2 Ceramics Monthly William C. Hunt...... Editor Barbara Tipton ...... Associate Editor Robert L. Creager ...... Art Director Ruth C. Butler...... Copy Editor Valentina Rojo ...... Editorial Assistant Mary Rushley...... Circulation Manager Mary E. Beaver....Circulation Assistant Jayne Lohr ...... Circulation Assistant Connie Belcher .... Advertising Manager Spencer L. Davis...... Publisher Editorial, Advertising and Circulation Offices 1609 Northwest Boulevard Box 12448, Columbus, Ohio 43212 (614) 488-8236 Ceramics Monthly (ISSN 0009-0329) is published monthly except July and August by Professional Publications, Inc.—S. L. Davis, Pres.; P. S. Emery, Sec.: 1609 North­ west Blvd., Columbus, Ohio 43212. Second Class postage paid at Columbus, Ohio. Subscription Rates:One year SI 8, two years $34, three years $45. Add $5 per year for subscriptions outside the U.S.A. Change of Address:Please give us four weeks advance notice. Send both the magazine wrapper label and your new address to: Ceramics Monthly, Circulation Office, Box 12448, Columbus, Ohio 43212. Contributors: Manuscripts, photographs, color separations, color transparencies (in­ cluding 35mm slides), graphic illustrations, texts and news releases dealing with ceramic art and craft are welcome and will be con­ sidered for publication. A booklet describing procedures for the preparation and submis­ sion of a manuscript is available upon re­ quest. Send manuscripts and correspondence about them to: Ceramics Monthly, The Ed­ itor, Box 12448, Columbus, Ohio 43212. Telecommunications and Disk Media: Ceramics Monthly accepts articles and other data by modem. Phone us for transmission specifics. Articles may also be submitted on 3.5-inch microdiskettes readable with an Ap­ ple Macintosh computer system. Indexing:Articles in each issue of Ceramics Monthly are indexed in the Art lndex\ on line (computer) indexing is available through Wilsonline, 950 University Ave., Bronx, New York 10452. A 20-year subject index (1953-1972), covering Ceramics Monthly feature articles, Suggestions and Questions columns, is available for $1.50, postpaid, from the Ceramics Monthly Book Department, Box 12448, Columbus, Ohio 43212. Additionally, each year’s articles are indexed in the De­ cember issue. Copies and Reprints:Microfiche, 16mm and 35mm microfilm copies, and xerographic re­ prints are available to subscribers from Uni­ versity Microfilms, 300 N. Zeeb Road, Ann Arbor, Michigan 48106. Copies in micro­ fiche are also available from Bell & Howell, Micro Photo Division, Old Mansfield Road, Wooster, Ohio 44691. Back Issues: Back issues, when available, are $3 each, postpaid. Write for a list. Postmaster:Please send address changes to Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Copyright © 1986 Professional Publications, Inc. All rights reserved April 1986 3 4 C eramics Monthly Ceramics Monthly Volume 34, Number 4 April 1986

Feature Articles Run of the Mill by Charles Lakofsky...... 29 Missouri Roots by Jim Estes...... 31 National Design Competition...... 35 Expressive Realism by Beverly Mayeri...... 36 Cane Handles by Ray Bub...... 39 Summer Workshops 1986...... 43 Useful Pottery...... 51 Saint Louis Clay...... 57 Opposites from Denmark by Heidi Guthmann Birck...... 58 Leslie Wood by Nancy Margulies...... 62 Cone 04-7 Wood Ash Engobes by Gerald Rowan...... 92

Departments Letters to the Editor...... 7 Questions 9 Where to Show 11 Suggestions...... 15 Itinerary...... 19 Comment: Museums, Profits and Reproductions by William Hunt...... 25 News & Retrospect...... 65 Classified Advertising...... 94 Index to Advertisers...... 96

The Cover “Green Umbra,” approximately 4 feet in height, handbuilt low-fire buff clay, fired and painted with acrylics, by Beverly Mayeri. For an insight into this Mill Valley, California, artist’s work, see the article beginning on page 36.Photo: M. Lee Fatherree. April 1986 5

Letters More on Shutoff Failure ratio between market forces and personal some don’t seem to realize that without the In response to the letter from Mary Nich­ choice, not least is financial independence from craftsperson—hey—no store. Some are rude olson, Suffern, N.Y. (January), I would like the market. The greater this independence, and uncooperative. Some pay late, and of to offer the following “awareness”: never trust the greater the scope for personal choice. Profit course some don’t pay at all and close the mechanical shutoff devices; there are just too is still a lovely word. doors. You’re in California, they’re in Illi­ many things that can go wrong. It is imper­ E.M. Pugh nois: What to do? After several years of this ative that all kilns be monitored closely from Pottery Officer we have come up with many suggestions but the start of the firing until unloading time Council for Small Industries in Rural Areas need more. has approached. Northampton, England Kathy Wolff As a working clay artist and college ce­ Stirling City, Calif. ramic arts instructor, I speak from experi­ I don’t understand the criticism of the CM ence (some from learning the hard way). I Letters section. I find it the only interesting An Award to Ersatz fire approximately 125 kiln loads per year— part of the magazine lately. This being short­ In response to the January Comment by electric, gas and wood. If the kiln is not off er than ten lines, it should at least make Ed Ersatz Soubriquet: I send you, forthwith, after a specified time (granted that there are Higgins (February Letters) happy. Murray’s One Hand Clapping Award variances in firing times, etc.), shut it off. Claude Conover (MOHCA). In the box, you will find only You can always refire the work if it was un­ Cleveland Dumbfounded Silence. derfired, but you cannot correct an overfired After the CM staff has admired the award, mess. Taking Care of Reality I suggest taping up the box and mailing it An automatic shutoff device is only as good I was happy to see the November Com­ off to Comment contributor Ersatz. He has as the human overseeing it. ment about how a potter might make a living. already actualized the first part of the con­ Jack Mettier Pottery economics has been ignored for too tent. Perhaps he can find the silence part. Taft College long. Donald D. Murray-san Taft, Calif. But instead of taking other jobs, why not Atascadero, Calif. figure out a way to make pottery a viable “Eliminate Letters” Response Openness Enables Learning Marion Padgett, (December Letters) hang occupation? In England, apprenticeships train For ten years I’ve had clay underneath my your head in shame. Read, “Remembering people to make a living as well as beautiful worn fingernails. I love clay, glazes and the the Glory Days,” by author and sometimepots. They also have a national organization continuous challenge. Ceramics Monthly has salesman, sometime potter Ross Murphy with an outlet and catalog that give potters helped me despite the art/craft/funk contro­ (same Letters column) and if it doesn’t make access to a wide public. In Ireland, the gov­ versy that has been ongoing for at least a you laugh out loud (even in the middle of a ernment supports the crafts and provides a decade. I maintain a barn studio through my craft show—“Poor potter, gone dotty”—they directory to the public. intermittent clay cycles of planning, experi­ think) then you have lost your sense of hu­ I’m not necessarily suggesting we follow mentation, work, glazing, then firing (gas or mor. their example, but some kind of organization electric). I invest in books and workshops for Ross should write a potter’s manual: “How could be beneficial in providing education, my education, as well as visit out-of-state to Cheer Yourself Up on a Rainy Day.” efficient distribution and publicity. potters and shows to enlighten and educate If you think clay nuggets are big in Kan­ Sarah Center me. Being open to the ventures of others can sas, wait till you see the ones in Canada. Fort Collins, Colo. be a learning process and I thank CM for Mary Haggis accommodating all of us. Choosing to be a London, Ont. Business for Potters small, part-time potter, I thrive on struggling The article on how to sell pottery (“How with my own challenges of mixing new glaz­ CM’s Letters column provides an insight to Sell Your Pots Profitably,” June/July/ es, trying new clays and anxiously waiting into the minds of American potters which we August 1984) was excellent and now we need for a week’s vacation from a full-time (not British would find hard to find anywhere to expand this on how to market products. art) job to indulge myself in this therapy I else. The Ross Murphy affair is certainly a I want to construct my own kiln in my love. bonus. These letters not only provide infor­ backyard, and need a source of reasonable Donna Edgerley mation and entertainment but reflect the homeowners’ insurance. My home is in a North Kingston, R.I. standards accepted by our American cousins. residential area and I do not want to void My work in England is to help people like my homeowners’ policy. Numerous insur­ Subscribers’ Comments Tommy Meaders (December Letters). First ance agents shy away from this since the kiln Ceramics Monthly is an exceptionally well- he should rid himself of any inhibitions as will be used for business purposes to support rounded publication. Those who write that to what he is prepared to make. This is usu­ my garage studio operation. there is too much sculptural work and not ally the biggest hurdle a newcomer has to Where do I start to obtain reasonable cov­ enough functional work should have their overcome. Owning a kiln, no matter how erage for my home and contents and obtain eyes and their intellects examined. small, should be an early target. Discipline liability protection? Holly Jones Heaslip is now required to fire the kiln on a regular I am sure there are many potters who are Barnstable, Mass. timetable; bisque on Sunday, glaze on Sat­ sticking their heads in the sand or who just urday. Remember to fit the pot to the kiln: don’t know that they are in violation of their I became involved with clay while in pris­ little kiln—little pots. homeowners’ insurance policy by operating on. Since I cannot go anywhere, information In a limited sales program it tends to be a business out of their home. through magazines or books is very impor­ easier to sell ten pots at SI than one pot at Michael J. Durante tant to me. S10. And so the cycle goes and grows; you Dallas Susan Hallett make and sell. Record all your transactions Bedford Hills, N.Y. and plough back a high percentage of your We are interested in business information. profit. We are in approximately 30 co-ops and also Share your thoughts with other readers. All In time the range can be modified as a have extensive wholesale outlets. The prob­ letters must be signed, but names will be compromise is made between what the mar­ lems with both are endless. It would be really withheld on request. Address: The Editor, ket wants and what the potters prefer to make. great if there were a group with automatic Ceramics Monthly, Box 12448, Columbus, There are many factors which determine the clout. Some co-ops are very easy to deal with; Ohio 43212. April 1986 7

Questions Answered by the CM Technical Staff

Q What’s the maximum number of tiles I can stack flat, one on top of the other, in order to fire without them warping in my electric kiln?—S.M. Tiles are best stacked on edge rather than one on top of the other, and with a bit of air space between them. Some industrial manu­ facturers fire this way yet today, using a coil of clay thumbed across the top of the tiles to hold them in place and keep them stable with consistent air space in between. The coil is removed and discarded after firing. Tiles stacked on edge can be stacked on top of each other, with the first course running north/south, the next east/west, the next north/south, etc. The number of courses of tiles which can be stacked without the need of kiln furniture must be determined experimentally, based on the pyroplastic strength of your clay body. Some tile manufacturers stack good-sized kilns with no furniture at all, only tiles supporting tiles all on edge.

Q I am looking for a soft paste porcelain clay body which fires similar to Belleek—the highly translucent, extremely thin commer­ cial ware from Ireland. Can you suggest a recipe?—C.T. Robert Madison published the following recipes in his article “Low-Fire Porcelain for Casting,” which appeared in the November 1977 CM: LOW-FIRE PORCELAIN CASTING SLIP (Cone 06) Lead Bisilicate...... 40% Bone Ash...... 20 Whiting...... 5 Florida Kaolin...... 35 100% LOW-FIRE PORCELAIN CASTING SLIP (Cone 4) Lead Bisilicate...... 40% Bone Ash...... 13 Whiting...... 12 Florida Kaolin...... 35 100% Both of these recipes are highly translucent, firing white to cream. “Deflocculation is critical in casting, and the following recipe is suggested for use with the previously listed bodies; mix only the amount of deflocculant needed for the quantity of slip required.” The deflocculant solution consists of 25cc sodium silicate, and 8 grams soda ash. “Add water to equal lOOcc of solution. Then add 1.1-1.5 grams of deflocculant solution to 40-45 milliliters of water for each 100 grams of dry body. In the following order mix the water and deflocculant solution, bone ash, kaolin, whiting and lead bisilicate. Screen the slip at least twice through an 80- to 100-mesh lawn, then age. “This slip can tolerate a water variation up to 33%, but increasing the water content may cause adherence and cracking in the mold. The same is true of increases in the deflocculant solution, with the additional tendency for the slip to gel and become difficult to pour.” If you decide to use one of these slips, CM recommends replacing lead bisilicate in clay or glazes with the same amount of Pemco frit Pb-700 or its equivalent, to make the compound safer for handling without altering fired results. In addition, the potter should exercise extra caution to avoid breathing or ingesting the dust of lead com­ pounds and should use extra care in studio hygiene. Only those sufficiently knowledgeable in ceramic chemistry and toxicology should attempt the use and firing of lead glazes or bodies. Subscribers’ inquiries are welcome and those of general interest will be answered in this column. Due to volume, letters may not be answered personally. Send questions to: Technical Staff, Ceramics Monthly, Box 12448, Columbus, Ohio 43212. April 1986 9 10 Ceramics Monthly Where to Show exhibitionsfairs, festivals and sales Send announcements of juried exhibitions, fairs, juried from 4 slides and a resume. Works should of up to 3 entries. Fees: $12; nonmembers $15. festivals and sales at least four months before therelate to the act of pouring. Send self-addressed, Send a self-addressed, stamped envelope to: Craft entry deadline to: The Editor, Ceramics Monthly, stamped envelope to: Michael Holohan, Pro Art, Biennial, Fuller Lodge Art Center, Box 790, Los Box 12448, Columbus, Ohio 43212; or call: (614)5595 Pershing Ave., Saint Louis 63112; or call: Alamos 87544; or call: (505) 662-9331. 488-8236. Add one month for listings in July and (314) 361-4442. June 15 entry deadline two months for those in August. April 21 entry deadline Saint Louis, Missouri ’’Mississippi Mud II” White Plains, New York The “33rd Annual (September 19-October 19) is open to residents of National Open Juried Exhibition” (October Arkansas, Illinois, Iowa, Kentucky, Louisiana, International Exhibitions 24-November 9) is juried from slides. Jurors: Miles Minnesota, Mississippi, Missouri, Tennessee and April 8 entry deadline Barth, John Elliot, Anthony Padavano and Rose- Wisconsin. Juried from 6 slides of up to 3 works. Golden, Colorado The eighth annual “North anne Raab. Send self-addressed, stamped envelope Fee: $15. Send self-addressed, stamped envelope American Sculpture Exhibition” (June 1-July 8) to: Open Juried Exhibition, Mamaroneck Artists to: Hickory Street Gallery, 1929 Hickory St., Saint is open to artists in the U.S.A., Canada and Mex­ Guild Gallery, 150 Larchmont Ave., Larchmont, Louis 63104. ico. Juried from glossy 8x10 photographs of a New York 10538. maximum of 3 entries, up to 3 views each. $6000 May 10 entry deadline in awards. Jurors: Albert Wein and Sebastian. Fee: Southport, North Carolina “Sixth Annual Na­ Fairs, Festivals and Sales SI2.50 per entry. Send self-addressed, stamped en­ tional Art Show” (July 2-27) is juried from slides. April 5 entry deadline velope to: The Foothills Art Center, 809 Fifteenth Fee: $15 per entry. Contact: Associated Artists of Denver, Colorado The third annual “Art of St., Golden 80401; or call: (303) 279-3922. Southport, Franklin Square Gallery, Box 10035, Crafts Festival” of the Denver Art Museum (Sep­ April 30 entry deadline Southport 28461. tember 25-28) is juried from 5 slides. Jurors: Dale Mino, Japan “The 1st International Ceramics May 23 entry deadline Chihuly, Imelda DeGraw and Lloyd Herman. Contest ’86” (November 2-9) is open to individ­ Sacramento, California “American Ceramic Entry fee: $10; booth fee: $275. Contact: The Art uals or groups working in ceramic design and/or National IV” (July 1-August 16) is juried from of Crafts, Denver Art Museum, 100 W. 14 Ave. ceramic arts. Juried from up to 3 works, each slides. Juror: Rena Bransten. Awards. Send self- Pkwy., Denver 80204; or call: (303) 575-3073. category. Jurors: Yusuke Aida, Nino Caruso, Lloyd addressed, stamped envelope to: Institute for De­ April 10 entry deadline E. Herman, Yoshiaki Inui, Takuo Kato, Masahiro sign and Experimental Art (I.D.E.A.), 824½ “J” Biloxi, Mississippi The “3rd Annual Inter­ Mori, Timo Sarpaneva, Rudolf Schnyder, Peter St., Sacramento 95814. national Crafts Festival” (May 30-June 1) is ju­ Voulkos and Carlo Zauli. Awards include a “Grand June 1 entry deadline ried from 5 slides. Fee: $125. Contact: Eileen Za, Champion” per category: ¥2,000,000 (approxi­ La Honda, California “The Redwood National 1000 Washington Ave., Ocean Springs, Mississip­ mately $8440) and a study trip; gold medals: ¥ Teapot Show” (July 4-31) is juried from 2 slides. pi 39564; or call: (601) 875-3900. 1,000,000 (approximately $4220); and silver med­ Juror: Mark Malmberg. Fee: $10 per entry. Send Garrison, New York The “17th Annual Arts als: ¥500,000 (approximately $2110). Fees: ¥3000 self-addressed, stamped envelope to: Leslie A. & Crafts Fair” (August 16-17) is juried from 4 (approximately $13) for 1 entry, ¥5000 (approx­ Brown, Box 238, La Honda 94020. slides. Entry fee: $5; booth fee: $120. Contact: imately $21) for 2, ¥7000 (approximately $30) Saint Louis, Missouri “Containers ’86” (Au­ Garrison Art Center, Box 4, Garrison 10524; or for 3. Contact: The 1st International Ceramics gust 15-September 14) is juried from 6 slides of call: (914) 424-3960. Contest ’86, 2-15 Hinode-machi, Tajimi City, Gifu up to 3 works. Jurors: Roland Ernst and Walter April 11 entry deadline Prefecture, 507; or call: (0572) 22-1111. Moody. Fee: $15. Send self-addressed, stamped Evanston, Illinois The seventh annual “Foun­ Scarsdale, New York “International Art Com­ envelope to: Darryl Meyer, Hickory Street Gal­ tain Square Arts Festival” (June 28-29) is juried petition” (June 24-July 15); includes craft cate­ lery, 1929 Hickory St., Saint Louis 63104; or call: from slides. $300 in awards. Contact: Evanston gories. Juried from slides by Lloyd Herman. (314) 231-1929. Chamber of Commerce, 807 Davis St., Evanston Awards. Fee: $5 per slide. Contact: Metro Art, June 14 entry deadline 60201; or call: (312) 328-1500. Box 286-H, Scarsdale 10583; or call: (914) 699- Bethlehem, Pennsylvania “Luckenbach Mill April 15 entry deadline 0969. Gallery Juried Exhibition of Contemporary Crafts” Great Neck, New York Eighth annual “Great May 26 entry deadline (October 4-November 2) is juried from up to 3 Neck Celebrates Crafts” (May 18) is juried from Freiburg, West Germany The “Elisabeth- slides each, including close-ups, of 3 pieces. Ju­ 5 slides. Fees: $75-$80. Send 39^ in stamps to: Schneider-Award” (October 4-November 22), a rors: David Ellsworth, Peggy W. Hobbs and Lee Creative Faires, Box 1688, Westhampton Beach, biennial ceramic sculpture or objects competition, Sklar. Awards. Fee: $10. Contact: Janet Goloub, New York 11978; or call: (516) 325-1331. is juried from photos, slides or drawings. DM20,000 Historic Bethlehem Inc., 501 Main St., Bethlehem Long Island, New York The “2nd Annual (approximately $8000) in awards. Contact: Gal- 18018; or call: (215) 691-5300. Spring Fling Crafts Festival” (May 2-4) is juried erie Schneider, Riedbergstrasse 33, D-7800 Frei- June 20 entry deadline from 5 slides. Fees: S310—S330. Send 39^ in stamps burg-Gunterstal; or call: 0761 29406. Los Angeles and San Francisco, California to: Creative Faires, Box 1688, Westhampton Beach, June 30 entry deadline “Artists’ Liaison” (September 1-October 10) is ju­ New York 11978; or call: (516) 325-1331. Toronto, Ontario, Canada “First Annual In­ ried from a minimum of 3 slides. Jurors: Jan Pe­ Ossining, New York The “6th Annual Ossin­ ternational Miniature Art Exhibition” (November ters, Ray Leier and Deborah Lawrence. $7500 in ing Village Fair and Juried Art Exhibition” (June 9-December 31) is juried from two-dimensional awards. Fee: $5 per slide. Contact: Artists’ Liai­ 14) is juried from up to 5 slides. Juror: Joanne works in any media. Awards. Fee: $15 (or Can$18) son, 1341 Ocean Ave., 61D, Santa Monica, Cal­ Raab. Fee: $25. Contact: Pat Morgan, Greater for up to 3 works. Contact: Del Bello Gallery, 363 ifornia 90401; or call: (213) 399-9306. Ossining Chamber of Commerce, 73 Croton Ave., Queen St., W, Toronto, Ontario M5V 2A4; or call: June 27 entry deadline Ossining 10562; or call: (914) 941-0009. (416) 593-0884. Jackson, Wyoming “Art West Open Compe­ Sheboygan, Wisconsin “Sixteenth Annual tition” (September 12-October 3) is juried from 3 Outdoor Arts Festival” (July 19-20) is juried from slides. Fee: $15. Awards include a three-week solo 5 slides. Jury fee: $5. Entry fee: $30. Awards. National Exhibitions exhibition. Contact: Judy Sensintaffar, Art West Contact: John Michael Kohler Arts Center, 608 April 5 entry deadline Gallery, Box 1248, Jackson 83001; or call: (307) New York Ave., Box 489, Sheboygan 53082; or Corvallis, Oregon “Midnight Summer’s Dream 733-6379. call: (414) 458-6144. Mask Exhibition” (June 5-July 5) is juried from June 30 entry deadline April 20 entry deadline 3 slides of masks in any medium. Send self-ad- Saint Louis, Missouri “Dinnerware Show” Fort Wayne, Indiana “Three Rivers Festival dressed, stamped envelope to: Linda Brewer, 7580 (October 24-November 30) is juried from slides Arts and Crafts Show” (July 12-13) is juried from N.E. Logston Rd., Corvallis 97330; or call: (503) of functional work. Jurors: Saunders Schultz, Dion 5 slides or photos. Fee: $40. Send a self-addressed, 745-5772. Dion and Walter Moody. Fee: $15. Send self-ad- stamped envelope to: Three Rivers Festival, 2301 April 10 entry deadline dressed, stamped envelope to: Hickory Street Gal­ Fairfield Ave., Suite 107, Fort Wayne 46807. State College, Pennsylvania “Crafts 20” (July lery, 1929 Hickory St., Saint Louis 63104; or call: April 30 entry deadline 6-August 31) is juried from slides. $2000 in awards. (314) 231-1929. Birmingham, Michigan “Art in the Park 1986” Fee: $10 for up to 2 entries, plus $15 exhibition August 4 entry deadline (September 13-14) is juried from 6 slides. Entry fee. Send self-addressed, stamped envelope to: Crafts Mesa, Arizona “Clay Forte” (November 15- fee: $7; booth fee: $100 for a 10x10-foot space. 20, Central Pennsylvania Festival of the Arts, Box December 13) is juried from slides. Juror: David Contact: Barbara A. Murray, Art in the Park/ 1023, State College 16804; or call: (814) 237-3682. Furman. Contact: Galeria Mesa, Box 1466, Mesa Common Ground, 1090 S. Adams Rd., Birming­ State College, Pennsylvania “Sculpture and the 85201; or call: (602) 834-2242. ham 48011; or call: (313) 645-1173. Sculptured Object Exhibition” (July 7-August 1) Portsmouth, Virginia The “16th Annual is juried from slides. Send self-addressed, stamped Portsmouth Seawall Art Show” (June 6-8) is ju­ envelope to: Sculpture, Central Pennsylvania Fes­ Regional Exhibitions ried from slides. $8000 in awards. Contact: Sea­ tival of the Arts, Box 1023, State College 16804; May 9 entry deadline wall Art Show, Box 820, Portsmouth 23705; or or call: (814) 237-3682. Los Alamos, New Mexico “Fourth Biennial call: (804) 393-8481. April 15 entry deadline Juried Craft Exhibition” (June 20-July 27) is May 1 entry deadline Saint Louis, Missouri “A Week Show of Pour open to craftspeople residing in Arizona, Colorado, Dubuque, Iowa “DubuqueFest” (May 15-18) Pots/A Juried Invitational” (June 20-July 18) is New Mexico, Texas and Utah. Juried from slides Continued April 1986 11

