pecially keen interest in cholsa-mun, iron the tourist trade or attaching an artificial slip brushwork over white slip. Layered Sung-Jae Choi individuality to the various white slip on a dark stoneware body, white slip Sung-Jae Choi is leading the younger techniques. These three artists embrace and iron slip build a rich seductive sur­ generation of Korean ceramics artists the poetry of punchong ware, which is face. He uses the kui-al technique, ap­ working in punchong by skillfully ex­ not tied to a particular technique or plying thick white slip with coarse ploiting his natural impulses toward tool but is felt in the heart. Choi speaks brushes, to capture the movement of white slip and clay. His recent ware for all three when he says, “When I the brush in the hand. In Japan, this stands in contrast to the conceptual make punchong, I think ‘It’s not art; it’s technique became known as hakeme. sculpture and installations that cata­ my life.’” ▲

48 CERAMICS MONTHLY No More Gerstley Borate by Jeff Zamek

erstley borate, a popular glaze be surprised when what we consider ied opacity effects to the fired glaze ingredient in North America, to be major glaze or clay ingredients surface is due to the two primary min­ Gwill soon be no more. The disappear due to economic consider­ erals found in Gerstley borate melt­ mine founded near the small town of ations. The one constant in ceramics ing at different temperatures (ulexite Shoshone, California, in 1923 by is that there will be changes, either melts at 1535°F and colemanite at James Gerstley (hence the name Gerst­ because of variations within the raw 1652°F). This is especially welcome ley borate) and subsequently sold to material deposit or lower demand in electric-kiln-fired glazes where the U.S. Borax, Inc., has been closed. Ac­ from industry. static oxidation atmosphere can pro­ cording to a company spokesman, How does a potter deal with the duce flat, lifeless surfaces. there is presently a 10- to 12-month unstable nature of raw materials? Edu­ supply of the 3-mesh ore waiting to cation is the most effective response What to Do be ground by two distributors (La­ to this type of problem. Knowing the Now that Gerstley borate is no guna Clay Company and Hammill & chemical and physical makeup of a longer being mined, potters will need Gillespie) into the 200-mesh material raw material is critical in developing a to explore various replacement op­ that potters use in their glaze recipes. workable substitution. Even when the tions. Of course, buying large quanti­ The company’s decision was based raw material is still available, your stu­ ties of the available material and using on environmental and safety factors dio supply may be exhausted. Rather it sparingly is possible; however, the that made continued operation po­ than wait for a new bag of Custer original problem of replacement will tentially dangerous for the miners. feldspar, for example, it might be use­ eventually have to be faced. A num­ Besides, less than 1000 tons were be­ ful to know that G-200 feldspar can ber of solutions are possible, but the ing mined annually, a small amount be used as a substitute in many glaze degree of success depends on the when compared to the million tons and clay body recipes. If your recipe specific glaze recipe. per year of other borate minerals pro­ requires Oxford or Kingman feldspar, In glazes containing 5% or less duced by the company. From a busi­ Custer or G-200 will also be appro­ Gerstley borate, it might be possible ness standpoint, it was not worth the priate substitutions. Potters should to totally remove it from the recipe cost of bringing the mine up to cur­ know the components of every raw without changing the surface texture rent safety standards. material so they can have the flexibility or fired color of the glaze. In these The demise of Gerstley borate il­ to make a change when it is required. recipes, Gerstley borate is acting as a lustrates the fact that any of the com­ secondary flux, and the primary flux mercial materials used by potters could History of Gerstley Borate will take over the action of melting eventually be discontinued. The rea­ Glaze recipes containing Gerstley the glaze. sons behind the closing of a mine are borate were developed in the 1950s, The mineral colemanite offers the usually based on economic factors, and were handed down from teachers best choice for a substitution. It has a not on the exhaustion of deposit. Pot­ to students in college classes, and more consistent chemical composition ters in North America will remember passed from potter to potter. Although than Gerstley borate and offers less Albany slip, once popular in many it is soluble and has a variable chemi­ contamination from “tramp” materi­ glaze recipes. There are still vast cal makeup that can periodically cause als. Interestingly, many current glaze amounts of this high-iron, low-tem- several glaze defects, such as pinholes, recipes now using Gerstley borate were perature clay in the ground; however, blisters, dry spots and crawling, Gerst­ originally developed for colemanite. the mine site is now a parking lot for ley borate is appreciated because of its It was only when the supply of cole­ a shopping mall. As stockpiles of Al­ fluxing action and the multihued sur­ manite was cut off to ceramics indus­ bany have run out, potters have been face effects it produces in low-, mid- tries that Gerstley borate was used as forced to rely on substitutes. and high-temperature glazes. It is also a substitute. Some potters even use In many instances, the mining of a component in many raku glaze reci­ colemanite and Gerstley borate inter­ geographically plentiful materials is pes, which require good color response changeably, thinking they are the same discontinued because the major in­ and fast melting during short firing raw material. dustries that had required the mate­ cycles. (See “Gerstley Borate and Cole- The two minerals are chemically rial stopped placing orders. Potters buy manite” in the June/July/August 1998 different, colemanite having a set for­ less than 0.1% of the ceramic materi­ CM for additional information.) mula of (Ca2 B6 O11 5 H20) as com­ als on the marketplace, so we shouldn’t The ability to impart mottled, var­ pared with Gerstley borate’s combi­

March 2000 49 nation of ulexite (Na20 2CaO 5B203 on an old kiln shelf. (This is standard A major frit manufacturer has 16 H 20) with small amounts of cole- procedure when testing any new glaze.) shown interest in developing a substi­ manite (2CaO 3B203 5H20), prob- In glaze recipes fired above Cone 6 tute for Gerstley borate that might be ertite (Na20 2CaO 5B203 10 H20) (2232°F), Ferro frit 3195 or sodium- insoluble as well as consistent in and gangue, a bentonitic clay or tramp based feldspars, such as nepheline sy­ chemical composition. Another ad­ material often found as small black/ enite and Kona F-4 feldspar, can be vantage in using a frit would be that brown specks. However, on a practi­ substituted. Other possible substitu­ the high chemical water component cal level, Gerstley borate and cole- tions would be potassium-based feld­ of Gerstley borate would be absent manite are interchangeable as ingre­ spars such as Custer or G-200. The due to reactions taking place in the dients in many glaze recipes. specific substitute material would have frit manufacturing process. High lev­ Colemanite, while not readily avail­ to be determined by the firing tem­ els of chemical water in raw materials able at present, does appear sporadi­ perature, texture and color of the origi­ can cause excessive glaze shrinkage cally on the market. One source in nal glaze. during the first stages of firing. Such Argentina exports colemanite to the Start by testing with a one-for-one shrinkage is one cause of crawling (the United States, but only in a 100-mesh replacement in a recipe calculated to defect causes the molten glaze to roll size, which would be too coarse for a total 100, so possible later additions back on itself, exposing bare clay ar­ Gerstley borate substitute. The com­ of 5 parts substitute material will yield eas looking very much like water on a pany can deliver 200- glass table). Of course, mesh colemanite, but the project depends on requires a minimum The substitution of a frit or feldspar the company’s assess­ order of 20 metric tons ment of this frit’s eco­ or 44,092 pounds. A would eliminate two troublesome nomic viability. major importer of raw characteristics of Gerstley borate U.S. Borax, Inc., materials is currently and to a lesser degree colemanite—namely, has also expressed in­ testing the 200-mesh both raw materials are soluble terest in finding an­ colemanite and may other calcium borate negotiate an exclusive and have a variable chemical consistency ore that will replace the agreement should it from batch to batch. soon-to-be-unavailable prove suitable for use Gerstley borate. How­ in potters’ glazes. ever, due to Gerstley In glaze recipes containing more 105 batch weights. If the result is borate’s unique chemical composition, than 5% Gerstley borate (which do underfired (looks too dry), try adding it remains to be seen if a large corpo­ not require its color and surface mot­ 5 parts additional substitute material ration will invest resources into a ven­ tling effects), a substitution flux can to the glaze batch. However, if the ture that has a low profit margin and yield the correct amount of melting. glaze runs off the vertical test tile, it a low demand. The economic fact is In the Cone 06 (1830°F) to Cone 04 has too much flux and should be potters do not make up a significant (1940°F)1 temperature range, various mixed with 5 parts less of the substi­ market and therefore are not consid­ commercial frits, such as Ferro frits tute material. ered when a raw material is deleted 3195, 3134 or 3269, can be tested as If the fired glaze color is not satis­ from production. a one-for-one substitution for Gerst­ factory, choose another substitute. In Remember, the eventual disappear­ ley borate. glaze recipes that rely on specific lev­ ance of Gerstley borate is not a new Some potters avoid the use of frits els of B203 for a mottled surface or situation. Historically, it is just one of because of their tendency to sink like color effect, a direct substitute of cole­ the many raw materials that are no a stone to the bottom of a glaze bucket, manite, feldspars or frit for Gerstley longer available for use by potters. but that can be overcome with sus­ borate might not produce an exact Since individuals or even large supply pension agents, such as CMC or match in color or surface mottling. companies do not have the economic Veegum T. (See “Additives for Glazes Further testing would be required to buying power to guarantee the future and Clay Bodies” in the December duplicate these effects. supply of any raw material, we must 1998 CM.) The higher cost of frit as In glazes that do not require a educate ourselves in the science and

compared to Gerstley borate should specific level of B 203, the substitu­ art of substitutions. The plain fact is not be considered a factor either. The tion of a frit or feldspar would elimi­ that the availability of any given raw real cost of working in ceramics is nate two troublesome characteristics material is uncertain. What is certain your labor, not raw materials. of Gerstley borate and to a lesser de­ is that Gerstley borate will not be the Apply the test glazes to vertical tiles, gree colemanite—namely, both raw last material to become history. leaving about 1 inch unglazed on the materials are soluble and have a vari­ bottom of the tiles and placing them able chemical consistency from batch The author A frequent contributor to to batch. Frits and feldspars are, for Ceramics Monthly, ceramics consul­ 1. All temperature references are based on large theOrton most part, insoluble and have tant/studio potter JeffZamek resides in pyrometric cones heated at 270°F per hour. greater chemical consistency. Southampton, Massachusetts.

50 CERAMICS MONTHLY Pit-fired vessel, approximately 12 inches in diameter, wheel thrown and burnished. Energy and Care Pit Firing Burnished Pots on the Beach by Carol Molly Prier

pon returning from a first-time trip to 9 feet in height; they were made as During those years when I was bur­ uto New England, a former student hollow tubes and assembled over a nishing and pit firing sculptural pieces, talked about seeing miles of stone fences. wooden armature. Eleven poles “de­ I used what I called the “cheater” method He found them extremely beautiful and marking space” were assembled as my of pit firing. I would preheat the work was fascinated by the energy and care it M.F.A. project at Mills College in Oak­ in a kiln for about two hours, gradually took to gather and place each stone. He land, California, in 1977. increasing temperature. Meanwhile, I felt that all the energy that had been put Following graduation, my interest in would prepare a bed of hot coals out­ into these stone fences came out again burnishing and pit firing continued, but side in a small brick enclosure, then run as he viewed them. I find this to be true after working in landscape scale with back and forth to take the pieces from of daywork as well—all the energy and my “Magic Poles,” I wanted to switch to the kiln and place them in the coals. I care we put into the making of a ce­ a more intimate scale. I was also con­ would then build up the fire around the ramic object come out again when one cerned with the old Eskimo concept work in the “pit.” views and experiences the object. I think that “magic” or power comes from han­ Two years ago, I had a wonderfully of this often when I burnish pots. dling an object, so I made a series of reaffirming opportunity to work with Unlike most American potters, my curved bonelike pieces with tiny bits of Steve Lucas (Koyemsi) on the Hopi res­ interest in burnishing clay did not be­ loose clay inside. As people lifted these ervation. Steve is Nampeyos great-great- gin with seeing pueblo pottery but with “Mystery Sticks,” the kinetic shift of grandson. He also preheats his pots (in my love of old Eskimo sculpture. It was these tiny clay beads and the resulting his kitchen oven), and when coals from discovering that I could make clay look sound “revealed” the interior space of sheep dung are hot, he dons gloves to and feel like polished bone that led to the object. (Eleven years later, I would carry the pots outside, placing them on further experimentation around 1975. see my first rainstick brought up from shards on a grate above the coals, then My first burnished pieces were poles up Central America!) builds up the fire.

March 2000 51 Handbuilt and burnished vessel, approximately 5 inches in height, pit fired.

Early on, I also experimented a lot with colored terra sigillata polished with a soft cloth. Although I was able to obtain some beautiful colors with addi­ tions of iron, ocher, burnt sienna, etc., I was never able to achieve as high a pol­ ish as when I burnished the clay itself. Burnishing terra sigillata with a stone to gain a higher polish often resulted in flaking or chipping. Now, I burnish the clay four differ­ ent times, beginning at leather hard, then letting the clay dry between each burnishing. The last burnish is done when the clay is completely dry; oil is applied and the surface allowed to dry before burnishing with a polished stone. I made burnished sculptural pieces for about eight years, then around 1983 began making burnished pots, experi­ Burnished, pit-fired vessel, approximately 8 inches in height. menting with wheel throwing the shapes I had seen in books on pueblo pottery. I also experimented with clays that would not only burnish well but also were

52 CERAMICS MONTHLY strong enough to throw the horizontal shoulder so prominent in pueblo pots, and eventually settled on a midrange stoneware with very fine grog. As I learned to throw these pueblo shapes, I made a conscious decision not to try to recreate Native American painted or carved designs. I wanted to work with the strong pueblo shapes, but make the pieces my own through my method of firing. To have surfaces marked by the movement of the fire is, in intent, almost opposite to the desired results of traditional pueblo firings, where the intent is not to have any of the intricately painted designs obscured by markings made by the fire. Either shards or pieces of metal are placed over The pots are placed in a bed of sawdust, along with seaweed the pots to allow only heat, rather than and copper carbonate. direct flame, to touch the pots, thus protecting the designs from any extra­ neous “cloud” markings. When I fired with Steve Lucas, we laughed about how my firings were “backward,” the dung placed flat against the pots so the flame would mark the surfaces. His pieces were carefully protected by shards. As I worked on my throwing meth­ ods, I also experimented with different ways of pit firing. In my early firings, the pieces were placed either directly on prestarted coals or on a metal grate (with cow dung under the grate and then around the pieces). Now, I nestle each Dry cow dung is placed around and over all the pots, followed by pot in sawdust to obtain an area of solid a layer of wood (mixed hard- and softwoods). black that contrasts with the swirls of fire movement. I also tried adding different oxides (iron, cobalt, nickel, rutile, etc.) to the pit fire to fume the pots with the move­ ment of the flame. Copper carbonate was the only one to give consistent color. Later, after seeing a lovely piece at a show that was labeled “low-fire salt,” I added seaweed to the firings. The salt from the seaweed seemed to intensify the colors from copper and to add a range of yellows to orange. (I live and do my firings on the Point Reyes Penin­ sula, which is one of the most beautiful seashore areas in the world, and sea­ weed is readily available.) Each type of clay reacts differently to the fuming. Most white clays will blush pink, but on some the results will be Once lit, the pit burns with a lot of flame for about 30 minutes, spotty. White clays also don’t develop then a quiet flame for a few hours.

March 2000 53 wood can), and it leaves a thick ash, which protects the pots as they cool. Making it possible for the pots to cool evenly and slowly is as critical to their not cracking as the manner in which they are heated. My firing method has evolved as the following: At the beach, I dig a pit about 2 feet deep in the sand, then line the bottom with 4—5 inches of sawdust (mixed hard- and softwood is best). The pots are placed in the sawdust in a tight single layer. Whatever area of the piece that is in direct contact with the saw­ dust will turn black; if the mouth of an upside-down pot is in the sawdust, the inside will turn black. I then sprinkle Once the fire has burned down, all that remains of the dung is thick ash. copper carbonate and place seaweed around each piece. Table salt or rock salt also works. The dry cow dung is placed around and over all the pots, then a layer of wood is laid on top. I have found that mixed hard- and softwoods of various sizes from fine Idndling up to 2x4-size work best. I do not use plywood, par- ticleboard or painted wood because of glues and toxins. Crumpled newspaper tucked in between all the wood acts as the starter fuel. Once lit, the pit will burn with a lot of flame for about 30 minutes, then a quiet flame for the next few hours. I do not add wood and I do not pull any piece out until I can touch it without gloves. Unlike raku, which usually uses heavily grogged clay for its thermal- shock resistance, the clays I use have either very fine or no grog at all, which accounts for their ability to burnish Pit-fired vessel (same pot as above after cleaning), approximately 12 inches nicely. The firing, including cooling, in diameter, by Carol Molly Prier, Point Reyes Station, California. takes about four hours from lighting to pulling out the pieces. Each piece is then washed and the soft-to-intense oranges as well as tan very difficult teacher. Bisquing at Cone rubbed gently with 0000 steel wool to or darker clay bodies. The darker wine 011-010 leaves a good burnish, but is gently remove any residue. I do not reds are usually seen on the buff tan to high enough to give the pots strength. scrub heavily, as rough treatment can darker clays. Having the desire to work very sim­ scratch or chip the burnish. Finally, I Although initially I did not bisque ply (I dislike the idea of carrying large apply a tiny bit of paste floor wax to the pots (relying instead on a one- to pieces of corrugated metal and grates to each piece, then buff with a soft cloth. three-hour preheat in a nearby kiln), I the beach) influenced my method of All the energy of careful hours of decided to start bisque firing after I pit firing. Consequently, I fire quickly making, burnishing and firing are now began to teach more workshops for a in a shallow pit that has a lot of air, thus returned in the experiencing of each nearby college in San Francisco. For flame, moving through it. For fuel, I piece. I’ve done half in the making; the many students, the workshop would be use dung, because it burns very hot and fire has met me in the marking: grace their only clay experience, and loss is a evenly (it doesn’t suddenly flare up as and gratitude. A

54 CERAMICS MONTHLY Slab-built vessel sculpture (left), approximately 32 inches in height, and coil-built vessel sculpture (right), to approximately 63 inches in height, by Nitsa Yaffe, Givat-Ela, Israel.

“Jar Images,” an exhibition of sculptural vessels by Israeli from an obscured image into one that is more spacious artist Nitsa Yaffe, was presented recently at the Interna­ and vivid. tional Convention Center in Jerusalem. Handbuilt from “A significant characteristic throughout the exhibited terra cotta, the jars are, in a sense, “self-portraits,” noted works is the primary, genesis motion, depicted through artist Rayah Redlich, who was Yaffe s instructor at Haifa the fact that the jars are not glazed but rather maintain University. “Nitsa projects her endless patience and disci­ their initial, earthly characteristics,” Redlich continued. pline into the creation of her art pieces, which are from a “The coils are bonded together by the pinching tech­ meter to a human in size, and made from coils and small nique, with minimal connection, a single touch. The slabs. Her formal statement is minimalist and balanced. fingerprints are left in the clay. The viewer senses the placidness and calm in the piece, “From her minimalist approach and generalized ab­ which results from the way she works the clay in a slow straction flows a unique meeting between the formal and and consistent fashion, allowing it to breathe. the anomalous. Pottery enjoys a long history and a rich “The enclosed shape of the jar is almost crude, and tradition, which might lead viewers to expect something signifies commencement and predevelopment. These they have seen before; instead, Nitsas work, although it pieces evolve from a cocoon into an unfolded form, and uses traditional methods, results in something unique.” A

March 2000 55 A Female Perspective by Alan Naslund

s a female ceramics artist, Amy that was exhibited at a recent Southeast sectioning is reinforced by Kephart s tear­ A Kephart believes that she natu­ Missouri State University faculty show. ing of the clay “skin” along a circular, rally projects female forms and ideas The platter was wheel thrown from wheel-generated path toward the center into her work. An outcome of this porcelain, brushed with engobe and of the piece. The observer is drawn to awareness is her artistic goal to inten­ glaze, and soda fired. The painted em­ the gentle femininity of the form, but tionally create reference to female form bellishments are regular, balanced and rebuffed by the power and risk of the in a nonconfrontational way. She ex­ arranged in a pattern that suggests a precisely torn clay. As Kephart says, its plained the dynamics of an instance of section of a flower or a seed. The “scar­ delicate and yet torn form implies a such identifiable metaphor in a platter ring of life” hinted at by this cross- kind of “untouchableness.” It occurred to me, as a male ob­ server, that we forget that generative power and its organic pattern is so dis­ tinctly female. That is, we acknowledge that reproduction is part of our human heritage, but we forget sometimes that women hold and take main responsi­ bility for that regenerating process. As part of her thesis project at South­ ern Illinois University, Carbondale, as well as part of the SMSU faculty show, Kephart produced a remarkable series of porcelain jars that make use of the flower metaphor, employing similarly emphatic treatment of the skin of the clay, and further engobe and glaze em­ bellishment. Once more, the infusion of soda ash into the firing process pro­ duced unpredictable effects on the in­ tensity and density of these colors. Each jar was composed of two stacked forms. Between upper and lower, Kephart cut into the surface to produce a visual (and usually ragged), sensuous boundary. These jars evolved from ear­ lier projects (1988) with classical jar form—in particular, the Japanese gin­ ger jar, which rises through a gentle and feminine S-curve. In her current work, the lower part of the curve has been extended to form what the artist prefers to call the “stem,” out of which rises as though from within, the larger, upward volume of the jar, which Kephart refers to as the “bud” of the pot. A little history here: To her, those early explorations of the S-curve through the ginger jar seemed to invite a divi­ sion between the lower, pulled-up cyl­ inder and the higher expansion of the S-curve, so she darkened the cylinder Wheel-thrown porcelain jar, 10¾ inches in height, with glaze to emphasize the divided with brushed engobes and glazes, soda fired to Cone 10. form, often trailing a dominant glaze

56 CERAMICS MONTHLY Porcelain covered jar, 10¾ inches in height, with brushed Soda-fired porcelain platter, 18 inches in diameter, with slips engobes and glazes, fired to Cone 10 in a soda kiln. and engobes, by Amy Kephart, Cape Girardeau, Missouri.

design down from the wider into the which provides significantly more con­ intention due to actual contrapuntal play narrower part. Time, graduate school tent in the lower half of the pot. Con­ between these male and female refer­ and investigation of other forms inter­ sistent with her desire to demarcate an ences in the richly embellished surfaces. vened, however, and it was some nine upward part of the form separating and The buds that swell pregnantly up years later when Kephart took another swelling up (sometimes “painfully”) to the lids are embellished with leaves look at the way the expanded top of the from within, many of Kephart’s stems or petals reaching upward, while the jar rose out of the narrower bottom. contrast sharply from their buds in terms spaces between may be hit with seed Her current work emphasizes this of glaze and engobe patterns; e.g., dark patterns or the subtle flashing of the division between upper bud and lower geometric triangles set off with lighter soda ash. Venation in some leaves is stem more comprehensively by actually borders for stems. Painterly technique marked out lightly in sgraffito or laid separating top from bottom (through gives the illusion of three-dimensional on with trailed slip. cutting, lifting, tearing and folding), pro­ facets on the surface of some stems. From energetic throwing and subse­ ducing the stacked effect and the sense Paradoxically, the emphatic cylindrical quent alteration through a wide range of one form rising from within another. motion of the stem can disappear or be of surface embellishment, Kephart has While this artificial line of division is a dissipated in favor of these aggressive a great variety of techniques at her dis­ clear metaphor for the differing func­ glaze patterns. Raised glaze dots, which posal, and the jar form leaves plenty of tions of the calyx or sepals and the bud are reminiscent of seeds between these room for choice at each step. She devel­ of natural floral structure, the psycho­ powerful planes, reiterate the contrast ops the flare of the bud, depending logical impact of the breach in the skin present between the organic and archi­ upon the strength and character of the of the vessel also suggests the pain of tectural elements. cylinder; then, when the form is near separation, of coming into being. Inasmuch as these particular patterns completion, she can divide it by cut­ The buds and stems are embellished suggest the seminating power of male ting, tearing and folding depending on with organic or geometric/architectural seeds, it can be seen that the organic the desired emphasis. At that point, the patterns in colored glazes and engobes; metaphor in stem and bud has both engobe and glaze decisions become para­ application is by brush, in combination masculine and feminine elements and mount. And, of course, there is always with sgraffito and wax-resist techniques. that the allusion to floral parts (and an element of chance brought about by A key development in her newest likewise to feminine form) is from time the vagaries of the soda ash introduced forms was the addition of the stem, to time shattered altogether by artistic during the firing process. ▲

March 2000 57 Endurance o f Spirit The Work of Joanne Hayakawa by Mark Messenger

n a formal level, film her uncle had O Joanne Haya- saved for her. Sur­ kawa’s abstractions of rounded by blue­ the human torso may prints, schematics be considered an inves­ and evocative im­ tigation of structures in ages, she developed specific contexts. In a Joanne Hayakawa with work in progress in her California studio. what her family and broader sense, however, teachers recognized they address issues of spiritual resilience. During World War II, her parents as an unusual dexterity and focus of They focus on what she perceives as an and grandparents were sent to a reloca­ mind. “She has capable hands,” wrote odd duality between primal instinct and tion camp near Gila Bend, Arizona. Be­ her kindergarten instructor. our industrial, technological age. Her fore their incarceration, her mothers “The only thing my family really intent is to illustrate this tension through parents donated the plants from their pushed,” she says, “was education. They a visual balance of precision and ges­ nursery to the Red Cross. In Hayakawa’s felt it would give me options. I had ture, strength and vulnerability. Her suc­ words, “They lost everything but their always been involved in art as a young cess derives from an ability to meld that persistence, humor and faith.” person, so it seemed natural to major in which is seemingly incompatible. Her father was allowed to leave the painting [at the University of Califor­ The dominant medium in Haya- camp to attend college, but soon was nia, Santa Barbara]. I thought it might kawa’s work is clay, though steel, wire, drafted into the army. After the war, at lead to a career in commercial design.” copper, glass, plastic, cement, bones and the urging of his parents and with the Along the way, she took a ceramics graphite drawings on vellum are also support of the G.I. Bill, he completed class to “throw some pots,” but found incorporated. Initially, this eclectic use his education in mechanical engineer­ more going on in the studio than she of materials and formats captures ones ing at the University of Southern Cali­ anticipated. She went on to take classes attention. Later, the underlying consis­ fornia. Her uncle, through a similar with Sheldon Kaganoff and Michael tency of her unique statement emerges. odyssey, became an architect. Arntz. Soon, she switched her major to Hayakawa is Sansei, or third-genera- Hayakawa was raised in a middle- ceramics, and stayed an extra two quar­ tion Japanese-American. Her grandpar­ class neighborhood of Pasadena, Cali­ ters to complete the emphasis. ents on both sides immigrated in the fornia. She was an only child until the Performance and funk were “in” dur­ first decade of the 20th century. They age of nine, and remembers vividly her ing the late 1960s and early ’70s, and relayed stories of their homeland and of grandparents’ proud announcement that with the country in turmoil, a tongue- the arduous process to adapt in their they had earned their citizenship. Some in-cheek posture seemed, to Hayakawa, new country, an ordeal that began after of her earliest memories are of sitting somehow therapeutic. Her sculptural a long voyage and month-long wait on for hours at a time on the living room work included hyperbolic exaggerations Angel Island. floor drawing on scraps of architectural of popular preoccupations. An ornate

58 CERAMICS MONTHLY “Core,” 28 inches in height, steel and stoneware, fired to Cone 10 in reduction, sandblasted, then luster fired.