$75-$ 190. Contact: Lynchburg Fine Arts Center, Where to Show 1815 Thomson Dr., Lynchburg 24501; or call: (804) 846-8451. is juried from 3 slides or photos. Fee: $50 for a June 13 entry deadline 10x10-foot space. Send self-addressed, stamped Manteo, North Carolina Fifth annual “New envelope to: 422 Loras Blvd., Dubuque 52001. World Festival of the Arts” (August 13-14) is ju­ Lexington, Kentucky “Smoky Mountain ried from 4 slides, 1 of display. Awards. Fee: $50. Springfest Art & Craft Show” (May 9-11) is ju­ Send self-addressed, stamped (39^) envelope to: ried from slides or photos. Fee: $125. Send self- New World Festival of the Arts, SR Box 111-E, addressed, stamped business envelope to: Dana Kitty Hawk, North Carolina 27949. Kropf, High Country Crafters, 29 Haywood St., June 14 entry deadline Asheville 28801; or call: (704) 254-0072. Dillon, Colorado “10th Annual Craft Fair” Saint Joseph, Michigan “St. Joseph’s 25th (July 19-20) is juried from 3 slides or photo­ Annual Outdoor Art Fair” (July 12-13) is juried graphs. Fee: $40. Contact: Lake Dillon Arts Guild, from slides. Fee: $65. Contact: KRASL Art Cen­ Box 1047, Dillon 80435. ter, 707 Lake Blvd., Saint Joseph 49085; or call: June 15 entry deadline (616) 983-0271. South Norwalk, Connecticut The 10th annual Chautauqua, New York “Chautauqua Crafts “Arts and Crafts Show” (August 2-3) is juried Festival ’86” (July 4-6 and August 8-10) is juried from 4 slides, 1 of display. Fee: $45. Contact: SoNo from 4 slides. Entry fee: $5. Booth fee: $85 per Arts Celebration, Box 2222, Norwalk 06852. show. Send self-addressed, stamped envelope to: Memphis, Tennessee “Mississippi River Folk- Gale Svenson, Chautauqua Crafts Festivals ’86, fest” at Mud Island (August 30-September 1) is Box 89, Mayville, New York 14757. juried from slides or photos. Fee: $100. Contact: Lima, Ohio “Square Fair ’86” (August 1-3) Kate Canon, 125 N. Front St., Memphis 38103; is juried from 3 slides minimum. Fee: $40. Send or call: (901) 576-7230. self-addressed, stamped envelope to: Council for June 23 entry deadline the Arts of Greater Lima, Box 1124, Lima 45802; Pittsburgh, Pennsylvania “A Fair in the Park” or call: (419) 225-9165. (September 12-14) is juried from 5 slides. Entry Marietta, Ohio “Indian Summer Festival” fee: $75; booth fee: $5. Contact: A Fair in the Park, (September 12-14) is juried from slides. Fee: $60. Craftsmen’s Guild of Pittsburgh, Box 10128, Contact: Indian Summer Festival, Box 266, Mar­ Pittsburgh 15232. ietta 45750; or call: (614) 373-8027. June 25 entry deadline Milwaukee, Wisconsin “Craft Fair USA” (May Scaly Mountain, North Carolina “A High 10-11) is juried from 5 slides or photos. Fee: $75. Country Art & Craft Show” (July 4-6) is juried Send self-addressed, stamped envelope to: Dennis from slides or photos. Fee: $90. Send self-ad- R. Hill, 3233 S. Villa Circle, West Allis, Wis­ dressed, stamped business envelope to: Dana Kropf, consin 53227; or call: (414) 321-4566. High Country Crafters, 29 Haywood St., Ashe­ May 14 entry deadline ville 28801; or call: (704) 254-0072. Greensburg, Pennsylvania “Westmoreland Arts June 30 entry deadline and Heritage Festival Juried Arts/Crafts” (July Parker, Arizona “Third Annual Southwest 3-6) is juried from slides. Awards. Send self-ad­ Rendezvous” (November 1-2) indoor exhibition of dressed, stamped envelope to: Olga Gera, Arts Southwest interpretations is juried from 5 slides. Competitions, Box 21C, RD 8, Greensburg 15601. Fee: $15 plus 20% commission on sales. An outside May 15 entry deadline exhibition is juried from photos, any theme. Fee: West Lafayette, Indiana “Lafayesta 1986” $50 for a 10x10-foot space; no commission. Awards. (August 30-31) is juried from 4 slides. $5000 in Send a self-addressed, stamped envelope to: awards. Fee: $35 for a 12x12-foot space. Contact: S.W.A.A., Box 5334, Parker 85344. Sue Paschke, Greater Lafayette Museum of Art, Aurora, Illinois “Autumn Fine Arts Show­ 101 S. Ninth St., Lafayette 47901. case” (October 18-19) is juried from 5 slides, 1 of Williamsburg, Virginia “An Occasion for the display. Awards. Entry fee: $5; booth fee: $30. Arts” (October 5) is juried from 3 slides. Fee: $25. Send self-addressed, stamped envelope to: Aurora Contact: 6 Valentine Ct., Newport News, Virginia Art League, c/o Evone Ostreko, 1951 Rosemont 23606; or call: (805) 595-1610. Dr., Aurora 60506. May 20 entry deadline July 1 entry deadline West Orange, New Jersey “June Days Folk Las Vegas, Nevada “KNPR Craftworks Mar­ Festival” (June 21-22) is juried from 5 slides. Fee: ket” (October 25-26) is juried from up to 10 slides. $95 for a 7x12-foot space. Send self-addressed, Entry fee: $10. Booth fee: $120. Contact: Craft­ stamped envelope to: Rose Squared Productions, works, 5151 Boulder Hwy., Las Vegas 89122; or 12 Galaxy Ct., Belle Mead, New Jersey 08502; call: (702) 456-6695. or call: (201) 874-5247. Dayton, Ohio The third annual “Dayton Art June 1 entry deadline Expo ’86” (November 7-9) is juried from 3 slides. East Rutherford, New Jersey “Super Crafts Awards. Entry fee: $10; booth fee: $50. Send self- Star Show” (December 5-6) is juried from 5 slides. addressed, stamped envelope to: Diane Coyle, Fees: $300-$465. Send 39^ in stamps to: Creative Dayton Art Expo ’86, Box 404, Dayton 45409; or Faires, Box 1688, Westhampton Beach, New York call: (513) 435-6633, or Nita Leland 434-9977. 11978; or call: (516) 325-1331. Milwaukee, Wisconsin “Craft Fair USA” (July Long Island, New York “Twelfth Annual 19-20) is juried from 5 slides or photos. Fee: $75 Harvest Crafts Festival” (November 21-23) is ju­ for a 10x10-foot space. Send self-addressed, stamped ried from 5 slides. Fees: $345-$365. Send 39 (f: in envelope to: Dennis R. Hill, 3233 S. Villa Circle, stamps to: Creative Faires, Box 1688, Westhamp­ West Allis, Wisconsin 53227; or call: (414) 321- ton Beach, New York 11978; or call: (516) 325- 4566. 1331. July 5 entry deadline Asheville, North Carolina “Highland Heri­ Lexington, Kentucky “Smoky Mountain tage Art & Craft Show”(June 12-14) is juried Christmas in July Art & Craft Show” (July 18-20) from slides or photos. Fee: $100. Send self-ad- is juried from slides or photos. Fee: $125. Send dressed, stamped, business envelope to: Betty Kdan, self-addressed, stamped business envelope to: Dana 40 Hyannis Dr., Asheville 28804; or call: (704) Kropf, High Country Crafters, 29 Haywood St., 253-6893. Asheville 28801; or call: (704) 254-0072. Richmond, Virginia The 11th annual “Rich­ July 20 entry deadline mond Craft Fair” (November 7-9) is juried from Scaly Mountain, North Carolina “A High 5 slides. $6750 in awards. Fee: $10. Contact: Hand Country Art & Craft Show” (August 1-3) is juried Workshop, 1812 W. Main St., Richmond 23220; from slides or photos. Fee: $90. Send self-ad­ or call: (804) 353-0094. dressed, stamped business envelope to: Dana Kropf, June 6 entry deadline High Country Crafters, 29 Haywood St., Ashe­ Bloomington, Indiana The tenth annual “4th ville 28801; or call: (704) 254-0072. Street Festival of the Arts and Crafts” (August August 15 entry deadline 30-31) is juried from 4 slides. Awards. Fee: $55. Herkimer, New York “11th Annual Herkimer Contact: The 4th Street Festival Committee, Box County Arts & Crafts Fair” (November 8-9) is 1257, Bloomington 47402. juried from 5 slides. Awards. Fee: $75. Send self- Lynchburg, Virginia “Hand Crafts 1986” addressed, stamped envelope to: Grace Mc­ (October 24-26) is juried from 3 slides. Fees: Laughlin, HCCC, Reservoir Rd., Herkimer 13350. April 1986 13 14 C eramics Monthly Suggestions from our readers

Labeling Slides When submitting plastic-mounted slides for jury, use a fine-point permanent marker to write the necessary information on the mount. After the slides are returned, remove the written information easily with nail polish remover and a cotton swab. Now you have a clean slide to submit to the next jury. —Bonnie Waletzko, Willow River, Minn.

Confetti Decoration and More Mix wax and oxides, then chill into blocks. When they are firm, grate them through a kitchen grater or 30-40-mesh screen. Add the grated wax and oxides to the glaze; it may need to set for a week in order to mix well (the wax will float for the first few days). Because they won’t group, several colors may be mixed with the same glaze. Dry glazes can also be mixed with wax. The amount of colorant meltdown can be controlled by adding or removing flint, kaolin or fluxes. This method works well on porcelain and can be mixed into clay bodies. —Russell Collins, San Antonio

Simple Viscosity Gauge Good viscosity control of casting slips may be obtained by using a small, 4-ounce, tin can with a ½-inch hole punched in the bottom and a wire handle attached to the sides. After filling the can with slip, the hole is uncovered and the time it takes for the slip to run out of it is recorded. This time should be the same for consistent slip viscosity. —Jerry Weinstein, New Milford, N.J.

Cheap Raku Tongs Weld heavy rods or lengths of narrow-diameter pipe to the han­ dles of a pair of water pump pliers for a quick pair of cheap, adjustable raku tongs. —Jolyon Hojsted, Shady, N.Y.

Extending Sponge Life To preserve quality and extend the life of new elephant ear sponges, keep any extra ones in a closed plastic bag inside your refrigerator. Make sure they’re dry first so that no odor or rot develops. —Joyce Jackson, Schenectady, N.Y.

Repeatable Decoration In “Talavera Poblana” (February 1985) author Louanna Lackey says that Mexican potters mark complicated patterns on ware with powdered carbon through perforations in a paper stencil. Vegetable dye will work just as well, leaving decoration guidelines that burn away on firing. (The dye sold in cake decorating shops is thicker and lasts longer than the supermarket variety.) For a set of pots with matching decoration, cut stencils, then mark the patterns on the ware with vegetable dye and an airbrush. —Ann Carroll, Mishawaka, Ind.

Underwear Impression Old thermal underwear leaves a great pattern on slab work, par­ ticularly porcelain. Make sure the clay is on the moist side, then simply roll it out onto a flattened piece of thermal cloth. When the clay is stiff enough but still workable, peel off the cloth and resume work on the slab. The uniform, impressed pattern makes a nice “canvas” for retaining applied engobes, stains or glazes on unfired or fired porcelain. It’s also a neat, attractive backing for your work. —Joyce Jackson, Schenectady, N.Y.

Strong Trimming Tool The flat tines from a discarded leaf rake can be joined to a large- diameter wooden dowel to form a serviceable trimming tool. Select a drill bit size that approximates the long width of the tine, and drill a hole into the end of the dowel to a depth of 1 ½ to 2 inches. Next, bend the tine to the desired shape, being sure to leave enough tine to insert in the dowel so the business end of the tool fits snugly Continued April 1986 15 16 Ceramics Monthly Suggestions things up, take a small brush in one hand and grab some fibers with the fingertips of your other hand. Rub the fibers from your against the dowel handle. (If you heat the tine, it will bend easier fingertips onto the brush. The separated fibers can then be placed and not break so readily.) Sharpen the edge and you now have a into the clay mixer along with the rest of the ingredients for the trimming tool with a replaceable head. I’ve got one I’ve used for clay recipe. —Carol Ann Spiros, Cleveland

Raised Wheel Long legs and a low potter’s wheel were giving me a sore back. I corrected this by building a trolley of 2x4s, coated with poly­ urethane varnish to ease cleaning. The trolley consists of two layers, years, and thousands of pots. You can make it even stronger by inserting a copper tube into the dowel hole, and placing a larger copper tube collar around the end of the dowel. —Bill Robbins, Fairbury, Neb. Temporary Slip Trap To keep clay from clogging the sink drain in a temporary studio, obtain a plastic dishpan almost the size of the sink. Cut a small hole on the side of the pan 2 inches from the bottom and plug the

with a single piece of lumber on each of the long sides and two pieces side by side on the short sides. Casters allow the trolley to be moved for cleaning. I hold it in place with a cement block when I’m throwing. Small sections of 1x2s on top of the trolley define the hole with a wine bottle cork. All day you can wash tools and hands spaces for the wheel’s feet so that it doesn’t move. over the pan, then let the water sit overnight to allow the clay to —Lois Romanow, Nepean, Ont. settle. Pull the plug in the morning to let the water out; the clay can then be poured into the reclaiming bucket. Dollars for Your Ideas —Fran Gamewell, Salisbury, N.C. Ceramics Monthly pays $10 for each suggestion published; submis­ sions are welcome individually or in quantity. Include an illustration Adding Fibers to Clay or photo to accompany your suggestion and we will pay $10 more Separating nylon fibers to put into clay while mixing may seem if we use it. Send your ideas to CM, Box 12448, Columbus, Ohio to take forever since the fibers come in such bunches. To speed 43212. Sorry, but we can’t acknowledge or return unused items.

April 1986 17 18 Ceramics Monthly Itinerary conferences, exhibitions, workshops, fairs and other events to attend Send announcements of conferences, exhibitions, demonstrations, films, exhibitions and tours. Films Pennsylvania, Pittsburghthrough April 6 workshops, juried fairs and other events at least and videos on crafts can be submitted for review; Robert Turner, “A Potter’s Retrospective”; at the two months before the month of opening to: entry The deadline: May 1. For details on the confer­ Carnegie Institute, Museum of Art, 4400 Forbes Editor, Ceramics Monthly, Box 12448, Columbus, ence, consult CM November Itinerary. Contact: Ave. Ohio 43212; or call: (614) 488-8236. Add one Susan Harkavy or Patricia Greenhill, American Rhode Island, ProvidenceApril 3-May 1 month for listings in July and two months for thoseCraft Council, 45 W. 45 St., New York, New York Harriet Brisson, “Infinite Structures,” wood- and in August. 10036; or call: (212) 869-9425. raku-fired works; at Bannister Gallery, Rhode Is­ New York, New YorkApril 28\ “Ninth An­ land College, 600 Mt. Pleasant Ave. nual Whitney Symposium on American Art.” Open Texas, Alpine April 8-27 Bill Wilhelmi ex­ free to the public on reservation. Contact: Public hibition; at Sul Ross State University Museum of International Conferences Education Department, Whitney Museum of the Big Bend. Canada, Alberta, Medicine Hat May 9-11 American Art, 945 Madison Ave., New York 10021; Texas, Lubbock through April 26 Marilyn “Medicine Hat Ceramic Symposium” will include or call: (212) 570-3651. Levine, “Illusions in Clay”; at Lubbock Fine Arts workshops, slide lectures, meetings, a forum and Center Gallery, 2600 Ave. P. social events. Presenters: Walt Dexter, Anita Dumins, Jim Etskorn, Robin Hopper, William Solo Exhibitions Hunt, Luke Lindoe, Les Manning, Baco Ohama Arizona, Scottsdale through April 22 Group Exhibitions and Garry Williams. Fee: $95, includes some meals. Christopher Heede, large vessels; at the Mind’s Arizona, Mesa through April 19 “Eighth An­ Contact: Arne Handley, 574 Sixth St., NE, Med­ Eye Craft Gallery, 4200 N. Marshall Way. nual Vahki Exhibition,” national competition; at icine Hat, Alberta T1A 5P3; or call: (403) 529- California, Fresno through April 8 Jane Galeria Mesa, 155 N. Center St. 3844. Daniels, “Clay as Dialogue,” sculpture; at the Fresno Arizona, Tempe through April 27 “Pacific Canada, British Columbia, VancouverJuly Arts Center, 2233 N. First Ave. Connections,” contemporary clay works by Japan 22-25 The “World Conference on Arts, Politics California, Los Angelesthrough April 6 “The and California artists; at the Matthews Center, and Business.” For details consult February CM. Amasis Painter and His World: Vase Painting in University Art Collections, Arizona State Univer­ Fee: Can$225 (approximately $170). Contact: 1986 Sixth-Century B.C. Athens”; at the Los Angeles sity. World Conference on Arts, Politics and Business, County Museum of Art, 5905 Wilshire Blvd. California, Fresno through August 17 5997 Iona Dr., Vancouver, British Columbia V6T through April 21 Karen Koblitz, “Still Life Tab­ “Mexican Masterworks,” includes pre-Columbian 2A4; or call: (604) 222-5232. leaux”; at J. Darraby Gallery, 8214 Melrose Ave. ceramics; at the Fresno Arts Center and Museum, Canada, Ontario, London May 23-25 April 5-30 “Voulkos: The ’70s and ’80s”; at Garth 2233 N. First St. “Fireworks 86,” at the University of Western On­ Clark Gallery, 170 La Brea. California, La Jollathrough April 26 “Living tario, will feature workshops with Karen Karnes California, Mill Valley through April 12 Treasures of California: A Tribute to Sam Ma- and Don Reitz, the annual general meeting of the Barbara Sebastian. April 14-May 10 Chris loof”; at Gallery Eight, 7464 Girard Ave. Ontario Potters Association, plus discussions, ex­ Staley; at Susan Cummins Gallery, 32B Miller California, Los AngelesApril 26-May 28 hibitions and social events. Fee: $85. Contact: On­ Ave. “Perfumes & Paperweights” includes ceramic works tario Potters Association, 140 Yorkville Ave., To­ California, San Diegothrough April 19 Jens by Paris Bottman; at del Mano Gallery, 11981 ronto, Ontario M5R 1C2; or call: (416) 923-1803. Morrison, “Zone of Refuge”; at Quint Gallery, San Vicente. England, LondonMay 14-15 The Fifth In­ 664 Ninth Ave. California, Mill Valleythrough April 5 Allester ternational Ceramics Symposium of the Institute California, San FranciscoApril 1-26 Betty Dillon, free-standing and wall-installation sculp­ for Ceramic History, in conjunction with the ex­ Woodman; at Rena Bransten Gallery, 254 Sutter ture; at Artisans, 78 E. Blithedale Ave. hibition “America Potters Today” at the Victoria St. California, San Bernardino April 7-May and Albert Museum, will feature presentations D.C., Washington April 10-July 6 “Robert 27 “Second International Shoebox Show”; at the and slide lectures on their work by American pot­ Arneson: A Retrospective”; at the Hirshhorn Mu­ San Bernardino Art Gallery, California State Uni­ ters Bill Daley, Ken Ferguson, Jerry Rothman, seum and Sculpture Garden, Independence Ave. versity. Adrian Saxe, Anna Silver, Susanne Stephenson at Eighth St., SW. California, San Diegothrough April 13 “Bead and Betty Woodman. Critical presentations on col­ Georgia, Atlanta April 5-19 Ron Meyer; at It!” ethnic beadworks; at the San Diego Museum lecting and ceramics and the environment will be Clay work Gallery, 1131 Euclid Ave. of Man, 1350 El Prado, Balboa Park. given by Garth Clark and Michael McTwigan. Illinois, River GroveApril 7-25 Chris Dunn, April 2-26 A two-person exhibition with Eileen British panels will include writers, artists and ed­ low-fire sculpture; at the Art Gallery, Triton Col­ Gudmundson, Japanese-inspired, impressed, em­ ucators including Alison Britton, Martina Mar- lege, 2000 Fifth Ave. bossed porcelain and stoneware; at Spectrum Gal­ getts and Anatol Orient. Fees: patrons $100; gen­ Iowa, Des Moinesthrough April 6 “Robert lery, 744 G St. eral public $50 and students $24. Contact: Institute Arneson: A Retrospective”; at the Des Moines Art California, San Franciscothrough May 11 for Ceramic History, c/o Garth Clark Gallery, 24 Center, 4700 Grand Ave. “Worcester Porcelain from the Klepser Collec­ W. 57 St., New York, New York 10019; or call: Louisiana, Baton RougeApril 4-18 JoAnn tion”; at the California Palace of the Legion of Alice Hohenberg (212) 246-2205. Schnabel, earthenware sculpture; and Laura Lyn Honor, Lincoln Park. Finland, Helsinki June 11-13 “Clay AZ Art Stern, cups and saucers; at Foster Gallery, Lou­ Colorado, Denverthrough April 13 “Regional International Conference/Finland 86,” at the Ara­ isiana State University. Artists in the Permanent Collection.” through May bia Factory, will include exhibitions, demonstra­ Maine, Portland April 10-May 11 Beth 25 “The November Collection of Mayan Ce­ tions and lectures with participants from Finland, Changstrom; at Maple Hill Gallery, 367 Fore St. ramics”; at the Denver Art Museum, 100 W. 14 Japan, New Zealand, Norway, Sweden and the Michigan, Detroit through April 12 Val Ave. Pkwy. U.S.A. Contact: Joel Eide, Northern Arizona Uni­ Cushing; at Pewabic Pottery, 10125 Jefferson Ave. Connecticut, Greenwich April 9-May 17 “In versity Art Gallery, Box 6021, Flagstaff, Arizona New Jersey, Trentonthrough May 18 John the Round,” platters and bowls; at the Elements, 86011; or call: (602) 523-3471. Shedd, “Silicate Solutions: Glazes on Clay”; at the 14 Liberty Way. New Zealand, Christchurch May 16-18 The New Jersey State Museum, 205 W. State St. Florida, Coral GablesApril 2-28 The 36th New Zealand Society of Potters annual conven­ New Mexico, AlbuquerqueApril 20-May 31 annual “Members Exhibition” of the Ceramic tion; at Christ’s College. Guest artist: Australian Margaret Forman, pottery; and Fred R. Wilson, League of Miami; at the Metropolitan Museum salt-glaze potter Janet Mansfield. Accommoda­ sculpture; at Muddy Wheel studio, 4505-07 Fourth and Art Center, 1212 Anastasia Ave. tions can be arranged with potters. Contact: New St., NW. Florida, Orlandothrough April 23 “Craftwork: Zealand Society of Potters, “Canterbury ’86,” Box New Mexico, Santa Fethrough April 15 Avra A Southern Tradition”; at the Valencia Commu­ 29-208, Christchurch. Leodas, stoneware vessels; at Linda Durham Gal­ nity College West Campus Gallery, 1800 S. Kirk- Turkey, KiitahyaJuly 6-11 “First Interna­ lery, 400 Canyon Rd. man Rd. tional Congress on Turkish Tiles and Ceramics” New York, New YorkApril 8-May 2 Elsbeth through May 2 “A.D. IV,” works by faculty and will discuss traditional tile and ceramics and their Woody, “Architectural Clay/Clay in Architec­ staff; at Valencia Community College East Cam­ contributions to contemporary works. Fees: dele­ ture”; at Greenwich House Pottery, 16 Jones St. pus Gallery, 701 N. Econlockhatchee Trail. gates $100; accompanying persons $75. Partici­ New York, Stony Brookthrough April 26 Toby Illinois, CarbondaleApril 4-May 2 “The Clay pation fees: $255-$360 per person, includes ground Buonagurio, sculpture; at the Fine Arts Center Art Cup,” national juried competition and invitational; transportation, accommodations, all meals, tours Gallery, State University of New York. at Southern Illinois University. and a cruise. Contact: VIP Tourism Pirinccioglu Ohio, Akronthrough April 6 Michael Chip- Illinois, Chicagothrough April 12 Jay Sims Inc., 3 E. 54 St., New York, New York 10022; or perfield, sculpture; at the Akron Art Museum, 70 and Eric Doctors, “New Chicago Talent”; at Lill call: (212) 421-5400. E. Market St. Street Gallery, 1021 W. Lill St. April 6-May 15 Donna Webb; at Studio 828, through April 26 Ron Fondaw and Aurora Cha- 828 W. Market St.^ bot, includes work completed in the John Michael Conferences Pennsylvania, PhiladelphiaApril 1-14 Jin Kohler Arts Center arts/industry residency pro­ California, Oakland June 4-7 “Art/Culture/ Bae, colored stoneware sculpture; at Haviland- gram; at Esther Saks Gallery, 311 W. Superior St. Future: American Craft ’86,” organized by the Strickland Gallery, Philadelphia College of Art, Illinois, Highland Park through April 17 Paula American Craft Council, will include workshops, Broad and Pine St. Continued April 1986 19 20 CERAMICS MONTHLY Winnemore’s, 150 E. Kossuth at Mohawk. College, Douglas 85607; or call: (603) 364-7943, Itinerary Ohio, Woosterthrough May 4 “Functional ext. 225, or 432-2039. Rice and Don Reitz. April 19-May 22 Lynn Ceramics 1986f A Survey of North Carolina Pot­ Arkansas, Little Rock May 9-11 Harvey Sa- Turner and Susanne Stephenson; at Martha ters,” traditional folk pottery; at the College of dow, raku demonstrations and lectures. Fee: $54; Schneider Gallery, 2055 Green Bay Rd. Wooster campus. nonmembers $60. Contact: The Arkansas Art Indiana, Lafayettethrough April 27 “Artforms Oregon, Portlandthrough April 12 A two- Center, Education Department, Box 2137, Little ’86” biennial exhibition; at the Greater Lafayette person exhibition with Sally Bowen Prange, por­ Rock 72203; or call: (501) 372-4000. Museum of Art, 101 S. Ninth St. celain vessels; at Contemporary Crafts, 3934 S.W. California, Corona del MarMay 23-25 Iowa, Ames through April 27 “Newcomb Pot­ Corbett Ave. “Wheel Throwing and Primitive Firing Tech­ tery: An Enterprise for Southern Women, 1895— South Carolina, ColumbiaApril 16-June 29 niques,” with Bob and Jenny Kizziar, for inter­ 1940”; at Brunnier Gallery, University of Iowa, “1986 Annual Juried Exhibition and Invitational mediate to advanced students. Contact: Personal Scheman Continuing Education Bldg. Show”; at the Columbia Museum of Art, 1112 Expressions Gallery, 2721 East Coast Hwy., Cor­ Iowa, West Des MoinesApril 18-May 9 Maria Bull St. ona del Mar 92625; or call: (714) 675-2576. Alquilar, Suzan and Curtis Benzie, Jerry Horn­ Tennessee, Gatlinburg April 5-May 21 California, Santa Ana April 5 Gerd Knapper, ing, Gail Kendall, Paula Jean Rice and David “Tennessee: State of the Arts”; at the Arrowmont lecture and workshop on throwing and carving Shaner, “Clay Celebrations”; at Olson Larsen Gal­ School of Arts and Crafts. large forms. Fee: $35. Contact: Patrick Crabb, Santa leries, 203 Fifth. Texas, Fort Worththrough April 27 “Italian Ana College, Art Department, Santa Ana 92706; Kansas, Topeka April 6-May 4 “Topeka Crafts Renaissance Sculpture in the Time of Donatello,” or call: (714) 667-3195. Competition 10”; at the Gallery of Fine Arts, 1515 includes terra-cotta works; at the Kimbell Art Mu­ Connecticut, Guilford May 17 “Clay Cas­ W. Tenth. seum, 3333 Camp Bowie Blvd. tles” with Chris Clark. Fee: $28. Contact: Guilford Maine, Portland through April 6 “Decorative Texas, HoustonApril 4-30 “Tenth Anniver­ Handcrafts, Box 221, Guilford 06437; or call: (203) Arts,” includes Susan Ferago, pitchers, platters and sary Exhibit”; at Archway Gallery, 2517 Univer­453-5947. tables; and Jamie Davis, vases and covered jars; sity Blvd. Illinois, Palos HillsApril 19 Katherine Ross, at Maple Hill Gallery, 367 Fore St. Texas, San AngeloApril 19-June 2 The first demonstrations and slide lecture on handbuilding, Massachusetts, Bostonthrough April 26 A two- annual “Monarch Tile National Ceramic Com­ extruding and casting. Fee: $17. Contact: Alice B. person exhibition with Chris Richard, low-fire salt petition”; at the San Angelo Museum of Fine Arts. Ihrig, Moraine Valley Community College, Palos ceramics; at the Society of Arts and Crafts, 175 Vermont, Middleburythrough April 5 “Potters Hills 60465; or call: (312) 371-3800. Newbury St. and Friends” features work by Stanley Andersen, Illinois, River GroveApril 12 and 19 “Raku April 1-30 “The Changing Collection,” includes Chris Gustin, Catharine Hiersoux, Warren Workshop.” Fee: $10 each session, includes ma­ work by Barbara Schaff; at Signature gallery, Dock MacKenzie and Kris Nelson, and their selected terials. Contact: Triton College, Ceramics De­ Square, North St. friends Larry Bush, Coille Hooven, Randy John­ partment, Room F-102, 2000 Fifth Ave., River Massachusetts, Hyannis April 1-30 “The ston, Ken Sedberry and Bruce Winn; at the Ver­ Grove 60171; or call: (312) 456-0300, ext. 378. Changing Collection,” includes work by Barbara mont State Craft Center at Frog Hollow. Indiana, Indianapolis April 11-12 Jan Rich­ Schaff; at Signature gallery, the Village Market Virginia, Alexandria April 2-27 “Crocuses ardson, a session on stoneware buildings. Contact: Place, Stevens St.. and Clay,” works by the Kiln Club of Washington; American Art Clay Co., 4717 W. 16 St., India­ Massachusetts, Worcester through April 30 at Scope Gallery, Torpedo Factory Art Center, 101 napolis 46222; or call: (800) 358-8252. “The Human Touch,” sculpture by New England Union St. Massachusetts, Williamsburg April 19 artists; at the Worcester Craft Center, 25 Saga­ Virginia, Norfolkthrough April 11 “Painted “Combining Extruded, Handbuilt and Thrown more Rd. Volumes: Ceramics by Twelve Contemporary Art­ Forms” with Robert Parrott. Fee: $45. April Michigan, Detroit April 4-May 10 “Michigan ists”; at the Seaboard Center Gallery, the Chrysler 26 “Large Vessel Construction” with Nancy Arts and Crafts, 1886-1906.” April 18-May Museum, Olney Rd. and Mowbray Arch. Frommer LaPointe. Fee: $45. May 3-4 and 10 “Michigan Functional Pottery Competition”; Wisconsin, Madison through May 4 “Views 18-19 “Kilnbuilding” with Robert Parrott. Fee: at Pewabic Pottery, 10125 Jefferson Ave. 86: Art Faculty”; at Elvehjem Museum of Art, $125. Contact: Jane Sinauer, Horizons: The New Michigan, Kalamazoo through April 13 University of Wisconsin, 800 University Ave. England Craft Program, 374 Old Montague Rd., “Michigan Ceramics ’86”; at the Dorothy U. Dal­ Amherst, Massachusetts 01002; or call: (413) 549- ton Performing Arts Bldg., Western Michigan 4841. University. Fairs, Festivals and Sales Massachusetts, Worcester April 5 “Airbrush- Michigan, Lansing April 1-27 “Botanical ing on Clay” with Jill Solomon. Contact: Ann Ro- Images” competition exhibition; at Lansing Art Alabama, Birmingham April 11-12 Third gol, Worcester Craft Center, 25 Sagamore Rd., Gallery, 425 S. Grand Ave. annual “Magic City Art Connection ’86”; at Worcester 01605; or call: (617) 753-8183. Missouri, Saint Louisthrough April 12 A two- Woodrow Wilson Park. April 12-13 “Low-Temperature Overglaze Dec­ person show with Linda Mosley, collage-wrapped D.C., Washington April 18-20 “The Wash­ oration” with Leon Nigrosh. April 19-20 “Low- porcelain; at St. Louis Contemporary Crafts Gal­ ington Craft Show”; at the Departmental Audi­ Fire Colored Clay Alternatives” with Susan Fish­ lery, 55 Maryland Plaza. torium, 1301 Constitution Ave., NW. er. April 26-27 “Slip Decoration on Stoneware through April 26 “Tabletop/86”; at Pro Art, 5595 Florida, Boca RatonApril 19-20 “Meet Me and Porcelain” with Lee Rexrode. May 3-4 “A Pershing. Downtown Festival”; downtown. Potter’s Approach to Sculpture” with Rosalie Olds. April 6-26 “The Way of Tea: Inspirations,” works Florida, Miami April 19 “Miami Magic Arts May 17-18 “Teapot Form and Construction” with related to the Japanese tea ceremony; at Craft Festival”; along Flagler St., from Biscayne Blvd. Richard Hamelin. Fee: $25 each. Contact: Denny Alliance, 6640 Delmar Blvd. to the Cultural Arts Center. Smith, Summer’s World Center for the Arts, 70 New Jersey, Tenaflythrough April 26 A three- Kansas, Lenexa May 2-4 Second annual “Ju­ Piedmont St., Worcester 01610; or call: (617) 756- person show with Russell Kagan, raku; at Amer­ ried National 3-Dimensional Art Show”; at the 1921. ica House, 24 Washington Ave. Sar-Ko-Par Park. Michigan, Detroit May 23-24 Victor Babu, New Mexico, Los AlamosApril 11-May 11 Maryland, GaithersburgApril 18-20 “11th “Glazing Workshop,” will include throwing and “Que Pasa: What’s Happening in New Mexico Annual Spring Arts and Crafts Fair”; at the Mont­ forming demonstrations. Fee: $50. Contact: Pe­ Art,” juried exhibition of arts and crafts; at Fuller gomery County Fairgrounds. wabic Pottery, 10125 E. Jefferson Ave., Detroit Lodge Art Center, Central Ave. Massachusetts, LexingtonMay 2-4 and 6-10 48214; or call: (313) 822-0954. New York, Brooklynthrough April 14 “From “Lexington Arts and Crafts Society Annual Spring New Jersey, MoorestownApril 26 “Workshop Indian Earth, 4000 Years of Terra-cotta Art”; at Exhibit, Open House and Demonstrations”; at 130 for Serious Potters” with Byron Temple. Fee: $15, the Brooklyn Museum, 200 Eastern Pkwy. Waltham St. includes lunch. Contact: Perkins Center for the New York, New YorkApril 8-May 3 “Voulkos Massachusetts, New Bedford April 5 “Seventh Arts, Kings Hwy. and Camden Ave., Moorestown and Co.: The Vessel Redefined 1950-1960”; at Annual Great Swain Art Auction”; at the Swain 08057; or call: (609) 235-6488. Garth Clark Gallery, 24 W. 57 St. School of Design, Crapo Bldg., 19 Hawthorn St. New Mexico, CorralesMay 29-June 1 Akio New York, Rochester through April 16 Missouri, Kansas CityMay 2-4 “Brookside Takamori, hands-on demonstration and lecture on International ceramic and glass exhibition in con­ Annual Art Fair”; along Brookside Blvd., between his sculpture methods. Fee: $80 for members of junction with the symposium “Architecture of the Meyer Blvd. and 63 St. the New Mexico Potters Association; nonmem­ Vessel” (April 2); at the Bevier Gallery, Rochester New York, Spring ValleyMay 2-4 “18th bers, $95. Contact: Bill Armstrong, Box 706, Cor­ Institute of Technology, 1 Lomb Memorial Dr. Green Meadow Invitational Pottery Show and rales 87048; or call: (505) 898-7471. New York, Scarsaale through April 19 Sale”; at Green Meadow Waldorf School, Hungry New York, New YorkApril 11 or 13 “Aesthetic “Invitational 1986,” includes works by Paul Dre- Hollow Rd. and Functional Concerns in a Production Studio” sang, Jamie Fine, Rick Foris, Yosuke Haruta, New York, UniondaleMay 2-4 “Spring Fling with Malcolm Wright. Fee: $40. Contact: Janet Nancy Valk and John Volpacchio; at the Crafts­ Crafts Festival”; at the Nassau Coliseum. Bryant, Art Center, 92nd Street Y, 1395 Lexington man’s Gallery, 16 Chase Rd. Texas, HoustonApril 5-6 and 12-13 “Juried Ave., New York 10128; or call: (212) 427-6000, North Carolina, RaleighApril 4-June 30 Fair” and “Gypsy Market” of the Houston Fes­ ext. 172. “Second Juried Exhibition of North Carolina tival; at Sam Houston Park and Bayou Park. April 11 Kathleen Gupta lecture. April 12 Crafts”; at the North Carolina Museum of His­ Mary Frank workshop on architectural ce­ tory, 109 E. Jones St. ramics. May 16-17 Drew Krouse and Susan Ohio, Columbusthrough April 26 “Ohio De­ Workshops Tunick, lecture and workshop on architectural ce­ signer Craftsmen: The Best of 1986”; at the Cul­ Arizona, DouglasMay 19-23 “Flat Top at ramics. Contact: Greenwich House Pottery, 16 tural Arts Center, 139 W. Main St. Cochise,” a workshop on building and firing a 40- Jones St., New York 10014; or call: (212) 242- April 6-30 Suzanne Halvorson and James Hal- cubic-foot car kiln, with Nils Lou. Fee: $20. Con­ 4106. vorson, weaving and salt-glazed pottery; at Helen tact: Manny Martinez, Art Department, Cochise Continued April 1986 21 22 CERAMICS MONTHLY Porcelain Traditions”; at Usundi Gallery, 541 built, burnished red clay pots; at the Crafts Coun­ Itinerary Sussex Dr. cil Shop, Victoria and Albert Museum, S. Ken­ Canada, Ontario, TorontoMay 2-4 “1986 sington. May 6-June 12 Handbuilding and throwing Spring Open House and Sale”; at the Potter’s Stu­ April 29-May 23 “Ceramics on Sycamore Street,” porcelain, with Arthur Gerace and Vera Light- dio, 2 Thorncliffe Park Drive, Unit 16. sculpture; at Art Works Space, 2 Sycamore St. stone. Fee: $80. Contact: Craft Students League Canada, Quebec, Montreal April 3-27 England, Norwich through April 13 “Alan of YWCA, 610 Lexington Ave., New York 10022; “Chicago Fire”; at the Centre de Ceramique Bon- Caiger-Smith and the Aldermaston Pottery,” tin- or call: (212) 735-9732. secours, 444 Saint-Gabriel Street, Old Montreal. glazed, smoked-luster works; at the Norwich Cas­ New York, Rochester April 22-24 Chris England, Bath April 29-June 29 “Alan Caig- tle Museum. Gustin workshop in conjunction with the “Archi­ er-Smith and the Aldermaston Pottery,” tin-glazed, England, Oxfordthrough April 23 “Oxford tecture of the Vessel” symposium and exhibition. smoked-luster works; at the Holburne Museum, Gallery—’68—’86”; at Oxford Gallery, 23 High St. Contact: Rochester Institute of Technology, Col­ Great Pulteney St. France, Paris through April 21 “Les Fran^ais lege of Fine and Applied Art, 1 Lomb Memorial England, Cheltenham through May 11 Sandy et la Table”; at the Musee National des Arts et Dr., Box 9887, Rochester 14623; or call: Kris Nel­ Brown and Phil Rogers, pottery; at the Chestnut Traditions Populaires, 6 avenue du M. Gandhi. son (716) 475-2638. Gallery, High Street, Bourton-on-the-Water. Germany, Bavaria, Aschaffenburgthrough April New York, Scarsdale May 4 Mikhail Zakin, England, Londonthrough May 4 “Blanc de 27 Gerd Knapper, pottery exhibition; at the a hands-on raku workshop. Bring small bisqued Chine: The Donnelly Bequest,” porcelain from the Schlossmuseum. pieces. Fee: $40, members $35. May 11 17th through the 20th centuries. “Ceramics by Keiko Switzerland, Geneva through April 12 Isabelle Elizabeth McDonald, slide lecture and demon­ Hasegawa: A Contemporary Japanese Potter,” raku Amoudruz, Jean-Christophe Hermann and Rose- stration of stains on wall pieces and tiles. Fee: $25; and stoneware; at the Oriental Gallery, British Marie Tapparel, folk-inspired work; at the Gal- members: $20. Contact: Carol Stronghilos, YM & Museum, Great Russell St. erie du Centre Genevois de l’Artisanat, 26 Grand- YWHA of Mid-Westchester, 999 Wilmot Rd., April 19-May 15 Magdalene Odundo, hand- Rue. Scarsdale 10583; or call: (914) 472-3300. New York, TroyMay 3 “Raku” with Richard Hirsch. Fee: $25; bring bisqueware. May 19-June 18 “Handbuilding and Architectural Sculpture” with Jayne Shatz. Fee: $90 plus materials. Con­ tact: RCCA, 189 Second St., Troy 12180; or call: (518) 273-0552. New York, White Plains April 7 “Baubles, Buttons and Beads” with Connie Sherman. Fee: $10. April 11 “Coil Building” with John Vol- pacchio. Fee: $20. April 18 “The Business of Being an Artist” with George Peter. Fee: $20. Contact: Westchester Art Workshop, County Cen­ ter Bldg., White Plains 10607. North Carolina, Winston-SalemApril 30-May 4 “Mural Workshop II” with Susan Clellen and Tom Suomalainen, will explore modular and other ceramic construction techniques. Maximum 25 participants. Fee: $75. Contact: Tom Cooper, Saw­ tooth Center for Visual Design, 226 N. Marshall St., Winston-Salem 27101; or call: (919) 723-7395. Ohio, Berea April 5 A slide lecture and dem­ onstration with British potter Colin Pearson at Baldwin-Wallace College Art and Drama Center. Fee: $10; nonmembers $20. Preregistration re­ quired. Contact: Ohio Designer Craftsmen, 2164 Riverside Dr., Columbus, Ohio 43221; or call: (614) 486-7119. Ohio, WoosterApril 10-12 “Functional Ce­ ramics Workshop,” demonstrations, slide lectures and discussions with Vernon Owens, folk potter; and with Stanley Mace Andersen, Cynthia Brin- gle, and Conrad Weiser. Fee: $55; students $30. Contact: Phyllis Blair Clark, College of Wooster, Wooster 44691; or call: (216) 263-2388. Oregon, Eugene April 26-29 Frank Boyden, a hands-on session on raku, low-temperature salt firing, and use of sawdust and terra sigillata as decorative techniques. Fee: $100. Contact: Maude Kerns Art Center, Ceramics Department, 1910 E. 15 Ave., Eugene 97403; or call: (503) 345-1571. Texas, Alpine April 26-27 A session with Bill Wilhelmi. Fee: $10. Contact: Stephen Andersen, Art Department, Box C-90, Sul Ross State Uni­ versity, Alpine 79832. International Events Canada, British Columbia, KelownaMay 19-23 “Potter’s Workshop,” an intensive throw­ ing session with Les Manning; for intermediate students through professionals. Contact: Okana­ gan College, Fine Arts Department, Kelowna Campus, 1000 Klo Rd., Kelowna VIY 4X8, or call: Ruth MacLaurin (604) 762-5445, ext. 284. Canada, British Columbia, VancouverApril 24-May 6 Harlan House exhibition, “Tradi­ tions Back and Forth”; at Alexandra Gallery, 117A W. Pender St. April 25-27 “Working with Porcelain Histori­ cally and Practically,” a workshop with Harlan House. Contact: British Columbia Potters Guild, 1359 Cartwright St., Granville Island, Vancouver V6H 3R7; or call: (604) 669-5645. Canada, Ontario, Ottawa through April 20 “Chinese Export Porcelain”; at the National Mu­ seum of Man, Metcalfe and McLeod St. April 30-May 17 Harlan House exhibition, “New April 1986 23 24 CERAMICS MONTHLY Comment Museums, Profits and Reproductions by William Hunt

Even before Nelson Rockefeller got intorepeated performances. Still, another the act, reproductions were increasingly variation of the argument suggests that big business in the art world, but this (at the very least) the reproduction of a past year must mark some kind of a rec­masterful ceramic form brings it to ord for offerings of ceramic reproduc­thousands of “ordinary” people who tions. It’s a growing field into which onlywould never have the opportunity to ex­ a few potters have dipped their glaze perience it otherwise. Ah, who doesn’t buckets, and it is both threat and op­ like to bring art to the people, to enrich portunity for the craftsperson. their lives? But that is not the case here. There is, reportedly, an awful lot ofWe’re talking about bringingcopies of money to be made by someone prepared art to the people. And even if you don’t to press mold, RAM press, throw or castbuy the importance of that distinction, what museums want for their gift shops reproductions are only necessary if we or what their mail-order catalogs needare living in a cultural desert, perpet­ as subjects for backlit glossies with ually devoid of reasonably priced, qual­ prominently inexpensive prices. But theity original works; which is not the case repro potters must be prepared to dem­today. What a reproduction actually does onstrate that they can deliver on time,is to provide a cheaper (or cheapened), with “sufficient aesthetic faithfulness to by definition second-rate (but verified) the original” (whatever that is) and at “worka of art” for consumers who need price within the museum gift trade some handholding when it comes to taste. range—best to keep retail under $20; Somehow, museums find this, or some tops for the mainstream market is $50. such related argument, valid enough to Whereas “fine art” reproduction usually look the other way when it comes to the demands a difference between original promotion and sales of these principally and copy, it’s interesting to note that theinferior works to a souvenir-hungry apex of making museum “craft” repro­public. The dilemma is such that I’ve ductions is always to get as close as pos­heard museum directors comment that sible to the original in every visual they and have nothing to do with the com­ tactile detail. mercial enterprise of the museum shop. Clay is a natural for this. It’s inex­But one cannot help wondering if it’s pensive to work with, easily made to looknot just another in a long string of as­ old, to look like any other material saults one on the “decorative (meaning Tess can imagine—capable of being a liar ifthan’) arts” by good-intentioned there ever was one, or of being as faithful museumites who really ought to know as can be. Nice contrasts in clay. better. (They excuse it as the custom, or Proponents of the repro trade will tellthat they really do have to pay the bills.) you that one can think of craft repro­On the whole, museum fundraisers duction as the same process as a musi­ find “craft versions” of works of art just cian playing a symphony, sticking tofine the to sell: exhibition posters of Picasso score written by the master artist (the paintings, Mona Lisa shopping bags, etc., composer), and as an activity which canbut full-size reproductions of paintings be done badly or masterfully just like(being “real art”) are frowned upon by making an original. There is surely amost museum shops. Whether a repro­ half truth in such an analogy, but some­duction of a painting is a same-size, cheap thing fishy about it too. Somehow, cast­color litho on glossy stock with embossed ing thousands of 18th-century cande­brushstrokes or an oil-on-canvas copy labra doesn’t seem quite like playing anrequiring much time and skill, there is 18th-century symphony, even at something face patently offensive about such value. Anyone can sense that the can­objects to anyone with taste. Most mu­ delabrum (or whatever) is a commodity seum personnel recognize the inappro- which onlyrelates to an original, while priateness of selling exact replicas of the symphony being played is, in fact,paintings in their collections. I doubt as original as it can be: the music has you’ll ever see the museum shop pitch, no truly “original form” other than its Continued April 1986 25 26 Ceramics Monthly Comment cial value? Shouldn’t they sell reason­ ably priced original works or original “...an original copy of Manet’sOlympia , editions exclusively? What are repro­ accurate in every detail, polychrome ductions oil doing in museum shops any­ on fine Parisian linen woven by the sameway? The answer for one museum is source from which Manet used to buy $34 million. That’s what the Metro­ it, and framed in real French hardwood politan Museum of Art gifts grossed last from trees grown especially to match thoseyear, according to a recently published mitered by Manet’s framer.” report. Think about it. That much loot Why then do they think it any lesscan turn the head of just about anyone offensive to sell “exact” replicas oflooking fine for additional sources of mu­ craft media? And all craft seems to be seum funding, and I think that is why fair game for the replica insult. this trade in cheap craft has grown so But on the opportunity side of things, readily. museum directors, sales reps and repro­ Museum directors are apt to glibly ducers stand together in support of thetell you that the important thing is the repro trade, with an emphasis on simply preservation of what they have, that produced objects designed often for broad without such funding their collections consumption. Sometimes you even would see suffer. But that argument seems the same objects on sale from museum a bit suspect at best. Does art have to to museum! Who cares about exclusive­be elevated by prostituting craft? To state ness? Let’s make money! the obvious, the end does not justify the Rembrandt placemats anyone? means. New York’s Metropolitan Museum, Outside the museum world is an ocean which wouldn’t seek out cheap repro­of mail-order commercialism with no ductions for its permanent collection, claims to educate or preserve anything nevertheless showcased little but the off­save their own enterprises. Somehow I spring of artistic reproduction in its re­find these catalogs more honest. And oddly cent, pre-Christmas mail-order catalog. enough, among them one is likely to find Not the least of these special offerings less pretense than in museum mail-or- was “this year’s new cherub,” another der catalogs. In fact, they are quite likely in a series of 3¾- to j/2-inch5 terra-cotta to be selling handmade originals from putti with anatomically interesting wingsfolk artists around the world, and some selling for $39.50 each. The selection of their works are frankly great, honest included “Cherub with Folded Hands,” symphonies in clay. But commercial mail­ “Soaring Cherub” (my favorite) and order “New firms too have their “authentic an­ Cherub with Folded Hands.” tique reproductions” (Huh?) which make Or, you too could own a Tz’u Choume long for something direct and honest, vase—that is, a slick reproduction of onesomething real. It’s okay to make in se­ of the old sgraffito-decorated designs ries, but how about an original series “made in China today, using native claymade to be itself and not like something and locally produced pigments and glaz­dead a few dynasties ago. es, and fired in kilns that have been in It’s not a perfect distinction, this dif­ existence since the Sung [Song dynasty, ference between original and reproduc­ 960-1279] era.” Since when did firing tion. Nor is it really a big ethical issue. in the same kiln with the same clay body But museums ought to be able to make make something authentic? “How au­better decisions about this if any orga­ thentic?” you ask. Why, the Metropol­nizations can. They ought to be con­ itan Museum of Art catalog has themscious of their responsibility to protect listed for a mere S100—$ 150. Maybe it’s both the original art and craft of today, time to find a gifted old kiln, some fa­to insure that tomorrow’s museums will mous old clay and reconsider how have we more to show from this age than price our work? (Come to think of shards it, from the current craft renais­ all we need is to quarry from Michel­sance and plastic rings from cola 6-packs. angelo’s source of stone, and presto! FineRegardless of whether or not you share Art Masterpieces.) Do you believe theymy view, I hope you’ll tell the manager have the guts to sell like that? This au­of your nearest museum shop about your thenticity through material similarity own is feelings on this issue, and the mu­ a shoddy craft repro sales pitch, mis­seum’s director too. Many of them sim­ leading and in bad taste. It works against ply haven’t thought of the inequity of the kind of understanding museums want craft and art in the reproductions trade, for the public at large, and it supports and raising the issue is worth some dia­ an aesthetic lie. logue at any rate. Shouldn’t museums instead promote original works of merit, rather than re­The author William Hunt is the ed­ productions of dubious artistic or finan­itor of Ceramics Monthly. April 1986 27 28 Ceramics Monthly Run of the Mill by Charles Lakofsky