March 2000 59 “Vestige Structure II,” 36 inches in height, saggar-fired “Spine” 28 inches in height, stoneware fired to Cone 2, stoneware, patinated copper and cement. accented with lusters and bone.

false breasts container, for example, com­ Robert Sperry and Patti Warashina en­ work focused on the still-life as a device mented on the Barbielike values of a couraged a playful lyricism in form and for psychological reflection. A recurring culture with more important things to subject and, of course, the visual pun. theme, to the present, has been the in­ think about. They also encouraged her need to in­ sistent effort of the individual to main­ In addition, she organized a group vestigate the depth of illusion in sur­ tain uniqueness within a cycling process called JoJo and the Wedgettes. The en­ face, both abstractly and literally. “Back of erosion and growth. semble performed in miniskirts to a then,” she says, “you decided on a par­ If there is one word to describe the soundtrack of popular songs like, “I ticular metaphor and ran with it. The conceptual emphasis of Hayakawa’s cur­ Want to Take You Higher,” during artistic angle of choice was ‘kitsch but rent work, it might be “endurance.” which the process of raising a cylinder cool.’ It was a great experience and I She pays homage to that aspect of hu­ was choreographed on a wedging table. appreciate all that I learned, both from man nature that stubbornly and inge­ “It was all land of sexy, absurd and instructors and fellow students, but I niously devises structures to protect and fun,” Hayakawa recalls. “The ceramic spent a lot of time hitching rides on nurture the self, that mysterious com­ world at the time, with the exception of other peoples’ bandwagons. My work ponent of character that is simulta­ the abstract expressionist movement Pe­ was visually and technically accom­ neously strengthened and made weak ter Voulkos started in Los Angeles, plished, but it wasn’t really mine. It by the impact of experience. “People tended to reflect the larger establish­ took a while longer to find that.” can withstand amazing conditions,” she ment. It was traditional and a little Perhaps the most consistent turn her says. “It’s this will to endure that inter­ stodgy. In a way, we were poking fun at work has taken over the years is an ests me most.” conservative process. It was over the top inward glance. She continues to be Combining abstractions of the hu­ and we knew it.” influenced by other environments, but man figure with an architectural nostal­ In the early ’70s, with a youthful says, “My ideas changed from those that gia, her “torsos,” as she calls them, momentum and confidence, Hayakawa dealt primarily with the outside world include a wide range of historical ele­ attended graduate school at the Univer­ to a more internalized viewpoint, a per­ ments that are often familiar. Reference sity of Washington. Howard Kottler, sonal narrative.” Through the ’80s, her is made to industrial structures, but there

60 CERAMICS MONTHLY is also an implied connection to archaic cusing effect. Captured are the sponta­ part by including contemporary sym­ civilizations. One side of a piece may neous, searching expressions of the bols particularly relevant to the South­ remind the viewer of a European Re­ artist s mind. Juxtaposed with this quick ern California landscape: the aqueduct naissance edifice, while its opposite has honesty, the solid volumes and carefully and the watertower. These omnipresent the feeling of a kiva. Another work may described surfaces are amplified. structures serve as reminders of univer­ combine a skyscraper with elements bor­ The emphasis of Hayakawas meta­ sal needs and life resources. They are rowed from Babylon. In one instance, a phor is humanistic. Reverential regard monuments to the heroic efforts of hu­ stairway alludes to Mayan temples. In is paid to the torso. It is exalted as the mankind in protecting that which is another, a grouping of blocklike vertical carrier of self, while engineering, with precious. For the artist, they are also forms is reminiscent of Stonehenge. all its grandeur, bows to a more sig­ symbols of the heart and circulatory Usually, the torsos show evidence of nificant essence. This essence is par­ system, vital elements of life. stratification and decay. Rough, crum­ tially shrouded from the viewer. What Joanne Hayakawas anthropomorphic bling surfaces reflect times inevitable the artist offers is a glimpse, through work performs a subtle but profound effect, and landscapes impacted by the protective walls, to a kind of holy place, transformation. James Joyce once de­ elements or geological upheavals often an oasis in which one finds a tranquil scribed the secret of art as an ability to serve as bases. Yet, however weathered pool, spinal monolith or central axis see one s world symbolically. Hayakawa or precariously placed, the structures around which hovers an aura of ritual. draws from history, her surroundings exude an underpinning of tenacity. Given this shrinelike subject matter, and her experience to produce objects In many cases, the work is accompa­ one might expect Hayakawas content and images that resonate quietly. What nied by two-dimensional, gestural ren­ to be heavy handed, perhaps even di­ they evoke is a sense of timelessness. derings of the sculptures themselves or dactic. A twist is that she avoids the They are hopeful affirmations of a pro­ some component within them. These cliche, in part through inventive com­ cess in which her soul is mirrored. Per­ simple but energetic images have a fo­ position and use of materials, and in haps ours are as well. ▲

“Cage,” 60 inches in length, extruded and slab-built stoneware, fired to Cone 2, by Joanne Hayakawa, San Diego.

March 2000 61 Buck Pottery 17 Years of Turnin' and Burnin' by David Hendley

rience with wood-fired kilns, and he In 1978, while a ceramics student at ridently,' no one ever told Dee and Terry Buck that it is considered very really never considered any other firing Texas Womans University in Denton, difficult to make a go of a business option when planning the new shop. Dee attended a kilnbuilding workshop relying entirely on making and selling “What first attracted me to wood at the studio of Austin ceramist Ishmael handmade wood-fired pottery. By the firing, in the mid-seventies, was the Soto, where, Dee explains, “Karen time they started Buck Pottery in whole ‘alternative fuel’ idea,” says Dee, Karnes and Ann Stannard directed me Gruene (pronounced “green”), Texas, “that, and the fact that few potters were and a dozen other eager kilnbuilders in in 1982, Dee already had years of expe- wood firing in Texas in those days.” the construction of a Ray Finch-de­

Terry Buck brushing a wax-resist Dee Buck carrying wood-fired pitchers to the showroom, which is five steps pattern on glazed greenware. higher than the kiln room, so all the pots are transported by hand.

62 CERAMICS MONTHLY E Wheel-thrown stoneware cups with black glazed interiors, and fly-ash-glazed and flashed exteriors.

signed, two-Bourry-box kiln. I was con­ Dee went on to earn his master’s partment. It was a ‘real world,’ as well as verted to wood firing and never second- degree in ceramics from Texas Woman’s an academic atmosphere. A large out­ guessed that decision.” University, and credits his professor, J. put of production was encouraged as a Dee constructed a smaller version of Brough Miller, with helping him pre­ means to skill development. Mr. Miller this kiln at TWU and fired it for two pare to make a living as a potter. “We was just there to give a little guidance, years. After graduation, he and Terry had total freedom in the ceramics de- answer a question or two, and make built a single-Bourry-box, crossdraft kiln sure we would have all the tools we at their home, right on the beach of a needed upon graduation to make it as popular boating and fishing lake. With producing potters, artists or teachers.” smiles of amusement, the Bucks recall Buck Pottery is housed in a barn in those beginning efforts. There was the the old German town of Gruene, which time that the lake level rose and is a historical district within the city swamped part of the kiln. Another time, limits of New Braunfels, about 30 miles after a particularly bad firing, Dee threw north of San Antonio. “When we were ruined pots into the lake in disgust; two loolung for a place to set up the pottery, weeks later the water receded, revealing it wasn’t until our third visit to the dozens of pots stuck in the gooey silt of Gruene area that the owners even the lake bottom. showed us the old barn,” recalls Dee. Like many contemporary studio pot­ “They considered it uninhabitable, but ters, Dee did not set out on this career we saw the potential of having a lot of path. He was studying drawing, paint­ space, with plenty of room for a wood- ing and printmaking when he noticed fired kiln, while being out-of-the-way what was going on at the other end of enough that the smoke from firing the art building. “I liked the idea that would not bother anyone. Together with they were making practical art that could the owners, we made improvements un­ be used in everyday life,” he says. “Also, til we had a functional, but still very I liked the aspect of the actual physical rustic, studio and showroom.” work involved in producing pottery. For the first couple of years, Dee From that time on, I approached my Slab-built stoneware pitcher, 13 inches worked alone, as Terry had their small painting in a more craftlike manner.” in height, by Dee Buck. child to take care of and another on the

March 2000 63 The Texas Clay Festival

Every year, on the fourth weekend in October, “The the increasing number of exhibitors. Many returning Texas Clay Festival” takes place on the grounds around customers travel hundreds of miles to attend the show Buck Pottery. The idea for the festival grew out of an each year. alliance of five potters who joined together to promote Education has remained a central focus of the festi- the idea of a central Texas pottery tour. Brochures with val since its beginning. All participants in the festival maps and directions were printed and distributed so demonstrate some aspect of their craft. At any given pottery lovers could take a day-long tour of five area time, there are simultaneous demonstrations taking pottery shops, hence the title “Pottery Tour.” place at each of the three clay workstations scattered In 1992, the five decided to get together to pro- around the grounds. Raku firings take place eveiy duce an all-pottery art fair. Each of the five also invited hour throughout the weekend, and a “hands-on” area one other clay artist whose work he or she admired. for children, complete with 18-inch-high tables, is Buck Pottery was chosen as the site for the show staffed with knowledgeable teachers to help the kids because it was a convenient location and there was learn about working with clay. ample room on the grounds around the shop to set up Over the years, the show has remained true to its several individual pottery displays. name: “The Texas Clay Festival” is still made up exclu- “Of course we wanted to have sales and make sively of artists who work with clay. There is no money,” explains Dee, “but, as much as anything, we music, and there are no food or drink booths, just wanted to get together and enjoy thecompany of With Gruene Hall, known as the “oldest dance other potters.” hall in Texas,” just across the street and nu- Gradually, more ceramists were invited to partici- merous restaurants nearby, tired or thirsty pate; a total of 12 the second year, then 16, then 20, festival goers have plenty of places to with 30 artists exhibiting at last years festival. The relax and refuel before returning number of visitors and customers has kept pace with for more clay adventures. way. Also, not much was going on in Clear Glaze the Gruene Historical District in those (Cone 11, reduction) days; one person could handle the occa­ Potash Feldspar...... 44% sional handfuls of curious customers Whiting...... 3 who happened by the shop and still Gerstley Borate...... 18 produce pots. Things changed in a hurry, Zinc Oxide...... 5 as Gruene went from a sleepy cross­ Dolomite...... 6 roads with four businesses, including Ball Clay...... 5 the pottery, to a popular weekend tour­ Flint...... 19 ist destination, with no less than 35 100% shops and restaurants. Terry’s level of involvement in the Dee notes that these recipes, par­ pottery varied greatly over the years, ticularly the clear, do not include a high depending on what else was happening percentage of clay, as is usually recom­ in the couple’s lives. When their kids mended for single-fired glazes. He has were young, she spent more time at no explanation, but on the clay bodies home than at the shop. Now that they used at Buck Pottery, they work well on are older, it is not unusual to find the both greenware and bisqueware. whole family working there. Both Aus­ The wood kiln is a 100-cubic-foot tin, 19, and Claire, 15, produce a line downdraft with a massive 26-foot-tall of small pots and ornaments to earn chimney. It has two Bourry boxes, plus spending money. Terry runs the retail gas burners for the beginning stages of shop and helps out with the decorating, the firing. The interior walls are hard- glazing and firing. brick, backed with insulating brick, and In 1986, the Bucks hired potter Rick the arch is insulating brick. It has been Buch to help with both production and fired more than 250 times, with a re­ selling. Because of the ever-increasing building at firing number 171. stream of customers, they soon had to Reflecting the pottery’s location in hire another person to run the retail the heart ofTexas, fuel for the kiln comes store so Rick could make pots without in the form of pine blocks from a local constant interruption. Over the years, saddle factory. “We shovel the blocks several other assistants and apprentices into 10-gallon buckets, then dump them have worked for the pottery. into the tops of the fireboxes,” explains The most used glazes at the shop are: Dee. “There is also sawdust mixed in with the blocks, which adds to the fly White Matt Glaze ash glazing on the pots.” (Cone 11, reduction) A firing consumes most of the wood Bone Ash...... 6.90% in a 6xl4x6-foot trailer load. To mini­ Dolomite...... 13.79 mize handling, the trailer is parked at Whiting...... 8.62 the saddle factory, where the factory Potash Feldspar...... 43.10 workers load it with wood scraps. When Edgar Plastic Kaolin...... 20.69 full, Dee brings the trailer back to the Flint...... 6.90 pottery, parks it next to a sliding door 100.00% by the kiln and covers it with a tarp. On Add: Ultrox...... 5.17% firing day, the tarp is removed, the door opened, and the blocks carried directly Black Glaze from the trailer to the kiln’s fireboxes. (Cone 11, reduction) A Cone 11 firing takes about 26 Whiting...... 16.53% hours. Except for a few fragile forms, Zinc Oxide...... 2.20 such as teapots, all the pots are glazed Potash Feldspar...... 48.50 and fired green, so the first four or five Edgar Plastic Kaolin...... 10.22 hours of a firing serve mostly as a pre­ Flint...... 22.55 heat. A typical firing schedule follows: 100.00% 8 A.M. Light gas burners. Add: Bentonite...... 1.00% 8 to noon Slowly increase gas supply to Red Iron Oxide...... 9.70 % burners to full capacity.

65 Thrown and paddled vase with embossed fish design, 11 inches in height, unglazed, wood fired, by Dee Buck, Gruene, Texas.

Noon to 4 P.M. Temperature in cham­ burn down, then closed tight for a 48- ends, when minding the showroom is a ber and firebox slowly increases. hour cooling. full-time job. The shop is open seven 4 P.M. Gas burners are turned off and The kiln is truly the most important days a week, closing only on major holi­ removed. Stoking wood begins on top pottery-decorating tool at Buck Pottery. days, and all of the pottery produced of fire grate; firebox temperature is ap­ “The forms of the pottery are simple, there is sold there. The community sup­ proximately 1200°F. and we only use a few liner glazes and ports the pottery, and the pottery sup­ 4 to 10 P.M. Periodic stoking, allowing slips,” says Dee. They rely on “two clay ports the community. fireboxes and chamber to burn clear bodies, one white body and one iron- “We love having our own business,” and clean between stokings. bearing body, and rely on the fly ash to says Terry, as well as “being part of a 10 P.M. Cone 09 down; start stoking glaze the raw clay exterior.” community—opening our doors to more often to keep kiln in reduction. A typical day at the pottery, if there schools, church and civic groups that 10 P.M. to 10 A.M. (day two) Maintain is such a thing, finds people working on wish to tour.” stoking for reducing atmosphere to pots at all stages of production. There is “Educating the public as to what we Cone 11. not a strict division of labor; everyone do and how we do it,” adds Dee, “has 10 A.M. (day two) Firebox doors just does what needs to be done at the been a major part of our business since opened to allow all wood to quickly time. Extra help is called in on week­ we opened 17 years ago.” ▲

66 CERAMICS MONTHLY “Cups and Frame,” 32 inches in length, terra cotta with slips, by Woody Hughes, Wading River, New York.

REDWARE: Tradition and Beyond

n invitational exhibition featuring Avessels by over 25 potters working in red earthenware was presented re­ cently at the Clay Studio in Philadel­ phia. Curated by ceramists Janice Strawder and Scott Jones, “Redware: Tradition and Beyond” focused on both historical and contemporary interpreta­ tions of redware. Jones invited potters who produce forms reminiscent of early American traditional redware. “These craftspersons truly love their work and wish to edu­ cate the public about the history of redware,” he noted. “Many of them earn a living at antique reproduction, along with creating adaptations and stretching the limits with new themes that go beyond reproductions.” In contrast, Strawder invited artists Teapot, 9 inches in height, wheel- Vase, approximately 20 inches high, whose work draws from historical pro­ thrown terra cotta with brushed slips, terra cotta with trailed slips, by Ron by Ron Meyers, Athens, Georgia. Geering, Falmouth, Massachusetts. cesses, but features modern themes and imagery. “While tradition may lay the foundation for form or even use, these works speak presently; as individual voices, and as part of a larger art form,” Strawder observed. ▲

March 2000 67 California Contemporary Clay

“Alice Gets a Job,” 39 inches in height, by Tony Natsoulas, Sacramento.

68 CERAMICS MONTHLY “Arch,” 108 inches in height, by Andy Wells, Berkeley.

Untitled sculpture, 32 inches in height, by Nuala Creed, San Francisco.

n exhibition of clay, wood, glass and fiber curated A by gallerist Virginia Breier was on view recently at One Bush Street in San Francisco. Among the works featured in “Contemporary Crafts” were ceramic sculp­ tures by California artists Jillian Banks, San Pablo; Nuala Creed, San Francisco; Don Fritz, Santa Cruz; Tony Natsoulas, Sacramento; Karen Shapiro, Sonoma; and Andrew Wells, Berkeley. These worlcs reflect “the exuberance of California ce­ ramics,” commented Breier. “Heavily influenced by schools such as the University of California-Davis and the California College of Arts and Crafts,” they are char­ acterized by “life and humor,” as well as “superb crafts­ manship and imagination.” The ceramics in the show, she concluded, “compete successfully with the drama of neon art and oversized weaving. This captures the attention of the public— many of whom are not aware of the existence of such art “Leading Progress,” 28 inches in height, forms—which is so important in finding an ever-increas- by Jillian Banks, San Pablo. ing audience.” ▲

March 2000 69

Ceramics Contest 2000” (October 8-December Call for Entries 3). Juried from actual works. Jurors: potters Shinsaku Hamada, Hideyuki Hayashi, Ryusaku Application Deadlines for Exhibitions, Miwa, Tatsuzo Shimaoka; and art critics Hiroshi FairSy Festivals and Sales Aoki, Rupert Faulkner, Mitsuhiko Hasebe and Kenji Kaneko. No entry fee; all shipping and handling expenses are responsibility of artist. Contact the Secretariat, Mashiko International Pottery Contest Executive Committee, 2030 International Exhibitions Mashiko, Mashiko-Machi, Haga-Gun, Tochigi- March 15 entry deadline Ken, Japan 321-4293; or fax (81) 285 726 430. Brasschaat (near Antwerp), Belgium “Interna­ August 7 entry deadline tional Ceramic Fair” (June 4), open to all profes­ Zanesville, Ohio “Ceramics International sional sculptors and potters. Juried from photo­ Juried Biennial Exhibition” (October 8-De- graphs, resume, records. Awards. Contact Walter cember 3). Juried from slides. Entry fee: $20. Van Leeuwen, Schouw 9, 3448 KT, Woerden, For prospectus, send SASE to Zanesville Art Netherlands; e-mail [email protected]; tele­ Center, 620 Military Rd., Zanesville 43701; phone (348) 41 31 84; or fax (348) 42 57 45. e-mail [email protected]; telephone April 20 entry deadline (740) 452-0741; or fax (740) 452-0797. Taipei, Taiwan “The Sixth Taiwan Golden Ceramics Awards” (October 28-January 28, United States Exhibitions 2001). J uried from up to 3 slides of different views per entry; up to 2 entries. Awards: Golden Ceram­ March 9 entry deadline ics Grand Purchase Award, NT$600,000 (ap­ Tampa, Florida “Fine Crafts 2000 Exhibi­ proximately US$19,000) plus travel grant of tion” (April 8-May 30), open to all 2- and 3- NT$ 100,000 (approximately US$3000); Museum dimensional media in color. Juried from slides Gold Purchase Award, NT$350,000 (approxi­ (with #10 SASE). Entry fee: $25; members, $18. mately US$11,000); 2 silver purchase awards, Contact Artists Unlimited, Inc., 223 N. 12th St., NT$250,000 (approximately US$7800) each; 3 Tampa 33602; telephone (813) 229-5958; or fax bronze purchase awards, NT$ 150,000 (approxi­ (813) 228-0291. mately US$4700) each; and 5 merit purchase March 10 entry deadline awards, NT$ 100,000 each. For brochure/further University Park, Pennsylania “Crafts National information, contact the Sixth Taiwan Golden 34” (June 2-July 21). Juried from slides. Fee: $20 Ceramics Awards Committee, 10 Fl., 26 Nanking for 3 entries. Juror: Gearhart Knoedel, director, East Rd., Section 3, Taipei 104; e-mail Cranbrook Academy of Art. Awards: at least $3000. [email protected]; see website at Send SASE to Crafts National 34, Zoller Gallery, www.hcgtp.com.tw; telephone (886-2) 2506- 210 Patterson Bldg., Penn State University, Uni­ 8101, ext. 297; or fax (886-2) 2504-2208. versity Park 16802; or e-mail [email protected]. May 8 entry deadline March 15 entry deadline Omaha, Nebraska “Mixed Media II 2000” Eugene, Oregon “The Seductive Flame” (April (June 5-26). Juried from slides. Entry fee; $30 for 1-20), open to wood-fired ceramics. Juried from up to 3 slides; $5 for each additional slide. Cash 3 slides. Fee: $10. For prospectus, sendSASE to awards. For prospectus, send SASEto Period Gal­ Good Monkeys Gallery, 44 W. Broadway, Ste. lery, 5174 Leavenworth, Omaha 68106; e-mail 102-A, Eugene 97401; telephone (541) 686-2634. [email protected]; or telephone (402) Eugene, Oregon “Y2-HA” (April 1-20), open 556-3218. to works in any medium concerning the new June 2 entry deadline millennium. Juried from 3 slides. Fee: $10. For Sandton, Gauteng, South Africa “Altech Ce­ prospectus, sendSASE to Good Monkeys Gallery, ramics Biennale 2000” (September 22-October 44 W. Broadway, Ste. 102-A, Eugene 97401; or 14). Juried from slides. Entry fee: in South Africa, telephone (541) 686-2634. R150; APSA members, R50; international artists, March 24 entry deadline US$30. Jurors: Ian Calder, Hennie Meyer and Zanesville, Ohio “58th Annual May Art Show Kim Sacks. Award judge: Jeroen Bechtold. Awards: and Craft Exhibition” (May 7—J une 18). J uried from premier, SAR15,000 (approximately US$2445); slides. Entry fee: $20. For prospectus, send SASE to sculpture award, SA R10,000 (approximately Zanesville Art Center, 620 Military Rd., Zanesville US$1630); 3 merit awards, SA R5000 (approxi­ 43701; e-mail [email protected]; tele­ mately US$815) each. Contact the Association of phone (740) 452-0741; or fax (740) 452-0797. Potters of Southern Africa, PO Box 2900, North Greensburg and Youngwood, Pennsylvania Riding, 2162 Gauteng, RSA. Or contact APSA “Westmoreland Art Nationals—26th” (June 3- Secretary Cynthia McAlpine: [email protected] 18; and July 1-4), open to works in all media. telephone (27) 11 673 7893; fax (27) 11 673 6102. Juried from slides. Send legal-size SASE to West­ June 8 entry deadline moreland Art Nationals—26th, RD 2 Box 355 A, Omaha, Nebraska “Realism II 2000” (July 3- Latrobe, PA 15650; e-mail [email protected]; or 24). Juried from slides. Fee: $30 for up to 3 slides; telephone (724) 834-7474. $5 for each additional slide. Cash awards. For April 5 entry deadline prospectus, send SASE to Period Gallery, Lexington, Kentucky “Summer Open: Un- 5174 Leavenworth, Omaha 68106; e-mail Earthed Treasures: Ceremonial Vessels in Clay” [email protected]; or telephone (402) (June 23-July 30), open to tripod-form ceremo­ 556-3218. nial vessels by ceramists 18 years and older. Juried June 15 entry deadline from slides. Juror: Deborah Bedwell, ceramist/ Mashiko, Japan “The Mashiko International founder, executive director of Baltimore Clay- works. Fee: $25 for up to 3 entries; $35 for 4-6 For a free listing, submit announcements of entries. Awards: $1350. Send SASE to LAL Sum­ conferences, exhibitions, workshops and ju­ mer Open, 209 Castlewood Dr., Lexington 40505; ried fairs at least two months before the for further information, telephone (606) 254-7024. month of opening. Add one month for list­ April 7 entry deadline ings in July; two months for those in August. Southport, North Carolina “National Juried Mail to Calendar, Ceramics Monthly, PO Box Show” (June 19-July 29), open to 2- and 3- 6102, Westerville, OH 43086-6102, e-mail to dimensional works. Juried from slides. For prospec­ [email protected] or fax to tus, send SASE to Associated Artists of Southport, PO (614) 891-8960. Box 10035, Southport 28461. Continued

72 CERAMICS MONTHLY

Clark, the Dairy Barn, PO Box 747, Athens Maura Hempstead, Vermont Clay Studio, Rte. Call for Entries 45701; e-mail [email protected] ; see website at 100, Waterbury Center 05677; see website at www.dairybarn.org ; or telephone (740) 592-4981. www.vermontclaystudio.com; or telephone (802) May 15 entry deadline 244-1126, ext. 42. April 15 entry deadline Palmer Lake, Colorado “Holding My Heart” May 30 entry deadline Chester Springs, Pennsylvania “Studio Days (July 21-23), open to work about surviving men­ Philadelphia, Pennsylvania Three solo exhibi­ 2000” (September 15-October 7), open to func­ tal, sexual, physical abuse or trauma. Juried from tions (September 2000-August 2001), works may tional ceramics. Juried from5 slides (with SASE). slides. For prospectus, sendSASE to Tri-Lakes be mixed media, but clay must be primary me­ Entry fee: $20. Contact Studio Days 2000, Juried, Center for the Arts, PO Box 1154, Palmer Lake dium. Juried from 5 slides, resume and statement Chester Springs Studio, PO Box 329, Chester 80133; e-mail [email protected]; telephone of artistic intent. No entry fee. Contact the Clay Springs 19425; [email protected] ; tele­ Gale (719) 495-6852 or Karen (719) 481-2098; Studio, 139 N. Second St., Philadelphia 19106; phone (610) 827-7277. or fax (719) 481-5830. or telephone (215) 925-3453. April 21 entry deadline Waterbury Center, Vermont “I Scream, You May 31 entry deadline Athens, Ohio “The Vietnam War: Art Expres­ Scream...” (August 2-31), an exhibition of ice­ Middlebury, Vermont “National Show: Get a sions, Then and Now” (September 30-Novem- cream dishes. Juried from up to 3 slides. Jurors: Grip, Pottery with Handles” (August 1-Septem- ber 19), open to work that is directly or indirectly Ben Cohen, of Ben and Jerry’s, and Charlotte ber 11), open to inspiring functional ceramics influenced by the Vietnam War. Juried from Potok. Entry fee: $10. Awards: first place, 1-year- with handles. Juried from 3 slides. Juror: Karen slides (with SASE). Entry fee: $15. Contact Julie supply of ice cream. For prospectus, sendSASE to Karnes. Entry fee: $20. For prospectus, send SASE to Frog Hollow, National Show, 1 Mill St., Middlebury 05753; e-mail [email protected]; telephone Barbara Cunningham (802) 388-3177. June 1 entry deadline Manchester, Vermont “National Show: Tex- tured—Tactile Impressions” (September 1—Oc­ tober 30), open to work defined by texture, either by touch or perception. Juried from 3 slides. Juror: Denise Macksoud. Entry fee: $10. For prospectus, send SASE to Frog Hollow at the Equinox, PO Box 816, Manchester 05254; e-mail [email protected]; or telephone (802) 362-3321. June 9 entry deadline Denton, Texas “Ceramics USA 2000” (Octo­ ber 9—November 11). Juried from slides. Jurors: Ellen Shankin and Sandy Simon. Entry fee: $20. Cash and purchase awards. For prospectus, send SASE to Ceramics USA—Gallery Office, Univer­ sity of North Texas, PO Box 5098, Denton 76203-0098; e-mail [email protected] or [email protected] ; or telephone (903) 784-2354. June 15 entry deadline Mt. Pleasant, Michigan Wood-fired ceramics exhibition (October), open to functional work and sculpture. No entry fee; no commission. Juried from 10-20 slides (with SASE), resume and artist’s statement. For application, contact University Art Gallery, Central Michigan Uni­ versity, WI 132, Mt. Pleasant 48859; e-mail [email protected]. Boonton, New Jersey “It’s Raining Cats and Dogs” (October 1—31), open to craftworks depict­ ing images of cats and dogs. Juried from 5 slides. No entry fee. For prospectus/further information, send SASE to the MudWorks Co., 720 Main St., Boonton 07005. July 15 entry deadline Waterbury Center, Vermont “Emerging Artists of the US” (October 1-November 15). Juried from slides. Entry fee: $10. For prospectus, send SASE to Maura Hempstead, Vermont Clay Studio, Rte. 100, Waterbury Center 05677; see website at www.vermontclaystudio.com; or telephone (802) 244-1126, ext. 42. Regional Exhibitions April 7 entry deadline Kingston, Rhode Island “Earthworks: Open Juried Clay Annual” (April 13-May 7), open to current and former Rhode Island residents or students working in clay. Juried from actual work. Juror: Ellen Shankin. Fee: $10 per entry; mem­ bers, $8; up to 6 entries. Cash awards. For pro­ spectus, send #10 SASE to Earthworks, South County Art Association, 2587 Kingstown Rd., Kingston 02881. May 15 entry deadline Boise, Idaho “Idaho Creations in Clay” (July), open to past and present Idaho ceramists. Juried from 3 slides per entry. Fee: $25 for up to 3 entries; $20 for Idaho Potters Guild members. Cash awards. For prospectus, send SASEto Idaho

74 CERAMICS MONTHLY March 2000 75 Call for Entries

Potters Guild, 10550 Hill Rd., Boise 83703; or see website at netnow.micron.net/-gafergus/ipg.htm.

Fairs, Festivals and Sales March 10 entry deadline Madison, Wisconsin “Art Fair on the Square” (July 8-9). Juried from 4 slides (with SASE).Ju­ rors: Wendy Cooper, owner, Wendy Cooper Gallery, Madison; Hai-Chi Jihn, metalsmith/in- structor, University ofWisconsin-Milwaukee; Don Hunt, ceramist/teacher; and Betsy Tuttle, assis­ tant director, Gallery of Design, UW-Madison. Entry fee: $27. Booth fee: $290 for an 8x10-foot space. For further information, contact Art Fair on the Square, Madison Art Center, 211 State St., Madison 53703; e-mail [email protected]; or tele­ phone Nicole Allen, Art Fair on the Square coordi­ nator, (608) 257-0158. March 15 entry deadline Elkhart, Indiana*Art Expressions 2000” (June 24-25). Juried from 3 slides of work and 1 of display (with SASE). Entry fee: $15. Booth fee: $95 for a 12x12-foot space. For entry form, sendSASE to the Elkhart Art League, 511C Baldwin St., Elkhart 46514. March 17 entry deadline New Brunswick, NewJersey “26th Annual New Jersey Folk Festival” (April 29). Juried from slides. Entry fee: $5. Booth fee: $100. For application, contact Helen Grynberg (732) 932-9174; e-mail [email protected]; or download from website http://njfolkfest.rutgers.edu. March 31 entry deadline Clinton, Iowa “Art in the Park” (June 17). Juried from 4 slides of work plus 1 of display. Entry fee: $5. Booth fee: $65 for a 12xl2-foot space. No commission. Cash awards. For prospec­ tus, send SASE to Art in the Park, PO Box 2164, Clinton 52733; or telephone Carol Glahn (319) 259-8308. April 1 entry deadline South Norwalk, Connecticut*SONO Arts Cel­ ebration” (August 5-6). Juried from 4 slides of work plus 1 of booth. Entry fee: $15. Booth fee: $250. For further information, contactSONO Arts Celebration, c/o Exhibiting Arts Committee, PO Box 600, South Norwalk, CT 06856; tele­ phone (203) 866-7916. Moline, Illinois “Left Bank Art League 44th Annual Invititational Fine Arts Fair” (June 3-4). Juried from 3 slides and resume. Fee: nonmem­ bers, $90 for a 10x 12-foot space. No commission. Awards. For entry form, contactLBAL, c/o Charles Rubovits, Show Coordinator, 4022 Blackhawk Rd., Ste. 126, Rock Island, IL 61201; telephone/ fax (309) 794-1142. Northampton, Massachusetts “Paradise City Arts Festival” (October 7—9). Juried from 5 slides. For further information, contact Paradise City Arts Festival, 66 Northampton St., Easthampton, MA 01027; e-mail [email protected]; telephone (413) 527-8994; or fax (413) 527-8903. Morristown, New Jersey “24th Annual Morristown CraftMarket” (October 20-22). Juried from 5 slides. Fee: $20. For application, send SASE to Morristown CraftMarket-CM, PO Box 2305, Morristown 07962. Cambridge, Wisconsin “9th Annual Cambridge Pottery Festival and U.S. Pottery Games” (June 10-11). Juried from 4 slides. For further informa­ tion, see website at www.potteryfestival.com; or telephone Peggy at (608) 423-3780. April 3 entry deadline Fairjield, Connecticut “Fairfield Chamber of Commerce 38th Annual Outdoor Arts and Crafts

76 CERAMICS MONTHLY March 2000 77 Call for Entries

Show” (June 17-18). Juried from 6 slides or photos (with SASE). Booth fee: $100 for a 10x10- foot space; $175 for a 10x20. Awards: $400. Contact the Fairfield Chamber of Commerce, 1597 Post Rd., Fairfield 06430; e-mail [email protected]; or telephone Linda Matthews (203) 255-1011. April 5 entry deadline Chautauqua, New York “Crafts Festivals 2000” (July 7-9 or August 11-13). Juried from 3 slides of work plus 1 of booth display. Entry fee: $15 per show. Booth fee: $200 per show. For prospectus, send business-sizeSASE to De­ von Taylor, Festivals Director, Chautauqua Crafts Alliance, PO Box 89, Mayville, New York 14757-0089. April 15 entry deadline Lubbock, Texas “Third Annual Llano Estacado Winery Wine and Clay Festival” (June 10-11). Juried from slides. For further information, con­ tact Jana Hill, PO Box 5214 68th St., Ste. 306, Lubbock 79424; [email protected] ; or telephone (806) 798-7722. April 21 entry deadline Boston, Massachusetts “Crafts at the Castle” (November 30-December 3). Juried from 5 slides. Entry fee: $25. Booth fee: $600-$1200 for 8x10-, 10x10- or 10x20-foot space. For application, send name and address to Gretchen Keyworth, Crafts at the Castle, Family Service of Greater Boston, 31 Heath St., Jamaica Plain, MA 02130; e-mail [email protected]; see website at www.artfulgift.com/catc; or fax (617) 622-1091. April 24 entry deadline Alliston, Ontario, Canada “Arts by the River” (June 10-1 l),open to 2- and 3-dimensional work. Juried from slides or photos. Entry fee: Can$60 (approximately US$40). Awards. For application, contact Elsa Broder, (705) 435-3092 or (416) 423-8631; or download from website www.millpond.net. May 1 entry deadline Richmond, Virginia “Craft and Design Show” (November 10-12). Juried from 5 slides of work. Entry fee: $20. Booth fee: $350 for a 10x10-foot space;$540 for a 10x15; $700 for a 10x20. For application, contact the Hand Workshop Art Center, 1812 W. Main St., Richmond 23220; e-mail [email protected]; telephone (804) 353-0094; or fax (804) 353-8018. May 5 entry deadline Sarasota, Florida “ACC Craft Show Sarasota” (December 1-3). Juried from slides. Contact the American Craft Council, 21 S. Eltings Corner Rd., Highland, NY 12528; see website at www.craftcouncil.org; telephone (800) 836-3470; or fax (914) 883-6130. Charlotte, North Carolina “ACC Craft Show Charlotte” (December 8-10). Juried from slides. Contact the American Craft Council, 21 S. Eltings Corner Rd., Highland, NY 12528; see website at www.craftcouncil.org; telephone (800) 836-3470; or fax (914) 883-6130. May 21 entry deadline Mexico, Missouri “Fourth Annual Clay Days USA” (June 24-25). Juried from slides. Fee: $65; with electric, $75. For entry form, send SASE to Sandy Benn, 300 N. Coal, Mexico 65265; or telephone (573) 581-2100, ext. 49. June 1 entry deadline Mason City, Iowa “MacNider Museum Out­ door Art Market” (August 20). Juried from up to 5 slides. Entry fee: $40. Seven cash awards. For prospectus, contact Charles H. MacNider Museum, 303 Second St., SE, Mason City 50401; or telephone (515) 421-3666.

78 CERAMICS MONTHLY March 2000 79 crumbs of brick and other bits of stuff that Suggestions seem to accumulate at the bottom of a kiln. From Readers Duct tape is stickier than other tapes and grabs the crumbs well. With the tape loop around your hand, pat the kiln floor until no Replacing Peephole Plugs more crumbs come off Use as many pieces as Need to replace a peephole plug? The next it takes to clean your kiln.—-Joan Rothchild time you fire a bisque load in your electric Hardin, New York City kiln, simply shove clay into the peephole (allowing some excess to project from the side Cold Water Fix of the kiln). By the time the firing is done, A heating element from an old Pyrex you’ll have a new peephole plug that can be coffeepot is a fantastic tool for heating the used over and over.— Keofar Kesornsook, water in a 5-gallon bucket. The element Bangkok, Thailand hangs freely and safely off the inside wall of the bucket.—Cynthia Fair cloth Laugh lin, Extruder Saw Palo Pinto, Tex. I do much of my work using an extruder. A problem I used to have was holding the Stain Mixing extruded clay and cutting it off at the same When mixing small glaze or slip tests with time. I easily solved this by purchasing a stains, add the dry ingredients of the base and coping saw from the local hardware store and the stain together in a resealable plastic bag. replacing the blade with a piece of 24-gauge Mix by squeezing the bag until the contents galvanized wire. Because of the dimensions of are a uniform color. This ensures that the the saw, it is perfect for cutting the smallest to stain is distributed evenly throughout the the largest extruded forms. I can hold the test sample before water is added.—Pete form with one hand and cut with the other.— Sheremeta, San Jose, Calif. Joseph W. Kraatz, Oceanside, Calif. Fast Slab Mold Shrinkage Scale Instead of making one-piece plaster molds, A foolproof way of determining either the when the original form is made of metal, fired or thrown size of ceramic work is to use glass, wood or plastic, simply spray the a circular proportional scale, commonly used original with nonstick cooking oil, roll out a in the graphic arts. All you need to know is the slab of clay (make it firm) and press it onto percent of shrinkage for your clay. So for 10 the oiled form using a soft dry sponge. To inches (thrown size) at 15% shrinkage, the avoid curling or cracked edges, dry slowly scale reads 8½ inches (fired size). The ratio is under a plastic or damp cloth cover.— Tony shown for everything between 1 and 100. Januszewski, Chicago The numbers, of course, can be used for any unit of measure (inches, feet or centime­ Get a Grip ters).—Robert Brown, Miami, Fla. Handmade cut-off wires can be made more secure and easier to grip tightly by Globby Glue fastening the ends to large buttons or metal To reattach a broken bisqued or glazed curtain rings.—Judith Brunell, North Dart­ piece to the top of a pot, mix some thick glaze mouth, Mass. (a glob from the side of a bucket) with water- based white glue or carpenter’s glue. Use this A Slab of a Different Color mixture to “glue” the broken piece back into To create slabs with a limitless variety of place. After it dries, the pot may be refired to patterns, brush slips of different colors onto glaze temperature. your wedging board and allow them to be­ The glue makes the pot easier to handle come leather hard. Next, lay a slab of moist and load into the kiln. During the refiring, it clay over the design so that the slips are will burn away, and the glaze will fuse the transferred to the wet clay.—Andrew Francis, pieces together. Housatonic, Mass. This trick will not work for a piece broken from the side of a pot, though, as Cheaply Trapped the glue will burn off long before the glaze Using a large plastic bucket with a lid and can hold it in place.—Wayne Cardinally your existing plumbing, you can make a Etobicoke, Ont., Canada really cheap clay trap. Take the “J” pipe off of the sink drain, and cut a hole in the lid of the Kiln Critter Cleanup bucket to fit the diameter of the vertical sink A length of duct tape looped around your pipe. Cut a hole in the side of the bucket at the hand, sticky side out, is more effective than level of the wall pipe. Make sure the holes are anything else I’ve found for picking up the not bigger than the pipes. Silicon the bucket/

80 CERAMICS MONTHLY wall pipe joint after all parts are assembled (if the pipe is threaded, you can use pipe nuts and rubber gaskets or O-rings to seal the

join). Do not seal the lid and sink pipe, because you will need to remove the lid and slide it up the pipe to clean out the trap, using an old soup ladle.—Cathy Thompson- Schaworski, Hamilton, New Zealand

Raku-a-cue A great postreduction chamber for raku can be made from any old barbecue. Simply remove and seal any vents or ash removal holes and you have an excellent airtight cham­ ber that your pots will love.— Kirby Piazza, Newport Beach, Calif.