thus less particle flow. Also, in dry milling, If a good supply of The ball mill is probably the fastest method it is necessary for the jar, glaze materials of blending glaze ingredients into a smooth and grinding units to be absolutely dry; even cost-free patience mixture, yet a number of today’s potters slight are moisture in the materials or on grind­ unfamiliar with its use. ing surfaces will result in caking and thus and muscle power The action of the mill is somewhat dif­no abrasion. ferent than the mere blending afforded by One note of caution when using a ball is available, a sim­ sifting, stirring or mixing mechanically. mill: grinding a glaze too long may reduce Though adequate, such methods do little particleto size to the degree that excessive ple ball mill can be reduce particle size, other than to disinte­ shrinkage of the applied glaze might occur grate clumps. In contrast, the abrasion be­during drying, with crawling as a result. devised inexpen­ tween the ball mill grinding medium’s sur­ Reduction in particle size may also lower sively from the faces and the glaze particles not only blends the glaze’s fusion point and thus influence those particles but ultimately reduces their subsequent glaze quality. plastic gallon jars size, depending on the length of the milling Ball mills are not limited to preparing period. Also materials such as Gerstley bor­glazes. Underglaze pigments can be finely found at most res­ ate and bentonite, which are apt to produce ground following their initial firing or cal­ lumps in glazes unless first dry mixed with cining. I have also ground a glaze’s coloring taurants. the other materials, seem to blend readily agent (such as cobalt) with part of the rec­ when milled. Indeed, when using a ball mill, ipe’s abrasive content (flint, feldspar plus the necessity of dry mixing as well as somethe of the clay) to avoid undesired blue dust and breathing masks involved arespecks when uniform dispersion of the pig­ avoided. ment is difficult to achieve. (Grinding the The components and mechanics of a stu­colorant with a mortar and pestle accom­ dio ball mill are really quite simple. Mate­plishes the same thing.) rials to be blended are placed in a cylindrical Clay bodies, too, can be ball-milled. When jar—usually porcelain, sometimes stone­I first made porcelains in the early 1950s, ware. Abrasive units (porcelain balls or cyl­the blessings of plastic kaolins (such as the inders, smooth pebbles or stainless steel presently ubiquitous Grolleg and 6 Tile Clay) spheres) are added; their size is dependent were not available. The porcelain slip was on the capacity of the ball mill. Unless drymilled in 2000-gram batches in a 1-gallon grinding is desired, enough water for glazejar for as long as 24 hours, although an 8- fluidity is then added. With the lid and a hour period worked well enough. It took the good gasket secured, the jar is placed hori­slip a good length of time to dry sufficiently zontally on a powered rolling device; inas a the cloth-lined plaster bat, but it threw like jar rotates, the contents are ground by thesilk and fired to a beautiful glassy white, tumbling balls. quite conchoidal when fractured and not The speed of the mill’s rotation is impor­mottled in the corklike texture of some more tant. If the jar turns too slowly, its contents casually blended bodies. will remain undisturbed; if too quickly, the Jars, grinding media and rollers are centrifugal force will hold the contents againstavailable commercially. Pint-sized jars will the wall, again without abrasion. The ideal hold approximately 500 grams of dry glaze action is like waves on a beach, tossing andingredients and work best with small peb­ rolling the grinding medium. bles or balls (about ½ inch in diameter). Water content is also important. Too Gallon little jars hold up to 1500 grams (because will cause the glaze materials to coagulate glaze density is lower than porcelain slip, a into a sticky mass or might cause clumping, 2000-gram batch would not allow sufficient like syrup holding popcorn into popcorntumbling balls. space) and works best with 1-inch It is possible to dry grind materials, but ab­stones or balls. sence of water means less lubrication and But the cost of such devices might be pro­ April 1986 29 hibitive for a small-scale studio pottery. “Japanese A beach pebbles” purchased at thebartender’s shake or more miles across the current catalog lists a 2-quart jar at $35; a local Pier 1 Imports for $1 per cup. Other table top should smooth things out. gallon jar is $60. Although prices vary fromwater-smoothed stones or glass marbles might Following the mixing period, the jar’s brand to brand, porcelain balls are about $2also work. To be avoided, however, arecontents soft are poured into a sieve over a con­ per pound. Plus the costs of motorized roll­stones such as limestone, sandstone, marbletainer. The glaze drains, while the grinding ers and stands are considerable. chips or shale, as they may disintegrate andmedium remains on the screen. A water wash If a good supply of cost-free patience contaminateand the glaze. draining into the container (or a settling muscle power is available, a simple ball mill To prepare a 600-gram glaze batch, thebucket for later retrieval) removes glaze re­ can be devised inexpensively from the plasticingredients, the proper amount of water andmaining on the sieve. Then the jar and gallon jars found at most restaurants. (Ofabout 3 cups of pebbles are placed in the grinding medium are easily cleaned by rins­ course, the first glaze batch might smell jar. The lid is secured, and for several min­ing. somewhat of dill pickles or mayonnaise.) utes the jar is given a good cocktail shaking Other cylindrical food storage containersor (with twisting so the materials can be heard orThe author Professor emeritus at Ohio's parallel, nontapered sides) are available infelt swishing about inside. The jar can also Bowling Green State University; Charles housewares departments at local discount be given a good rolling-pin ride back Lakofskyand maintains a home studio for his stores. I mix glaze batches of up to 1000forth across a table top. If first inspection work of with Cone 5 dark red clay fired in an grams dry weight in such ajar, using smooththe contents reveals lumpy gravy, anotherelectric kiln.

A studio ball mill consists of a cylindrical jar (porcelain ingredients are blended by the tumbling balls. Even or stoneware) with a secured lid. The glaze or clay body materials (Gerstley borate and bentonite) that often ingredients are put into the jar along with grinding units produce lumps in glazes unless first dry mixed, blend such as porcelain balls or smooth pebbles. When the jar readily. Ball milling not only mixes the ingredients, but is rotated horizontally on powered rollers or given a good ultimately reduces their particle size, depending on the rolling-pin ride back and forth across a table, the length of grinding time involved. 30 CERAMICS MONTHLY sively with porcelain for the past six years. Missouri Western State College in Saint “My work has evolved from a traditional Joseph (the state’s newest four-year col­ approach to clay,” he commented, “with lege) celebrated its first decade of ce­ special attention being given to simpli­ ramics by inviting nine former students fication of form. Function, in the tra­ to exhibit their work: Meg Fertig, David ditional sense, has become less obvious.” Harris, Dooley Lawrence, Jim Ransom Now an artist-in-residence at the An­ and Rob Wiedmaier have all set up stu­ derson Ranch Arts Center (Colorado), dios in the Saint Joseph area; Doug Doug Casebeer also has worked as a Casebeer, Snowmass Village, Colorado, ceramics consultant in Jamaica and Ne­ and Dennis Tobin, Bloomington, Illi­ pal. Drawn to pottery making “because nois, combine studio work with teach­ of the balance of activities required to ing; while Dennis Olson, Denton, Tex­ produce competent pots,” he finds “the as, and Margarita Rademacher, Kansas rewards are being able to work at and City, are continuing their ceramics stud­ Cone 10 porcelain vase, 15 inches in share my experiences and enthusiasm ies. Predominantly functional, their works height, by David Harris, Saint Joseph. for pottery with others. For me, it is not represent a variety of approaches in so much a notion of ideal clay forms, but stoneware, earthenware and porcelain. Top Porcelain casserole, 12-inch simply to make satisfying and useful pots. Dave Harris has been working exclu- diameter, by Rob Wiedmaier, Saint Joseph. An unforced approach and a total in­ April 1986 31 Photos: Dave Gleiter, Max Schlesinger

volvement from processing raw mate­ myself. There were goals to attain. Work rials to firing lends more personal in­ and dedication were the only ways I knew tegrity to the individual pot.” to get there. I usually try to do too much Dennis Olson is working with hand- in not enough time. Financial consid­ built and wheel-thrown stoneware and erations, with family and other obliga­ porcelain while completing an M.F.A. tions, have made it so. These consider­ course at North Texas State University ations have not been allowed to influence in Denton. “I try to express a sense of what I make, but they have had an effect growth—expanding, budding, divid­ on how much. I wholesale 80% of my ing,” he explained. “The stretching of work to shops and galleries. This means the clay into curved forms represents a that packing and shipping have taken on physical and visual tension. Linear in­ a prominent position. I don’t try to set dentations provide opposing tensions.” the world on fire with techniques or After receiving his degree in 1975, Rob methods. I just try to make consistent, Wiedmaier says he “started out spending good-quality ware.” all my time in the studio. It seemed everything I did centered around work­ The author Jim Estes is a professor of ing with clay. That may not have beenVase, 15 inches in height, thrown and ceramics at Missouri Western State Col­ the best thing to do, but I needed to push handbuilt stoneware, by Dennis Olson. lege in Saint Joseph. 32 CERAMICS MONTHLY Above left Wheel-thrown lidded jar, 10 Left Cone 10 porcelain platter, inches in height, stoneware, fired to Cone approximately 16 inches in diameter, with 10, by Dennis Olson, Denton, Texas. stamped and trailed glaze decoration, by Dave Harris, Saint Joseph. Above Porcelain casserole, approximately 10 inches in diameter, wood fired to Cone 10, by Douglas Casebeer, Snowmass Village, Colorado.

April 1986 33 Wood-fired porcelain pitcher; 10 inches in height, by Doug Casebeer. 34 CERAMICS MONTHLY National Design Competition

in public. “I’m now combining color with Twenty-seven artists/designers were what was known and understood—you named as finalists in the American Craft can say assimilated—through early Museum’s national competition “De­ studies (an apprenticeship with Byron signed and Made for Use,” held recently Temple), and putting these basic forms in New York City. Among them was in different context because of the emo­ potter James Makins whose brightly tion involved with color.” glazed, thrown porcelain dinnerware was Also recognized for “originality of de­ developed as an attempt to reach a dif­ sign and excellence of execution” were ferent market or clientele, perhaps prototypes for porcelain dinnerware by through mail-order marketing. A New William Brouillard, Cleveland; a stone­ York resident, he thinks of his work more ware fruit bowl by Milley deCaprariis, as luncheon or occasional ware rather Thrown porcelain dinnerware, dinner plate Lynbrook, New York; nerikomi (hand- than as the more formal dinnerware 12 inches in diameter; fired to Cone 10 in built, multicolored clay) bowls by Beth which he had made in the past. The oxidation, by James Makins (New York Forer, New York City; porcelain vessels mix-and-match nature of the variously City), an award winner in the American by Thomas Hoadley, Pittsfield, Mas­ colored place settings “leaves use up Craft to Museum's competition for designs sachusetts; earthenware tableware by the individual.” suitable for limited production by hand. Addie Jenkins, Berkeley; a “sushi bowl” Though Jim had experimented with by Ed O’Reilly, Pasadena, California; polychrome glazes for more than a year, and a porcelain form by Ikuzi Teraki this is the first colored ware he has shown and Jeanne Bisson, Oakland. April 1986 35 Expressive Realism by Beverly Mayeri Photos: M. Lee Fatherree

*Under Scrutiny ” 15 inches in height, low-fire buff clay with acrylics. 36 Ceramics Monthly “An artwork is more than what the artist puts into it; it is also what the viewer brings .”

“Stalking Cat” is an anthropomorphic still similar to the more realistic busts Art reflects who you are. One’s feelings piece, for which my cat was a model. II’ve done in the past. The restraint, in­ and beliefs, both positive and negative, had made inquiries on stuffed cats but tensity and precision are still there, as are captured in physical form whether was told their anatomy was often faulty.is the reflective mood. the art is surreal or abstract, sponta­ My cat was coaxed with food bits toAn artwork is more than what the neous or deliberate; even when it switch­stand up between naps. I also referred artist puts into it; it is also what the es from one style to another. to anatomy books and cat photographs. viewer brings to it. And I am fascinated Lately I have been experimenting withA cat at prey has such determination and by what is evoked in the viewer when a an approach that is less lifelike than my focus that one can relate to its ambition, piece strikes some inner chord. Is it the past work. Faces and figures have been drive and concentration to attain a goal.same dream, feeling or thought that the fragmented, reassembled and stretched Sometimes when working, I feel like aartist had in mind in making the piece? out of proportion. This elongated, stalking lean cat, only she has more grace andI hope these evocations will be as per­ look has a quality that I like. I, perhaps, have more stamina. sonal to the viewer as they are to me. One recent work, “Under Scrutiny,” “Green Umbra” (see cover) is an ex­In any case, I am pleased when I can is a surrealistic bust with a long, narrow ploration into texture, color and largestand back and see the work take on a face and intense, beady eyes. The tex-scale, calling on earthy connotations lifeand of its own that is expressive to others. tured skin suggests a primitive, baboon­our “shadow” sides. It offered a 4-foot like being. This relates to the part of our clay canvas of cracks and crevices thatThe author Beverly Mayeri main­ cerebral nature that keeps us from en­ was less confining or exacting to painttains a studio in Mill Valley, California. joying our basic animal qualities. Theon than a smooth surface. A solo exhibition of her new works was figure is also about vulnerability, ex­Even though style and technique featured recently at Garth Clark Gallery posure and personal armor. changed somewhat, this body of workin isNew York City.

“Divided Mind” 63 inches in height, <(Eggshell Mask,” 7 inches in height, by “Water Line,” 7 inches in height, clay, porcelain, with acrylics. Beverly Mayeri, Mill Valley, California. with acrylics and latex. April 1986 37 “Sometimes when working, I feel like a stalking cat”

Above “Stalking Cat,” 24 inches long, porcelain, with acrylics.a A cat at prey has such determination and focus that one can relate to its ambition, drive and concentration to attain a goal.” Left “The Runner” 30 inches in height, acrylic-painted porcelain, by Beverly Mayeri.

38 Ceramics Monthly Cane Handles by Ray Bub

Two years later, after moving to Northapproximately 250 pieces, each 15 to 20 I BEGAN producing cane-handled bas­ Adams, Massachusetts, Susan Nykiel feet long. One bundle lasts us about two kets in 1973 while sharing a pottery stu­joined my studio, and in 1978, Susan years. Our most recent purchase, made dio with Gordon Lavin on Cape Cod.and I set up Oak Bluffs Cottage Potteryin the summer of 1984, cost $210 for We were looking through a Clevelandin Pownal, Vermont, where cane-han- the cane and $40 for delivery. Museum of Art publication one evening dled baskets have been a continuing pro­ The cane is imported from mainland and saw a photo of an anonymously ductionmade, focus, and have contributed much China or Taiwan. There are many dif­ 17th-century ceramic bucket with tabs to our business survival and success. ferent varieties, varying in stiffness, di­ for a rope or cane handle made in im­ We buy cane in bulk from the Otto ameter and color. We buy 11- to 14- itation of a wooden water carrier. At about Gerdau Company (82 Wall Street, New millimeter-diameter, natural finish, the same time, the Cape Cod PotteryYork City 10005); there are other im­Kooboo rattan; that size was chosen to Cooperative had bought a large bundleporters in the Northeast and probablyfit the retaining rings we cut from ½- of rattan cane for its members to ex­several on the West Coast, serving main­inch copper pipe. Cane of this diameter periment with, so we worked out some ly the wicker and rattan furniture in­ is also thin enough to be bent without cane-handled basket designs. dustries. A 110-pound bundle contains too much strain on the hands and wrists,

Cane handles are a production mainstay for Ray Bub and Susan Nykiel at their Oak Bluffs Cottage Pottery in Pownal, Vermont. April 1986 39 Photos: John Barber, Ray Bub, Susan Nykiel

Cone 71 reduction-fired stoneware basket with twined-cane handle, IOV2 inches in diameter, by Ray Bub.

Cane-handled top hat vase, 5V2 inches in Wheel-thrown and altered stoneware teapot, diameter, stoneware, by Susan Nykiel. 6 inches in diameter, by Ray Bub. 40 CERAMICS MONTHLY A router bit facilitates cutting the handle's ends Don't make cutouts on teapot handles before soaking them to form doubled-back straps. because they may split, wasting handwork.

After soaking for two weeks, the wet cane The doubled-back strap will nestle in an is bent to an appropriate shape. indentation carved above the routed cutout. but thick enough to retain its shape inbundle looked too thin for our purposes. back and held in place with a copper use. Rattan cane is very durable; we have However, we needed the properly sizedring. A straight router bit held in a hor­ never had a pot returned by a customer cane for orders awaiting shipment, and izontally mounted drill chuck facilitates because of handle failure. couldn’t be assured a replacement bun­ this step. On receiving the bundle of cane from dle would be any better. So we paid the We don’t make cutouts on teapot han­ the supplier, I cut it in half with a chain $40 freight bill and resolved to absorb dles before soaking them because bend­ saw. This yields two bundles of more the loss. ing the cane in the required tight arc manageable 8- to 10-foot lengths. Later that day Susan announced sheoften causes it to split, wasting our hand­ The first step in making a handle is was going to design some pots to makework. To avoid that, the teapot handle to cut, with a hacksaw, an appropriate use of the thin cane, and I decided to is soaked in water first, then bent to shape length from a longer section of cane.work on some new ideas too. She cameand cut with a knife on each end. Various forms require different cane up with two new vase designs, and I Other handles’ ends are routed, then lengths; a teapot handle is 14 inches long, developed twined-handle baskets. all are put into a water-filled, heavy- while our 6-inch-diameter hanging bas­ The twined handle required the thin­ duty plastic garbage can and held under ket takes an 18-inch handle. nest cane in the bundle. We plan to trav­ with a brick until they’ve soaked up The twined-cane handles resulted from el to the warehouse in New Jersey theenough water to stay under by them­ an incident we thought at first was a next time we need to buy cane to be sureselves. A generous dose of Lysol disin­ disaster. When an 18-wheeler showed we get some thin enough! fectant is added to the water to combat up at the bottom of our driveway a yearWith the cane cut to the appropriate the ever-present, unidentified Oriental ago, empty except for our rattan order,length, cutouts are made on each end tomold spores hiding in the cane, waiting almost half of the cane in the 110-poundform the straps, which will be doubled for the moisture that will enable them April 1986 41 Retaining rings are cut from L-type (thicker-walled) Folded over a ballpoint pen, the doubled-back or M-type (thinner-walled) copper tubing. strap is secured with a copper ring.

Inserted through a hole or lug, the strap is pulled up One side is pinned in place before twisting with pliers and held tightly against the indentation. the two canes, forming a twined handle. to grow. The handles should soak forthe rings, we remove any scratches orPulled up with needlenose pliers and held two weeks to become uniformly flexible.printed lettering with sandpaper or steel tightly against the indentation on the Before any other work is done withwool. handle, the end is secured by slipping the wet cane, the handle is bent and held Galvanized steel electrical conduit can the copper ring over the doubled-back up to the pot to which it will be attached. be used for larger-diameter cane, but it strap. Though attached, the pliable, wet If the cane is going to split or crack, can I rust and may not harmonize as wellcane can still be coaxed into the most want it to do so before spending ten min­with cane and reduction-fired clay. Alu­ pleasing arc to complement and enhance utes fussing with the attaching straps. minum tubing should also work, andthe pot’s form. Before the cane handle is attached a would be available in a wide variety ofA new cane handle exerts quite a bit 1-inch indentation is cut on both ends, colors. of lateral stress on the pot until it accepts just above the handle straps, for the dou- Attaching the handle requires some its rounded shape. When the handle is bled-back straps to nestle into. The strap strength and can be dangerous—I’ve cutfirst attached, it might be necessary to is folded over a ballpoint pen, then myself a on glazed shards when a pot broke span the bottom of the arc with wire, copper ring is slipped over the doubled- from the strain of improperly attaching cord or tape to relieve the lateral stress. back strap. the handle. Thin leather gloves will of­ The handle is allowed to dry for a We use both L-type (thicker-walled) fer some protection, but they do limitfew days before packing the pot for ship­ and M-type (thinner-walled) copper one’s grip on the cane while shaping theping or otherwise putting any strain on tubing for retaining rings because each handle. it, as it is easy to distort the soft cane. type offers a slightly different inside di­ Holding the handle in its proper curve,When the handle has dried and stiffened ameter to accommodate the varyingattach it by inserting the strap ends into the desired arc, it can be removed thicknesses of the cane. Before cuttingthrough the appropriate holes or lugs. from the pot without losing its shape. 42 CERAMICS MONTHLY Summer Workshops 1986 This marks the twenty-eighth year Ceramics Monthly has compiled its special listing of workshops for ceramics. We hope its timely appearance will be of help to those planning summer vacation activities. Because enrollments are limited, make reservations early.

Alaska, Fairbanks raku. Instructors: Jack and Alzora Hooker. Camping ac­ night barbecue. Contact: Bob Kizziar, 53237 Hogback June 9-27 commodations available. Fee: $75. Contact: Ozarks Arts Rd., Miramonte, California 93641; or call: (209) 336- The University of Alaska is offering a session with John and Crafts Seminar, War Eagle Mills Farm, Route 1, 2561. Leach, covering studio pottery production from raw ma­ Hindsville 72738;or call: (501) 789-5398. California, Idyllwild terial selection to merchandising concerns. For all skill California, El Cajon Summer levels. Live-in accommodations available. Fee: $133 for June 9-July 3 Idyllwild School of Music and the Arts is offering “Native Alaska residents; $313 nonresidents. Contact: Summer Grossmont College is offering a session with Yoonchung American Arts”: 1-week sessions with Juan Quezada, Sessions, University of Alaska, Fairbanks 99775; or call: Kim; for intermediate and advanced students. Camping Jody Folwell, Priscilla Nampeyo, Blue Corn, Helen Cor­ (907) 474-7021. facilities available. Contact: Yoonchung Kim, Art De­ dero and Lucy Lewis; plus on-site sessions on Indian Arizona, Mesa partment, Grossmont College, 8800 Grossmont College reservations in Chaco Canyon, New Mexico, and Chi­ June 2-August 1 Dr., El Cajon 92020; or call: (619) 465-1700, ext. 252. huahua, Mexico. For all skill levels. Fee: $230 per week Mesa Cultural Program is offering 4- and 8-week ses­ California, Fremont at ISOMATA; on-site programs fee: $600 per week, in­ sions on handbuilding, throwing, surface decoration, ex­ July 10-12 cludes meals and lodging. Also planned are 2-week ses­ truding, gas and electric firing. For children and adults. “Pipe Sculpture Symposium II” with discussions and sions (June 22-August 30) on pottery and anagama firing Instructor: Margaret Chipman. Fee: $15-$32. Camping demonstrations by Jerry Caplan, Viola Frey, Kirk Man- with Greg Kennedy, plus handbuilding and underglaze facilities available. Contact: Mesa Cultural Program, Box gus and Patrick Siler. Fee: $60. Contact: Bryan Vansell, techniques with Peter Shire. For all skill levels. Fees: 1466, 155 N. Center, Mesa 85201; or call: (602) 834- Mission Clay Co., Box 2062, Fremont 94536; or call: $125-$ 195 per week. Camping and live-in accommoda­ 2242. (415) 797-3239. tions available. Contact: Idyllwild School of Music and Arizona, Tucson July 13-19 the Arts, Box 38, Idyllwild 92349; or call: (714) 659- June 9-july 10 “Pipe Sculpture Workshop,” at Mission Clay Products, 2171. “Ceramics, A Time To Discover” will cover handbuilding, will involve working with large industrial extrusions. In­ California, La Jolla throwing, stoneware and raku. Instructor: Maurice structor: Jerry Caplan. Fee: $200. Participants will be June 23-August 2 Grossman. For all skill levels. Camping and live-in ac­ selected from slides; slide deadline: June 23. Contact: Jerry UCSD Crafts Center is offering 6-week sessions on commodations available. Contact: M. K. Grossman, Art Caplan, 5819 Alder St., Pittsburgh, Pennsylvania 15232; throwing, handbuilding, sculpture, raku and crystalline Department, University of Arizona, Tucson 85721; or or call: (412) .661-0179. glazing. Instructors: Kathy Gruzdas, Gwenn Truax, T.J. call: (602) 621-3016. California, Fresno Dixon, Richard Meyer and Ellen Fager. For beginning Arkansas, Hindsville August 2-3 through advanced students. Also planned: “Toolmaking” June 9-20 The San Joaquin Clay Association is offering: “Raku with Ed Thompson (June 28); sessions with visiting art­ “Ozarks Arts and Crafts Seminar” includes a beginners’ with Susan and Steven Kemenyffy”; for all skill levels. ists Erik Gronborg (July 12) and Les Lawrence (July workshop on throwing, slab building, glazing, firing and Camping facilities available. Fee: $50, includes Saturday 26); “Metallic Salts,” saggar firing, with Lana Wilson

Ken Ferguson throwing large forms at Anderson Ranch, Colorado.

April 1986 43 A Penland Workshop (July 19); “Ceramic Decals” with Ron Carlson (August California, Santa Cruz by Margaret Fuller 2); “Sectional Ware” with Ed Thompson (August 9). Con­ June 16-July 25 tact: University of California, San Diego, Crafts Center, University of California-Santa Cruz is offering functional B-023 D, La Jolla 92093; or call: (619) 452-2021. pottery sessions (June 16-17 and June 30-July 11), cov­ California, Los Angeles ering throwing, glazing, decorating, firing and kilnbuild- June 2-August 7 ing, with A1 Johnsen; plus a session on pit firing and “Clay in L.A.,” at Otis Art Institute of Parsons School of raku (July 14-25), including handbuilding techniques, Five of us were resting on the studio porch Design, two 5-week intensive studio sessions on mold mak­ with Richard Deutsch. For all skill levels. Camping and after a hard day’s work loading three large ing, handbuilding or throwing. Instructor: Ed O’Reilly live-in accommodations available. Fee: $265 per session. kiln chambers. Tom and Sara, Joan, Kar­ and visiting artists. For intermediate/advanced students Contact: University of California Extension, Santa Cruz and professionals. Live-in accommodations available. 95064; or call: (408) 429-2971. en and I came from different traditions— Contact: Otis Art Institute of Parsons School of Design, California, Walnut Creek four of us mature adults in the midst of Continuing Education, 2401 Wilshire Blvd., Los Angeles June 1-August 16 90057; or call: (213) 251-0550. “Walnut Creek Civic Arts Summer Ceramics” includes a what could be called career change. The California, Mendocino Mexican Palanganos pottery master class with Juan Que­ fifth was a potter with 20 years experi­ June 16-August 22 zada (June 1); “Sculpture” with Andree Thompson, “Raku” Mendocino Art Center is offering “Handbuilding and with Skip Esquierdo, “Functional Ceramics” with Sherry ence. We all were at the end of a journey Raku Firing” with Richard Carter (June 16-20); “Low- Karver, and “Pit/Saggar/Salt” with Pete Coussoulis. For called “Concentration in Clay” at Pen­ Fire Decorative Techniques” with Beth Changstrom (June all skill levels. Contact: Civic Arts Education, City of land School of Crafts in North Carolina, 23-27); “Handbuilding/Soft Slab Construction, Folding Walnut Creek, Box 8039, Walnut Creek 94596; or call: & Layering Techniques” with Virginia Cartwright (June (415) 943-5847. and were feeling that something very spe­ 30-July 4); “Pit Firing, Masks, Vessels, Objects” with Colorado, Arvada cial was happening. Richard Deutsch (July 7-11); “Wood Firing” with Peter June 14-August 10 Zook (July 14-18); “Stoneware, Throwing” with Ken Arvada Center for the Arts is offering “Fundamentals of On that day in particular, each of us Ferguson (July 21-August 1); “Throwing, Function & Pottery” with Kathy Holt, “Intermediate Pottery” with had dedicated herself or himself to the Aesthetics” with Clary Illian (August 4-8); “Porcelain” Rolf Dahl and “Children’s Classes” with Mia Patterson. with Adrian Saxe (August 11-15); and “Colored Porce­ And for advanced students: “Surface Decoration Without perfect setting of each post and shelf, to lain, Technique & Application” with Carole Aoki (Au­ Glaze” with Kathy Holt (June 14 and 21); “Tile and identifying with the path of the fire so as gust 18-22). Camping and live-in accommodations avail­ Extrusion Workshop” (July 11-13); “Raku” with Bob to see where that taller pot must be shift­ able. Contact: Mendocino Art Center Ceramics, Box 765, Smith (July 19, 22 and 26); “Kilnbuilding” with Ted Mendocino 95460; or call: (707) 937-5818. Vogel (July 21-25); and “Strictly Functional” with Jim ed Va inch to the right, to remembering California, Nevada City Lorio (August 2-3 and 8-10). Contact: Arvada Center from earlier experiences with the same July 31-August 3 for the Arts and Humanities, 6901 Wadsworth Blvd., “Earth, Air, Fire, Water Reunion,” for previous workshop Arvada 80003; or call: (303) 431-3080. chamber where the different levels had attendees. Bring bisqueware to fire in the 6-chambered, Colorado, Denver provided more or less interaction with the climbing kiln. Instructors: R. Hotchkiss, R. VisGirda, T. June 16-July 3 Orr. Fee: $25. Camping facilities included. Contact (until Loretto Heights College is planning a 3-week session on salt, or to risking precious forms to the May 15): Rimas VisGirda, Art Department, Drake Uni­ handbuilding, throwing, clay and glaze technology, form, untried new chamber. On that day some versity, Des Moines, Iowa 50311; or call: (515) 271-3186. decoration and firing, including a section on wood firing. of us experienced the beginning of un­ Or contact: Tom Orr, 359 E. Seventh St., Chico, Cali­ Instructors: James McKinnell and visiting artists Nan fornia 95928; or call: (916) 345-3014. McKinnell and Frank Gary. Contact: James McKinnell, derstanding that the cooperative labor of California, Point Arena Loretto Heights College, 3001 S. Federal Blvd., Denver a number of people is needed in order August 4-8 80236; or call: (303) 936-8441, ext. 312 or 361. Brandybuck Ranch is offering a session on burnished Colorado, Snowmass Village that now this one, now that one, may earthenware vessels. Instructor: Kaye A. Like. Fee: $150. June 2-August 22 achieve that ultimate pot each has been Camping facilities available. Contact: Brandybuck Ranch, Anderson Ranch Arts Center is offering 1- and 2-week Box 266, Point Arena 95468; or call: (707) 882-2269. sessions with Doug Casebeer and Ted Vogel (June 2-14), waiting for—perhaps for years. California, Ridgecrest Paul Soldner (June 16-20), Val Cushing (June 16-27), The long days and nights of unpres- June 9-20 Jens Morrison (June 23—27), Walter Ostrom and Jacquie sured and silent immersion in the medi­ Cerro Coso College is offering a session on functional Rice (June 30-July 11), Victor Babu and Clary Illian ware with New Zealand potter Peter Stichbury. For in­ (July 14-25), Jim Romberg (July 28-August 1), George um had been balanced by technically pre­ termediate to advanced students. Fee: $50. Contact: Paul Timock (July 28-August 8), Graham Marks (August cise and intense work under Michael Meyers, Cerro Coso College, Ridgecrest 93555; or call: 4-8), David Shaner and Jeff Oestreich (August 11-22). (619) 375-5001. Live-in accommodations available. Fees: $ 195—S325. Simon’s direction. He showed us how to California, Santa Ana Contact: Anderson Ranch Arts Center, Box 5598, Snow- make the best mixture of kiln wash, cor­ July 7-11 mass Village; or call: (303) 923-3181. Rancho Santiago College is offering “An Exploration of Connecticut, Guilford recting himself when it didn’t meet his Form,” throwing, handbuilding and casting techniques, June 7-15 standard. He demonstrated how to pull with Kurt Weiser. For beginning through advanced stu­ Guilford Handcrafts is offering “Pit Firing Workshop,” a spout on a pitcher, and then sent us off dents. Fee: $95. Contact: Patrick Crabb, Art Department, fee: $42; and “Salt Firing Workshop,” fee: $66. Instructor: 17 and Bristol Streets, Rancho Santiago College, Santa Chris Clark. Contact: Guilford Handcrafts, Box 221, 411 to make dozens of pitchers on our own. Ana 92706; or call: (714) 667-3195 or 667-3173. Church St., Guilford 06437; or call: (203) 453-5947. During the eight weeks, he and his as­ sistant built a new kiln chamber and chimney; some of us set a few courses of Oregon School of Arts and Crafts in 1930, Julia Hoffman’s Barn class. brick under their direction. The conditions of apprenticeship are ideal for learning and are rarely found these days; in the course of the Penland workshop there was time and space for this kind of relationship to develop. I had until recently thought of artists as those other people, born with some mysterious quality I was lacking. In this relaxed but challenging atmosphere, I could see and hear the exchanges between those knowledgeable, gifted, productive people whose finished pots I so admired. The various artists-in-residence work nearby on their own projects. One can watch the whole process, stage by stage, over the period of days needed to achieve, say, a beautifully formed large bowl or a subtly shaped storage jar with a lid that fits with a satisfying “clink.” One may witness, as well, the willingness to work and work, and to discard. The concen­ tration on detail was not just talked about, but was demonstrated daily. Michael saw, as he walked around ob- 44 Ceramics Monthly Connecticut, New Haven June 7-July 31 Creative Arts Workshop is offering “Chris Gustin Pottery Workshop” (June 7-8), fee: $55; plus three 6-week ses­ sions (June 23-July 31): “Tile Making Workshop” with Ellen Jacobson, for all skill levels; “Porcelain Workshop” with Bruce Winn, for intermediate or advanced potters; and “Terra Cotta Kitchen Pottery” with Susie Duke. Con­ tact: Creative Arts Workshop, 80 Audubon St., New Ha­ ven 06511; or call: (203) 562-4927. Florida, Orlando July 7-9 “Raku Workshop” with Ralph Rankin, at the Orlando Art Center, will cover extruding, handbuilding, throwing, glazing and firing. For all skill levels. Fee: $30. Camping facilities available. Contact: Ralph Rankin, 649 W. Liv­ ingston St., Orlando 32801; or call: (305) 849-2288. Georgia, Rising Fawn June 9-August 1 “Pottery Workshop at Rising Fawn,” 2-, 4- or 6-week sessions for beginning through advanced students. In­ structors: Charles Counts, throwing; Marianne Wein- berg-Benson, porcelain; David Morgan, kilnbuilding; and Michael Sherrill, low-fire blackened ware and lusters. Fee: $125 per week. Camping and live-in accommoda­ tions available. Contact: Charles Counts, Pottery Work­ shop/Atlanta, TULA IB, 75 Bennett St., NW, Atlanta, Georgia 30309; or call: (404) 352-5398. Idaho, Sun Valley June 16-August 22 Sun Valley Center is planning five 2-week sessions: “Functional Ceramics” with Catharine Hiersoux and El­ mer Taylor (June 16-27); “Figurative Clay” with Judy Moonelis and Anne Perrigo (June 30-July 11); “His­ torical and Critical Issues in Clay” with Michael McTwiggan and Judy Moonelis Quly 14-25); “Clay Sites” with John Roloff and Sandy Robishaw (July 28-August 8); and “Wood Firing” with Paul Chaleff (August 11-22). Resident artist: Jim Romberg. For all skill levels. Fees: $215 per session, plus clay and firing. Camping facilities available. Contact: Sun Valley Center Ceramics, Box 656, Sun Valley 83353; or call: (208) 622-9371. Illinois, Evanston June 23-August 8 Evanston Art Center is offering sessions in handbuilding, throwing, raku and alternative firing processes, plus col­ ored slips and stains on earthenware. Instructor: Stephen Mickey. Fees: $100-$ 110. Contact: Stephen Mickey, Ce­ ramics, Evanston Art Center, 2603 Sheridan Rd., Ev­ anston 60201; or call: (312) 475-9139 or 475-5300. Illinois, Northfield May 12-August 29 Northfield Pottery Works is offering a 6-week session on raku for intermediate and advanced students; plus an 8- week session on throwing and decorating for beginners and advanced students. Instructors: Drake Johnson, Les­ lie O’Brien, Jill Grau Danesi, Larry Danesi and Betsy Lawlor. Contact: Northfield Pottery Works, 1741 Or­ chard Lane, Northfield 60093; or call: (312) 446-3470. Illinois, Palos Hills June 14 “Ceramic Jewelry Workshop” with Kathy Schonauer. Fee: $20, includes materials and firing. Contact: Alice B. Ihrig, Moraine Valley Community College, Palos Hills 60465; or call: (312) 371-3800. Indiana, Fort Wayne Karen Karnes at the Oregon School oj Arts and CraJts. June 2-August 29 Ambercreek Pottery is offering 3-week sessions on hand­ building, throwing, glazing, decorative techniques, high- fire reduction and raku. Instructors: Letitia Niswander Harry Krug, Art Department, Pittsburg State University, vapor, raku and reduction firings. Instructors: Warren and Sanford Snyderman. For all skill levels. Contact: Am­ Pittsburg 66762; or call: (316) 231-7000, ext. 4304. Mather, Schawn Panepinto, Makoto Yabe and visiting bercreek Pottery, 7216 Amber Rd., Fort Wayne 46804; Maine, Brooks artists. For beginning through advanced students. Con­ or call: (219) 672-8218. August 3-23 tact: Office of the Arts, 10 Garden St., Cambridge 02138; Indiana, Indianapolis Starflower Forge & Pottery is offering two 1-week in­ or call: (617) 495-8676. June 9-20 tensive sessions progressing from primitive-fired earth­ Massachusetts, Housatonic “Amaco Summer Workshop,” for elementary or middle- enware through porcelain. For all skill levels. Instructor: June 1-August 31 school teachers, will cover handbuilding, glazes, kiln fir­ Squidge Davis. Fee: $300, includes materials, firings, meals The Great Barrington Pottery will offer three 1-month ing and repairs. Contact: Amaco, 4717 W. 16 St., Indi­ and lodging. Contact: Starflower Forge & Pottery, RFD workshops on Japanese throwing and turning techniques anapolis 46222; or call: (317) 244-6811 or (800) 358-8252. 2, Brooks 04921; or call: (207) 525-3593. with emphasis on production; includes firing a wood- Indiana, New Harmony Maine, Deer Isle burning kiln. Instructor: Richard Bennett. For beginning June 9-July 7 7 June 8-September 5 through advanced students and professionals. Contact: The “University of Evansville Ceramic Workshop” will cover Haystack Mountain School of Crafts is offering sessions Great Barrington Pottery, Housatonic 02136; or call: (413) handbuilding, throwing, salt glazing and raku. Instructor: with Mary Caroline Richards (June 8-20); with Frank 274-6256. Les Miley. For all skill levels. Live-in accommodations Boyden, “Cycles and Work,” for experienced students (June Massachusetts, Somerville available. Contact: Les Miley, Department of Art, Uni­ 22-July 11); with David Leach, for experienced students July 14-September 19 versity of Evansville, 1800 Lincoln Ave., Evansville, In­ (July 13-25); with David MacDonald (July 27-August Mudflat Studio is offering: “Ceramic Sculpture: Form diana 47714; or call: (812) 479-2043. 15); and with Gerry Williams (August 17-September 5). and Technique” with Michael Rosenstein; “Advanced Iowa, Decorah Contact: Haystack Mountain School of Crafts, Deer Isle Forming and Materials,” including clay, glaze and slip June 2-July 11 04627. technologies, with Earl Constantine; and “Intermediate South Bear School is offering a pottery session with Dean Massachusetts, Boston Functional Pots” with Lynn Gervens. Fee: $145. Contact: Schwarz, and sculpture sessions with Doug Freeman. For June 30-August 8 Mudflat Studio, 149 Broadway, Somerville 02145; or call: all skill levels. Fee: $475. Camping and live-in accom­ The Summer Museum School is offering a session with (617) 625-6087. modations available. Contact: Dean Schwarz, Route 5, Mark Cooper on handbuilding, throwing, glazing and Massachusetts, Truro Decorah 52101; or call: (319) 382-5221. firing; for beginning through advanced students. Fee: $508. June 30-August 22 Kansas, Pittsburg Contact: The Summer Museum School, 230 The Fenway, “Wheel and Handbuilding” with Katy McFadden, for June 3-26 Boston 02115; or call: (617) 267-1219. beginners (June 30-July 3), fee: $120; and for beginning Pittsburg State University is planning a session on hand­ Massachusetts, Cambridge through advanced students (July 7-11), fee: $150. “Vessel building, throwing, casting, decorating, glazing and firing. June 9-August 3 Forms in Porcelain/Glazing and Airbrushing” with Dai­ Instructor: Jim Reed. All skill levels. Fees: $30.75-$73.15. “The Radcliffe College Pottery Summer Studio” will cov­ sy Brand, for beginning through advanced students (July Camping and live-in accommodations available. Contact: er handbuilding, throwing, glazing, sculpture, and soda 14-18), fee: $150. “Wheel and Handbuilding” with Mark

April 1986 45 serving how we approached our work, the Bell, for beginning through advanced students (July 21-25), tense way I sat when trimming, the ten­ fee: SI50. “Stoneware/Production and Altered” with By­ tative way I held the tool, the lack of clar­ ron Temple, for intermediate students through profes­ sionals (July 28-August 1), fee: $200. “Teapots, Casse­ ity. He asked if I found it hard to do. I roles and Other Complex Forms/Throwing Workshop” knew already that I felt no confidence in with Angela Fina, for intermediate students through professionals (August 4-8), fee: SI50. “Raku Workshop” my ability with this part of the work and with Robert Reedy, for intermediate students through therefore I tended to skimp both on time professionals (August 11-15), fee: $200. “The Language and attention. But why feel no confi­ of Ceramic Wall Relief’ with George Mason, for begin­ ning students through professionals (August 18-22), fee: dence? Was this also something I could $175. Contact: Castle Hill, Truro Center for the Arts, learn to do better and with ease and en­ Truro 02666; or call: (617) 349-7511. Massachusetts, Williamsburg joyment? Only if I were to set myself the June 29-August 10 task of making many pots and trimming “Horizons: The New England Craft Program” includes them all. And only if I would once in a two 3-week or one 6-week session for high-school stu­ dents. Instructors: Anita Griffith and Robert Parrott. Fee: while take a break to go watch someone $1348 for each session, includes lodging, meals, trips, etc. else—maybe a fellow student nearby. Only Also offered for adults: “Rekindle Your Creativity, Ex­ ploration ’86” with Bill Sax and Steve Branfman (August if I were to find out by observing how 18-25). Fee: $145. Contact; Jane Sinauer, Horizons, 374 many different attitudes there might be Old Montague Rd., Amherst, Massachusetts 01002; or call: (413) 549-4841. in one small group toward the part that Michigan, Birmingham trimming played in the production of the July 14-August 15 Four pottery sessions covering handbuilding, throwing whole piece. Michael’s simple question and glazing for all skill levels. Instructors: Jan Sadowski, made it clear that it would be wise for Blaine Tailer-Kimball Dixon and Tom Kubat. Contact: me to direct my attention to this matter. Birmingham Bloomfield Art Association, 1516 S. Cran- brook Rd., Birmingham 48009; or call: (313) 644-0866. In many schools of craft or academies Michigan, Brighton of art, the experiences are sequential, with August 17-24 “1986 Clay Cousins Workshop” will cover throwing, mastery of a certain level required before handbuilding, glazing, tile production, murals, raku and introduction to another. Of course, there pit firing. Instructors: Fred Blackwood and Janet Pugh. Making body sculpture. is good reason for so organizing a group Fee: $295, includes food, beverages and camping. Contact: Fred Blackwood, 10351 Fieldcrest, Brighton 48116; or of people who are starting out together call: (313) 449-8330. bodies, slips, forming techniques, glazes, firing, tools and to learn skills. But this often doesn’t leave Michigan, Interlochen safety. Instructor: Barney Brienza. For beginning and in­ June 22-August 18 termediate students. Camping and live-in accommoda­ room for someone like myself. I could have “National Music Camp” is offering an 8-week fine arts tions available. Contact: Barney Brienza, Western Mon­ spent the whole eight weeks just trimming session, including handbuilding, throwing, decorating and tana College, Dillon 59725; or call: (406) 683-7342. glazing, for third grade through college students. Fee: Montana, Missoula and not have wasted time. In fact, I chose $2295, includes room and board. Contact: Admissions, August to attend to many different aspects; trim­ National Music Camp, Interlochen 49643; or call: (616) Grimmstone Pottery is offering instruction on prospecting ming, as a part of the whole, gradually 276-9221. clay from Yellowstone to Glacier National Parks, hand­ Minnesota, Duluth building and throwing, kilnbuilding, glazing, photo­ became a task I enjoyed and could be re­ June 29-August 16 graphing ceramics, and mural construction. Fee: $95 laxed about. University of Minnesota at Duluth is planning 1-week weekly, includes live-in accommodations. Contact: Doug­ sessions on earthenware surface decoration with Gail las Grimm, Castle Grimm on the Rattlesnake, 2524 Syc­ Part of my urge to create ceramics comes Kendall and handbuilding with Tom Kerrigan. Fees: amore, Rte. 7, Missoula 59802; or call: (406) 543-7970. from years of walking around houses and $127—$172. Live-in accommodations available. Contact: Nevada, Lake Tahoe Split Rock Arts Program, 320 Wesbrook Hall, 77 Pleas­ June 10-August 15 museums, looking at the interplay be­ ant St., SE, Minneapolis, Minnesota 55455; or call: (612) Sierra Nevada College is offering “Raku” with Carol Sphar tween the curve of the container, its func­ 373.4947. (June 10-July 29); “Wood Fire” with Fred Olsen (June tion expressed in line and volume, and Montana, Dillon 16-25); “Slip Cast Sculpture” with Greg Allred (July June 16-20 7-18); “Porcelain Throwing, Glazing, Firing” with Cath­ the color set off by highlights and shad­ “Raku Pottery” will cover historical background, clay arine Hiersoux (August 4-8); and “Clay, Glaze, Fire” ows. Because of this interest, I had ex­ with Ken Ferguson (August 11-15). For all skill levels. Camping and live-in accommodations available. Contact: perimented previously with glaze mix­ Carol Sphar, Sierra Nevada College, Box 4269, Incline tures and with the effects of different kinds Anderson Ranch, Colorado. Village, Nevada 89450; or call: (702) 831-1314. Nevada, Tuscarora of firing. So while many of the other stu­ July 1-August 11 dents were going along with Michael, “Tuscarora Pottery School Summer Workshops” includes three 2-week sessions on throwing, raw glaze composition learning as much as possible about salt and application, and firing with diesel and crankcase oil; glazing through a series of firings, one for intermediate students through professionals. Instruc­ part of my mind was directed toward the tor: Dennis Parks. Fee: $455 for 2 weeks, includes room and board. Contact: Tuscarora Pottery School, Box 7, further exploration of glazes for reduction Tuscarora 89834; or call: (702) Tuscarora 6598. firing. Michael told me to go ahead, to New Hampshire, Dunbarton June 30-August 1 ask around, as there might be some others Phoenix Workshops is offering sessions on handbuilding also wanting to do reduction firing, and and throwing stoneware and porcelain, glaze technology and kiln firing. Instructors: Rudy Houk, Armand Szainer, in any case to keep in mind the possibility A1 Jaeger, Ed Nelson and Gerry Williams. For all skill of making and firing a whole kiln load levels. Camping and live-in accommodations available. on my own. Fee: $95 per week. Contact: Gerry Williams, Phoenix Workshops, RFD 1, Goffstown, New Hampshire 03045; By the next to the last week, finally, I or call: (603) 774-3582. had produced enough ware to fill the up­ New Hampshire, Weare June 30-July 25 draft kiln. After cleaning and washing the Craney Hill Pottery is offering “The Natural Way to shelves, I announced I was ready to load. Throw,” four intensive 1-week sessions. Sessions 1 and 2 for beginning and intermediate students. Sessions 3 and At this point Suzanne and Sara said they 4 for intermediate and advanced students. Up to 7 stu­ wanted space to run some tests, Jenny dents per session. Fee: $325 per week, includes room, contributed one of her friend’s large board and materials. Contact: Dave Robinson, Craney Hill Rd., Weare 03281; or call: (603) 529-7443 or 529- handbuilt pieces, Michael had a jar to 1100. contribute and Ron had left behind a dry New Jersey, Layton July 4-August 29 pot in need of conventional glaze. So with “Not the Usual Pit Fire” with Bennett Bean (July 4-6). Sara’s help and Jenny’s moral support at Fee: $85. “Contemporary Teapots: Form Before Func­ tion” with David Ward (July 9). Fee: $40. “Salt Glaze/ crucial moments (for she had fired a one- Production” with Byron Temple (July 12-20). Fee: $150. person kiln load last winter), I took the “Korean Techniques and Attitudes in Pottery and Clay plunge. From earlier firings when I had Sculpture” with Chung Dong-Hun (August 2-8). Fee: helped other students, I knew something 46 Ceramics Monthly throwing and handbuilding, gas reduction and/or oxi­ North Carolina, Brasstown dation firing. Contact: Janet Bryant, 92nd Street Y, 1395 May 21-August 23 Lexington Ave., New York 10128; or call: (212) 427- The John C. Campbell Folk School is offering “Clay 6000, ext. 172. Intensive” (May 21-June 11), focusing on the building New York, Oneonta and firing of a 2-chambered combination wood and gas July 6-19 kiln, with Lee Davis, Tracy and Catherine Dotson, Lan­ Hartwick College workshops for high school students will ier Meaders and Bonnie Staffel. Fee: $350. Also planned: include instruction on throwing, handbuilding, draping, “Crystal Glaze Pottery” with Len Lindsay (June 15-21); press molding, firing and raku. Fee: $425, includes room a session emphasizing design and glaze decorating tech­ and board. Contact: Milly D’Angelo, Studio Arts Work­ niques with Lee Davis (July 20-26 and July 27-August shop, Hartwick College, Oneonta 13820. 2); “Pottery” with Bill Gordy (August 3-16); and a ses­ New York, Otego sion on Native American methods (August 17-23). Fee: August 4-15 $130 per week. Contact: John C. Campbell Folk School, “August Clay Workshop” for artists and potters will cover Brasstown 28902; or call: (704) 837-2775. handbuilding, throwing, sculpture and glaze technology. North Carolina, Cullowhee Participants will be selected from slides or an interview. June 3-13 Limited enrollment. Fee: $495, includes lunch. Contact: Western Carolina University is offering raku instruction Elizabeth Nields, Summer Clay Workshops, Box 300, RD with Bill Buchanan, for beginning through advanced stu­ 1, Otego 13825; or call: (607) 783-2476. dents. Live-in accommodations available. Contact: Art New York, Port Chester Department, c/o Bill Buchanan, Western Carolina Uni­ June 7-27 versity, Cullowhee 28723; or call: (704) 227-7210. “Raku Workshop” with Mikhail Zakin (June 7); bring North Carolina, Penland bisqueware. Fee: $45. “Architectural Ceramics” with June 2-August 29 Marilyn Dintenfass (June 8). Fee: $45. “Thinware Tech­ Penland School of Crafts is offering 1-, 2- and 3-week niques and Construction of Form as Related to Firing” sessions. For all skill levels. Instructors: Norm Schulman, with Philip Cornelius (June 14). “Slide Lecture/Dem- Anthony Marsh (June 2-6); Ron Meyers, Anthony Marsh onstration” with Gerry Williams (June 15). “Pinching (June 9-20); Byron Temple, George Kokis (June 23-July Large Forms” with Elsbeth S. Woody (June 23-27). Fee: 4); Mary Roehm, Martha Holt, Robert Milnes (July $175. For all skill levels. Contact: Clay Art Center, 40 7-24); Sandy Simon, Robert Brady (July 28-August 14); Beech St., Port Chester 10573; or call: (914) 937-2047. Verne Stanford, Harris Nathan (August 18-29). Live-in New York, Rochester accommodations available. Contact: Penland School, Pen­ June 16-July 26 land 28765; or call: (704) 765-2359. Rochester Institute of Technology is offering two sessions North Carolina, Troy in ceramics (June 16-July 1 and July 2-18); and “Ce­ July 12 ramic Applications on the Apple Computer” (July 21-26). “Large Pot Construction” with Mark Hewitt. For all skill Starflower Forge ir Pottery, Maine. Contact: RIT Summer School, 1 Lomb Memorial Dr., levels. Fee: $10. Contact: Mike Ferree, Pottery Depart­ Box 9887, Rochester 14623; or call: (716) 475-2642. ment, Montgomery Technical College, Box 787, Troy New York, Saratoga Springs 27371; or call: (919) 572-3691. $135. “Kilnbuilding” with Bob Scherzer (August 11-15). May 20-August 8 Ohio, Columbus Fee: $115. “Simple Molds and Handbuilding from Cast “Life Drawing and Clay Modeling” with Regis Brodie, May 14-July 25 Imagery” with Susan B. Wood (August 18-20). Fee: $85. for all skill levels. Fee: $110. “Beginning and Intermediate The Columbus College of Art and Design is planning a “Red and White Earthenware, Bright Colored Fish” with Ceramics,” emphasizing handbuilding, with Regis Brodie 10-week session on throwing, handbuilding, sculpture, Everette Busbee (August 23-24). Fee: $65. “Color on and Leslie Strong. Fee: $110. “Advanced and Independent porcelain and stoneware neriage, nerikomi and millefiore. Clay” with Karon Doherty (August 27-29). Fee: $85. Ceramics,” includes throwing, handbuilding, glazing and Instructors: Curtis Benzie and Ban Kajitani. Also planned: Camping facilities nearby and limited live-in accommo­ firing. Fee: $120. Camping and live-in accommodations “Surfaces” (June 2-3), with John Chalke and Barbara dations available. Contact: Peters Valley Craftsmen, Inc., available. Contact: Summer SIX Art Program, Skidmore Tipton, will cover decoration with slip, glaze, stencils, Layton 07851; or call: (201) 948-5200. College, Saratoga Springs 12866; or call: (518) 584-5000, slip trailing and sgraffito. For all skill levels. Contact: New Mexico, Silver City ext. 2372. Tom Green, The Columbus College of Art and Design, June 23-27 New York, Troy 47 N. Washington Ave., Columbus 43215; or call: (614) Western New Mexico University is offering “Handbuild­ May 19-July 30 224-9101. ing and Raku Applications” with Billie Walters. For all RCCA “Summer Ceramic School,” throwing, handbuild­ Ohio, Kent skill levels. Camping and live-in accommodations avail­ ing and architectural sculpture (May 19-June 18); and June 16-July 11 able. Contact: Claude W. Smith, III, Dept, of Expressive “Raku! Raku!” (July 2-30). Instructor: Jayne Shatz, Fee: “Blossom Festival School-Art” includes a session on Arts, WNMU, Silver City 88061; or call: (505) 538-6501 $45 plus materials. Contact: Rensselaer County Council throwing, handbuilding, salt glazing, raku, earthenware or 388-4106. for the Arts Summer Ceramic School, 189 Second St., and stoneware firing; for intermediate students through New York, Chautauqua Troy 12180; or calk (518) 273-0552. professionals. Instructors: Kirk Mangus, Michael Simon June 30-August 22 New York, Unionville and Toshiko Takaezu. Live-in accommodations available. Chautauqua Institution is planning a session for begin­ July 7-August 15 Contact: Blossom Festival School-Art, Kent State Uni­ ning through advanced students. Instructors: Thomas Di- Unionville Art Works is offering six 5-day workshops on versity, Kent 44242; or call: (216) 672-2192 or 672-3360. mig and Neil Forrest. Visiting artist: Bill Daley. Contact: throwing, handbuilding, sculpture, glazing and firing. For Ohio, Logan Chautauqua Summer Schools, Chautauqua Institution, all skill levels. Contact: Donald O. Mavros, Box 547, June 1-7 Chautauqua 14722; or call: (716) 357-4411. Unionville 10988; or call: (914) 726-3501. “Pipe Sculpture Workshop” at Logan Clay Products will New York, Clayton New York, West Nyack work with large extrusions of industrial clay. Instructor: July 14-August 17 July 2, 9, 16 and 20 Jerry Caplan. Participants selected from slides. Fee: $200. “Wheel Throwing” with Arthur Sennett (July 14-25). “Raku Workshop” with Rosemary Aiello. For interme­ Contact: Jerry Caplan, 5819 Alder St., Pittsburgh, Penn­ Fee: $160. “Glazing from Native Clays” with Richard diate students through professionals. Fee: $100. Camping sylvania 15232; or call: (412) 661-0179. Zakin (August 15-17). Fee: $50. For beginning through facilities available. Contact: Rockland Center for the Arts, Ohio, Oxford advanced students. Camping facilities available. Contact: 27 S. Greenbush Rd., West Nyack 10994; or call: (914) June 9-July 18 Thousand Islands Craft School, 314 John St., Clayton 358-0877. Miami University is offering several 1-week workshops. 13624; or call: (315) 686-4123. New York, Killawog July 19-August 10 Artworks at Killawog West is offering: “Handbuilding” Paul Soldner workshop at the University of California, San Diego. (July 19-20); “Ceramic Sculpture” (July 26-27); “Clay and Slip Decoration and Textures” (August 2-3); and “Glaze and Other Surface Embellishments” (August 9-10). For beginning through advanced students. Live-in accom­ modations available. Contact: Donald O. Mavros, Art­ works at Killawog West, Box 99, Killawog 13794. New York, Lake Placid June 29-August 8 “Parsons at Lake Placid,” 2-week sessions for ceramics students at all levels. Instructors: Rina Peleg, Marek Ce- cula and Cliff Garten. Camping and live-in accommo­ dations available. Contact: Parsons at Lake Placid, Lake Placid Center for the Arts, Saranac Ave., Lake Placid 12946; or call: (518) 523-2512. New York, New York June 1-August 30 “The Urban Potter,” 4-, 8- or 12-week sessions for be­ ginning through advanced students on all aspects of run­ ning a production pottery in Manhattan, includes throw­ ing, handbuilding, glazing techniques, firing, Japanese brush painting and studio management. Instructors: Maxine Krasnow, Barbara Shelley and Janna Moore. Fees: $75 per month. Contact: Supermud Pottery, 212 W. 105 St., New York 10025; or call: (212) 865-9190. June 9-July 17 “Porcelain Workshop,” with guest instructor Laura Burch, plus Adeline Olmer and Deborah Goldman, will cover