Pressing Issues Looking for different ideas for wall sculp­ ture for your own use or for students? Here is something to experiment with. Imprint your clay in large rocks or tree bark. A couple of years ago, I took a weekend class at Mendocino Art Center. The instruc­ tor had us carry a rolled out slab, on plywood, down to some large rocks by the ocean. We pressed the clay onto the rocks to get an impression, then gently peeled it off. These slabs were then glazed and fired. Since then, I have “branched out,” taking imprints from different types of trees and a large piece of grape vine. To support the impression while it dries, I put newspaper underneath.—Marjo Fitterer, San Francisco

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

March 2000 81 Canada, British Columbia, VancouverMarch 25 Calendar “Canadian Clay Symposium” will include lec­ tures and demonstrations with 12 ceramists, plus Events to Attend—Conferences, films and exhibitions. Fee: Can$74.90. Contact Exhibitions, Workshops, Fairs theShadbolt Centre for the Arts, (604) 291-6846. Canada, Ontario, Toronto May 26-28 “Shapes of Things to Come,” Fusion’s annual conference, will include workshops with Bruce Cochrane and Conferences Lana Wilson. Contact Fusion: The Ontario Clay and Glass Association, Gardener’s Cottage, 225 Alabama, Tuscaloosa March 1—5 “Alabama Clay Confederation Dr., Scarborough, Ontario MIG Conference” will include preconference wood fir­1B2; e-mail [email protected]; see website at ing, ancient firing with Vince Pitelka, demonstra­www.clayandglass.on.ca; telephone (416) 438- tions and collaborative work with John Baymore 8946; or fax (416) 438-0192. and Mel Jacobson, plus computer web work­ China, Guangdong Province, ShiwanMay 20— shops. Held in conjunction with “Alabama Crafts 25 “First Fushan International Ceramics Wood- 2000,” a broad-based crafts conference. For fur­ firing Conference” will include workshops, lec­ ther information or registration forms, contact tures, exhibitions, tours of pottery studios and a Georgine Clarke, Alabama State Council on the food festival. Participants will help fire an ancient Arts, Alabama Crafts 2000, 201 Monroe St., dragon kiln. Post-symposium travel will include Montgomery, AL 36130; telephone (334) 242- Jingdezhen, Wuhan, Xian, Chenlu, Handan and 4076, ext. 250; e-mail [email protected] . Beijing. For further information, contact China California, Los Angeles March 31-April ^Na­ Ceramic Cultural Exchange International Office, tional Art Education Association (NAEA) Con­ Jackson Lee, 14 Courtwright Rd., Etobicoke, vention. For further information, contact the Toronto, Ontario M9C 4B4, Canada; e-mail National Art Education Association, 1916 Asso­ [email protected]; or telephone (416) ciation Dr., Reston, VA 20191-1590. 695-3607. Colorado, Denver March 22—25 “Higher China, Jiangxi Province, JingdezhenMay 27—29 Ground,” 34th National Council on Education plus travel through June 18 “The Spirit of Porce­ for the Ceramic Arts(NCECA) conference. See lain, from Song Dynasty to Today” will include program preview and exhibition maps beginning lectures, workshops; plus tours of the Song kiln on page 115. Contact Regina Brown, Executive sites, kaolin and China stone mines, and studios. Secretary, NCECA, PO Box 1677, Bandon, OR Post-symposium travel will include Wuhan, Xian, 97411; telephone (800) 99-NCECA. Chenlu, Handan and Beijing. Fee: US$4300, Delaware, Winterthur March 31-April 1 “Ce­ includes conference fee, materials, round-trip air­ ramics in America” will include demonstration byfare, in-country travel, meals and lodging. Con­ Winnie Owens-Hart; lectures on such subjects astact China Ceramic Cultural Exchange Interna­ English slip-decorated earthenware, British delft, tional Office, Jackson Lee, 14 Courtwright Rd., Edgefield pottery, early 18th-century ceramics, Etobicoke, Toronto, Ontario M9C 4B4, Canada; Chinese export; and exhibitions. Fee: $200; mem­ e-mail [email protected]; telephone bers, $175; students, $100. For further informa­ (416) 695-3607. tion, contact the Information and Tours Office, Winterthur Museum, Winterthur 19735; tele­ Solo Exhibitions phone (800) 448-3883 or (302) 888-4600; or fax (302) 888-4953. Arizona, Scottsdale March 2—31 Mary Roehm, Maryland, Baltimore May 19-21 “How to De­ porcelain sculpture. Deborah Masuoka, new sculp­ sign Your Career Path” will include sessions on ture; at gallerymateria, 4222 N. Marshall Way. marketing-oriented topics for artists with Wendy California, San FranciscoMarch2-31 Rudy Autio, Rosen, Bruce Baker, Curtis Benzie, Tom sculpture.April 6-29 Beverly Mayeri, sculpture; Markusen, Courtney Peterson, and gallery own­ at Dorothy Weiss Gallery, 256 Sutter St. ers Donna Milstein and Steve Swan. Contact the Colorado, Boulder March 21-31 James Spiroff; Rosen Group: e-mail [email protected]; see at Smith-Klein Gallery, 1116 Pearl St. website at www.americancraft.com; telephone March 21-April 7^ Tim Berg, “Functional Por­ (410) 889-2933; or fax (410) 889-1320. traits”; at Koenig Alumni Center, University of New York, Alfred July 9-12 “Fractography of Colorado at Boulder, 1202 University Ave. Glasses and Ceramics IV.” For further informa­ Colorado, Denver through March 26 Charles tion, contact Dr. James Varner, Alfred University: Simonds. through October 1 Takashi Nakazato, telephone (607) 871-2414; fax (607) 871-2354; “Contemporary Pottery from an Ancient Japa­ or e-mail [email protected]. nese Tradition”; at the Denver Art Museum, 100 North Carolina, Asheboro March 3-5 “13th W. 14th Ave. Pkwy. North Carolina Potters Conference.” Contact the March 2-May 7 Scott Chamberlain, sculpture Randolph Arts Guild, PO Box 1033, Asheboro and drawings; at the Museum of Contemporary 27204-1033; telephone (336) 629-0399. Art, Denver, 1275 19th St., Sakura Sq. Virginia, Blacksburg May 19-21 “First Annual March 6—29Richard Notkin, “Passages”; at Philip New River Ceramics Symposium” will include J. Steele Gallery, Design Center Bldg., the Rocky discussions and demonstrations with Nickjoerling Mountain College of Art and Design, 6875 E. and Ellen Shankin. For further information, con­ Evans. tact David Crane: [email protected] ; or tele­ March 10-26Gzy\z Lemke; at Edge Gallery, 3658 phone (540) 231-5547. Navajo St. March 23-April 13 Trudy Evard Chiddix, ce­ For a free listing, submit announcements of ramic and glass sculpture; at Pismo Contempo­ conferences, exhibitions, workshops and ju­ rary Art Glass, 235 Fillmore St. ried fairs at least two months before the Colorado, Littleton March 3-April 14 Kim month of opening. Add one month for list­ Dickey; at Rule Modern and Contemporary, 111 ings in July; two months for those in August. Broadway. Mail to Calendar, Ceramics Monthly, PO Box March 22-25 Wasabura Takahashi, “Recent 6102, Westerville, OH 43086-6102, e-mail to Works from Japan”; at Jantzen Gallery, Art and [email protected] or fax to Design Center, Arapahoe Community College, (614) 891-8960. 2400 W. Alamo, Bldg. 100.

82 CERAMICS MONTHLY Connecticut, New Canaanthrough March 12 Marilyn Richeda, “With These Hands: Composi­ tions in Terra Cotta”; at Hays Gallery, Silvermine Guild Galleries, 1037 Silvermine Rd. Delaware, Winterthur through June 25 “T made this jar...’ The Life and Works of the Enslaved African-American Potter, Dave”; at the Winterthur Museum, Rte. 52. Illinois, ChicagoMarch 18-April23 Julia Gallo­ way; at Lill Street Gallery, 1021 W. Lill. Kansas, Emporia April 12-May 13 Keith Ekstam, sculpture; at Emporia Arts Center, 618 Mechanic St. Maryland, Baltimore through March 29 Daniel Cavey, vessels; at Elzeard Pottery, 602 S. Ann St. Missouri, St. Louis April 21-May 27 Marc Leuthold; at R. Duane Reed Gallery, 1 N. Taylor. Nevada, Reno through June 25 Fred Reid, “Song for My Father”; at Nevada Museum of Art, 160 W. Liberty St. New Mexico, AlbuquerqueMarch 3-31 Richard Garriott-Stejskal, “And, Another Thought,” stone­ ware sculpture; at the Harwood Art Center, 1114 Seventh St., NW. New Mexico, TaosMarch 18-April30Mary Cay, “Winter—Porcelain Landscapes”; at Dulcinea d’etienne, the Fine Art Gallery, 105C Quesnel St. New York, Alfred through March 30 ]ack Earl; at the International Museum of Ceramic Art, New York State College of Ceramics at Alfred University. New York, Port Chester March 3-27 Beverlee Lehr, “Sculptural Paintings in Glazed Stoneware”; at the Clay Art Center, 40 Beech St. New York, Rochester April 30-June 18 “The Stonewares of Charles Fergus Binns: Father of Ameri­ can Studio Ceramics”; at Memorial Art Gallery, University of Rochester, 500 University Ave. North Carolina, Charlotte March 3-31 Steve Welch, ceramic sculpture and photographs; at Gallery W.D.O., Ste. 610 at Atherton Mill, 2000 South Blvd. North Carolina, Raleigh March 4-31 Val McGaughey, ceramic tiles and fiber; at Collective Arts Gallery, 8801-103 Leadmine Rd. March 6-Apri19 Peter Callas sculpture; at North Carolina State University Craft Center. Oregon, Salem April 8-May 20 Heidi Preuss Grew, sculpture, drawings; at Hallie Ford Mu­ seum of Art, Willamette University, 700 State St. Pennsylvania, Pittsburgh through March 7 Megan Sweeney, sculpture,through March 29Craig Petey, wood- and gas-fired Shino ware. Judy Charlson, “Close Encounters,” figurative sculpture.March 10-Apri126 David Alban, sculpture; at the Clay Place Gallery, Mineo Bldg., 5416 Walnut St. South Carolina, Charleston through March 11 “Picasso Ceramics”; at Gibbes Museum of Art, 135 Meeting St. Texas, Lubbock through November James C. Watkins retrospective; at Texas Tech University Museum, Fourth St. and Indianola Ave. Wisconsin, Madisonthrough March 2 Ira Slatter, “Bound to Change,” ceramic installation; at Madi­ son Enterprise Center, 100 S. Baldwin. Wyoming, Cheyenne March 10-June 1 T. J. Storer, “Just the Beginning”; at Wyoming State Museum, Barrett Bldg., 2301 Central Ave. Group Ceramics Exhibitions California, Claremont through March 5 “Ce­ ramic Annual 2000: 56th Ceramic Annual”; at Ruth Chandler Williamson Gallery, Scripps Col­ lege, 11th and Columbia sts. California, La Canada-Flintridge April 8-May 4 “Trilogy II,” stoneware sculpture and functional work by Claude Hulce, Barbara Rog and Judy Springborn; at Descanso Gardens Gallery, 1418 Descanso Dr. California, San Diego through October 31 “The

March 2000 83 century Southeast Asian ceramics; at the CU Art Boulder Public Library Gallery, 1000 Canyon Rd. Calendar Galleries, University of Colorado at Boulder, March 17—May 7“North American Legacies”; at Sibell-Wolle Fine Arts Bldg. the Boulder Museum of Contemporary Art, 1750 March 1—31 “Contemporary Southeast Asian 13th St. Magic of Mata Ortiz,” with pottery from the Juan Ceramics”; at Indochine, 2525 Arapahoe Ave. March 21-April 25 “Wood, Salt, Soda,” func­ Quezada collection; at the San Diego Museum of March 3-April 7^ “Free Wheeling: Five Ceramic tional work by area artists; at Boulder Arts and Man, 1350 El Prado, Balboa Park. Masters from CU,” works by Aurore Chabot, Jane Crafts Cooperative, 1421 Pearl St. Colorado, Arvada through March 25 “NCECA Dillon, Andy Nasisse, Pete Pinnell and Ted Vogel; March 22-25 “Large-scale Clay,” works by John 2000 Regional Students Juried Exhibition.” at the Dairy Center for the Arts, 2590 Walnut St. Aaron, Kim Dickey, Caroline Douglas, Margaret through March 26 “Time in Tandem: Nan and March 6—April 1 “Three Views on Use,” work by Haydon, Mark Hodgkinson and students from James McKinnell Retrospective”through April 2 Julia Galloway, Tschai Johnson and Liz Colorado University; at the Boulder Dushanbe “A Glimpse of the Invisible,” NCECA 2000 invi­ Quackenbush; at the University Memorial Center Teahouse, 1770 13th St. tational exhibition; at Arvada Center for the Arts Art Gallery, Broadway and Euclid. Colorado, BreckenridgeMarch 10—26 “Wood- and Humanities, 6901 Wadsworth Blvd. March 6-April7“Dorit Fence Me In,” landscape- fired Ceramics” by Dan Anderson, Frank Boyden, Colorado, Aurora through April 72“Y2Klayat DIA”; inspired ceramics by Maureen Pahlman West and Doug Casebeer and Peg Malloy; at Hibberd at the Denver International Airport, 6th level. Matt West; at Leanin’ Tree Museum of Western McGrath Gallery, 101 N. Main St. Colorado, Boulder through March 22 “A Dew- Art, 6055 Longbow Dr. Colorado, Colorado Springs through April 19 drop Poised Atop a Leaf of Grass,” 15th—17th- March 17-April 10 “Clay for the Table”; at the “On the Wall, A Clay Invitational,” works by 14 artists; at the Coburn Gallery, Colorado College, 14 E. Cache La Poudre St. Colorado, Denver through May 75“TheTzedakah Box Invitational: Colorado Ceramic Artists.” “Ceramics by Colorado Middle and High School Students”; at Mizel Museum of Judaica, BMH BJ Synagogue, 560 S. Monaco Pkwy. through August 27 “The Clay Vessel: Modern Ceramics from the Norwest Collection, 1890— 1940”; at the Denver Art Museum, 100 W. 14th Ave. Pkwy. March 1-April 1 “Justifying the Means: Cold- finished Sculptural Ceramics”; at Redshift Gal­ lery, 2201 Larimer St. March 3-31 “Kansas State University: Past and Present”; at 8 oz. Fred Gallery, 26 Broadway. March 9-April 22 “High Degrees: Ceramics by Colorado Art Faculty”; at the Metropolitan State College of Denver, Center for the Visual Arts, 1734 Wazee St. March 10-26“Karon Doherty Memorial Invita­ tional,” works by former students; at Spark Gal­ lery, 1535 Platte St. March 10-26 Ceramic installation by Rebecca Hutchinson and Janet Williams; at Edge Gallery, 3658 Navajo St. March 12-April 1 “USA-Chinese Contemporary Ceramic Art Exhibition.” “Conceptions in Clayworks—Korea 2000”; at Indigos Gallery, 215 W. 13th Ave. March 17-April 9“ Clay Show”; at Core: New Art Space, 2045 Larimer St. March 17-April 22 “Glazed Visions,” works by John Aaron, Heather Bussey, Martha Daniels, Margaret Haydon and Georgia Sartoris; at Will­ iam Havu Gallery, 1040 Cherokee St. March 18-19 and 25-26“Dangerous Serenity,” work by Steve Gordon, Melody Sealman; at Flux Art Group/Flux Gallery, 2690 W. Barberry PL March 21-April 25 “Plural Readings”; at the Uni­ versity of Denver, School of Art and Art History Gallery, 2121 E. Asbury Ave. March 22—25 “Third Annual K-12 Ceramic Ex­ hibit.” March 23-24“ The Extruder Experience”; at the Adam’s Mark Hotel. March 22 and 24—26“ The Vase”; at Roundtree Art, 2942 Welton St. March 22—April 28 “Hair Today Gone Tomor­ row,” works by the Bald-headed Potters Associa­ tion of America; at Artists on Santa Fe Gallery, 747 Santa Fe Dr. March 23-April 13 “Clay Surfaces”; at Pismo Contemporary Art Furniture, 2727 E. Third Ave. Colorado, Evergreen March 15-April20 “Rocky Pots,” functional/nonfunctional forms by Colo­ rado artists; at Evergreen Gallery, 105 Main St. Colorado, Golden March 18-May 7 “Colorado Clay”; at the Foothills Art Center, 809 15th St. Colorado, Greeley March 2-April2“Clzyworks”', at Tointon Gallery, 651 10th Ave. Colorado, Lakewood March 18-April 1 “ATouch

84 CERAMICS MONTHLY of Porcelain”; at Red Rocks Community College tion,” works by Stephen De Staebler, Jack Earl, New York, Fredonia through March 31 “Sculp­ Gallery, 13300 W. Sixth Ave. Robert Turner, Peter Voulkos, Betty Woodman ture in Clay,” works by Rick Hirsch, Nancy Jurs, March 18-April 15 “Thick as a Brick, by the Flu,” and Eva Zeisel; at the Northern Clay Center, Bill Stewart and Robert Wood; at the Rockefeller ceramics by artists from Saskatchewan, Manitoba 2424 Franklin Ave., E. Arts Center Gallery, State University College. and Alberta, Canada; at Red Rocks Community Missouri, Kansas City March 3-April 22 “Flora New York, Irvington through March 5 “Clay College, Learning Access Resource Center. and Fauna,” curated exhibition ofworks by Adrian Shapers,” works by Ann Christenson, Gloria Colorado, Littleton March 15-31 “Rocky Moun­ Arleo, Cary Esser, Neil Forrest, Ovidio C. Giberga, Kosco, Linda Kuehne, Ingrid Lilligren, Eva Melas, tain Region Cooperative Members Exhibition”; Marilyn Lysohir, Keisuke Mizuno, Adelaide Paul Sylvia Netzer, Marilyn Richeda, Barbara at the Littleton Town Hall Art Center Gallery. and Chris Weaver; at the Kansas City Art Insti­ Rittenberg and Cheryl Tall; at the Gallery on the March 22-April 20 “Archie Bray Foundation: tute, 4415 Warwick Blvd. Hudson, 1 Bridge St., Ste. 126. Current and Colorado”; at the Colorado Gallery New Mexico, Las CrucesApril 7-May 7 “From New York, New York through March 25 “Artists of the Arts, Arapahoe Community College, 2500 the Ground Up Exhibition XIX”; at the Branigan on Their Own,” juried exhibition of works by W. College Dr. Cultural Center, Museum of Fine Art, 500 N. emerging artists. April 13—May 27“S ublime Serv­ March 24-April 24 “Contemporary Colorado Water St. ers: Theatrical Possibilities for the Table”; at Jane Ceramics”; at Howell Cole Gallery, Tamarac Sq., New York, Albany through September 13 “From Hartsook Gallery, Greenwich House Pottery, 16 7777 E. Hampden. the Collections: The Weitsman Stoneware Col­ Jones St. Colorado, Palmer Lake March 15-April 15 lection”; at the New York State Museum, Empire New York, Nyack April 1-22 “Clay on Clay,” “Richards Feast,” ceramic tableware; at Tri-Lakes State Plaza. works by Woody Hughes, Gail Kendall, Jeff Center for the Arts, 304 Hwy. 105. Colorado, Saguache March 10-June 30 Ex­ change exhibition of wood-fired stoneware by Eileen Keane, Taiki Kuroda, Blair Meerfeld and Marty Mitchell; at Meerfeld Stoneware Gallery, US Hwy. 285. Colorado, Westminster March 21— “Colorado Instructors in Clay,” juried exhibition; at the Westminster City Park Recreation Center Pottery Studio, 10455 Sheridan Blvd. Connecticut, Brookfield through March 26 “Neriage, Nerikomi and Beyond: Color in Clay,” with works by 13 artists; at Brookfield Craft Center, 286 Whisconier Rd. Delaware, Winterthur March 30-September 10 “The Longridge Collection of English Slipware and Delftware”; at Winterthur Museum, Rte. 52. Illinois, Elmhurst April 4-May 28 “Elmhurst Art Museum 3rd Annual Competition,” juried exhi­ bition of ceramics; at Elmhurst Art Museum, 150 Cottage Hill Ave. Kansas, Baldwin City through April 7“The 2000 International Orton Cone Box Show”; at Baker University. Louisiana, Thibodaux through March 25 “Utili­ tarian Ceramic National”; at Ameen Art Gallery, Nicholls State University. Maryland, Baltimore March 4-April 1 Silvie Granatelli and Michael Simon; at Baltimore Clayworks, 5706 Smith Ave. Maryland, Frederick March 30-April 30 “Fire and Glass: A Ceramics Invitational,” works by 14 artists; at the Delaplaine Visual Arts Center, 40 S. Carroll St. Maryland, Rockville through March 10 “Beau­ tiful Use: A National Pottery Invitational,” with works by Linda Arbuckle, Lynn S. Bowers, Linda Christianson, Louise Harter, Peg Malloy, Matthew Metz, Lisa Naples, Jeff Oestreich, Neil Patterson and Linda Sikora; at the Mont­ gomery College Rockville Campus Art Gallery, South Campus Instructional Bldg., Rms. 117 and 118. Massachusetts, IpswichApril 8-30 Pottery by Steve Ward and Laura Verrette; at Ocmulgee Pottery and Gallery, 317 High St., Rte. 1A. Massachusetts, WorcesterMarch 31-April 29 “Table Talk: Three Voices in Clay,” pottery by Julie Crosby, Robbie Lobell and Liz Lurie; at the Worcester Center for Crafts, 25 Sagamore Rd. Michigan, Detroit April 21-June 3 “Animal Theme Show”; at Pewabic Pottery, 10125 E. Jefferson at Cadillac. Michigan, FlintApril 14—May 5“Slippage,” work by Guy Adamec, Sarah Clark, John Gargano, John Glick, Craig Hinshaw, Marlene Pellerito, David Smallidge, John Stephenson and Susanne Stephenson; at Buckham Fine Arts Gallery, 134½ W. Second St. Minnesota, Minneapolis March 3—April 15 “1999-2000 Regis Masters Series: The Exhibi­

March 2000 85 Maureen Pahlman West and Matt West; at the Calendar Wyoming Arts Council Gallery, 2320 Capitol Ave. Ceramics in Multimedia Oestreich, Sandi Pierantozzi, Hunt Prothro, Steven Exhibitions Rushefsky; at the Klay Gallery, 65 S. Broadway. New York, RochesterMarch 3-April 1 “Porcelain Alabama, Mobile through April 5 “Stop Asking/ 2000”; at Esmay Fine Art, 1855 Monroe Ave. We Exist: 25 African-American Craft Artists”; at North Carolina, Asheville through March 25“Ar­ the Mobile Museum of Art, 4850 Museum Dr. chitectural Ceramics: Building with Clay,” works Arizona, Mesa through April 5 “Larger than Life,” by Diana Gillispie, Gloria Kosco, Heinz Kossler, three-person exhibition including large-scale ce­ LDDK-Studios, Ken Sedberry, Paul Sires, Carol ramic figures by Patti Warashina; at Galeria Mesa, Stangler, Mimi Strang and Kathy Triplett; at the Mesa Arts Center, 155 N. Center St. Odyssey Gallery, 242 Clingman Ave. Arizona, Phoenix through May 28 “Three Chi­ North Carolina, Raleigh April 8-30 Functional nese Traditions—Three Arizona Collections,” in­ and decorative ceramics by gallery artists; at Col­cluding 21 black- and brown-glazed pieces, dated lective Arts Gallery, 8801-103 Leadmine Rd. 400-1400; at the Phoenix Art Museum, 1625 N. North Carolina, Winston-Salem through March Central Ave. “Presidential China Exhibit”; at the Gallery at Arkansas, Little Rock through April 19 “Living Old Salem, Frank L. Horton Museum Center, with Form: The Horn Collection of Contempo­ 924 S. Main St. rary Crafts”; at the Arkansas Arts Center, Ohio, Columbus through April9 “Contemporary MacArthur Park, Ninth and Commerce. Ceramics 1999: The Work of African-American California, Rancho Palos VerdesMarch 10—Sep­ Ceramics Artists”; at the Ohio Craft Museum, tember 10“Big Sculpture”; at the Palos Verdes Art 1665 W. Fifth Ave. Center, 5504 W. Crestridge Rd. Ohio, Wooster March 20-April 15 The 27th California, SacramentoApril5-29“ Women Con­ annual “Functional Ceramics Exhibition,” with suming, Women Consumed”; at MatrixArts, 1518 works by 20 potters; at the Wayne Center for the Del Paso Blvd. Arts, 237 S. Walnut St. California, San Diego through 2001 “Folk Art of Oregon, Eugene through March 15 “Our Hearts Mexico”; at the Mingei International Museum, Love and Passion.” April 1—20 “The Seductive Balboa Park, 1439 El Prado. Flame,” wood-fired ceramics; at Good Monkeys California, San Franciscothrough March 26“ Reli­ Gallery, 44 W. Broadway, Ste. 102-A. quaries for America”; at the San Francisco Craft Pennsylvania, Erie through March 5 “Poems in and Folk Art Museum, Bldg. A, Ft. Mason. Clay: Arthur Osborne’s ‘Plastic Sketches’ for the California, Santa Cruz through April 16“A Sur­ Low Art Tile Works,” low-relief, sculptural clay vey: Two Artists in Mid Career,” with pottery and images produced in the 1880s; at the Erie Art sculpture by Karen Thuesen Massaro; at the Mu­ Museum, 411 State St. seum of Art and History, McPherson Center, 705 Pennsylvania, Lancaster April 14—June 11 “8th Front St. Annual Strictly Functional Pottery National”; at Colorado, Boulder March 21-31 “Form as Func­ the Lancaster Museum of Art, 135 N. Lime St. tion,” ceramics and glass; at MacLaren Markowitz Pennsylvania, Philadelphia March3-26“ Terra,” Gallery, 1011 Pearl St. works by Hungarian sculptors. April 7—30 March 21-June 10 “Celestial Seasonings: A Loose “Choices,” works by Linda Christianson, Barbara Interpretation,” 30 teapots in clay, glass, metal Grygutis, Richard Notkin, Don Reitz and Gerry and wood; at Celestial Seasonings headquarters, Williams; at the Clay Studio, 139 N. Second St. 4600 Sleepytime Dr. Pennsylvania, Pittsburgh March 31-May 2^Mat- Florida, Palm Beachthrough April 5 “Empire of thew Metz and Linda Sikora, functional ceramics; the Sultans: Ottoman Art from the Khalili Collec­ at the Clay Place, 5416 Walnut St. tion”; at the Society of the Four Arts, Four Arts Texas, Abilene March 1-31 'Light and Color,” Plaza. works by Michael Haley and Susy Siegele; at Amy Florida, Tampa through March 30 “ 11 th Annual Graves Fine Art Gallery, McMurry University. Black and White, shades of gray Exhibition”; at Texas, Dallas through March 5“Emerging Voices,” Artists Unlimited, 223 N. 12th St. curated exhibition of works by 13 ceramists; at Georgia, Atlanta through March 25“ Spruill Retro: 500X Gallery, 500 Exposition. 1975-2000”; at the Spruill Center for the Arts, Texas, San Angelo April 13-May 18 “The Thir­ 5339 Chamblee Dunwoody Rd. teenth San Angelo National Ceramic Competi­ March 24—May Two-person exhibition includ­ tion”; at the San Angelo Museum of Fine Arts, 1 ing ceramics by Diane Kempler; at Right Brain Love St. Art Gallery, 664 N. Highland Ave. Vermont, Waterbury Center March 1-31 “Func­ Hawaii, Honolulu through April / ^“Contempo­ tional Coastal: A Representation,” works by Maine rary Japanese Crafts.” March 16—July 30“Mystery artists. April 1-29 “Vessels that Pour,” juried of the Nile: Treasures from Ancient Egypt”; at exhibition; at the Vermont Clay Studio, Rte. 100. Honolulu Academy of Arts, Second Floor Gallery. Virginia, Charlottesville through March 19 “Ex­ Illinois, ChicagoApril 2-May 15 “Teapots for the panded Visions,” ceramics from the 1970s—80s by21st Century”; at Chiaroscuro Gallery, 700 N. Robert Brady, Jack Earl, Viola Frey, David Gilhooly,Michigan Ave. Ken Little, Michael Lucero, Steven Montgomery, Illinois, Galesburg March 11-April 8 “GALEX JudyMoonelis, Ron Nagle, Arthur Nelson, Lucian 34”; at the Galesburg Civic Art Center, 114 E. Pompili and Richard Shaw; at the Bayly Art Main St. Museum, University of Virginia, Rugby Rd. Indiana, New Harmony through March ISTwo- Washington, Seattle through May 7 “Porcelain person exhibition including ceramics by Donald Stories: From China to Europe”; at the Seattle Art Stahlke; at New Harmony Gallery of Contempo­ Museum, 100 University St. rary Art, corner of Church and Main sts. Wisconsin, HudsonMarch 18-May 7“MacKenzie Iowa, Sioux City through April 9 “Sioux. City Art and Johnston: 83 Years of Pots,” functional ware Center Juried Exhibition”; at Sioux City Art Cen­ by Randy Johnston and Warren MacKenzie; at ter, 225 Nebraska St. the Phipps Center for the Arts, 109 Locust St. Kansas, WichitaMarch 1—April 5 “Art Show at Wyoming, Cheyenne March 6—April 21 “Don’t the Dog Show”; at the Foyer Gallery, Century II Fence Me In,” landscape-inspired ceramics by Convention Center.