April 1986 47 about this particular kiln. I told Michael that sometimes the outcome had been spectacularly beautiful and sometimes the whole contents were seconds. Fortunate­ ly, he understood, and simply said: “I’ll be around when it’s time for reduction.” That’s a rare perceptiveness there on Mi­ chael’s part, for my understanding often far exceeds my ability to perform. The ultimate goal, of course, is un­ derstanding of the material, reading the kiln, feeling one’s own powers well enough so that what comes out of the whole pro­ cess is primarily acceptable pots, plus one or two, perhaps, that in Michael’s words occasionally are sublime. In order for any of this to happen, one must have the cour­ age to start, willingness to risk, persis­ tence, a combination of sensitivity, rug­ gedness, and consistent focus. I now know I can do my own firings. I learned, as well, some more basic re­ lationships between the ingredients used The Arrowmont School of Arts and Crafts, Tennessee. and the fire—enough to whet my appetite and to kindle my determination. Instructors: Curt Benzie, porcelain; Steven and Susan sessions: “Handbuilding” with Paula Winokur (June We took a day off and drove down from Kemenyffy, handbuiding; Gary Schlappal, throwing; Ste­ 16-21); “Sculpture” with Bill Parry (July 7-12 and 14-19); phen Bures, porcelain. For all skill levels. Camping and “Terra Sigillata” with Ed Eberle (July 7-12); “Beginning the mountains to the Piedmont, where at live-in accommodations available. Contact: Jane Johnson, Ceramics” with Ron Pivovar (July 21-26 and July Seagrove and Jugtown the original set­ Craft Summer, Rowan Hall, Miami University, Oxford 28-August 2); “Wheel Throwing” with Valda Cox (Au­ tlers found good supplies of decent clay 45056; or call: (513) 529-7395. gust 4-9); and “Raku” with Jerry Caplan (August 11- Oregon, Corbett 16). For all skill levels. Live-in accommodations available. a couple of hundred years ago. Several August 10-23 Contact: Pioneer Crafts Council, Box 2141, Uniontown families of potters there are in their tenth Creative Arts Community is offering “Arts at Menucha,” 15401; or call: (412) 438-2811. 1- or 2-week sessions on handbuilding, throwing and raku. Rhode Island, Providence generation; some of their work is superior Instructors: Frank Irby and Gail Pendergrass. For all skill June 23-August 1 and some is pedestrian. Somehow it is levels. Fees: $350 for one week, $625 for two, includes Rhode Island School of Design is offering “Summer Clay,” room, board and supplies. Contact: C.A.C., Box 4958, covering porcelain pottery with Larry Bush and Anne refreshing, after much exposure to the Portland, Oregon 97208; or call: Connie Jean Cheifetz Carrier, figurative sculpture with Akio Takamori, and museum approach, to be plunged for a (503) 234-6827. studio production with Jeffrey Oestreich. For interme­ while into the midst of a group of people Oregon, Portland diate students through professionals. Live-in accommo­ June 24-July 19 dations available. Contact: Dept. B, RISD/CE, 2 College who are merely making their livings pro­ Portland State University is planning a workshop on St., Providence 02906; or call: (401) 331-3511, ext. 282. ducing functional ware competently and throwing, handbuilding, stoneware reduction, low firing South Dakota, Spearfish and salt glazing with Yoshiro Ikeda. For all skill levels. July 7-28 with a certain amount of dash. Fee: $177. Camping and live-in accommodations avail­ “Raku Workshop” with Jeannie French. For beginning We visited five kilns in a full day of able. Contact: Robert Kasai, Department of Art, Portland through advanced students. Camping and live-in accom­ State University, Box 751, Portland 97207; or call: (503) modations available. Contact: Continuing Education, Black travel. In the museum at Seagrove we 229-3515. Hills State College, Spearfish 57783; or call: (605) 642- found a series of memorable forms pre­ June 30-July 25 6272. served from the old salt kilns—good bal­ “Pit Firing Techniques” with Bennett Bean (June 30-July Tennessee, Gatlinburg 2). “Sculptural Ceramics” with Richard T. Notkin (July June 9-August 15 ance to the frequent opportunities we had 21-25). Contact: Oregon School of Arts and Crafts, 8245 Arrowmont School of Arts and Crafts is offering: “Low to observe several innovative young pot­ S.W. Barnes Rd., Portland 97225; or call: (503) 297- Fire Surface Possibilities” with John Natale (June 9-13); 5544. “Raku: Beginning to Advanced” with Richard Hirsch ters working closer to Penland who are Pennsylvania, Cheltenham (June 16—20); “Exploring Inner Space in a Porcelain exploring different techniques. June 2-13 Vessel” with Mayer Shacter (June 23-27); “Wood Firing” “Vessels and Wall Works: Space, Imagery and Tech­ with Paul Chaleff (June 30-July 11); “Becoming More How good it is to take part in shop talk nique,” a handbuilding session with Ken Vavrek. For all Professional with Clay” with William Hunt (July 14-18); with people who are currently making skill levels. Fee: $300. Contact: Cheltenham Art Centre, “Functional Stoneware” with Jeff Oestreich (July their living from clay. Some of us already 439 Ashbourne Rd., Cheltenham 19012; or call: (215) 21-August 1); “Colored Porcelain” with Thomas Hoad- 379-4660. ley (August 4-8); “Form and Technique—Handbuilding” knew a little, for instance, about firing Pennsylvania, Cooksburg with Ginny Marsh (August 11-15); and “Form and Tech­ with wood. Hearing the nearby working June 16-27 nique—Wheel Throwing” with Tom Marsh (August “Clay in the Forest” with Eva Kwong. For all skill levels. 11-15). Live-in accommodations available. Fee: $120 per potters talk about their experiences, look­ Camping and live-in accommodations available. Fee: $250 week, plus $30 processing fee. Contact: Arrowmont School ing at details of their kilns, talking about plus materials. Contact: Educational Coordinator, Saw­ of Arts and Crafts, Box 567, Gatlinburg 37738; or call: mill Center for the Arts, Box 6, Cooksburg 16217; or (615) 436-5860. different kinds of wood, ways of stoking, call: (814) 927-6655 after June 1. Tennessee, Smithville kiln design that increases draft and hot Pennsylvania, Doylestown June 30-August8 chimneys setting the shed roof on fire— June 9-August 29 Appalachian Center for Crafts is offering several 1-week Moravian Pottery & Tile Works is offering 12-week sal­ sessions: “Ceramic Surface Embellishment” with Howard all this gradually psyched most of us into aried apprenticeships on the production of tiles as they Kottler; “Porcelain” with Lucien Pompili; “Figurative planning at least one wood firing. Some were made in the early 1900s. For advanced students. Ceramic Sculpture” with Peter Vandenberge. For all skill Apprentices will contribute 3 days weekly to production levels. Camping and live-in accommodations available. went to the mill for wood, and we had in exchange for studio space and materials. Applicants Fee: $115 per week. Contact: Alf Ward, Appalachian another large load delivered. Because of will be juried from 10 slides of work. April 14 entry Center for Crafts, Box 347 A-l, Route 3, Smithville 37166; deadline. Contact: Mandy Sallada Baker, Moravian Tile or call: (615) 597-6801. earlier trials, we knew it would be nec­ Works, Swamp Rd., Doylestown 18901; or call: (215) Texas, Farmers Branch essary to rebuild one of the chambers and 345-6722. June 25-July 10 to relocate the chimney. As the students Pennsylvania, Philadelphia “Vessel as a Sculptural Form,” handbuilding with coils, June 30-August8 glazing and low-fire oxidation firing, with Lisa Ehrich helped the two builders, some of the local Tyler School of Art is planning a workshop on problems and guest artist Donna Polseno. For all skill levels. Con­ potters came around to watch us shifting in ceramics, with emphasis on individual research proj­ tact: Brookhaven College, Fine Arts Dept., 3939 Valley ects; for advanced students. Instructor: Robert Winokur. View, Farmers Branch 75234; or call: (214) 620-4732 or truckloads of brick, mixing mortar, laying Fee: $321 Pennsylvania residents; nonresidents $438. 620-4733. courses—and to compare our work with Contact: Tyler School of Art, Beech and Penrose, Phil­ Texas, Hurst adelphia 19126; or call: (215) 782-2828. June 3-July8 what they themselves had done. At some Pennsylvania, Uniontown “Advanced Ceramics Workshop,” handbuilding, throwing point in this process we began to see our­ June 16-August 16 and glazing for intermediate and advanced students. In­ selves as part of an ongoing tradition. Touchstone Center for Crafts is offering 1- and 2-week structor: Roger Tufts. Fee: $60. Contact: Tarrant County The last week at Penland was a wet 48 CERAMICS MONTHLY Jr. College/NE Campus, Roger Tufts, Art Department, Registrar, The Banff Centre, School of Fine Arts, Box 828 Harwood Rd., Hurst 76053; or call: (827) 281-7860, 1020, Banff, Alberta T0L 0C0. ext. 463. Canada, Alberta, Red Deer Vermont, Ludlow July 7-August8 July 7-11 Red Deer College is planning: “Basic Throwing” with Fletcher Farm School for Arts and Crafts is offering a Pierre Guy, “Portrait Head Sculpture” with Evan Penny, pottery session for beginning and intermediate students. and “Pottery Glazing” with Jean Porter (July 7-11); “Full Live-in accommodations available. Fee: SI40. Contact: Sculpture in Clay” with Evan Penny, “Basic Decorating Fletcher Farm School for Arts and Crafts, RRI Box 1041, in Clay” with Dave Settles, and “Pottery in the Past Tense— Ludlow 05149; or call: (802) 228-8770. Historical Techniques in Clay” with Liz Mould (July Washington, Bellingham 14-18); “Ceramic Mural Commissions” with Jack Sures, July 9-27 and “The Pot Shop—Setting Up and Running a Suc­ “July Ceramics Workshop” with Patrick McCormick. For cessful Pottery Studio From A to Z” with Bob Pike (July all skill levels. Live-in accommodations available. Fee: 21-25); “Designing Functional Ceramics” with Chuck S230. Contact: Art Department, Western Washington Wissinger, and “Japanese Brushwork on Ceramic Ware” University, Bellingham 98225; or call: (206) 676-3660. with Noburo Kubo (July 28-August 1); “Designing and Washington, Entiat Decorating in Clay” with Irish Flynn, “Clay and Hot June 15-20 Glass Techniques” with Bob Shay, and “Ceramic Sculp­ “Fifth Annual Raku Workshop” with Zeljko Kujundzic, ture” with Robert Harrison (August 4-8). Fees: at Washington State-Entiat on the Columbia River, will Can$80-Can$100 (approximately $60-$75). Camping cover sculpture, handbuilding, glazing and firing tech­ and live-in accommodations available. Contact: Visual & niques. For beginning through advanced students. Fee: Performing Arts Department, Red Deer College, Box $85; bring tools. Camping facilities available. Contact: 5005, Red Deer, Alberta T4N 5H5; or call: (403) 342- Elizabeth Campbell, Box 462, Entiat 98822; or call: (509) 3300. 784-1823. Canada, British Columbia, Victoria Washington, Tacoma July 28-August 10 June 23-27 “Metchosin International Summer School of the Arts,” at “Raku/Handbuilding” will include kilnbuilding and glaze Pearson College, will include a session on simplified glaze technology. For beginning and intermediate students. In­ and color development with Robin Hopper. For advanced structor: John McCuistion. Contact: Admissions Office, students and professionals. Fee: Can$225 (approximately University of Puget Sound, Tacoma 98416; or call: (206) $165). Live-in accommodations and nearby camping 756-3211. available. Contact: Metchosin International Summer School West Virginia, Elkins of the Arts, 4283 Metchosin Rd., Route 1, Victoria, Brit­ July 20-August 1 ish Columbia V8X 3W9; or call: (604) 474-2676. Augusta Heritage Workshop is offering a session on pot­ Canada, Ontario, North Bay tery production, including throwing, glazing and reduc­ July 7-25 tion-firing techniques. Instructor: Duke Miecznikowski. “Artsperience ’86” will include: “Low-Relief Clay Sculp­ For all skill levels. Camping and live-in accommodations ture with Richard Gill,” for all skill levels (July 7-11); available. Fee: S310. Contact: Augusta Heritage Center, “Functional Design—Pottery with Ron Roy,” for inter­ Davis & Elkins College, Elkins 26241; or call: (304) 636- mediate/advanced students and professionals (July 7-11); 1903. “Porcelain with Laurie Rolland,” handbuilding, throwing Wisconsin, Drummond and glazing at Cone 6, for beginning through advanced June 29-July 5 students Quly 14-18); “Handbuilding Clay Sculpture with Trying on a mask at Starjlower Forge & Pottery. University of Wisconsin-River Falls is planning a clay Dzintars Mezulis,” for beginning and intermediate stu­ workshop at Pigeon Lake Field Station, covering throw­ dents (July 14-18); “Handbuilding Clay Sculpture (Ad­ ing, handbuilding, kilnbuilding, terra sigillata, sawdust-, vanced) with Dzintars Mezulis,” for intermediate/ad­ ing, glazing, decorating and firing (July 28-August 8). pit-, drum-, raku- and salt-firing techniques, plus South­ vanced students and professionals (July 21-25). Fee: Instructor: Tim Andrews. Contact: South Tawton Pot­ west Indian-style blackware firing. Instructors: Kurt Wild Can$40 (approximately $29) per session, plus materials. tery, South Tawton, Nr. Okehampton, Devonshire. and Doug Johnson. For intermediate students through Live-in accommodations and camping available. Contact: England, Essex, Dunmow professionals. Fees: $123.50 for Wisconsin residents; Artsperience ’86, Canadore College, Box 5001, North July6 -September 12 $196.84 nonresidents, includes room and board. Contact: Bay, Ontario P1B 8K9; or call: (705) 474-7600. White Roding Pottery is offering weekday and weekend Kurt Wild, Art Department, University of Wisconsin, Canada, Quebec, Montreal sessions on handbuilding, throwing, kiln firing and Jap­ River Falls, Wisconsin 54022; or call: (715) 425-3308 or June 4-25 anese brush decoration. For all skill levels. Instructors: 425-3266. McGill University is offering a session on handbuilding Deborah Baynes and Martin Vella. Fees: £170 (approx­ Wisconsin, River Falls and throwing with R. L. Studham. For beginners. Fee: imately $254) per week, £60 (approximately $90) per July 7-31 Can$57 (approximately $42). Live-in accommodations weekend, includes accommodations. Contact: Deborah “Clay Sculpture/Smoke Firing” will cover slab building, available. Contact: McGill University, Summer Sessions, Baynes, White Roding Pottery, White Roding, Dunmow, press molding and the construction of a simple gas-fired Montreal, Quebec H3A 1Y2; or call: (514) 392-6740. Essex; or call: (0279) 76326. kiln. Instructor: Doug Johnson. For all skill levels. Live- England, Berkshire, Maidenhead England, Hampshire, Portsmouth in accommodations available. Contact: Art Department, July-August Summer University of Wisconsin, River Falls 54022; or call: (715) Kingsbury Pottery is planning week-long sessions on stu­ Mary Rose Wrangham will conduct 3-week sessions on 425-3266. dio production (throwing, handbuilding, decoration and ceramics restoration. For all skill levels; limit one or two Wisconsin, Sheboygan glaze technology) with Renee Rubinstein. For all skill students. Fee: £300 (approximately $448). Live-in ac­ Summer levels. Instruction in English, French or German. Fee: commodations and camping available. Contact: Mary Rose “Arts/Industry,” an 8-week residency program at the £165 (approximately $246), includes accommodations. Wrangham, Studio 304, Victory House, Somers Road Kohler Company, enables artists to work in an industrial Contact: Kingsbury Pottery, 4 Boyn Hill Rd., Maiden­ North, Portsmouth, Hampshire POl 1PJ; or call: (0705) environment using the facilities to develop their own ideas. head, Berkshire SL6 4JB; or call: (0628) 27984. 829863. Selection is from slides, a resume, references and a project England, Devonshire, South Tawton England, Kent, Maidstone proposal. Free housing, materials, round-trip fare from July 4-August8 July 7-September6 the artist’s hometown and an honorarium are provided. South Tawton Pottery is offering 1-week decorating courses John Solly Pottery is planning week-long sessions with Contact: Arts/Industry Coordinator, John Michael Koh­ (July 4-19 or July 21 -26) and a 2-week session on throw- emphasis on throwing and slip decorating. For all skill ler Arts Center, Box 489, Sheboygan 53082; or call: (414) levels. Fee: £75 (approximately $112). Contact: John Sol­ 458-6144. ly, 36 London Rd., Maidstone, Kent ME16 8QL; or call: Wisconsin, Whitewater (0622) 54623. July 14-August8 Toshiko Takaezu at Skidmore College. England, Somerset, Queen Camel The University of Wisconsin ceramics session will cover June 30-August 23 handbuilding and throwing stoneware, salt and raku fir­ “Douglas Phillips Workshop Pottery Course” will include ing. Instructor: Charlie Olson. For beginning through general sessions on wheel work, raw glazing and wood advanced students. Live-in accommodations available. firing (June 30-July 12 and August 18-23), an advanced Contact: Charlie Olson, Art Department, University of session (July 14-26) and a session on porcelain (August Wisconsin, Whitewater 53190; or call: (414) 472-1318. 3-17). Guest instructors: Sandy Brown, Svend Bayer, Da­ vid Leach and Nigel Wood. Fees: from £100 (approxi­ mately $149). Bed and breakfast accommodations and International camping available. Contact: Douglas Phillips, Ridge Pot­ tery, Queen Camel, Nr. Yeovil, Somerset BA22 7NF; or Belgium, Rochehaut call: (0935) 850753. July 7-August 30 England, Suffolk, Ipswich The Maison Artisanale de Rochehaut is offering six 1- Summer week sessions on handbuilding, throwing, glazing, “The Alan Baxter Pottery Workshop” will include week- kilnbuilding and primitive firing techniques. For begin­ long sessions for all skill levels. Fee: £145 (approximately ning through advanced students. Instruction in Dutch, $216) per week; includes meals and lodging. Contact: The English or French. Fee: BF3000 (approximately $66) per White House Studio, Somersham, Ipswich, Suffolk IP8 session. Live-in accommodations available. Contact: Den­ 4QA; or call: (0473) 831256. ise Frankinet, Route de Poupehan 62, 6839 Rochehaut; England, West Sussex, Chichester or call: (061) 46 6980. May 25-August 1 Canada, Alberta, Banff West Dean College is offering “Pottery and Decorative June 2-August 22 Ceramics for Garden and Conservatory” with John Gunn The Banff Centre is planning a 12-week intensive session (May 25-30); “An Introduction to Traditional Japanese for serious artists with Leslie Manning and Robert Har­ Enameling on Porcelain” with Russell Coates (June 1 -6); rison. Fee: Can$1140 (approximately $838). Contact: “Pottery” for intermediate students, with Alison Sande-