86 CERAMICS MONTHLY March 1-April5 “Art Show at the Dog Show”; at Fairs, Festivals and Sales Patrick S. Crabb. Fee: $45; members, $40. Con­ CityArts Gallery, 225 W. Lewis. tact Mt. San Jacinto College/Fine Art Gallery, April 7-9 “Art Show at the Dog Show”; at the Alabama, Dauphin Island March 11-12 “Fifth 1499 N. State St., San Jacinto 92583; or tele­ Sunflower Cluster Dog Shows, Kansas Coliseum. Annual Art and Craft Guild Juried Show”; at the phone (909) 487-6752, ext. 1531. Louisiana, Lafayette March 9-April 25 National Little Red Schoolhouse. D.C., Washington April 27—30 “Smithsonian juried exhibition of 2- and 3-dimensional art; at Arizona, Phoenix March 3-5 “The Phoenix An­ Craft Show 2000”; at the National Building the Lafayette Art Association, 412 Travis St. tique and Art Show”; at the Phoenix Art Museum, Museum, 401 F St., NW. Massachusetts, Belmontthrough March 10*Ab­ Cummings Great Hall, 1625 N. Central Ave. Georgia, Atlanta March 18-19 “ACC Craft Show stract Landscapes in Clay and Fiber,” two-person California, Daly City March 24-26 The “Con­ Atlanta”; at the Georgia Dome. show including sculptural pottery by Dan Wiener; temporary Crafts Market”; at the Cow Palace, Illinois, ChicagoApril 28-30 “ACC Craft Show at Landau Gallery, Belmont Hill School. 2600 Geneva St. Chicago”; at Navy Pier. Massachusetts, WorcesterMarch 24-April 29 California, San Diego March 11 Throwing and Massachusetts, MarlboroughMarch 17-19*Para­ “New Traditions 2000,” works by workshop pre­ altering with Kevin Meyers. Fee: $40; CASD mem­ dise East Arts Festival”; at the Royal Plaza Trade senters, including ceramics by Dan Anderson; atbers, $35. Location: Mesa College. Contact Sabine Center. the Worcester Center for Crafts, 25 Sagamore Rd. Nguyen Hort, 14721 Fairtree Terr., Poway, CA Minnesota, Bloomington May 5— 7American Art Minnesota, St. Cloud March 4-31 “What Is 92064; or telephone (858) 486-8644. Pottery Association auction/sale. Auction is free; Art?”; at the Paramount Theatre, 913 W. St. California, San JacintoApril 15 A demonstration sale: $5; at Radisson Hotel South, northwest Germaine St. on handbuilding/wheel throwing vessels with corner of highways 494 and 100.Continued Missouri, St. Louis through May 1 “The Really Big Shoe Show”; at City Museum, N. 15th St. Missouri, Springfield through August 1 “Outdoor Sculpture Competition”; at the Open Air Sculp­ ture Gallery, Federal Historic District. Montana, Helena March 24-April 30 Two- person exhibition with ceramic sculpture by Adrian Arleo; at the Holter Museum of Art, 12 E. Lawrence St. New Mexico, Santa Fethrough April 21 “New Mexico 2000,” with stoneware by Katheleen Nez; at Museum of Fine Arts, 107 W. Palace Ave. New York, Albany through September 13 “From the Collections: Treasures from the Wunsch Americana Foundation”; at the New York State Museum, Empire State Plaza. New York, New York through March 24 “Cel­ ebrating the Dragon”; at Taipei Gallery, McGraw- Hill Bldg., 1221 Avenue of the Americas. March 15—April 30 Exhibition of tea-ceremony utensils and meditation pieces made of clay, pa­ per, fiber or wood; at Dai Ichi Arts, 24 W. 57th St., Ste. 607. North Carolina, Carrboro through March 31 “Y 2000 Design and Spirit”; at Green Tara Gallery, 118 E. Main St. North Carolina, Charlotte through September 17 “An Inaugural Gift: The Founders’ Circle Collec­ tion”; at the Mint Museum of Craft + Design, 220 N. Tryon St. Ohio, Cleveland March 19-May 28 “Ink Paint­ ing and Ash-Glazed Ceramics: Medieval Calligra­ phy, Painting and Ceramic Art from Japan and Korea”; at the Cleveland Museum of Art, 11150 East Blvd. Oregon, Eugene March 15—31 “I Am Mighty Victory.” April 1-20 “Y2-HA,” juried show cel­ ebrating the millennium; at Good Monkeys Gal­ lery, 44 W. Broadway, Ste. 102-A. South Carolina, Columbia through March 19 “100 Years/100 Artists: Views of the 20th Cen­ tury in South Carolina Art,” including ceramics by Virginia Scotchie; at the South Carolina State Museum, 301 Gervais St. Texas, Dallas through March 19 “Irish Festival Juried Art Exhibition”; at Gallery O, 817 Exposi­ tion Ave. Texas, Houston through May 7“The Golden Age of Chinese Archaeology: Celebrated Discoveries from the People’s Republic of China”; at the Museum ofFineArts, Houston, 1001 Bissonnet. Texas, San Antonio April 13-May 27*All-School Exhibition 2000”; at the Southwest School of Art and Craft, 300 Augusta St. Virginia, Alexandria March 10—26 “Fiber and Fire”; at Del Ray Artisans Gallery, Nicholas A. Colasanto Center, 2704 Mt. Vernon Ave. Wyoming, Riverton March 6-April /^“Exhibi­ tion 2000,” juried show of works in all media; at Central Wyoming College, 2660 Peck Ave.

March 2000 87 participants. Location: Anasazi Heritage Center. Calendar Contact Clint Swink, 688 Raven Ridge, Bayfield, CO 81122; e-mail [email protected]; see website atwww.swinkart.com; or telephone/fax (970) Minnesota, St. Paul April 14—16 “ACC Craft 653-4624. Show St. Paul”; at Exhibit Hall, RiverCentre. Connecticut, BrookfieldMarch 4-5 “Colored New Jersey, Tinton Falls April £-72“Monmouth Clay” with Naomi Lindenfeld. March 11 “Ma­ Festival of the Arts”; at Monmouth Reform jolica” with Mary Lou Alberetti. April 29—30 Temple, 332 Hance Ave. “Paper Kiln and Low-temperature Salt” with Ri­ New York, New York March 23—26 “Arts of chard Launder.May 6—7“ Raku-firing Techniques” Pacific Asia”; at the 69th Regiment Armory, Lex­with Kristin Muller. May 13—14 “Handbuilding ington Ave. at 26th St. in the Garden” with Anna Siok. Contact the North Carolina, Seagrove April29 “Going, Go­ Brookfield Craft Center, PO Box 122, Rte. 25, ing, Gone,” live and silent auction. Fee: $35. For Brookfield 06804; or telephone (203) 775-4526. further information or to purchase tickets, tele­ Connecticut, GuilfordMarch 25—26“Throwing phone the North Carolina Pottery Center, (336) Multiple Forms” with John Jessiman. Contact the 873-8430; or fax (336) 873-8530. Guilford Handcraft Center, 411 Church St., Oregon, Portland May 5-7“Ceramic Showcase,” Guilford 06437; or telephone (203) 453-5947. sale of works by members of the Oregon Potters Delaware, Rehoboth BeachMay 27-28 “Hand­ Association; at the Oregon Convention Center, built Vessels and Surface Decoration” with Maman 777 N.E. Martin Luther King Jr. Blvd. Rikin. May30—31 “Ceramic Banquet” with Marie Texas, San Antonio April 22-23 “Fiesta Arts Cavallaro, creating forms that reflect food (third Fair”; at the Southwest School of Art and Craft, day of session will be decided by class and instruc­ 300 Augusta St. tor). For further information, contact the Rehoboth Art League, 12 Dodds Ln., Henlopen Workshops Acres, Rehoboth Beach 19971; telepone (302) 227-8408; or fax (302) 227-4121. Arizona, Holbrook March 10-12, April 7—9 or Florida, Sarasota April 4-6 or May 9-11 “Tile May 5—7“Hands-on Archaeological Excavation” Making Workshops for the Experienced Clay with Dr. Bill Hozie. March 17-19, April28-30 or Worker” with Frank Colson, relief carving, strik­ May 12-14 “Ancient Ceramic-making Tech­ ing molds and various glazing techniques. Con­ niques” with Michael Peter Hawley. Fee/session: tact the Tile Heritage Foundation, PO Box 1850, $98; non-Arizona residents, $122; includes mate­ Healdsburg, CA 95448; fax (707) 431-8455; or rials and 1 credit hour. Contact the Museum of e-mail [email protected]. the Americas, (888) 830-6682. Florida, West Palm BeachMarch 6—11 “Shades California, Mendocino March 4—5 “Realizing of Shino” with Malcolm Davis. For further infor­ and Exploring Your Creativity Through Throw­ mation, contact the Robert and Mary Montgom­ ing” with Ruthanne Tudball. March 18—19 ery Armory Art Center, 1703 S. Lake Ave., West “Specific and Simple Techniques of Mold Mak­ Palm Beach 33401; [email protected] ; ing” with Krista Grecco.March 25-26“T'\\t Ac­ see website at www.armoryart.org ; or telephone cents” with Leslie Campbell.April 1—2 “Back to (888) 276-6791 or (561) 832-1776. Basics” with Sasha Makovkin.April 8—9 “Figura­ Florida, Winter Park March 10-12 “Whimsical tive Sculpture” with Catherine Merrill.April 15— Clay—By Wheel, By Hand” with Vincent 16“M\ Fishermen Lost at Sea Become the Bones Sansone. Fee: $125; members, $110. Registration of the Fish They Seek: Masks and Monsters of the deadline: March 3. Contact Crealde School of Deep” with Bill Abright. April 29—30 “The Ce­ Art, 600 St. Andrews Blvd., Winter Park 32792; ramics Canvas” with Brian Higgins.May 6—10 see website at www.crealde.org; or telephone (407) “Centering and the Creative Flow” with Ellen 671-1886. Miller and Gary Sherman. May 20-21 “Kiln Illinois, ChicagoMarch 18 “Utilitarian Pottery” Building” with Paul Soldner. May 27-29 “Atmo­ with Julia Galloway. Fee: $60, includes lunch. spheric Firing” with Kent Rothman. For further Telephone Lill Street Gallery, (773) 477-6185; or information, contact the Mendocino Art Center, see website at www.lillstreet.com. PO Box 765, Mendocino 95460; see website at Iowa, Riverside April 10—15 “Persian Tile and www.mendocinoartcenter.org; telephone (800) Design” with Jafar Mogadam, working with the 653-3328 or (707) 937-5818. Persian tile-making process known as Ghlami California, San Diego May 6—7 “Three Tech­ using underglazes and majolica techniques. All niques in Tile Painting” with Zen painter Rose­ skill levels. Contact the Tile Heritage Founda­ mary Kimbal, airbrush painter Chelsea McGraw tion, PO Box 1850, Healdsburg, CA 95448; and majolica painter Irene de Watteville. For e-mail [email protected]; or fax (707) further information, contact the Tile Heritage 431-8455. Foundation, PO Box 1850, Healdsburg, CA Kentucky, Highland Heights March 17-18“Cva.h 95448; [email protected] ; or fax in the Future” will include demonstrations by (707) 431-8455. artists in various media, such as tile construction Colorado, Denver March 75Lecture with Heather methods with Kate Inskeep and altering thrown Bussey and Margaret Haydon. March 21 “Trans­ forms with Brad Schwieger. Contact the Ken­ formations in Clay” lecture with Martha Daniels. tucky Art and Craft Foundation, (800) 446-0102. March 25Lecture with Richard Bell, TraceyHeyes, Maine, Portland April 14 or May 6 “Raku Work­ Jim Robison and David Van Gilder. March 29 shop,” participants should bring up to 4 medium “Critics Cry Out,” discussion with art critics. pots. Fee: $35. Contact Portland Pottery, 118 Contact William Havu Gallery, (303) 893-2360. Washington Ave., Portland 04101; or telephone March 19-21 “Shino, Surface Design and Single­ (207) 772-4334. fire Workshop” with Malcolm Davis, Lynn Smiser Maryland, Baltimore March 4—5 Demonstration Bowers and Steven Hill. Fee: $125 for 3 days; $55 with Sylvie Granatelli and Michael Simon. Fee: for 1 day. Limited space. Contact Laguna Clay $180; members, $160. April8-9“Hands, Smoke Company, (800) 452-4862, ext. 200. and Fire: A Raku and Pit-fire Workshop” with Colorado, near Dolores May 14-21 “Mesa Verde Ramon Camarillo. Fee: $160; members, $140. Black-on-White” with Clint Swink and Carol Contact Baltimore Clayworks: see website Taylor, replicating Anasazi pottery. Fee: $325, www.baltimoreclayworks.org; or telephone (410) includes materials. All skill levels. Limited to 20 578-1919.

88 CERAMICS MONTHLY Maryland, Frederick March 3 “Influences and Missouri, Kansas City April 1—22, SaturdaysM&s- New Jersey, Jersey City March 4 and 11 or March Connections,” lecture with Sheila Hoffman. Fee: ter class with Malcolm Davis.April 29—30 A 18 and 25 “Raku Workshop.” Contact NY/NJ $5. March 31 “Search for Form,” lecture with session with Nick Joerling. Fee: $90. Contact Academy of Ceramic Art, 279 Pine St., Jersey City Robert Turner. Fee: $5. April 6-7 and 9 “Salt- Steven Hill, Red Star Studios, 821 W. 17th St., 07304; e-mail [email protected]; telephone (201) firing Workshop” with Ian Gregory and Phil Kansas City 64108; e-maii [email protected]; 432-9315; or fax (732) 661-3090. Rogers. Fee: $195.May 4— 7 “Masters Throwing or telephone (816) 474-7316. NewJersey, Red Bank^pr/l 14-15“China Paint­ Workshop” with Joyce Michaud. Fee: $195.May Montana, Helena April 15—16 “Brushes with a ing on Tiles” with Pat Ellson, introduction to 12—14 “Working with Porcelain” with Patty Flare: The Art of Creating Custom Handmade color layering and multiple firings. For further Wouters. Fee: $145. Contact Hood College Ce­ Brushes” with Glenn Grishkoff. Fee: $ 100. May 6 information, contact the Tile Heritage Founda­ ramics Program, 401 Rosemont Ave., Frederick “Glaze Chemistry” with Paul Lewing. Fee: $65. tion, PO Box 1850, Healdsburg, CA 95448; e-mail 21701; telephone Joyce Michaud (301) 696-3456; May 15-20 “Layering: Pattern, Glaze, Fire” with [email protected]; or fax (707) 431-8455. or fax (301) 846-0035. Sanam Emami and Friederike Rahn. Fee: $275. New Mexico, Albuquerque and Santa FeApril8- Massachusetts, Easthampton March 10 “Free Contact the Archie Bray Foundation for the Ce­ 15 “Clay into Spirit” with Anita Griffith. Contact Trip to China,” slide lecture.April 14 “Making ramic Arts, 2915 Country Club Ave., Helena Horizons, 108-P N. Main St., Sunderland, MA Stamps, Made Easy.” Contact the Clayspot, 116 59602; e-mail [email protected]; see 01375; e-mail [email protected] ; see Pleasant St., Easthampton 01027; see website at website at www.archiebray.org; telephone (406) website at www.horizons-art.org ; telephone (413) www.clayspot.com; telephone (413) 529-2020; 443-3502; or fax (406) 443-0934. 665-0300; or fax (413) 665-4141. Continued or fax (413) 529-9090. Massachusetts, LeverettMarch 25—26 “Glaze Clinic and Glaze Application” with Angela Fina. Fee: $90.March 31-April 2 “Printing with Col­ ored Clay” with Mitch Lyons, slide presentation and workshop. Workshop fee: $100. May 27-28 “Raku, Pit Firing, Fuming and Burnishing” with Vicente Garcia. Fee: $90. Contact Mudpie Pot- ters/Donna Gates, 102 Dudleyville Rd., Leverett 01054; e-mail [email protected]; or tele­ phone (413) 367-0047. Massachusetts, SomervilleMarch 4“Bring in the Spring,” parent/child workshop with Jennifer Thayer. March 11-12 A session with Suze Lind­ say. Fee: $150; members, $75. March 17, 31 and April 7Friday workshop series on techniques and forms with Carole Ann Fer. Fee: $15 per session. March 26“A Day to Play with Clay” with Jennifer Thayer, workshop for adults. Fee: $25. April 1-2 “Salt-Firing Workshop” with Mark Shapiro. Fee: $275, includes materials, firing and accommoda­ tions. Contact Mudflat, 149 Broadway, Somerville 02145; see website www.mudflat.org; telephone (617) 628-0589; or fax (617) 628-2082. Massachusetts, StockbridgeApril 15—16 “Trea­ sures from Shards: Making Mosaics” with Marlene Hurley Marshall. Fee: $95. April 29-30 “Slip- decorated Redware Techniques (or ‘Fun with Slip and Slabs’)” with Lauren Mundy. Fee: $175, includes materials.May 20 and 27 “From Glaze Formulation to Fired Results!” with Jeff Zamek. Fee: $175, includes materials. Skill requirements vary. For further information, contact Interlaken School of Art, PO Box 1400, Stockbridge 01262; e-mail [email protected]; telephone (413) 298- 5252; or fax (413) 298-0274. Massachusetts, WilliamsburgApril 14-16“ Danc­ ing on the Wheel!” with Sharon Pollock-DeLuzio. May 20—22 “Large Ceramic Forms” with Erica Wurtz. For further information, contact Hori­ zons, 108-PN. Main St., Sunderland, MAO 1375; e-mail [email protected] ; see website at www.horizons-art.org ; telephone (413) 665-0300; or fax (413) 665-4141. Michigan, AdrianMarch 24A session with Todd Wahlstrom. Fee: $40. Contact Paul McMullan, Ceramics Dept., Siena Heights University, Adrian 48104; or telephone (517) 264-7848. Michigan, Ann ArborMarch /^“Functional Pot­ tery” with Henry Tanaka. Registration deadline: March 8. Fee: $55; members, $45. Contact Ann Arbor Art Center, (734) 994-8004, ext. 101. Michigan, DetroitMarch 4 A session with Posey Bacopoulos. For further information, telephone Pewabic Pottery (313) 822-0954. Minnesota, Minneapolis March 18 Lecture with Jack Earl.April 15 Lecture with Robert Turner. Lectures are part of the “2000 Regis Masters Series” and are free. Location: the Minneapolis Institute of Arts. Contact the Northwest Clay Center, 2424 Franklin Ave., E, Minneapolis 55406; telephone (612) 339-8007.

March 2000 89 Calendar

New Mexico, Santa FeMarch 13-17 “Anagama Wood-firing Workshop.” Contact Susan York, 851 W. San Mateo Rd.-4, Santa Fe 87505; or telephone (505) 989-4278. New York, Long Island May 6—7 A majolica workshop with Liz Quackenbush. Contact the Islip Art Museum, (516) 224-5402. New York, New York March 6-19 or May 1-14 “Large-scale Ceramic Workshop” with Arnold Zimmerman. Intermediate to advanced skill lev­ els. Fee: $1100 per session. Limited to 8 partici­ pants. For further information, contact Arnold Zimmerman, 325 W. 16th St. #4E, New York 10011; e-mail [email protected]; or tele­ phone (718) 388-4914. April 8-9 “Thrown and Altered Majolica” with Posey Bacopoulos. Fee: $185; members, $170. Contact the Craft Students League,YWCA/NYC, (212) 735-9731. New York, Port Chester March 10-12 “Histori­ cal Context: Contemporary Practices” with Walter Ostrom. Fee: $125. April 8-9 “A Personal Ap­ proach” with Silvie Granatelli. Fee: $125. May 20-21 “Porcelain Possibilities” with Patty Wouters. Fee: $135. For further information, contact the Clay Art Center, 40 Beech St., Port Chester 10573; or telephone (914) 937-2047. New York, West Nyack May 21 “Raku Work­ shop” with Rosemary Aiello; participants must bring 6-7 bisqued pieces. Beginning through ad­ vanced skill levels. Fee: $75, includes firing. For further information, contact Kris Coulter, School Director, Rockland Center for the Arts, 27 S. Greenbush Rd., West Nyack 10994; see website at www.rocklandartcenter.org; telephone (914) 358-0877; or fax (914) 358-0971. New York, White Plains March 8 “Form and Sculpture in the Electric Kiln” with Mary Barringer. April 7 “Exploring Pouring Vessels” with Woody Hughes. Contact the Westchester Art Workshop, Westchester County Center, White Plains 10606; or telephone (914) 684-0094. North Carolina, Bailey March 30-April 72Wood- fire workshop with Peter Callas. Fee: $350. Con­ tact Dan Finch: [email protected] ; or telephone (252) 235-5082. North Carolina, Seagrove May 8—28 Making pottery and building a two-chamber wood-fired kiln with Will Ruggles and Douglass Rankin. Limited to 10 participants. For further informa­ tion, contact the North Carolina Pottery Center, PO Box 531, 235 E. Main St., Seagrove 27341; e-mail [email protected]; telephone (336) 873- 8430; or fax (336) 873-8530. Ohio, Wooster April 12-15 “Functional Ceram­ ics Workshop,” demonstrations, slide presenta­ tions with Richard Burkett, Andrea Gill and Ben Owen III. Fee: $ 150, includes 4 meals and “Func­ tional Ceramics Exhibition” catalog. Contact Phyllis Blair Clark, 2555 Graustark Path, Wooster 44691-1606; or telephone (330) 345-7576. Oregon, Elkton March 9-18 Wood-fire work­ shop with Hiroshi Ogawa. Limited registration. For further information, contact Hiroshi Ogawa, 1264 Wells Rd., Elkton 97436; or telephone (541) 584-2857. Oregon, Portland March 4-5 “Problem Solving in Building Large-scale Figurative Sculpture” with Adrian Arleo. Telephone the Oregon College of Art and Craft, (503) 297-5544; or see website at www.ocac.edu. Oregon, Salem March 4-5 “Thrown and Altered Forms,” lecture and demonstration with Patrick Horsley. Fee: $85; SAA members, $75. For further information, contact M. T. Sherman Community

90 CERAMICS MONTHLY March 2000 91 advanced. Dormitory accommodations available. Calendar Contact M. Beardsley, Tozan Cultural Society, RR 4, Ladysmith, British Columbia V0R 2E0; e-mail [email protected]; see website at Ceramics Center, 1220 12th St., SE, Salem 97302; www.tozan.bc.ca; telephone (250) 245-4867; or e-mail [email protected]; telephone (503) 581- fax (250) 245-4225. 7275; or fax (503) 581-9801. Canada, British Columbia, Vancouver through Pennsylvania, Farmington May 19—21 “Throw­ March 8 “Blossoming Stone,” ceramic sculpture ing Pots for Wood Firing” with Kevin Crowe. All by Rachelle Chinnery; at the Gallery of BC Ce­ skill levels. Fee: $180, includes materials and ramics, Granville Island. studio fee. Contact Clara Pascoe, Touchstone Canada, British Columbia, Victoria April 15-16 Center for Crafts, 1049 Wharton Furnace Rd., A workshop with Jeff Oestreich, throwing and Farmington 15437; e-mail [email protected]; see altering functional forms. Fee: Can$ 100 (approxi­ website at www.touchstonecrafts.com; telephone mately US$68), includes lunch. Contact Meira (724) 329-1370; or fax (724) 329-1371. Mathison, 650 Pearson College, Victoria V9C Rhode Island, Kingston April 9 “Functional 4H7; e-mail [email protected]; tele­ Thrown Altered Forms” with Ellen Shankin. Fee: phone (250) 391-2420; or fax (250) 391-2412. $50; members, $40. Contact South County Art Canada, Ontario, Haliburton May “Pottery Association, 2587 Kingstown Rd., Kingston for Beginners” with Barbara Joy Peel. Fee: 02881; or telephone (401) 783-2195. Can$247.20 (approximately US$170), includes Tennessee, Gatlinburg March 6— 10 “Slab Con­ lab fee. Contact Shelley Schell, Haliburton School struction with Surface Exploration” with JoAnn of the Arts, Box 839, Haliburton, Ontario KOM Schnabel. March 13-17 “Useable Pots—Inter­ 1 SO; e-mail [email protected]; see website at mediate to Advanced” with Ron Meyers.March www.fiemingc.on.ca/programs/hsfa; telephone 20—24* Tile: The Technical and the Experimen­(705) 457-1680; or fax (705) 457-2255. tal” with Gloria Kosco and Mimi Strang.March Canada, Ontario, Toronto March 2-April 1 Ri­ 27-31 “Pottery with a Sense of Touch” with Josh chard Milette, “Annulled Narrative”; at Prime DeWeese. Contact Arrowmont School of Arts Gallery, 52 McCaul St. and Crafts, PO Box 567, 556 Parkway, Gatlinburg Canada, Ontario, Waterloo through April 22 37738-0567; e-mail [email protected]; see “Visual Feast: A Sumptuous Selection of Ceramic website at www.arrowmont.org; telephone (865) Plates and Platters”; at the Canadian Clay and 436-5860; fax (865) 430-4101. Glass Gallery, 25 Caroline St., N. Texas, Abilene March 4 Colored porcelain dem­ Denmark, Skaelskor March 11 A workshop with onstration with Michael Haley and Susy Siegele. Jeroen Bechtold, porcelain.March 20-April 1 Fee: $30; potluck lunch. For further information, Firing of wood kilns. April 10“ Where Is Ceramics contact Siegele and Haley Workshop, Art Dept., in the Digital Landscape?” lecture with Jeroen Box 8, McMurry University, Abilene 79697; e-mail Bechtold and “Ceramics of the 20th Century” [email protected]; or telephone lecture with Lars Dybdal. For further informa­ (915) 793-4888. tion, e-mail the International Ceramic Center: Texas, Ingram May 6— /“Functional Stoneware [email protected]. Demonstration” with Steven Hill. Fee: $150. England, ChichesterMarch 12— I7Ceramic sculp­ May 8-10 “Functional Stoneware Workshop” ture (animal and bird forms) workshop with Tessa with Steven Hill. Fee: $200. Registration deadline Fuchs.March 17-19 Surface decoration for func­ for both sessions: April 6. Contact Hill Country tional pots with Alison Sandeman. March 19—24 Arts Foundation, PO Box 1169, Ingram 78028; Sculptural ceramics and vessels decorated with telephone (830) 367-5120 or (800) 459-HCAF. colored vitreous slips with Carolyn Genders.March Texas, Midland April7-9Slide lecture and work­ 26-31 Sculptural pots for plants with Gordon shop with Jeff Oestreich. Workshop fee: $50. Cooke. March 31-April 2 Decoration using ma­ Slide lecture is free. Contact Carol Bailey, Mid­ jolica painting and slip with John Hinchcliffe. land College, 3600 N. Garfield, Midland 79705; April7—^Further techniques in mosaic with Emma e-mail [email protected]; or telephone Biggs. April 14—16 “Clay as a Canvas—Part 1,” (915) 685-4652. making dishes and wall pieces with John Dunn Vermont, Waterbury Center March 17-19“ Ves­ (must be scheduled with part 2 on May 13).April sels that Pour,” slide lecture and hands-on work­ 23—28 Handbuilding and throwing workshop shop with Susan Beecher. Lecture (March 17) fee: with Alison Sandeman. April28-30 An introduc­ $6; members, $4. May 6 “Glaze and Clay Body tion to mosaic with Emma Biggs.May 13 “Clay as Defects—Cause and Correction” with Jeff Zamek. a Canvas—Part 2,” decorating and glazing with Fee: $140; members, $125. For further informa­ John Dunn. Contact West Dean College, West tion, contact the Vermont Clay Studio: see website Dean, Chichester, West Sussex PO 18 OQZ; e-mail at www.vermontclaystudio.com; or telephone [email protected]; see website at (802) 244-1126, ext. 41. www.westdean.org.uk; telephone (243) 811 301; Virginia, Alexandria March 4-5 and 11 “Saggar fax (243) 811 343. Firing Workshop” with Barbara Lewis. March 18 England, Ipswich April20-24, 28-May 1 or May “A Session with the Kiln Doctor” with Mike 26-29A workshop in throwing and wheel-related Swauger. March 2£T“Raku with Ramon.” March techniques, including turning, and making lids, 31—April 1 “Slab Construction Workshop” with spouts and handles, with Deborah Baynes. Fee: Anne Anderson. Contact Creative Clay Studios, £270 (approximately US$445) for 4-day session; 5704D General Washington Dr., Alexandria £215 (approximately US$355) for three days; 22312; telephone (703) 750-9480; or fax (703) includes materials, firing, lodging and meals.May 750-9442. 7—20 “Salt-glaze Workshop” with Deborah Baynes. Fee: £630 (approximately US$1038), in­ International Events cludes materials, firing, lodging and meals. Con­ tact Deborah Baynes Pottery Studio, Nether Hall, Belgium, Zulte^4pnY-/une“Yoshikawa, Akiyama, Shotley, Ipswich, Suffolk 1P9 1PW; telephone Kiyomizu, Miyashita and Dessauvage: east be­ (473) 788300; or fax (473) 787055 ; comes west?” exhibition of ceramics; at Centrum England, London through March 7j?“Ripe,” three- Goed Werk, Moerbeekstraat 86. person exhibition including ceramic sculpture by Canada, British Columbia, Nanaimo April 26- James Evan; at the Crafts Council Gallery, 44a May 5 Firing a noborigama. Beginning through Pentonville Rd., Islington.

92 CERAMICS MONTHLY through March 24“ Oriental Potters,” works by Shoji Hamada and Poh Chap Yeap, as well as others. through April 23 “Mao: From Icon to Irony”; at the Victoria and Albert Museum, South Kensington. March 26-April 7£TSvend Bayer, wood-fired stone­ ware. April 30—May 19 Ceramics by Beverley and Terry Bell-Hughes; at the Harlequin Gallery, 68 Greenwich High Rd; open Thurs.-Sun. March 8-April 6 Claudi Casanovas, “A Mini Retrospective”; at Galerie Besson, 15 Royal Ar­ cade, 28 Old Bond St. March 8-May 11 Exhibition of ceramics by Linda Gunn-Russell; at the Garden Flat, 28 St. Lawrence Terrace. Open Wed. andThurs., 11 A.M.-6P.M. Telephone Anatol Orient, (208) 968 7084. England, Oxford through March 19 Two-person exhibition with ceramics by Simon Carroll; at Oxford Gallery, 23 High St. France, St. Quentin la PoterieMarch 18-April 19 “Memoires d’Argile,” ceramics by Loul and Aline Combres, and Christian Destieu. April22—June 7 “Fantasia printaniere,” ceramics by Francois Belliard, Francoise Chaussy, Caroline Chevalier, Jean-Michel Doix, Marie-Pierre Meheust, Marie- Claude Mongeois-Forest and Angelika Steigler; at Terra Viva Galerie, rue de la Fontaine. Greece, Island of EviaWinter Workshops with Alan Bain, handbuilding, throwing, glazing, terra sigillata, kiln design, raku/pit/black/saggar fir­ ings, reduction stoneware, etc. All skill levels. Fee per week: £275 (approximately US$435); includes materials, firing, trips on island, lodging, meals. Contact Alan Bain, Kalamondi Pottery, 340 05 near Limni, Evia. Italy, T uscan y April 29-May £T“ Mosaics: Ancient Art Form/Contemporary Applications” with Eliza­ beth MacDonald. Contact Horizons, 108-P N. Main St., Sunderland, MA 01375; e-mail [email protected] ; see website at www.horizons-art.org ; telephone (413) 665-0300; or fax (413) 665-4141. Jamaica April21-29“Ceramics in Jamaica: Inter­ preting Forms from Nature,” with Doug Casebeer, David Pinto and Takashi Nakazato. Fee: $ 1450— $1850, includes materials, firing, lodging and meals. For further information, contact the Reg­ istrar, Anderson Ranch Arts Center, PO Box 5598, Snowmass Village, CO 81615; e-mail [email protected]; see website at www.andersonranch.org; telephone (970) 923- 3181; or fax (970) 923-3871. Netherlands, Deventer through March 25 David and Margaret Frith, stoneware and porcelain. April9—May ^Michel Pastore and Evelyne Porret; at Loes and Reinier, Korte Assenstraat 15. Netherlands, Leeuwarden through April l6“T\\t ESKAF Pottery Factory.” March 5—April 9 Ce­ ramics by Marco Paulo Rolla; at Keramiekmuseum het Princessehof, Grote Kerkstraat 11. Netherlands, MaastrichtMarch 18-26“The Eu­ ropean Fine Art Fair”; at the MECC. Netherlands, Oosterbeek through March 7.9Figu- rative ceramics by Adriana Baarspul and Marja Hooft. March 26-May 15 “Six Amsterdam Potters Together Again,” works by Hans de Jong, Sonja Landweer, Johan van Loon, Johnny Rolf, Jan de Rooden, Jan van der Vaart; at Galerie Amphora, van Oudenallenstraat 3. Spain, Barcelonathrough April 23 Exhibition of ceramics by Miquel Barcelo; at Museo de Ceramica, Palacio Real de Pedralbes, Diagonal 686. Spain, Seville and Andalusia March 4-11 “Tiles: A Historic Ceramic Legacy—Art of the ‘Azuela’” with Anita Griffith. For further information, con­ tact Horizons, 108-P N. Main St., Sunderland, MA 01375; e-mail [email protected] ; see website at www.horizons-art.org ; telephone (413) 665-0300; or fax (413) 665-4141.

March 2000 93 overglazes. The feel of the materials is rather like face soaks in the color as you paint, and the Questions doing oil painting on glass. speed and direction of the brushstroke often is Answered by the CM Technical Staff Majolica is done on bisqued ware that has shown in the marks made. been dipped in a white, viscous, opaque glaze. In doing china painting, the nonporous Colorants mixed with flux are painted on top of glazed and fired surface gives a bit of a slippery QI have recipesfor Cone 06 white majolica glaze the unfired glaze. This is similar to doing water- feel to the painting. It’s possible to push the bases for use with underglaze colors. The results are color on blotter paper. paint around and get thicker and thinner areas, quite satisfactory, but is there a majolica-type While some of the commercial underglazes but it doesn’t soak into the surface you’re approach for Cone 017 overglazes applied on an may be fluxed enough to work on majolica, working on. The quality of the marks made is opaque white base, which yields the look of “stan­ traditional three-coat-application underglazes subtly different. dard” majolica firings?—G. U. would likely be too refractory, because the clay Because of the differences in the application The traditional overglaze process involves content is too high. This kind of painting on surface, it is difficult to achieve the same visual painting on an already fired glaze, then doing a top of raw glaze is sometimes referred to as “in quality as majolica from overglaze. If you work third firing to a very low temperature to fuse the glaze” decoration. The raw majolica glaze sur­ on bisqued tiles, you’d get more absorbency, but would not have a glossy white ground of “standard” majolica in the finished product. Linda Arbuclde University of Florida Gainesville, Florida

Q I do Cone 10 reduction firing. Since I just started my production pottery career, lam curious about new glazes that I haven’t tried. One glaze that I like is a copper-saturated glaze. I have other green glaze recipes, such as Oestreich s Sombrite Green, but I don’t have a salt kiln, so Tm unable to get the nice green I want. I am also looking for matt orange (not Shino) and translucent navy blue glazes for Cone 10 reduction.—T. T. Heavily saturated copper glazes may leach, so I would not use these as liner glazes or on any surfaces that would come into contact with food. The same applies to glazes containing barium (copper, in combination with barium, produces very intense colors). With lithium, and in highly alkaline glazes, the color achieved with a copper addition can be turquoise. There are ways to achieve good greens and blues in reduction without salt; however, cop­ per glazes depend a great deal on proper firing conditions. Please test the following before use: V.C. “AA” Base Glaze (Cone 10, reduction) Whiting...... 34 % Cornwall Stone...... 46 Edgar Plastic Kaolin...... 20 100% Variation 1 Add: Cobalt...... 2% Variation 2 Add: Tin Oxide...... 4 % Copper Carbonate...... 4 %

Weiser Turquoise Glaze (Cone 10, reduction) Dolomite...... 24.0% Custer Feldspar...... 63.0 Ball Clay...... 9.0 Flint...... 4.0 100 .0% Add: Chrome Oxide...... 1.5% Cobalt Carbonate...... 0.5%

94 CERAMICS MONTHLY V.C. Karen Star Shine Copper Aqua Glaze As always, please test all glazes thoroughly glazes were purchased long ago and I don t believe (Cone 10, reduction) before using on your work. the Drakenfeld company exists anymore.—H.S. Barium Carbonate...... 4% Jonathan Kaplan The Drakenfeld company was purchased by Gerstley Borate...... 6 Ceramic Design Group Cerdec Corporation, which still sells some prod­ Lithium Carbonate...... 1 Steamboat Springs, Colorado ucts under the Drakenfeld name brand; how­ Soda Ash...... 4 ever, the technical staff at Cerdec was unable to Whiting...... 13 Q I have a large quantity of different glazes identify what the designations on the labels Feldspar...... 51 manufactured by B. F. Drakenfeld & Co. Inc. in mean. These glazes were probably made 30 to Flint...... 21 New York and/or Washington, Pennsylvania. 40 years ago, and the archives are not giving up 100% The different types of glazes are marked: SI, S2, any useful answers. Add: Macaloid...... 2% S3, S4, etc.; M201, M202, M203, M204, etc.; I talked to Andy Rydel at their tech depart­ Titanium Dioxide...... 4% and K101, K102, K103, K104 , etc. The colors ment, (724) 229-5385, and he even talked to Copper Carbonate...... 5% are known, but could you tell me the difference some of the old-timers still there, but no one between the glazes “S, ” “M” and “K, ” because the could come up with an answer. Andy did say There are many orange glazes, but I would not use matt glazes on surfaces that come into contact with food, as most are extremely deficient in silica and hence quite soft. They will fade over time and show cutlery markings as well. Perhaps the nicest orange glaze I have en­ countered is one of Val Cushing’s glazes en­ titled V.C. Shamo, which is a combination of 60 parts Shaner Red Glaze and 40 parts Mamo Matte Glaze, combined as a wet mixture. Their recipes are as follows: Shaner Red Glaze (Cone 10, reduction) Talc...... 4 % Whiting...... 21 Custer Feldspar...... 52 Calcined Kaolin...... 16 Edgar Plastic Kaolin...... 7 100% Add: Red Iron Oxide...... 4% Bone Ash...... 4% Mamo Matte Glaze (Cone 10, reduction) Dolomite...... 20 % Whiting...... 5 Custer Feldspar...... 25 Kona F-4 Feldspar...... 25 Calcined Kaolin...... 15 Edgar Plastic Kaolin...... 10 100% Here is an excellent gloss base that is very receptive to coloring oxides as well as commer­ cially prepared stains: Base Glaze (Cone 10) Whiting...... 19.6% Custer Feldspar...... 27.5 Edgar Plastic Kaolin...... 20.0 Flint...... 32.9 100. 0% Blues can be produced using cobalt carbon­ ate as a stand-alone colorant, or in combination with iron oxide. The percentages that follow are provided as starting points for testing.

Add: Cobalt Carbonate...... 1.0% Red Iron Oxide...... 2.0 %

March 2000 95 Questions

that there still might be a chance of finding out more if he could have a picture of the original packaging and/or any additional information found there. I suggest you try to ascertain if any of those glazes contain lead as a flux. There are lead test kits available, which will at least give a crude indication. There may be other toxic materials present, which would also render the glazes unsafe for food. Government rules now effec­ tively regulate lead and cadmium content; how­ ever, these glazes could predate this regulation. I would advise you to proceed with caution, for your own safety, and limit their use to non- food-bearing surfaces. The other avenue would be to have each glaze analyzed, but you might not have a large enough quantity of each to justify the expense. Ron Roy Ceramics Consultant Scarborough, Ontario, Canada

QI frequently read that functional ware needs to be testedfor safety purposes. How does afunctional potter submit work for this process, where, how ofien, and how much does it cost? In this “lawsuit- happy” culture, what is the functional potters liability, and what are some ways to protect one­ self—C.C. Potters who make and market functional ware need to be proactive in using glazes that are balanced glasses. This may change how potters think about their ware and what steps they might take to make sure that the ware is safe. What follows is a condensed version of my address at the 1999 National Council on Edu­ cation for the Ceramic Arts conference: Potters can’t assume that recipes that have been accumulated from school, handed down from potter to potter or from various Internet lists are well-balanced glasses. Blindly using glazes acquired in such a manner is irrespon­ sible. Even if the glaze has the look you covet, there may be problems that cannot be readily seen by looking at the recipe or by firing it. It is unwise to assume that even the glazes you are currently using are safe. Commercial glazes often have warnings printed on the label as to their suitability or unsuitability for food surfaces when fired to a designated cone. It is not necessary to have a degree in chem­ istry, but a basic working knowledge of ceramic materials and glaze chemistry is quite helpful. By using glaze calculation, you can see if the unity molecular formula falls within the limits for each surface and temperature range, and can make changes accordingly. Generally speaking, matt glazes are deficient in silica, thus rendering them quite soft and easily attacked by liquids.

96 CERAMICS MONTHLY March 2000 97 Questions

These glazes will fade over time and are not balanced glasses. Satin matts, satins and gloss glazes can be more balanced and are more suitable for food contact. Glazes that contain metallic coloring oxides, such as chrome, co­ balt, manganese, etc., need to be tested regard­ less of the glaze base in which they are contained. Barium carbonate shows indications of remain­ ing in the fired glaze, regardless of the amount. We need to take responsibility for our wares, and one way of doing this is to have our glazes tested for leaching. The Alfred Analytical Labo­ ratory at 4964 Kenyon Rd., Alfred Station, NewYork 14803, telephone (607) 478-8074, is just one of many facilities that can perform leach tests on your glazes. You will need to specify which material you wish your glaze tested for, and if multiple metals are requested, a sample is required for each test. Request guidelines for sample submission. Personally, I think that potters not only need to have such tests run on each of their glazes, but also need to have an understanding of what materials are in these glazes. A simple calculation to bring the recipe into a unity molecular formula will show the silica-to-alu- mina ratio, indicating the surface. It will also show the molecular equivalents of each oxide in the glaze. Comparing these to published Seger formulas, you can see if each oxide is within established parameters. Understanding what each oxide contributes to the glaze is equally important to gain an understanding of how the glazes function on your ware and to correct problems when they occur. Remember that you don’t have to look for problems in ceram­ ics. They will find you. I would also suggest that potters carry prod­ uct liability insurance. The premiums for this are quite reasonable and are based on gross sales of your ware. Your insurance agent can be most helpful in this area. There is only so much that we can do to not only protect ourselves but our customers. If you take the necessary formulating and testing steps, as briefly outlined here, I would think that this would suffice in our litigious society. However, I am not a lawyer nor do I wish to be, and I don’t play one on television. Jonathan Kaplan Ceramic Design Group Steamboat Springs, Colorado

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

98 CERAMICS MONTHLY March 2000 99 Letters Continued from page 10

workshops or producing pottery to read it, except for the Call for Entries, Calendar, Suggestions and Questions sections, looking at photos and reading a few selected articles. I also sent listings into the summer workshops issue each year. Yet, through these sections alone, the magazine helped me tremendously. I had, within four years, reached a point where I felt ready to expand from my spe­ cialty of open-fired African pottery (consid­ ered nonfunctional by Americans), into glazed functional ware: implying getting a studio and taking courses, since my B.F.A. obtained in Africa covered only African traditional techniques. However, since January 1, 1997, the day I moved into my first “studio” with kiln, between a crushed leg and terminal cancer, I’ve had four extended hospitalizations, resulting in my ending up on Social Security Disability and having to scrap my plans for taking courses for both physical and financial reasons. For months on end, I’ve been confined to the house. On the upside, I’ve also had months to read all the articles in my back issues of Ceramics Monthly on glazing, firing and clay bodies. I, in fact, cut out articles and arranged them by subject in binders, then studied and summarized them. When I was able to get back to work, I discovered my new kiln simply wasn’t operat­ ing correctly, and the commercial Cone 06 glaze I’d gotten was crazing on ware made with my locally dug clay. Yet I was deter­ mined to officially open my two-year-old, essentially unused, live-in studio before it had to be closed permanently. I wrote to the Questions section, and the answers I got in the next issue pointed me in the right direction to solve both problems in time before sickness struck again. The studio was officially opened Memorial Day weekend ’99. (Had to be closed twice since then for hospitalizations of 1-2 months.) But, thanks for helping me reach a major goal. My next is to produce functional glazed ware from the local clay, which has great color and working qualities. Crazing was solved, but vitrification remains a problem. I love the challenge of coming to understand the capabilities of the local clay. So I’m back in the studio again with a thousand ques­ tions, and planning on writing the Questions experts again. Ceramics Monthly has been, as I said, a godsend, enabling me to continue to grow and work under circumstances that prohibit normal educational avenues. Keep up the good work—most especially the Questions, Calendar, Call for Entries, free workshop listings and detailed educational articles that

100 CERAMICS MONTHLY March 2000 101 Letters

give struggling artists practical help they may not be able to get in any other way. There could be others out there for whom CM is a literal “life line.” Hazel Mae Rotimi, Gloucester, Mass.

Mislabeling Problem? I have noted in the Letters column that some readers claim CM as an important educational resource. Shouldn’t CM have an editorial policy of correcting inaccurate, false or misleading statements (for example, such oxymoronic terms as pit-fired porcelain, raku-fired porcelain or Cone 4 stoneware)? Are some makers (whose work I may regard highly) simply ignorant or purposely misleading when they mislabel their own work? Do they (and CM) reckon they can call it what they want? I may be nitpicking. In the broader scheme of things, it’s meaningless; but on one level, the difference between using a porcelain body and being able to call the finished product porcelain can be vast. Am I out of touch here? Have some U.S. programs dropped ceramic tech classes? Morgan Lewis, Otsu, Japan

Thanks I applaud the breadth of clay expression shown in CM—good, honest, functional ware to sometimes bizarre sculptural work. There are so many of us seeking self-expres- sion through the use of this universal mate­ rial. It interests me to see this work and to hear how potters sustain themselves and their muses. Thanks for the effort. Barbara Loebman, Santa Barbara, Calif.