Apnl 1986 49 one; suddenly our freshly made pots re­ man (June 20-22); and “Pottery/Raku Firing” for all Ivory Coast, Abidjian fused to dry as usual and we became anx­ skill levels, with Alison Sandeman (July 27-August 1). July6 -August 2 ious about the final firings. We had to Contact: The Edward James Foundation, West Dean “Parsons in West Africa” will include visits to two cultural College, West Dean, Chichester, West Sussex P018 OQZ; regions to study stylistic and technical differences in lo­ postpone for two days, and ended up doing or call: (0243) 63301. cally produced pottery. For all skill levels. Fee: $3200, two firings at the same time to finish England, Worcestershire, Tenbury Wells includes transportation from New York, land travel and everything. Because we would be trying Summer hotel accommodations. Contact: Parsons School of De­ Martin Homer Pottery offers weekend and 1-, 2- or 3- sign, Office of Special Programs, 66 Fifth Ave., New York, out the kiln’s new second chamber and week courses for all skill levels. Fees: £65 (approximately New York 10011; or call: (212) 741-8975. chimney, the anticipation was even more $97) per weekend; £166 (approximately $248) per week; Japan, Tokyo includes room and board. Contact: Martin Homer Pot­ July 17- August 17 keenly felt. On top of this, we had decided tery, Aston Bank, Tenbury Wells, Worcestershire WR15 “Parsons in Japan” will include contact with Japanese it was the pottery group’s turn to give an 8LW; or call: (0584) 79404. master potters, access to studio facilities, visits to public France, Anthy and private collections and special presentations of tra­ all-school party. That meant cleaning up June-September ditional ceremonies. For all skill levels. Fees: $3430-$3810, the studio, getting in supplies, setting up “Wall Ceramics Workshop,” 1-week sessions with Liekie includes lodgings and round-trip transportation from New Schooneman. For all skill levels; maximum 4 students. York or Los Angeles. Contact: Parsons School of Design, the music and so on for the evening before Instruction in Dutch, English, French or German. Fee: Office of Special Programs, 66 Fifth Ave., New York, the last day. Most of the party prepara­ $250, includes lodging and transportation from and to New York 10011; or call: (212) 741-8975. tion was in fact done during the long day Geneva Airport. Contact: Liekie Schooneman, 33 Les Mexico, Guanajuato, San Miguel de Allende Savoyances, 74200 Anthy; or call: (50) 71-7134. June 9-August 29 of waiting as both kilns cooled, but the France, Morez Gres, Arte y Diseno, will conduct short- and long-term only time we had to unload the ware was July 7-15, sessions on sculpture, wheel throwing, raku and primitive Centre d’Etudes et de Diffusion de Techniques Educa- firing. Instruction in English and Spanish. Contact: Nan­ later that evening—during the party. At tives is offering a session for beginning through advanced cy Sclight, Gres, Arte y Diseno, Aparicio 4, San Miguel one point some of the guests looked around students. Instruction in English or French. Contact: Serge de Allende, Guanajuato; or call: (465) 2-18-66. and Michele Favre, CEDTE, 10 avenue Louis Paget, Netherlands, Oosterwolde (Fochteloo) the crowded room and asked: “Where are 39600 Morez; or call: (86) 33-2674 or 60-6038. June 16-September 12 all the potters?” I had just come in to refill France, Paris Kees Hoogendam is offering “Reduction Stoneware” (June my wine glass, so I invited them outside July 1-14 16-20); “Salt Glazing” (June 23-27); “Primitive and Atelier Annie Fourmanoir is offering instruction on Traditional Pottery” (June 30-July 4); “Raku” (July to look at our wonderful pots. There was throwing, handbuilding and glaze technology. For all skill 7-11); “Primitive Pottery and Slipware” (September 1-5); so much energy around that most of us levels. Instruction in English, French and German. Fee: and “Stoneware and Porcelain” (September 8-12). For from F450 (approximately $63). Contact: Atelier Annie all skill levels. Instruction in Dutch or English. Fee: f350 managed to dance for hours and unload Fourmanoir, 37 Boulevard Saint-Jacques, 75014 Paris; (approximately $136), includes live-in accommodations. our pots as well. or call: (43) 35-3458 or (45) 81-2867. Contact: Kees Hoogendam, De Knolle 3A, 8431 RJ Oos­ Two evenings before this, at the height July 1-31 terwolde (Fochteloo); or call: 05160-8238. Atelier des Brikezolces is planning a session on hand­ Scotland, Caithness, Lyth by Wick of the firings, the rain had really begun building, throwing, decorating, glazing, kiln loading and June 14-October 15 to pour down—even harder than usual, firing for beginning and intermediate students. Instruc­ Lyth Ceramic Workshop is offering 1-, 2- and 3-week tion in English, French or Spanish. Fee: F3200 (approx­ sessions on throwing and handbuilding, gas reduction fir­ with thunder and lightning. The salt kiln imately $448). Live-in accommodations available. Con­ ing and raku firing semiporcelain bodies. For all skill had reached temperature and had ab­ tact: Iule Amado-Fischgrund, 21 rue Liancourt, 75014 levels. Fee: £150 (approximately $224) per week; includes Paris; or call: (43) 21-5938. room and board. Contact: Lyth Ceramic Workshop, Lyth sorbed the interest of most of us for the France, Saint Ambroix by Wick, Caithness; or call: 095-584-339. preceding hour. Only the stokers were left Summer Switzerland, Muggio at the wood kiln. The rhythm of the stok­ Mas Cassac Pottery is offering 2-week sessions on throw­ August-September ing and glaze technology for beginning and intermediate Centro Sperimentale is offering “Glaze Technology” with ing had been maintained from 6 o’clock students; maximum 10. Instruction in English or French. Gustav Weiss (August 4-9), and “Possibilities with Clay” in the morning throughout the day and Fee: F3200 (approximately $448), includes lodging and with Petra Weiss (September 1-6), plus sessions on hand­ meals. Contact: Michel Simonot, Mas Cassac, Allegre, building and raku with Elizabetta Mellier. For beginning into the evening, and the kiln was work­ 30500 Saint Ambroix; or call: (66) 85-6565. and intermediate students. Fee: SF950 (approximately ing well. Even the ominous cracking of Greece, Crete, Rethymon $450), includes lodging and meals. Contact: Centro Sper­ July6 -August 20 imentale, Elizabetta Mellier, CH-6831 Muggio; or call: the damp chimney had ceased. The rain “Summer in Greece,” a study program on handbuilding (091) 49 14 62. pelted down on the corrugated iron roof and throwing earthenware, local traditional techniques Wales, Clwyd, Denbigh as we threw in the packages of salt. We for decoration with underglazes, slips and engobes, sculp­ July 7-August 2 ture and art history of Crete; includes tours to pottery Brookhouse Pottery is planning weekly courses on re- knew then, somehow, that the firing would towns, museums and archaeological sites. For all student duction-fired, wheel-thrown stoneware and porcelain, plus be good. levels. Instructors: Louis Trakis and Joan Aruz. Fee: $1420, handbuilding large-scale forms for raku firing. For all plus air fare; early deposit required. Contact: Louis Trak­ skill levels. Instructors: David Frith, Derek Emms and We all are artists, or should be, and is, Manhattanville College, Purchase, New York 10577; Dave Roberts. Fee: £180 (approximately $269). Camping learning this truth through experience with or call: (914) 694-2200, ext. 331 or 337. available. Contact: Margaret Frith, Brookhouse Pottery, Italy, Cortona The Malt House, Brookhouse Lane, Denbigh, Clwyd; materials, with color and line and tex­ June 13-August 22 or call: 074-571-2805. tures could be a process that continues The University of Georgia “Studies Abroad Program” will include a session with Tony Hepburn. For all skill throughout our lives. Certainly young levels. Fee: $3250, includes air fare, bus and train travel, children already display superb attention lodgings and most meals. Contact: UGA Studies Abroad Throwing practice at “Summer in Greece,” Crete. to detail—one of the basic requirements Program, Department of Art, University of Georgia, Ath­ ens, Georgia 30602; or call: (404) 542-7011. for seeing as well as producing beautiful Italy, Faenza things. What happens at all levels of so­ July 4-20 Emidio Galassi is offering a session for intermediate/ ciety in the industrialized lands is that advanced students and professionals. Instruction in En­ this knowledge which everyone used to glish, French, German or Italian. Camping and live-in accommodations available. Contact: Emidio Galassi, Via obtain through the process of learning to BorgoS. Rocco 12,48018 Faenza; or call: (0546) 661655. make functional things needed for daily Italy, Firenze living, this seeing ourselves as artists, has June 25-September 6 “Ceramica Riparbello” includes 2-week sessions for be­ been lost. Learning by imitation, by pro­ ginning through advanced students; maximum 10. In­ duction of many practical items, and by struction in English or Italian. Fee: L780,000 (approx­ imately $524), includes lodging and lunches. Contact: experimentation over a period of time with Ceramica Riparbello, 50020 Marcialla, Firenze; or call: small variations in mixtures, patterns and (0571) 660084. Italy, Rome shapes used to be a heritage exercised by July 15-30 all. Every hand was needed. “Camping Workshop in the Roman Countryside” will We do not, perhaps, want to go back cover majolica and raku techniques. Instruction in En­ glish or Italian. Contact: Riccardo Paolucci, Via Vecchia to a time when the potter had to dig and di Napoli, 00049 Velletri, Rome. sieve and mix clay, or when the black­ Italy, Siena July 26-August6 smiths guarded their secrets by a succes­ Verrocchio Arts Centre is offering a session on hand­ sion of initiations. But in a society where building and throwing with Jenifer Jones. For beginning and intermediate students. Instruction in English. Fee: so many people feel themselves to be ir­ £200 (approximately $299), includes accommodations. relevant and where trust is in short sup­ Contact: C. Porter, 51 Saint James’ Gardens, London ply, studies of traditional crafts are life- Wll 4RA, England; or call: (0160) 35298. enhancing experiences. 50 CERAMICS MONTHLY Useful Pottery

curators of “Useful Pottery,” presented “Limits are essential to the creative “In recent years, ceramics has become at Pyramid Arts Center, Rochester, New process because they trigger reaction and more of a part of the mainstream due toYork, through January 4. focus energy,” noted Higby. “The great­ gallery exhibitions, museum acquisi­ Functional pottery, “through its er in­ the limitation, the more vigorous the tions and critical publications. This trend timate connection with daily life, has thechallenge. Functional pottery puts many is exciting and important. However, thepotential for rich aesthetic experience,” restrictions on expression. It takes a highly tendency has been to concentrate solely they continued. “This experience is of­sensitive, inventive and patient individ­ on the visual qualities of ceramic art,fered not only by visual means, butual by to turn these constraints into pottery. which often restate popular styles inphysical and sensual aspects as well. The teapot must pour. It must be well painting and sculpture,” observed Gra­Unfortunately, these qualities are rarely balanced at a comfortable scale. Its han­ ham Marks (Rochester Institute of understood and there are few forums indle must provide security in lifting, and Technology) and Wayne Higby (Alfred),which they can be addressed.” its lid shouldn’t fall into the cup as the

“Fluted Vase” 16V4 inches in height, slab- built stoneware, salt glazed, wood fired, by Tim Crane, Brownsville, Minnesota. April 1986 51 Top "Soup Tureen,” 12 inches in height, wheel-thrown earthenware, with majolica glaze, by Walter Ostrom, Halifax, Nova Scotia. Above “Fish Casserole,” 22 inches long, by Andrew Martin, Denver. tea flows from its spout. Simply stated, this conflict by proving that it need notproblems of creating for use. The good the teapot must ‘work’ or be relegated exist. More than a mere balancing act,useful pots are those that reveal artistic to the shelf. One sure test of quality forthe fine useful pot is an example of cre­individuality and sensitivity, particu­ a functional pot is whether or notcan it ative vision that transcends constraint larlyby at the points where the pot must be used. However, whether a pot is used turning specific limitations into mo­function. The way the lid fits or handle is also inextricably connected to ments the of artistic expression. responds to the hand are dynamic factors pleasure it gives in the process of func­ “Uniqueness of decoration and clever critically related to the quality of a use­ tioning. Paper plates work, but providemanipulation of material and process canful pot. This clearly suggests that func­ little except convenience. provide a potter with a signature style. tional pottery is one of those rare forms “Human desire seems torn between a But the important statements within the of art that gives pleasure not only through quest for pragmatic solutions to prob­realm of the useful pot are made by pot­visual-cerebral connections, but through lems and a longing for pleasurable re­ters who have firm control of their egosphysical-sensual ones as well. lease. The art of the potter addresses and are willing to face squarely the “Unlike architecture and the products 52 CERAMICS MONTHLY Photos: courtesy of the artists and Pyramid Art Center

Coffeepot, 9¾ inches in height, thrown terra cotta, with majolica glaze, fired to Cone 3, by Paul Rozman, Winnipeg, Manitoba.

April 1986 53 Top Salt-glazed stoneware teapot, 12V2 inches in height, by Mark Pharis, Houston, Minnesota. Above Porcelain cups and saucers by William Brouillard, Cleveland. of the artistic problem-solving activities to achieve objects of intelligence andPaul Rozman, Winnipeg, Manitoba; and of design, handmade pottery provides beauty.” a Pharis invited Tim Crane, Brownsville, person-to-person intimacy. The hand ofTo form an exhibition of ceramic ob­Minnesota. the artist reaches through the object tojects “that grow from the tradition of useThere are few group shows today touch the hand of the user, creating aand the poetics of function,” the jurors without some balance between men and bond of friendship, caring and aesthetic asked William Brouillard, Cleveland; women participating, but it’s worth no­ gratification that nurtures human life Bruce Cochrane, Mississauga, Ontario; ting that this exhibition presented a cast and fortifies against indifference. Walter Ostrom, Halifax, Nova Scotia; of all male artists. Obviously there are “Harmonizing the dual forces ofand Mark Pharis, Houston, Minnesota, many women qualified and available for imagination and logic lies at the center to participate in the show. In turn, such a show which seems to demonstrate of all artistic labor. The utilitarian pot Brouillard invited Michael Simon, Far­that women in ceramics continue to face is one of humanity’s most enduring ex­mington, Georgia; Cochrane invited An­a need to voice their right to equal op­ amples of how this duality is reconcileddrew Martin, Denver; Ostrom invited portunities in the field. 54 CERAMICS MONTHLY Stoneware teapot, 101A inches in height, with sgraffito decoration through glaze, wood fired, by Bruce Cochrane, Mississauga, Ontario. April 1986 55 Top Stoneware jar; 9½ inches in height, thrown- and-altered stoneware, salt glazed, by Michael Simon, Farmington, Georgia. Above “Oyster Platter” 20 inches in length, slip- cast porcelain, with underglaze decoration, fired to Cone 10 in oxidation, by Andrew Martin. 56 CERAMICS MONTHLY Saint Louis Clay

visually pull viewers in to explore the The tenth anniversary of the Saint Louis inside of the pot—or mentally inside Clay Artists group was marked by a ju­ themselves.” ried exhibition at the city’s 39th Street Second place winner Carolyn Ma­ Gallery. Works shown reflected the di­ tulef, University City, Missouri, carved verse styles of the membership. “The Fete” from a block of moist terra Jeri Au, Pacific, Missouri, was cotta. After bisque firing, the figure was awarded first place for her wheel-thrown painted with acrylics. Across the body porcelain “Nectarine,” sprayed with a are images from a fete or circus “trav­ textured engobe over layers of under- eling through life” and alluding to Old glazes, then fired to Cone 04 and wrapped English tales. Fates are predicted by a with a sea grass cord. As a continuation fortune teller, and a jester opening a cur­ in her “Ovum Series,” the form “deals tain symbolizes a look into the future, with mystery of the mind and the soul,” while the primary figure sees “what’s Jeri commented. She uses “the cord to going on,” Carolyn explained.

Above right “Fete” 15 inches in height, by Carolyn Matulef, University City, Missouri. "Nectarine,” 8 inches in height, porcelain, with underglaze images and textured engobe, wrapped with sea grass cord, by Jeri Au, Pacific, Missouri. Photos: Kim Block

April 1986 57 Opposites from Denmark by Heidi Guthmann Birck

work independently. Our aim was to findtures is a moist stoneware imported from Born in Cologne in 1941 when povertya bigger space and to devote full atten­England. To this is added 40% fine white and disease were facts of life for most tion to our work. By 1970 we had grog, es­ which gives it a shrinkage rate of Germans, I had no opportunity to dis­tablished a new studio in a 100-year-old about 10%. It fires to light cream in ox­ cover art until age 18 when I began country schoolhouse on the west coastidation and speckled gray in reduction. working with clay. My apprenticeship of Denmark, built kilns for raku, gas Sometimes I incorporate materials other was in the studio of Gerd and Anneliese and salt firings, and decided to specialize than clay into the final form. von Stokar, near Munich. Each year theyin stoneware. Usually the work is started with a clay took on three or four students for a three-Moving from one culture to another prototype of a female/male head. A two- year, eight-hours-a-day program thatgave me a wide view of artistic possi­part plaster mold (front and back) is cast included art history, pottery and sculp­bilities. The human form—particularly from this head. With the two molds po­ ture techniques, glazing and firing the head—became a basic interest. My sitioned horizontally, ½-inch-thick slabs methods, plus visits to galleries and artaim has been to utilize the tensions that are firmly pressed into each. After the museums once a week. exist between various normal aspects clay of has stiffened somewhat, the edges Afterward I spent several years atfacial expression and certain inner rev­are trimmed and the molds inverted on studio workshops throughout Europe, elations of character. Often the works a flat board. Released from the mold, developing skills as a professional potterdeal with opposites: dream and reality;the back-of-the-head section is covered and moving into sculptural work. man and woman; child and adult; the with plastic, then returned to the hori­ In 1965 ceramist Aage Birck and I part and the whole. These qualitative zontal mold for support. Next, the clay established a studio in central Copen­ oppositions that carry my ideas find res­edges are rubbed with slip and the front hagen; we were later married. At the olution in something quite substantial— section joined to the back. After removal beginning he supported us by teaching, the physicality of the face. from the mold, specific modeling of the but our first shows helped to free us to The clay body used for these sculp­head begins.

“Butterfly,” 11 inches in diameter, wall sculpture with polychrome glazes, by Heidi Guthmann Birck, Denmark. 58 Ceramics Monthly Photos: John Bejder, Aage Birck

The Bircks’ studio (in an old country schoolhouse) is furnished with machinery and tools from many other professions, including two worktables mounted on hydraulic bases from3 chairs. dentists

April 1986 59

i Soren Thor sen, model for life-size “Clown” (right), Cone 9 reduction stoneware, residual salt glazed.

“She’-man,” life size, glazed stoneware. Right “Margrit and Eberhard,” life size, salt-glazed stoneware and granite sculpture.

60 CERAMICS MONTHLY Whenever form and decoration workThe following are among the color var­silicate and copper carbonate with 2% together on these portraits,I airbrush iations possible with oxide and/or stainblue stain. them with a palette of Cone 6 glazes. additions: On those with no decorationI prefer to Pink-Red Glaze use salt glaze alone, or a lightly salted White: (Cone 6) combination of a Cone 9 gray matt withZinc Oxide...... 3.26% Whiting...... 38.10% a red-orange engobe. Feldspar...... 50.79 Gray: Kaolin...... 11.11 Gray Matt Glaze Zinc Oxide...... 3.26% Gray Stain...... 2.17% 100.00% (Cone 9, reduction) Add: Zirconium Silicate...... 15.87% Whiting...... 25.45% Yellow: Pink Stain...... 12.70% Feldspar...... 39.76 Yellow Stain...... 8.70% Kaolin...... 34.79 Blue Glaze 100.00% Turquoise Glaze (Cone 6) Add: Rutile...... 4.97% (Cone 6) Dolomite...... 21.74% Barium Carbonate...... 28.0% Whiting...... 13.05 Base Glaze Whiting...... 14.0 Wollastonite...... 10.87 (Cone 6) Nepheline Syenite ...... 48.0 Feldspar...... 21.74 Dolomite...... 13.04% Ball Clay...... 10.0 Ball Clay...... 16.30 Wollastonite...... 21.74 100.0% Flint...... 16.30 Nepheline Syenite...... 43.48 Add: Zirconium Silicate...... 1.0% 100.00% Kaolin...... 21.74 Copper Carbonate...... 0.2% Add: Zirconium Silicate...... 8.70% 100.00% For a blue glaze, replace the zirconium Blue Stain ...... 13.05%

“Tattoo,” life size, glazed stoneware, fired in oxidation, by Heidi Guthmann Birck. “Moving from one culture to another gave me a wide view of artistic possibilities. The human form—particularly the head—became a basic interest. Whenever form and decoration work together on these portraits, I airbrush them with a palette of Cone 6 glazes. ”

April 1986 61 Leslie Wood by Nancy Margulies

dealt with in a skilled manner. “It was “My platters capture a moment,” Leslie expected that I would learn to handle Wood explains, “when one takes a break tools and I did so at a young age,” Leslie from activity and sees a familiar sight recalls. “The question of what is art and with a fresh vision. The clutter of a table what is craft never entered the picture. or desk top is a frequent subject. My You simply created an object, the reason goal is to take a person away from the might be a practical need or just the need hectic pace of life and say, ‘Look, this is to express a feeling; the result was a the composition, color and form of life combination of art and craft.” that surrounds you.’” But it was during her junior year as Speaking through art imagery has been an art major at the University of Indiana an outlet for Leslie since early child­ (Bloomington) that she learned to focus hood, since both her parents were artists. her work. A ceramics instructor, Kent The family environment was one where “While You Were Out ,” 17 inches in Dawalt, “emphasized the concept, not anything that could be made by hand ordiameter; thrown terra cotta, with the technique,” she recalled. “He wanted fixed by a member of the family was underglaze. us to be able to verbalize what we were

“Putting It Back Together ” 19 inches in diameter.