How Did They Do That? CM is the perfect vehicle for presenting the work and techniques of the ceramic arts’ best-known contributors. Please help us see how the famous got that way. Daryl Baird, Loveland, Colo.

Intelligent Readership Sometimes it feels as if articles only are written to the lowest common denominator. Please know that the magazine has an intelli­ gent readership—and write more challeng­ ing pieces. Pamela Savas, Barronett, Wis.

Enough People Bashing Hey, letter writers, how about some more constructive criticism instead of negatively bashing people? I think there’s enough room in this medium to do just about anything one would want to without having to endure ignorant comments. Use an Internet chat room for debates! Randall K Smith, Omaha, Neb.

102 CERAMICS MONTHLY March 2000 103 104 CERAMICS MONTHLY March 2000 105 106 CERAMICS MONTHLY March 2000 107 Comment

Style by Gil Stengel

In my classroom a few months ago, I expensive testing of organic material was leading a critique of some pitchers found in a site, layers associated with the students had recently completed, identifiable pottery styles are often when a question about style arose. dated according to the known manu­ Pitchers are a normal beginning as­ facture dates of said styles. signment for second-semester students. I have always been struck by this I don’t require that they complete this mix of style and science. Determining assignment on the wheel, though I find a potsherd to be of a specific stylistic that the majority of students want to type has always seemed something of a learn to use that particular tool. In this reach in the objective world of science. critique, we were looking at the profile A body of material, the output of pre­ of one particular pot, and I made the vious artists, is organized, cataloged, comment that the handle was attached recorded and determined to be “Style too far down the body of the piece, X,” and the site or layer this body of that if that particular handle had been material was recovered from is deter­ shortened, the piece would visually be mined to be of whatever time period. much more successful. I then looked This method of analysis of remains around the room and waited for the has grown from the perception that inevitable question, “How do you style is a phenomenon that is trans­ know that?” mitted from teacher to student, some­ I hear this question a lot in teach­ times entire communities of students. ing. How do I know that the foot is Archaeologists have the unique perspec­ too wide, or the tive of time on lip too thin or How do I know that the foot their side, they the transition can step back from this curve is too wide, or the lip too thin and see larger to this area is trends that awkward? How or the transition from this curve tomight span de­ do I know that cades, even the use of ma­ this area is awkward?...How docenturies. I This terials in this perspective al­ project is not know that this brush mark is lows the per­ appropriate to ception that the final state­ hesitant? styles and their ment? How do evolutions are I know that this brush mark is hesi­ quantifiable, capable of being analyzed tant? I know these things in part be­ and measured. cause I have learned a style. This idea of style has dogged me When I was a graduate student at ever since. For Briggs’ class, I wrote a Utah State University, the museum di­ paper where I defined a ceramic style rector, Peter Briggs, offered an entire by a list of technical attributes popu­ course on “Style.” He is very knowl­ larized by one individual. The style edgeable about ceramic art of the desert consisted of some ten attributes of Japa­ Southwest, and he assigned a number nese ceramics that Bernard Leach of readings for the course that dealt popularized in his writings and work­ with the use of style in archaeology of shops in the 1960s. I chose photo­ the region. Style seriation is used ex­ graphs from the pages of Ceramics tensively to date sites in the south­ Monthly as the body of cultural mate­ western states, as distinct and easily rial to search for this “Leach Style,” distinguishable potsherds are com­ and I counted each and every occur­ monly found artifacts. Rather than run rence of the ten attributes that ap-

108 CERAMICS MONTHLY March 2000 109 Comment

peared in the magazine over a period of ten years. The results were plotted on a nice neat graph, which showed the rise and fall of the popularity of “Leach Style” from 1970 to 1979. It was a lot of fun, but ultimately I have always felt that a larger lesson was con­ tained in this exploration of style. I am a product of style. Or perhaps I should say the work I produce on my potters wheel is the direct result of having learned a style. I remember a day in 1997 when I was invited by Dan Anderson to critique student work at Southern Illinois University at Edwardsville. Afterward, I showed slides to the students. Among the works shown was a teapot that was fairly re­ cent, one that I thought had pretty good proportion and form. From the back of the room, Anderson observed that this teapot was a direct result of my having studied with John Neely, and Neely having studied with Joe Zeller. The record of my learned style was apparent to Anderson, who knew both artists and the work they pro­ duced. Since that day, I have been more aware of style in my work, and proud to have been associated with this record of style. So how do I know where to attach that handle? I know because I learned a style, a visual language with which I look at the world around me. This style contains conventions, accepted practices within the style that help me to make decisions about the work I produce. I frequently violate these con­ ventions, question them, take risks. Since I have gone to the trouble to learn this style, I now have all these questions to ask, and within the an­ swers to these questions lies, I think, the best work I have done to date. It’s important to stress this point to stu­ dents—I went to the trouble to learn a style. There are no answers within that learning, only much better formulated questions, more areas to explore. Whenever I have visited the ceram­ ics department of some state univer­ sity in whatever town and found that all the work on the shelves looks a lot

110 CERAMICS MONTHLY March 2000 111 Comment added to or, in some cases, left behind. At one point, someone in the gal­ I had to start somewhere. At least I lery asked me a question, “Why make learned that much. pots today?” I am paraphrasing, as I So how do I know where that handle don’t remember the exact words used, like the teachers, I think, “Good. The should be attached? Wrong question. but the inference was one I’m familiar students are learning a great deal here. Can you see this? If so, you have with. I don’t think there are any in­ They are clearly learning a style.” learned part of the stylistic record that valid questions, but some are a lot Now, I know that many other art­ has passed from my teacher and his tougher to answer than others, and I ists would think the op­ fumbled this one in the posite, but when learning gallery talk. and art are put together, I Learning style...has given me a million questions The answer lies in our side with the archaeolo­ own cultural record. The gists. Style is being trans­ to answer at my potter’s wheel. My little part stuff you might dig up if mitted when art is being of the cultural record has to be tried out, you were to excavate the taught. I believe this has town dump. Can you been the state of affairs fiddled with and, maybe if I become good enough,seriate the remains? Can from the beginning. Just you identify style? Can step back far enough from added to or, in some cases, left behind. you date the style of my our cultural record and remains just by catalog­ catalog the shards. ing and looking? Have I I believe learning style is a good teacher to your hands. You have learned done my teacher proud? Is he there, in thing. In my own case, learning how a way of seeing. the potsherds and pieces pulled from John Neely sees pots, albeit only part Recently, my wife and I exhibited the plastic trashbags? of his “seeing,” has given me a million together at Parkland College Gallery questions to answer at my potters in Champaign-Urbana, Illinois. We The author Formerly an assistant pro­ wheel. My little part of the cultural gave a gallery talk, something I’m not fessor at Western Illinois University in record has to be tried out, fiddled with very good at. I am much more com­ Macomb, Gil Stengel now maintains a and, maybe if I become good enough, fortable with the written word. studio in Loveland, Ohio.

Index to Advertisers

A.R.T. Studio...... 31 Clayworks Supplies ...... 102 Kickwheel Pottery...... 2 Raku Portable Kilns...... 96 Aegean Sponge...... 100 Contemporary Kiln ...... 110 Klay Gallery ...... 91 Ram Products ...... 91 Aftosa ...... 83 Continental Clay...... 94 Klopfenstein Art Equipment...... 80 Rosen Group...... 97 Amaco ...... 21 Corey Ceramic Supply...... 88 Krueger Pottery...... 78 Santa Fe Clay...... 110 American Ceramic Society. 77, 101 Cornell Studio...... 110 L &: L...... Cover 3 Sapir Studio...... 97 American Craft Council...... 17 Creative Industries...... 87 Laguna Clay ...... 89, 102 Scott Creek Pottery...... 100 American Hand Art...... 81 Cress...... 19 Laloba Ranch...... 103 Sheffield Pottery...... 10 Amherst Potters Supply...... 102 Davens...... 93 Lockerbie...... 103 Shimpo...... Cover 2 Anderson Ranch...... 104 Del Val...... 110 Master Kiln Builders...... 102 Sierra Nevada College...... 76 Annie’s Mud Pie Shop...... 78 Dolan Tools...... 100 Skutt Ceramic Products...... Cover 4 Arrowmont...... Ill Max Wheel...... 98 Doo-Woo Tools...... 99 MBF Productions...... 90 Smoky Mountain Pottery...... 76 Art School of the Aegean...... 110 Duralite...... 98 Spectrum Glazes...... 30 Axner Pottery...... 73 Metchosin School...... 98 Edmunds Design &c Mfg...... 98 Miami Clay ...... Ill Standard Ceramic Supply...... 74 Bailey Pottery .... 1, 6, 7, 11, 75, 113 Euclid’s...... 76 Miami University ...... 104 Studio Potter...... 92 Bennett’s Pottery...... 5 Falcon...... 102 Mid-South Ceramic Supply...... 9 Taos Art School...... 86 BigCeramicStore.com...... 98 Mile Hi Ceramics...... 28 Taos Institute of Art...... 82 Gates Furniture...... 110 Bluebird...... 86 Minnesota Clay ...... 15 Tara Productions...... 23 Bob’s Custom Molds...... 78 Geil Kilns...... 70, 71 Thomas-Stuart...... 99 Bracker’s Good Earth Clays...... 96 Georgies...... 96 National Artcraft...... 78 New Mexico Clay...... 90 Three Squawking Geese...... 96 Brent...... 25 Gordon Ward...... 79 Trinity Ceramics...... 10 Brickyard...... 82 Great Lakes Clay...... 97 New Orleans Clay...... 98 North Star Equipment...... 29, 104 Truro Center...... 96 Brown Tool Co...... 108 Guild, com...... 91 Tucker’s Pottery...... 84 Odyssey...... 99 Ceraco...... 110 Hammill & Gillespie...... 107, 108 U. S. Pigment ...... 104 Ceramic Arts Library...... 100 Hampshire Woodworking...... Ill Olsen Kilns...... 109 Olympic Kilns...... 72 Ceramic Services...... 92 Handmade Lampshades ...... 100 Venco...... 27 Ceramics Monthly...... 114 Haystack Mountain School...... 80 Paragon Industries...... 93 Ward...... 8 Ceramics Studio Supply...... 13 HBD ...... 98 Penryn Workshop ...... 90 West Coast Kiln...... ' 76 Clark Art Glass and Refractories ..102Highwater Clay ...... 95 Peter Pugger...... 96 Westerwald...... 96 Peters Valley Crafts...... 90 Classifieds...... 105 IdyllwildArts ...... Ill Whistle Press...... 102 Pine Ridge Pottery...... 107 Clay Art Center (NY)...... 88 Interlaken School of Art...... 78 Wise Screenprint...... 78 Potters Shop...... 79 Clay Art Center (WA)...... 90 ITC...... 109 Wolfe, Jack D...... 90 Clay Factory...... 90 Potteryauction.com...... 76 Women’s Studio Workshop ...... 100 Clay Times ...... 85 Jepson Pottery...... 32, 33 Pottery Making Illustrated...... 79 Worcester Center...... 109 Clayspot...... 100 Kelly Place ...... 76 Pure &c Simple...... 110 World Ceramic Expo-Korea...... 103

112 CERAMICS MONTHLY

114 CERAMICS MONTHLY CONQUERING HIGHER GROUND

n April 1967, when the National Council on Educa­ dent Fellowship Fund cup sale. The third annual “Na­ tion for the Ceramic Arts (NCECA) held its first tional K-12 Ceramics Exhibition,” selected by William Iannual conference at Michigan State University in Daley, will be presented in the Windows Room of the East Lansing, there were 127 paid members, and little Adam’s Mark Tower Building. thought was expended wondering just where the organi­ In addition to all this, you’ll want to allow plenty of zation would be as time’s odometer rolled over to 2000. time to explore the Commercial Exhibitors displays (al­ During the intervening years, NCECA has established ways full of new materials, processes and ideas) and the itself as the primary organization through which to dis­ Nonprofit Exhibitors displays (great information on resi­ seminate information to the nation’s educators in the dencies, travel and degree study opportunities). ceramic arts. In recent years, it has begun developing an international educational presence as well. NCECA PRIMER This March, Metropolitan State College in Denver, The first thing you’ll notice as you look over the program Colorado, expects to welcome some 3500 attendees to the is that there is no way you can do it all. There are a organization’s 34th annual conference: “NCECA 2000: plethora of interesting and overlapping events. Don’t feel Wood-fired stoneware pitcher, Higher Ground.” It will take place March 22-25 at the bad—it’s always like this. To make sense of the choices, 13 inches in height, by Josh Adam’s Mark Hotel (in downtown Denver near the Civic you must presume you will be coming to another confer­ DeWeese; from “Archie Bray Center). Conference registration, almost all of the pro­ ence another year in another city—topics reoccur peri­ and the Colorado Connection,” gramming, and the commercial and nonprofit exhibitors odically with a slightly different slant or purpose. The Arapahoe Community College. will be located in the Adam’s Mark Hotel Plaza Building program information and maps included in this preview at 1550 Court Place (lower level). The demonstrations should help you plan ahead. The conference meeting will be held in the Adam’s Mark Tower Building directly rooms will be close to one another, so going from one across the street. session to another should be easy enough. Finding your way around in Denver is pretty easy. Be sure to allow for time to meet people, whenever Streets are in a regular north/south, east/west grid, except and wherever you can. Look for conference badges in the for the downtown area (the oldest part of the city), which hotel hallways, at nearby restaurants, and be sure to say is oriented to the South Platte River and Cherry Creek. hello. You’ll meet artists, collectors, students, educators, Throughout most of the city, if the mountains are on the curious—all will be interesting. Some may even help your left, you’re going north; if they are on your right, you along your chosen path. Others you may never see you’re going south. If they are in front of you, you’re anywhere else, except at NCECA. It’s a small, old and going west; if you have to turn around to see the moun­ exciting world. tains, you’re going east. Food is always an important component of confer­ ence enjoyment. Denver has many good restaurants, and PROGRAM HIGHLIGHTS a very wide variety of ethnic food choices (including As always, the conference program (see pages 120-122) Eritrean and Nepalese). There are nearly 80 eating estab­ will cover a wide variety of topics related to ceramics andlishments in the downtown area alone. For downtown ceramic processes. The panel discussions, slide presenta­food information and links to restaurant reviews for eat­ tions and lectures will include information on several eries throughout the city, check out the website at non-Western ceramic cultures, the processes that create http://clem.mscd.edu/-art_cs/LandR/RodgerHome.htm. value, community clay centers, and international collabo­ The Adam’s Mark is on the 16th Street shuttle line, rations; there will also be a panel discussion on the NCECA which makes it easy to travel from one side of downtown invitational exhibition “A Glimpse of the Invisible.” Other to the other. topics of an aesthetic or technical nature, plus some that A number of exhibitions will be within walking dis­ address the more ethereal aspects of the conference theme tance of the hotel, but the weather in March can vary (higher ground), are included as well. considerably (although often warm, it’s also our snowiest There will be demonstrations by artists Paul Dresang, month), so pack accordingly. For exhibitions elsewhere in Julia Galloway, Amara GefFen, John Glick, Doug Jeck town, there will be shuttle bus service to selected venues and Janet Mansfield. The Glaze Doctors will be Stephen from 9 to 5 on Wednesday and after the conference Hill and Richard Zakin; the Kiln Doctors are Fred Olsen closing on Saturday. If you want to see all the exhibitions and Jim Cooper. New to the program this year, the Tool in town and around the state, you’ll need a car and a Doctors will be David Hendley, Jack Troy, Vince Pitelka couple of extra days before or after the conference. and Lana Wilson. The International Slide Forum, the NCECA 2000 will be packed with valuable opportu­ Covered jar, 22 inches in height, by David Pledge; from the Graduate Students Slide Forum and the K-12 Slide Fo­ nities to learn, observe and have fun. Mixing with thou­ “NCECA Regional Student rum help round out the programming. sands of people who share your love for ceramics is always Juried Exhibition,” Arvada Center There will also be a silent auction to benefit the exciting. Party time or networking session—the line is for the Arts and Humanities. NCECA Endowment Fund, plus the eighth annual Stu­ frequently blurred.—Rodger Lang

March 2000 115 116 CERAMICS MONTHLY March 2000 117 118 CERAMICS MONTHLY March 2000 119 PROGRAM NOTES

Keynote: Handmade Minds: 10:00 am - 4:00 pm TUESDAY, The Importance of the Arts Graduate Student Slide Forum March 21 in Children's Education Frank R. Wilson, M.D. 1:00 - 7:00 pm 10:00 am - noon Pre-registration Packet Pickup Glaze Doctors THURSDAY Steven Hill and Richard Zakin March 23 WEDNESDAY March 22 10:30 am - noon 8:00 am - 4:00 pm Panel: Recovering the Body 8:00 am - 6:00 pm Pre- and Onsite Registration Pre- and Onsite Von Allen (moderator), David Rothenberg, Xavier Toubes and Kay Whitney Registration Day passes available. Plus sale of bus tickets and day passes. 8:00 am - 5:00 pm 11:00 am - noon 8:30 am - 5:00 pm Graduate Programs and Em­ Lecture: Landscapes: Mystical, Metaphorical, Psychological Submissions to NCECA Student ployment Opportunities Room Fellowship Fund Cup Sale An informal setting for schools to promote Elaine Levin their graduate programs and to discuss Nick Sevigney, coordinator available positions with potential candidates. noon -1:00 pm First Members' Business Session 8:30 am - 4:00 pm 8:30 - 10:00 am International Slide Board reports; nominations to board positions; Panel: International new business and questions from the Forum Sign-up Collaborations membership. Nominations and election Thomas Orr, coordinator procedures will be mailed in advance Suzanne Wolfe (moderator), Antje Scharfe, to all members, and will also be in each International members are invited Janet DeBoos and Georgette Zirbes conference packet. to give talks about their work, their work­ place/studio and home country (no more than 20 minutes each). 9:00 am - 5:00 pm 1:00 - 2:30 pm Commercial and Nonprofit Panel: How Is Value Created? Exhibits 8:30 am - 4:00 pm Tony Marsh (moderator), Mark Leach, Frank Lloyd and Patricia Shaw Graduate Student Slide 9:00 am - 5:00 pm Forum Sign-up NCECA Endowment Silent 1:00-2:30 pm Sally Brogden, coordinator Auction Graduate student members are invited Panel: New Technologies— to give presentations on their work Friend or Foe? (no more than 10 minutes each). 9:00 am - noon Peter Castle, Morgen Hall and Michael Hose Simultaneous Demonstrations 9:00 am - 5:00 pm (Part I) 2:00 - 5:00 pm Commercial and Nonprofit Julia Galloway, John Glick and Janet Mansfield Simultaneous Demonstrations Exhibits (Part I) Wednesday: All visitors to the exhibit hall will 9:00- 10:30 am receive a United Airlines raffle ticket Paul Dresang, Amara Geffen and Doug Jeck Panel: Extruder 9:00 am - 5:00 pm Extravagance 2:30-3:30 pm TourlShuttle Service to Selected Tom Latka (moderator), Rina Peleg, Jim Lecture: English Bone China: Exhibitions (three tour and two Robison and Kathy Triplett Lasts Forever shuttle routes) Elizabeth MacLarty 10:00 am - 5:00 pm Departures start at 9:00 am. See route details and maps beginning on page 123. NCECA Student Fellowship 3:00 - 4:00 pm Fund Cup Exhibit noon - 5:00 pm Lecture: Sacred Ceramic Preview the hundreds of cups generously Arts of Africa NCECA Endowment donated for the sale on Friday. (Purchases will Silent Auction be limited to three cups at a time.) Monica Blackmun Visona 10:00 am - 4:00 pm 3:30-5:00 pm 7:00 - 9:00 pm International Slide Forum Slide Presentation Opening Ceremonies by Demonstrators Galloway, Glick and Mansfield

120 CERAMICS MONTHLY 4:00 - 5:30 pm NCECA Connections Dialogues among various constituents; breakout groups to be announced. A.R.T. Studio Clay Co. Master Kiln Builders 4:30 - 6:00 pm Aardvark Clay & Supplies Mecca Pottery Tools Panel: A Glimpse of the Invisible Aftosa Wholesale Pottery & Craft Mile Hi Ceramics, Inc. Michel Conroy (moderator), Mary Barringer, Amaco/Brent Minnesota Clay, USA James Shrosbree and Robert Turner The American Ceramic Society North Star Equipment

8:00 - 9:30 pm American Style Magazine Olympic Kilns

The Randall Session: Axner Co., Inc. Opulence Glaze/Esmalglass One World Taiko Bailey Pottery Equipment Corp. Orton Ceramic Foundation Japanese Drum Ensemble Ball Consulting, Ltd. Pottery Making Illustrated FRIDAY, Bluebird Manufacturing, Inc. Peter Pugger Mfg. March 24 Brackets Good Earth Clays, Inc. Resco Products Bullseye Glass Co. Roman Industries, Inc. 8:00 am - 3:30 pm Ceramic Arts Library The Rosen Group Pre- and Onsite Registration Ceramics: Art & Perception San Bao Studio, Inc.

Day passes available. Ceramics Monthly Santa Fe Clay

8:00 am - 5:00 pm Clay Art Center Shimpo Ceramics (Div. of Nidec- Shimpo America Corp.) Graduate Programs and Em­ Clay Times ployment Opportunities Room Skutt Ceramic Supply Creative Industries An informal setting for schools to promote Soldner Pottery Equipment, Inc. their graduate programs and to discuss Dolan Tools available positions with potential candidates. Spectrum Glazes, Inc. Edmunds Design & Mfg. Standard Ceramic Supply Co. 8:00 am - 2:00 pm Euclid Kilns & Euclid Elements NCECA Student Fellowship Sterling Publishing Fund Cup Sale Geil Kilns Co. Thomas Stuart Wheels Georgies Ceramic & Clay Supply Vent-A-Kiln Corp. 8:30-9:30 am Giffin Tec Inc. Lecture: Nakazato Family Ward Burner Systems of Japanese Potters Great Lakes Clay & Supply Co. Wyoming Pottery Supply Ronald Otsuka Guild.com Pamela Herring Designs 9:00 am - 5:00 pm Highwater Clays, Inc. Commercial and Nonprofit Exhibits Jepson Pottery & Mfg.

KD Art Enterprises 9:00 am - 4:00 pm Kemper Tools NCECA Endowment Silent Auction L & L Kiln Mfg., Inc. L & R Specialties, Inc. 9:00 am - noon Laguna Clay Co. Simultaneous Demonstrations (Part II) Lark Books Galloway, Glick, Mansfield Keith Lebenzon/Artist Brushes

Lockerbie Mfg.

March 2000 121 PROGRAM NOTES

9:00-10:30 am 3:30 - 5:00 pm Slide Presentation Panel: The Content of Function by Demonstrators Alec Karros (moderator), Margaret Bohls, Josh Dresang, Geffen, Jeck DeWeese and Linda Sikora Anderson Ranch Arts Center 9:30 - 10:30 am 3:30-5:00 pm American Craft Council Lecture: Behind Every Woman— Topical Discussions A Woman Appalachian Center for Crafts Breakout groups to be announced Karen Thuesen Massaro Archie Bray Foundation 3:30 - 4:30 pm Arrowmont School of Arts and 10:00 am - 4:00 pm Lecture: Harvest Festival Crafts International Slide Forum Daniel Duford Carbondale Clay Center Graduate Student Slide Forum 9:00 pm - 1:00 am Craft Emergency Relief Fund 10:00 am - 3:30 pm Annual Dance Haystack Mountain School of Crafts K-12 Slide Forum Music by The Chris Daniels Band (sponsored by Mile Hi Ceramics) Kansas State University

10:30 am - 12:30 pm Laloba Ranch Clay Center Tool Doctors SATURDAY, Mendocino Art Center David Hendley, Vince Pitelka, Jack Troy March 20 and Lana Wilson New York State College of Ceramics 8:00 - 9:30 am 71:00 am - 12:30 pm Penland School of Craft Registration Panel: The Teapot: High Stakes Ceramic Art Day passes available Potters for Peace Judith Schwartz (moderator), Mark Burns, Schein-Joseph International Leslie Ferrin, Solomon Kamm and Jo Luria 9:00-10:30 am Museum of Ceramic Art Emerging Artists School for American Crafts 11:00 am - 12:30 pm Tori Arpad, Suze Lindsay, Matt Long, Cara Sierra Nevada College Panel: Community Clay Centers, Moczygemba, Justin Novak and Deborah Sigel Old and New State University of New York, 10:45- 11:45 am Diane Kenney (moderator), Deborah Bedwell, New Paltz Sondra Chessare and Jimmy Clark Second Members' Studio Potter/Network Business Meeting 1:00 - 3:00 pm Election and induction of Board Directors; Texas Tech University Kiln Doctors NCECA 2001, Charlotte, presentation by Jim Connell; Presentation of the 2000 Undergradu­ The University of the Arts Jim Cooper and Frederick Olsen ate Student Fellowships and the "2000 NCECA Juried Regional Student Exhibition" awards; University of Florida-Ceramics United Airlines raffle drawing Program 1:30 - 3:00 pm University of Massachusetts, Panel: Some Answers noon - 1:00 pm for Michael Cardew Dartmouth Closing Presentation: Douglas Baldwin (moderator), Louanna The Penumbra Effect The University of Michigan Lackey, Dennis Parks and Marcia Selsor by Ke Francis University of Nebraska, Lincoln 1:30-3:00 pm University of North Texas 1:15-2:15 pm Lecture: Chinese Contemporary Open Board Meeting University of Oklahoma, Ceramic Art School of Art Members are welcome to participate Guangzhen “Po” Zhou and I-Chi Hsu University of Wales Institute, 1:30-5:30 pm Cardiff 2:00 - 5:00 pm Tour/Shuttle Service Wichita State University Simultaneous Demonstrations to Selected Exhibitions (Part II) Dresang, Geffen, Jeck

122 CERAMICS MONTHLY ON VIEW

As usual, there will be many exhibitions on view during the conference. The following have been organized alphabeti­ cally according to district. Dates and times are subject to change; call ahead to verify hours and for information on how to reach your destination. NCECA will offer continuous shuttles, as well as tours to selected venues, on Wednesday, March 22, 9 am-5 pm, and on Saturday, March 25, 1:30-5:30 pm. The bus fee is $5 for each “Sweet,” 15 inches in length, by Sue Whitmore; day. Seating for the tours will be very from “Archie Bray and the Colorado Connection,” Arapahoe Community College. limited; tickets will be issued on a first- come, first-served basis at registration. All departures are from the Adams Mark Tower Building, Court Street entrance.

CONTINUOUS SHUTTLE SERVICE

H Route 1

“Promenade Jar,” 16 inches in height, Arvada Center for the Arts glazed porcelain, fired to Cone 10 in reduction, and Humanities by Susan Filley; from “A Touch of Porcelain,” Red Rocks Community College. Route 2 Handbuilt sculpture from the “Eternal Home Series,” 19 inches in height, by Yih-Wen Kuo; Museo de Las Americas from “Glimpse of the Invisible,” Arvada Center Sandy Carson Gallery for the Arts and Humanities. Artists on Santa Fe Gallery ILK Gallery CHAC

TOURS

Route A Arapahoe Community College Littleton Historical Museum Littleton Town Hall Art Center

Route B “Star and Cross Piece,” 13 inches in length, Foothills Art Center majolica-glazed terra cotta, by Rosalie Red Rock Community College Gallery Wynkoop; from “Archie Bray and the Colorado Metropolitan State College of Denver, Connection,” Arapahoe Community College. Center for the Visual Arts

Wheel-thrown and carved stoneware vase, Route C 14 inches in height, with saturated-iron glaze, reduction fired, by Wasabura Takahashi; University of Denver from “Wasabura Takahashi: Recent Works from Mizel Museum of Judaica Japan,” Arapahoe Community College. Rocky Mountain College of Art and Design

The Boulder ceramic art community has organized day tours for Tuesday, March 21; Wednesday, March 22; and Saturday, March 25. Fee: $14, includes breakfast at Westminster Recreation Center. For reser­ “Sauceboat,” 6 inches in height, by Julia vations, contact Caroline Douglas, 303- Galloway; from “A Touch of Porcelain,” Red 447-0110, [email protected]. Rocks Community College.

March 2000 123 ON VIEW

124 CERAMICS MONTHLY CENTRAL DENVER, OLD SANTA FE and CHERRY CREEK DISTRICTS

1 Adam’s Mark Hotel, Tower 9 Denver Art Museum,100 Korea 2000. Denver, USA — 24 Robischon Gallery, 1740 Building. Windows Room, W. 14th Ave. Pkwy. 303- Chinese Contemporary Ceramic Wazee St. 303-298-7788. second floor. Third Annual 640-4433. Tue-Sat 10-5, Art. Reception Mar 23. Ceramic sculpture by Brad National K-12 Ceramic Sun 12-5. Free admission to ^^Metropolitan State College Miller and Jeanne Quinn. Exhibition; William Daley, NCECA members with T of Denver, Center for the 25 Roundtree Art, 2942 Welton juror. Tower Court A, second conference badge. Permanent Visual Arts, 1734 Wazee St. St. 303-294-9985.The Vase, floor. The Extruder Experi­ collections of pre-Columbian, 303-294-5207. Mar 9-Apr curated by Paul Soldner in ence; sponsored by the Sangre Native American, and Asian 22. Tue-Fri 10-5, Sat 11-4. conjunction with the de Cristo Art Center, Pueblo. ceramics. Collaborative High Degrees: Ceramics by Colorado Clay Project. March 23-24, 9-5. exhibition featuring works by Colorado Art Faculty. 26 Sandy Carson Gallery, 760- 2 Artists on Santa Fe Gallery, Takashi Nakazato and Anderson Ranch staff 17 Mile Hi Ceramics, Inc.,77 62 Santa Fe Dr. 303-573- 747 Santa Fe Dr. 303-573- members Doug Casebeer, Lipan St. 303-825-4570. Mar 8585. Works by John 5903. Mar 22-Apr 28. Mon- Sam Harvey, Alleghany 22-25, 9-6. Colorado Clay Balistreri, Christine Federighi, Sat 9-5.Hair Today Gone Meadows and Bradley Box Exhibition, works by area Jeremy Jernegan and Mavis Tomorrow, works by Walters; curated by Ron middle- and high-school McClure. members of Bald-headed Otsuka. Reception Mar 22 students. Potters Association of 27 Show of Hands, 2610 E. 3rd 5-7. America. Reception Mar 23, The Clay Vessel: Modern 18 Museo de Las Americas, 861 St. 303-399-0201. Mon- Ceramics from the Norwest 6-9. Santa Fe Dr. 303-571-4401. Wed, Sat 10-6, Th 10-8, Sun Collection, 1890-1940; R. Tue-Sat 10-5. ($1 admission 10-4. High-fired functional 3 Artyard, 1251 S. Pearl St. Craig Miller, curator.Charles with NCECA badge.) work by studio potters, 303-777-3219. Old Pecos Simonds, organized by Reviving the Spirit of Casas including Bob Briscoe, Linda Museum, ceramic and mixed- Dianne Vanderlip. Grandes: The Pottery of Christianson, Jim Lorio, Jeff media works by Rodger Lang. 10 Denver Public Library, 10 Mata Ortiz. Oestreich, Ellen Shankin and 4 CHAC, 772 Santa Fe Dr. W. 14th Ave. Pkwy. 303- 19 Museum of Contemporary Mark Shapiro. Reception Mar 23, 5-8. 303-571-0440. Nicaraguan 640-6410. Mon-Wed 10-9, Art, Denver, 1275 19th St., Pottery, presented by Potters Th-Sat 10-5:30, Sun 1-5. Sakura Sq. 303-298-7554. 28 Spark Gallery, 1535 Platte for Peace. Extruder Exquisite, works by Mar 2-May 7, Tue-Sun 11- St. 303-455-4435. Mar 10- 5 The Clay Pigeon, 601 Daryl Baird, Peter Durst, 5:30. (Free admission to 26. Karon Doherty Memorial Ogden St. 303-832-5538. Marie Gibbons, Jim NCECA members with Invitational. Proceeds to High-temperature stoneware Klingman, and Tom and badge.) Scott Chamberlain benefit the Karon Doherty and wood-fired work. Jean Latka. Twelve Years: Sculpture and Scholarship Fund. Memorial Drawings. celebration Mar 22, 2-6. 6 Colorado History Museum, 118 oz. Fred Gallery, 26 1300 Broadway. 303-866- Broadway. 303-744-9659. 20 Native American Trading 29 William Havu Gallery, 1040 4697. Colorado Kilns: A Mar 3-31. Wed-Sat 11- Co., 1301 Bannock St. 303- Cherokee St. 303-893-2360. Century of Art Pottery in 4:30, Sun 12-4. Kansas State 534-0771. Rankin Inlet Works by regional ceramists Colorado, work by Colorado University: Past and Present. Ceramics Exhibition, work John Aaron, Heather Bussey, art potteries and studio Reception Mar 24, 6—11. from an Inuit village. Martha Daniels, Margaret potters, including Loie Daly, 12 Elizabeth Schlosser Fine 21 Pismo Contemporary Art Haydon, Georgia Sartoris and David Van Gilder, plus work Duane and Margaret Art, 311 Detroit St. 303- Furniture, 2727 E. 3rd Ave. by Beatrice Wood. Artists Johnson, Rodger Lang, Blair 321 -4786. Van Briggle 303-333-7724. Mar 22-Apr talks: Margaret Haydon and Meerfeld, Jim and Nan Pottery: The Early Years, 20. Clay Surfaces. Opening Heather Bussey, Mar 18, 2-4; McKinnell, Irene Musick, Ed works by Maracek, with artists Mar 23, 5-8. Oshier, Betty Woodman and McKinnell, Oshier, Tischler and Martha Daniels, Mar 21, 22 Pismo Contemporary Art Mark Zamantakis. and Wynne. 2-3:30. Glass, 235 Fillmore St. 303- Visiting British Artists: 7 Core: New Art Space,2045 13 Flux Art Group, 2690 333-2879. Mar 22-Apr 20. Richard Bell, Tracey Heyes, Larimer St. 303-297-8428. Barberry PI. 303-534-3896. The Muse as Messenger, clay and Jim Robison. Artists Mar 17-Apr 9. Open juried Dangerous Serenity, new work and glass figures by Trudy talks: Richard Bell, Tracey ceramic exhibition; jurors by Steve Gordon and Melody Evard Chiddix. Opening with Heyes, Jim Robison and Brigette Schluger, Maynard Sealman. artist Mar 23, 5-8. David Van Gilder, Mar 29, Tischler and Simon Zalkind. 14 ILK Gallery, 554 Santa Fe 23 Redshifit Gallery, 2201 7-8:30. 8 Creator Mundi, 2910 E. 3rd Dr. 303-615-5725. Laloba Larimer St. 303-293-2991. 30 Z. Wick,3601 Wazee St. Ave. 303-322-1901. Sacred Ranch Clay Center Faculty Mar 1-Apr 1, Tue-Fri 9-5, 303-936-5177. Bricks and Contemporary European Exhibition. Sat 11-4. Justifying the Means: Tiles, works by Mark Ceramics. 15 Indigos, 215 W. 13th St. Cold-Finished Sculptural Boulding and Jim Melchert. 303-825-3072. Through Apr Ceramics. Reception Mar 24, Reception Mar 24, 6-9. 1. Conceptions in Clay works— 5-9.

March 2000 125 ON VIEW

METROPOLITAN AREA

Installation by Janet Williams and Rebecca Hutchinson. Reception Mar 24, 6-9. Mar 22-25. Work by Gayla Lemke. 38 Evergreen Gallery, 105 Main St., Evergreen. 303-674-4871. Mar 15-Apr 20. Rocky Pots, by Colorado artists. Foothills Art Center, 809 T 15th St. 303-279-3922. Mar 18-May 7. Annual Colorado Clay, juried by William Hunt. 40 Howell Cole Gallery, Tamarac Sq., 7777 E. Hampden. 303-751-9832. Mar 24-Apr 24. Mon-Fri 10-7, Sat 10-6, Sun 12-5. Contemporary Colorado Ceramics 2000, featuring 60 current gallery artists. Reception Mar 24, 6-9. 41 Littleton Historical Museum, 6028 S. Gallup. 303-795-3950.Encuentros: Todo Ceramica, contemporary Cuban ceramics. 42 Littleton Town Hall Art Center, 2450 W. Main St. 303-794-6580. Rocky Mountain Co-op Members: CO, MT, ID, AZ, NM, UT, Alberta and British Columbia, juried by Pete Pinnell. ^ Mizel Museum of Judaica, BMH BJ Synagogue, 560 S. Monaco Pkwy. 303-333- 4156. Through May 15. 31 Arapahoe Community 303-431-3080. Through 34 Denver International Mon-Fri 10-4, Sun 12-4. College, Colorado Gallery of Apr 2. Mon-Sat 9-5, Sun Airport. Sixth level on The Tzedakah Box Invita­ the Arts, 2500 W. College Dr., I-5. NCECA 2000 Invita­ passenger walkway between tional: Colorado Ceramic Littleton. 303-797-5948. tional Exhibition, A Glimpse the Main Terminal and Artists. Through May 15. Mar 22-Apr 20, 9-6.Archie of the Invisible. Through Concourse A. 303-342-2521. Ceramics by Colorado Middle Bray Foundation: Current and Mar 25. NCECA 2000 Through Apr 12. Y2Klay at and High School Students. Colorado. Reception Mar 23, Regional Students Juried DIA, juried multistate Special reception for NCECA 5-8. Jantzen Gallery, Art & Exhibition. Through Mar 26. regional exhibition. attendees, Mar 23, 6:30-8:30. Design Center, 2400 W. Time in Tandem: Nan and 35 Downtown Aurora Visual 44 Pirate, 3659 Navajo St. 303- Alamo, Bldg. 100. Mar 22- James McKinnell Retrospective. Arts (DAVA), 1405 Florence 458-6058. Nonfunctional and 25. Wed-Sat 9-5.Wasabura Faculty and Studio St., Aurora. 303-367-5886. installation art. Takahashi: Recent Works from Assistants Show. Clay and Community Art. Japan. Big Mud, large scale ^ Red Rocks Community 33 Clayhouse, 1836 S. installation by Ron Fondaw, 36 Durst Studio and Gallery, College, 13300 W. 6th Ave. Broadway. 303-733-2072. 1571 S. Broadway. 303-777- 303-914-6600. Mar 18-Apr Robert Harrison, Rebecca Mar 21-Apr 18, Tue-Sat Hutchinson and Sadashi 7022. Large-scale ceramic 1. A Touch of Porcelain, II-5 (until 6, Mar 21-25). sculpture and fountains. national invitational. Inuzuka. Artists in their studio, featuring Reception Mar 22. Thick as a 3§f Arvada Center for the Arts Malla Ellison, Kendra Harris 37 Edge Gallery, 3658 Navajo Brick, by the Flu, ceramics by and Humanities. 6901 and Lisa Neeper; reception St. 303-477-7173. Mar 10- artists from Saskatchewan, Wadsworth Blvd., Arvada. Mar 24, 6-10. 25, 10-5; Mar 26 1-5. Manitoba, and Alberta.

126 CERAMICS MONTHLY 46 Rocky Mountain College of Art and Design, Philip J. Steele Gallery, Design Center Bldg., 6875 E. Evans. 303-753-6046. Mar 6-29. Passages, work by Richard Notkin; reception Mar 24, 5-8. Drive Up Gallery, Fine Art Bldg., 6850 E. Evans. In Particular, works by Jeanne Quinn, Tsehai Johnson, Kay Rhynus and Sarah White. Fine Arts Gallery, RMCAD Student Exhibit. 47 Rule Modern and Contem­ porary, 111 Broadway. 303- 777-9473. Mar 3-Apr 14. Work by Kim Dickey. 48 Singer Gallery, Mizel Arts Center, JCC, 350 S. Dahlia. 303-339-2660. Through Mar 22. Mon-Fri 9-4, Sun 1-4. Betty Woodman: Pots, Paper, Prints. 49 Sunrise ArtWorks, 1556 Florence St., Aurora. 303- 361-9282. Wisconsin Goes West, works by artists who studied at the University of COLORADO Wisconsin, Madison, with Don Reitz and/or Bruce Breckenridge. 5jJ University of Denver, School of Art & Art History 52 Anderson Ranch Art 55 Hibberd McGrath Gallery, Mon-Fri 9-5.Richard’s Feast, Gallery, 2121 E. Asbury Ave. Center, 5263 Owl Creek 101 N. Main St., a juried exhibition of 303-871-2846. Mar 21-Apr Rd., Snowmass Village. 970- Breckenridge. 970-453-6391. tableware designed to serve a 28. Mon-Fri 9-4, Sat-Sun 923-3181. Mon-Sat 9-5. Wood-fired works by Dan particular type of food. 12-4. Plural Readings, Anderson Ranch artists. Anderson, Frank Boyden, Reception Mar 25, 7-9. organized by the Quebec 53 Colorado College, Coburn Doug Casebeer and Peg 59 Western Museum of Mining Craft Council; reception Malloy. Gallery, 14 E. Cache La & Industry, 1025 North Mar 23, 5-8. Daniel L. Poudre St., Colorado 56 Meerfeld Stoneware Gallery, Gate Road (1-15, exit 156A). Ritchie Center, El Pomar U.S. Hwy 285, Saguache. 719-488-0880. Mon-Fri 9-4. Natatorium. Newly installed Springs. 719-389-6769. Tue-Sat 12:30-7:30 or by 719-655-2682. Mar 10-June. Guided tours 10 & 1. ceramic tile mural by Ken appointment. On the Wall: A Wood-fired stoneware by Admission $6, Students/ McDonald and Maynard Eileen Keane, Taiki Kuroda, Seniors $5. Mining in Art: Tischler. Clay Invitational. Clayworks, includes works by 54 Fort Collins Museum of Blair Meerfeld and Marty 51 Westminster City Park Jeremiah Houck, Erin Contemporary Art, 201 S. Mitchell. Recreation Center Pottery Howell, Kathleen Koltes, Jina College Ave., Fort Collins. 57 Tointon Gallery, 651 10th Studio, 10455 Sheridan Pierce and Janet Richards; 970-482-2787. Prairie Fire, Ave., Greeley. 970-350-9454. Blvd., Westminster. 303- Richard and Linda Pankratz featuring works by Bede Mar 2-Apr 2. Clay works, 460-9690, xl24. Mar 21-26, Studios & Gallery; high-tech Clarke, Keith Ekstam, Kevin by artists from Colorado Mon-Sat 9-9.Colorado manufactured parts from Hughes, Jeff Johnston, and Wyoming. Instructors in Clay, works by Coors Ceramics Co.; and Howard Koerth, Malcolm instructors at recreation and 58 Tri-Lakes Center for the historic bricks and current Kucharski, Lisa Lockman, community centers, K-12, Arts, 304 Hwy. 105 (1-25, company products from and Marcia Polenberg. etc.; juried by Mark exit 67), Palmer Lake. 719- Summit Brick & Tile and the Reception Mar 25, 1-4. Zamantakis. Reception Mar 481-0475. Mar 15-Apr 15. Welte Family. 20, 7-9.

March 2000 12 7 ON VIEW

BOULDER

60 Boulder Arts and Crafts Cooperative, 1421 Pearl St. 303-443-3683. Mar21-Apr 25. Mon-Sat 10-6, Sun 11- 6. Wood, Salt, Soda, functional work by regional potters doing atmospheric firings, including Joe Bennion, Susan Harris, Kate Inskeep, Diane Kenney, Jim Lorio, Peg Malloy, Blair Meerfeld, Lynn Munns and Scott Roberts. 61 The Boulder Dushanbe Teahouse, 1770 13th St. 303-442-4993 Wed-Fri 11- 5, Sat 9-5, Sun 12-5.Large- scale Clay. 62 Boulder Museum of Contemporary .Art, 1750 13th St. 303-443-2122. North American Legacies, featuring everyday and mock archaeological objects by Brook, Rose, Cooper and Shepherd LeVan. 63 Boulder Public Library Gallery, 1000 Canyon Blvd. 303-441-4114. Mar 17-Apr 10. Clay for the Table, statewide juried show; Diane Kenney and Karen Ripley, jurors. 64 Celestial Seasonings, 4600 Sleepytime Dr. 303-581- 1202. Mon-Sat 9-5, Sun 11—3; hourly tours 10—4. Celestial Seasonings: A Loose Ellen Kely, Nancy Kuestar, 70 Leanin’ Tree Museum of Sat 10-9, Sun 11-6. Work Interpretation, selections from Joyce Lamb, Giga Western Art, 6055 Longbow by James Spiroff. the annual competition. Pellouchoud, Tim Preston, Dr. 303-530-1442, x299. 74 University of Colorado at Permanent collection of and M. L. Schumacher. Mar 6-Apr 7. Mon-Fri 8- Boulder, CU Art Galleries, teapots and original packag­ 4:30, Sat-Sun 10-4. Don’t 67 David Haslam, The Sibell-Wolle Fine Arts Bldg, ing artwork. Tea tastings. Fence Me In, landscape Boulder Art Gallery, 1217 East of Broadway and Euclid. ceramics by Matt West and 65 Dairy Center for the Arts, Spruce St. 303-444-9106. 303-492-8300.Through Mar Maureen Pahlman West. 2590 Walnut St. 303-440- Tue-Sat 10-9, Sun 1-9. 22. Mon, Wed-Fri 10-5; Tue 7826. Mar 3-Apr 14. Mon- Ceramic Legacy—The Ancient 71 MacLaren Markowitz 10-7:30. A Dew dr op Poised Fri 9-5. Mar 25, 9-7.Free Cultures, pre-Columbian, Gallery, 1011 Pearl St. 303- Atop a Leaf of Grass, Southeast Wheeling: Five Ceramic Egyptian, Greek and Roman 449-6807. Mar 21-31. Asian ceramics from the Masters from CU, featuring ceramics. Form as Function, featuring permanent collection. works by Aurore Chabot, gallery artists. 68 Indochine, 2525 Arapahoe CU Ceramic Studios. Jane Dillon, Andy Nasisse, Graduate and undergraduate Pete Pinnell and Ted Vogel. Ave. E-31. 303-444-7734. 72 The Middle Fish, 1500 Pearl March. student work. Reception Reception Mar 25, 5-7. Contemporary St. 303-443-0835. Three Southeast Asian Ceramics. Views of Functional Pots, Mar 25, 3-5. 66 Handmade in Colorado, University Memorial Center 69 Koenig Alumni Center, works by Ron Meyers, Lisa 2010 10th St. 303-938-8394. Orr and David Wright. Art Gallery. 303-492-7465. Mon-Sat 10-6, Sun 12-5. University of Colorado at Mon-Th 9-9, Fri 9-6 (Mar Boulder, 1202 University Reception Mar 25, 2-5. Colorado daywork by gallery 19 and Mar 25 12-5).Three artists, including Danni Ave. Mar 21-Apr 14. Mon- 73 Smith-Klein Gallery, 1116 Views on Use, with works by Bangert, Peggy Cuago, Fri 8-5. Functional Portraits, Pearl St. 303-444-7200. Mar Julia Galloway, Tschai Larkin Hosmer, Bob Judson, featuring work by Tim Berg. 21-31. Mon-Th 10-6, Fri- Johnson and Liz Quackenbush.

128 CERAMICS MONTHLY