62 Ceramics Monthly rnoios: Huntley aarard, martin zcnweig

Left Terra-cotta platter (detail above), 19 inches in diameter; wheel thrown, bisqued, brushed with commercial underglazes, fired to Cone 04, clear glazed and refired, by Leslie Wood, Saint Louis.

doing and why. Materials were unim­ While enrolled in the M.F.A. pro­ tion, yet create a piece that is a response portant—he was working in wood andgram at Washington University in Saintto another’s view or experience. When Styrofoam at the time—but the primary Louis, the city where she now lives, Les­someone commissions a platter, I begin focus was understanding why we were lie adopted the platter format of her cur­by setting up a meeting. I show them making the pieces. I realized that pro­ rent work. A friend had asked her to my slides and discuss the technique first. ducing art had always been my tool throw for some platters so that he could glaze I want them to know the process that communication and that I was just be­ them with his own images. “There were goes into each piece. Then we discuss ginning to understand what motivated several forms left over and I started ex­the items they want to appear on the me and what I could say through art.”perimenting with them. I began with platter. At first the ideas may be slow in After graduation, Leslie spent a year room interiors because my interest wascoming. But as we talk, there is usually working for Bloomington Pottery, stillwhere with architectural forms. Commer­ a moment when the client realizes the she gained proficiency at the wheel. “Icial glazes suited my purposes well; Ipossibilities and begins coming up with wanted to see if throwing at the wheel found I could control the materials andlots of ideas. Sometimes I get calls in the was the direction for me,” she observed. create the precise images I wanted. The middle of the night from someone who “What I learned was that turning out room interiors led to more formal, starkis commissioning a platter. They are so production pieces, often as many as 80portrayals of a single pencil and coffee excited about an idea that they have to a day, was not what I wanted. I like each cup. I was intrigued with the idea of call. pot to be special and in that environment making a ceramic coffee cup purely out “It opens my thinking to do a piece they quickly lost their preciousness. Ifof I glazes—moving from the real objectwith someone else’s imagery. Often that was going to make something, it had I to had created countless times when doing will trigger a new direction in me.” contain a personal statement.” production work. The platters became New directions may take Leslie to the Concentrating on the message, she be­more narrative as I discovered I couldlibrary or to an antiques store to find gan to produce conceptual forms, ab­select objects and compositions that would just the right source for an image. Then stracted from familiar architectural im­ convey my feelings and concerns. I sketching ex­ the new item precedes work­ ages. In a series of full-scale nonfunctional perimented with any material that would ing with underglaze directly on the plat­ staircases, she “was playing with thecreate the desired effect—pencils, mark­ ter. “I want to be totally comfortable with viewers’ perception. When the eye isers, as well as glazes. all the angles and nuances of an item— fooled, one must stop and ponder the“Luckily, the form my work has takensay a toy soldier—before I work on the image; you can’t easily gloss over some­lends itself well to commissions. I canclay surface. The pencil lines need to be thing that presents a duality of being stay with my own style and retain thesure and accurate by the time I reach real and distorted at the same time.” final say about composition and selec­that stage.” April 1986 63

News & Retrospect Native American Innovators archival facility for scholarly research. “In “For the past six months, we have exper­ “Innovators,” featuring four ceramists all, an open, attractive and ordered setting imented with reintroducing some of the larg­ working in styles adapted from historical for the ceramics collections, and a natural er and more sculptural works into Mind- Native American designs, was presented at magnet for the growing international public scape/Evanston—works that we have had Gallery 10 in Scottsdale, Arizona, through interested in ceramics,” commented director almost exclusively in Chicago for the past February 19. Shown from the exhibition are Ronald A. Kuchta. two years, where they received great com­ (clockwise from upper left) a coil-built stor- A priority project at the museum, the cen­ ments, but no sales. Happily, many of these pieces have now sold in Evanston’s more re­ tail atmosphere, which brings us to the con­ clusion that our collectors simply feel more comfortable in Evanston. “The one area in which Mindscape/Chi- cago excelled is in terms of contacts with designers. Many had not previously traveled to Evanston, and so their exposure to our kinds of artforms downtown proved benefi­ cial to both locations. As a result, sales through designers have increased significantly in Ev­ anston. “This past year in Evanston, we have ex­ perienced a great revitalization of the pub­ lic’s interest in crafts—measurable in dol­ lars—and to the diversity and creativity offered. Evanston’s sales in most media have increased 40% compared to 1984. While we feel disappointed in Chicago’s sales record, we feel greatly encouraged by the support received in Evanston.” Marianne Weinberg-Benson Modern interpretations of Native American designs “Power Totems” by Atlanta ceramist Mar­ age jar, 14 inches in height, by Richard Zane ter is expected to be completed by April 1987, ianne Weinberg-Benson were exhibited re­ Smith; a red-and-black jar by Robert Ten- when NCECA will hold its annual confer­ cently at the Southeastern Center for Con­ orio; a black-and-white jar by Dorothy To- ence in Syracuse. temporary Art in Winston-Salem, North rivio; and a 12-inch-high purple mask by Carolina. The intent of this series of por­ Karita Coffey. celain chargers is to suggest energy “by cre­ Though her people are not known for a Mindscape Collection Closed ating a charged tension between glossy and ceramics tradition, Comanche artist Karita After two and a half years in its downtown sandblasted surfaces; and through the sym­ Coffey has chosen to use clay for her inter­ Chicago location, the Mindscape Collection bolic designs that are drawn with pastels, pretations of Native American art. Histori­ (an outgrowth of the Mindscape Gallery in pencils and chalk on the sandblasted areas,” cally, American Indian masks were made of Evanston, Illinois) closed in January. The Marianne observed. leather and other soft media. decision was based on sales coupled with in­ Wheel-thrown in up to three sections and Acoma potter Dorothy Torivio concen­ creased overhead costs, according to Mind­ assembled when leather hard, these large trates on altering the scale of historical design scape codirectors Deborah Far ber-Isaacson plates are decorated with pastel-colored slips, elements to conform to the shape of the ves­ and Ron Isaacson. sel, while Robert Tenorio is influenced by “One of our original goals in Chicago,” 19th-century Santo Domingo shapes and de­ they explained, “was to expose fine art col­ signs. lectors visiting the Chicago gallery district to Richard Zane Smith, a Wyandotte who the world of fine crafts. We have discovered, lives in Navajo country, has based his tech­ rather to our disappointment, that this is a nique on corrugated pottery made in the very small collectors’ community. Most of the Southwest over 1000 years ago as well as on people who visit the district do not actively the basketry which preceded that ware. Im­ support the arts with frequent large pur­ pressed into the “corrugations” made by coil chases—at least not the kind of art that we building, the geometric patterns are painted sell. Instead, they purchase a major piece with earth colored slip. once every few years, and use the time be­ tween purchases to educate themselves, which fosters an almost museumlike atmosphere in Everson Expansion the gallery district. Employing a $250,000 gift from Syracuse China, plans are underway to establish a You are invited to send news and photo­ Center for the Study of American Ceramics graphs about people, places or events of in the lower level of the Everson Museum interest. We will be pleased to consider in Syracuse, New York. The space will pro­ them for publication in this column. Mail “Hatley’s Comet ” 17 inches in diameter vide open storage galleries (approximately submissions to: News and Retrospect, and bisque fired. After glazing with gloss 4022 square feet) for the museum’s entire Ceramics Monthly, P.O. Box 12448, recipes and firing to 2400°F, the surfaces are ceramics and glass collections, plus room for Columbus, Ohio 43212. masked for sandblasting. Marianne then growth. In addition, the center will house an Continued April 1986 65 66 Ceramics Monthly News & Retrospect draws with pencil and chalk on the sand­ blasted areas. The final step is coating the surface with a clear acrylic.Photo: Ron Lee. Karen Karnes The contradiction posed by Karen Karnes, Morgan, Vermont, is that she continually moves forward while at the same time re­ solidifying her past. In a recent show at Had- ler-Rodriguez Gallery in New York City, her

Large wood-fired container by Karen Karnes box (self-stoking) kiln. Slips in dark brown or blue under black are meant to supplement Karen Karnes and reinforce the pot’s profile. pots return to a more moderate size and make Through a relatively narrow range of direct reference to salt-glazed shapes of the shapes and a limited number of variations, the mid ’70s. the evolution of Karen Karnes’s pottery is The surprise is a series of tapered pots toward the clarity of self-criticism. The scru­ that rise on tall bases to bulge into hand­ tiny of stylistic technique, the concurrent self­ sized bowls. Vertical movement, the primary questioning of aesthetic principle and the ev­ olutionary process of her design, place her work squarely within the empirical nature of 20th-century art.Text: Michael Rubin. Lillian Pitt Raku masks by Lillian Pitt, a Warm Springs-Yakima Indian, were featured in a solo exhibition on view at the Multnomah Art Center in Portland, Oregon, through March 26. Born and raised on a reservation in central Oregon, Lillian draws inspiration from her experiences and the cultural iden­ tity of the Columbia River Indians. Legends told to her by her great-grandparents are a frequent source of content in her work. “The gorge that separates Oregon from Washington state beds the Columbia River. The petroglyphs, like the Spedis Owl and Tsagaglallal, etched on the rocky cliffs are evidence of past habitation. I am a descen- dent of the hands that made these etchings. “I believe everyone has a connection to a primal heritage and a racial awakening. This awareness is the backbone of my culture, flexible and flowing like the Columbia. It is a natural spiritual force that bequeaths depth to my art. A mask maker, I have discovered, is an artistic gatherer of mystic spirits. 78-inch-high tapered pot, wood-fired stoneware “The Columbia River people told legends intention, is slowed only by the high arched along with gathering salmon and plants for handle on the vessel’s lid. To further artic­ cultural survival. We learned that the salmon ulate these forms, Karen cuts a slit through and plants have their own spirits that they the base, thus creating two legs with a neg­ sacrifice to us. Our longhouses still respect ative space that suggests a drawn line. the cycles of rebirth with songs that are Still our attention is attracted to the un­ dreamlike connections to the other world, the equivocal balance Karen requires of each greater world. work. The majority of the pots are moderate “Ceramics was not a well-developed me­ in height, fully round, with short bases. All dium of the Northwest natives, and raku are wood fired in a 100-cubic-foot Bourry Continued April 1986 67 68 Ceramics Monthly News & Retrospect (divided into three distinct areas) to several solo and group exhibitions featuring ceramic originally was a Japanese art. I use raku to artists. give a different sort of character to my clay- “Myths/Memories,” shown through Feb­ work. I praise my clay. It is a helping spirit ruary 1, presented surrealistic sculpture by of its own mind, excitement and agility. It Carlyn associate artist Grady Kimsey, Win­ frequently has its own idea of shape and tells ter Park, Florida. Often the raku figures are me what to do. I need its consent. I agree combined with found objects. Says Grady, with a statement by Jamake Highwater in these once discarded materials bring their his book Ritual of the Wing: ‘To an Indian, pottery is something significant and not just a utility but a being for which there is as much a natural order as there is for things that are persons or foxes or trees.’” Lillian’s masks are handbuilt from a com­ mercial raku clay body, then painted with underglazes and coated with a 75% Gerstley borate/25% nepheline syenite glaze. After firing in a portable kiln, they are reduced in corn husks, grass, straw and sawdust. Ad­ ditions include feathers, buckskin, shell, bone and glass beads. “I enjoy masks. They are comic and sa­ “Levitating Figures” by Grady Kimsey cred, sad, fierce and supportive. At times, own histories to the pieces, giving each pri­ they appear vague, opaque, expressionless vate significance; they are transformed when and even inscrutable. They have single used in new and surprising ways. Shown from the exhibition is “Levitating Figures,” 9 inches in height, handbuilt and raku fired, with metal headdress. In February, the gallery focused on slip- cast porcelain by Lynn Turner (Berkeley, California), another of the approximately 50 artists whose work is shown there regularly. Among the forms on display were these

“Wapsoox,” handbuilt, with leather and feathers Porcelain perfume bottles by Lynn Turner eyes, spots, crescent-shaped eyes, twisted perfume bottles, ranging to 8½ inches in mouths, whistling mouths, ‘male’ and ‘fe­ height, airbrushed with a “semiglaze” made male’ mouths, teeth, grooves, whiskers and from the porcelain slip and stains, fired to spikes, feathers, spontaneous splotches, dark­ Cone 10-11. ness and light. “My masks are not idols. They are not Clay in Space made for a specific religious purpose. They A variation on the Geltaftan method (see are created with impulse and inspiration from “Nader Khalili: Fired Houses” in the No­ a highly valued tradition. They are to be vember 1983 CM) has been proposed for use understood as my interpretations of ancestry. in constructing buildings on the Moon, or “My art is the subtle integration of all even space stations. In October 1984 Nader qualities, pleasant or fierce, that I hold with­ Khalili was invited to present his paper in me while I am shaping my masks. I enjoy “Magma, Ceramic and Fused Adobe Struc­ the art saved in the museums of man, but tures Generated in Situ” to the NASA-spon­ bow to a venerable Inuit thought that illus­ sored symposium on “Lunar Bases and Space trates our concern with our art: ‘Things cre­ Activities of the 21st Century” held at the ated are fallen away objects, a type of ex­ National Academy of Sciences in Washing­ crement, fallen hair, shed skin. The person ton, D.C. is the work of art. The act of creation is The paper’s proposals were received with important and should be honored.’” Text: enthusiasm, and Aviation Weekly and Space Elizabeth Woody; photo: Dennis Maxwell. Technology magazine called Khalili’s pro­ cess of building with magma created from Carlyn Exhibitions lunar soil melted by focused solar rays “a Since its opening in New York City last novel concept.” His presentation also result- fall, Carlyn Gallery has devoted display space Continued April 1986 69 70 CERAMICS MONTHLY News & Retrospect ed in an invitation to Los Alamos National Laboratory. In May 1985 Khalili met with scientists to discuss his theories and the pos­ sibilities for research and development. He also presented his ideas in a colloquium which was attended by both press and public. There he explained Geltaftan, and expounded on his theories of lunar construction. The following is an excerpt from Khalili’s paper: “The accumulated human knowledge 12V2-inch.-squ.are “Game” by Anna Zamorska of ‘universal elements’ can be integrated with space-age technology to serve human needs like this test the pulse of ceramic art on Earth; its timeless materials and timeless around the country. I was happy to see such principles can also help achieve humanity’s lively and energetic work. This energy will quest beyond this planet. Two such areas of produce more and more avenues of explo­ knowledge are in Earth architecture and ce­ ration, and will demonstrate once again that ramics, which could be the basis for a break­ there is more to experience and more to learn through—in scales, forms and functions—in about life.” low-gravity fields and anhydrous-vacuum The $200 Best in the Show award was conditions. With the added missing link of presented to Gary Schlappal, Ames, Iowa, the element of fire—heat—traditional earth­ en forms can be generated on other celestial bodies, such as the Moon and Mars, in the form of magma structure, ceramic structure and fused adobe structure. Ceramic modules can also be generated in situ in space by utilizing lunar or meteorite resources. “The traditional techniques of building without centering, i.e., leaning arches, cor­ belling and dry packing, can have greater applications in lower gravity fields, as well as higher material strength, than in the re­ stricted conditions of these techniques’ ter­ restrial origins. At the same time, the ‘high- tech’ heat-obtaining skills of solar heat, plas­ ma, microwave and melting penetrators can provide ceramic earth shelters and appro­ priate technology for both developed and underdeveloped nations. Through under­ standing and utilizing the principles of ‘Yek- ta-i-Arkan—Unity of Elements,’ integration of tradition and technology in harmony with the laws of nature is possible at many levels of microcosm and macrocosm.” Khalili goes on to outline the concept of 27-inch-high basket by Gary Schlappal magma structure, in which architecture can for “She Has a Lot of Men She Calls Friends,” be formed by using focused “fire of the sun” an earthenware basket with inlaid colored to melt lunar soil into magma. Other meth­ clays, slips and glazes; while Rimas Vis- ods he postulates are solar-fused lunar adobe, Girda, Des Moines, won the $100 Best in prefabricated magma members, and paving Clay prize for “How Come My Dog Don’t and lunar dust stabilization, also employing Bark When You Come Knockin’ on My focused solar rays. Another innovative con­ Door?” an earthenware platter with slips, cept is ceramic structures “thrown” on a cen- underglaze pencil, lusters and china paint; trifugally gyrating platform, a sort of giant and visiting Polish artist Anna Zamorska, potter’s wheel, in the low gravity of the Moon Des Moines, received honorable mention for (one-sixth that of Earth) or in the zero grav­ “Game,” raku-fired stoneware pieces on a ity of space. plaster board. Courtesy of Elements, the newsletter of the Geltaftan Foundation. Terry Kreuzer A solo exhibition of life-size stoneware fig­ Clay and Fiber Show ures byTerry Kreuzer was on view recently With eligibility extended nationwide for at the Wyoming State Museum in Chey­ the first time, the biennial “Clay and Fiber enne. Trained to cast sculpture in bronze, Show” at the Octagon Center for the Arts in Terry “didn’t realize clay’s potential until my Ames, Iowa, drew 464 entries by 174 artists last years at the Pennsylvania Academy of from 32 states. Ceramics juror Jerry Horn­ Fine Arts in Philadelphia. My first concern ing, faculty artist at Creighton University in was to study the human figure in an urban Omaha, was “impressed with the variety of atmosphere as academic in the study of the work and the geographic representation of figure that I could find, coming from rural the artists entering the show. Competitions Continued April 1986 71 72 Ceramics Monthly News & Retrospect up and hollowing out the form to a wall thickness of ½-1 inch. But the task has an Wyoming. I explored the casting process to aesthetic value that is important to me and the cost of losing many sculptures; some­ necessary to the success of the sculpture. I where in the technique and the plaster, my do not like to allude to the solid mass of a work lost its life everytime. The prevailing figure by constructing it from hollow coil- or attitude that sculpture had to be of a material slab-building methods. In order to create the having ‘inherent value’ (such as stone or actuality of a figure’s mass sitting or standing bronze) didn’t make any sense to me. Con­ against the pull of gravity, one must contend sequently, I was wooed by clay. with that same law of nature when making “Aesthetically, clay allows me a continued the piece. immediacy throughout the entire creative “When the figure is completely modeled, process that other media lack. My total re­ it is cut into sections, with the pull of gravity sponse to and manipulation of the form are always in mind to ensure a successful whole recorded by the clay to the final product; with in the end. After one week of hollowing, the clay’s versatility and spontaneity, nothing is sections are reassembled in the kiln to dry lost or compensated for. and be fired, thus avoiding the hazardous “Primarily out of a response to my own step of transporting and loading. Dried for form, I have been concerned with using the two weeks, the figure is fired to Cone 2 with­ female form as an archetype. Figurative in 6-8 hours in two Skutt kilns stacked one sculpture’s history has set that precedent and on top of the other. The stacked kilns (and

The artist in her studio with “Electra” it has been attractive to me in defining myself blank rings if additional height is needed) do as a woman artist. Commissions such as create a ‘chimney’ effect, causing as much as ‘L’Esprit de Femme’ for the Wyoming Wom­ a cone’s difference between the top and bot­ en’s Center, a new correctional facility in Lusk, tom of the kilns. But the figures do not suffer continued to foster that archetype. any warpage or stress from the temperature “The figures are handbuilt solid from a difference if the firing is paced slowly during commercial stoneware body. A pipe arma­ the first few hours. ture, down through the center of the figure, “Most of the figures are fired to Cone 2 supports the clay mass while I am sculpting to maintain a porosity within the stoneware it. Working with 450-600 pounds of clay per body that gives me the sensual and tactile figure creates the laborious task of cutting surface desired. Those intended for an out­ door site, such as ‘L’Esprit de Femme,’ are “L’Esprit de Femme” installed at Wyoming center

Figures for commissioned “L’Esprit de Femme Continued April 1986 73 74 Ceramics Monthly News & Retrospect easily split a cylindrical container. A large, open, bisqued bowl is recommended for cal­ fired to a semivitreous state attained between cining this mixture. Cone 6 and 8. The surfaces of those forms The following flameware body throws well are devoid of any textural crevices or mark­ and, because of its low shrinkage, facilitates ings from the modeling to prevent any col­ large handbuilt forms: lection of water that would freeze in the win­ ter. Various colorants applied after firing Flameware Clay Body include acrylics, watercolors or rubbed on (Cone 10) dry wood ash, dirt or clay.”Photos: Steve Spodumene...... 10% Cotherman, Jim Birr ell, Terry Kreuzer Petalite...... 40 Kaiser Mexico Milled Fireclay...... 50 Mark Chamberlain 100% Fifty stoneware vessels byMark Cham­ Add: Bentonite ...... 3% berlain, Clear Lake, Iowa, were featured re­ Mason’s Blend fireclay may be substituted cently at the Raymond Forsberg Riverside directly for the Kaiser; I suspect that many Galleries of the Waterloo Recreation and Arts fireclays would work as well as those I have Center in Waterloo, Iowa. A studio potter tested. Grog may be added, of course, if more for the past 14 years, Mark concentrated on tooth is desired in the body. developing a series of round forms for the Kiln shelves should be dusted with fine grog or flint to thwart the tendency of this clay to stick to the shelf surfaces; however this sticking does not present a problem for lids. Pots glazed with the following cream/tan recipe are fired in an electric kiln using an Orton Junior Cone 10 in the sitter:

Cream/Tan Flameware Glaze (Cone 10) Dolomite ...... 21.19% Spodumene...... 18.83 Tricalcium Phosphate ...... 4.71 Whiting ...... 3.48 14-inch-diameter thrown stoneware jar Custer Feldspar...... 28.25 exhibition. This lidded jar, approximately 14 Edgar Plastic Kaolin ...... 23.54 inches in diameter, was decorated with brushed 100.00% and trailed glazes, then high fired in reduc­ Add: Zircopax...... 6.59% tion. Several of my flameware casseroles, tea­ pots and baking dishes have been in service Flame ware for Cone 10 Oxidation for over five years and have withstood repeat- by Terry Hutchinson While in college several years ago, I ob­ served a fellow student heat pots on a small hotplate, then plunge them into a bucket of cold water. This was usually followed by a loud cracking sound and much mumbling from the experimenter. At the time it seemed ob­ vious that any pot would crack under such harsh treatment, but I later learned that it is indeed possible to formulate a low-expan- sion clay body to withstand the direct heat of stove-top cooking. Initial experiments with Foote Mineral chemical grade spodumene and Otabi Min­ erals petalite (available at Westwood Ceram­ 6-inch flameware teapot after one year in service ic Supply Company, 14400 Lomitas Avenue, City of Industry, California 91746) passed ed exposure to direct heat, both gas and elec­ the cold water “shock test,” but resulted in tric. This ware has also proved to be very a very porous high-fired bisqueware due to chip resistant. expansion of the spodumene at 1800°F. These With the elimination of calcining, several porous pots later developed mold within their other products from this low-expansion clay walls, which may be of interest to a biologist body are possible: saggars; buttons to hold but is not a plus for the potter. fiber insulation, burner ports, flue openings, To eliminate the porosity problem, the etc. Photo: Chris Ho. spodumene was calcined at 1800°F; by hold­ ing at that temperature for 30 minutes, an Chris Clark irreversible expansion takes place, changing Pit-fired works completed within the past the spodumene from alpha to beta form. Pet­ year by Guilford Handcraft Center potter- alite was combined with the spodumene to in-residence Chris Clark were featured in a decrease the rate of expansion, which can Continued April 1986 75 76 Ceramics Monthly News & Retrospect dual exhibition at the Evergreen Gallery in Guilford, Connecticut. Vessels, such as “Fern Shadows,” 3 inches in height, were thrown

3-inch “Fern Shadows,” burnished and pit fired “Starry Night Man” by Christine Federighi at the wheel, then covered with terra sigillata tained, almost bound by the ‘dot’ patterning and burnished. For the firing, the pots were on the surface. The horse and house have surrounded with combustible materials diminished, becoming merely fixtures in re­ (sawdust, straw, dung and indigenous plants). lation to the figure. The house and horse are As the fire burns, carbon traces of the com­ still important in their symbolic relationship bustibles pattern the surfaces. to the figure...they help with the story. The stance, posturing and surface decoration are Ken Vavrek important, seeming to resemble a ‘thumb print’ or ‘ticking of time.’ To read the figure’s story, Wall sculpture, vessels and double-walled all these symbols must be accounted. It re­ trays byKen Vavrek (see the March 1983 veals itself through line, form, shape—much issue of Ceramics Monthly) were exhibited like someone reading the ‘body’ language of recently at Rosenfeld Gallery in Philadel­ a pedestrian. It’s a silent communication of phia. Constructed from stoneware and sur- past and future roads—and much of that is about me.” Also exhibited in “The Art of Miami” was clay and aluminum sculpture byRon Fon­ daw. Through his work he is “trying to chal­ lenge what we know about the relationship of mass and the ground, to make ambiguous

“Tonto’s Dance ,” 32-inch-high wall form faced with both high- and low-fired glazes, the forms “continue to synthesize boat and landscape imagery,” sometimes to “convey the sense of movement,” Ken explained. Art of Miami The Southeastern Center for Contempo­ rary Art in Winston-Salem, North Carolina, “Victrine,” 60 inches long, by Ron Fondaw recently featured an exhibition of works made the time in which my work exists, to blur by 22 Miami artists. “Miami is a wonderful, the scale and function of what I make and tropical city where different cultural sensi­ keep it a fragment unresolved in our minds. bilities are very much in evidence,” notes ex­ Is it ancient, contemporary or of the future? hibition curator Vicki Kopf. “In some in­ If successful it will not be definitive but will stances, this is reflected in the artwork being evoke memories and raise questions.” Photo: produced there. But Miami artists are pur­ Ron Fondaw. suing their own directions, with an eye on current trends in American art.” Says Christine Federighi about her life- North Carolina Folk Art size ceramic sculpture in the show, “the horse, Folk art made in North Carolina from the rider and house have been the dominant theme. mid 19th century to the present was on view Currently the figure is undergoing a trans­ at the Ackland Art Museum at the Univer- formation. The figures have become con­ Continued April 1986 77 News & Retrospect sity of North Carolina in Chapel Hill through March 23. Among the objects shown were 22 examples of 19th-century “Bird-Fish” pottery, unsigned salt-glazed stoneware made

Salt-glazed stoneware jug with incising in Randolph County and recently attributed to the brothers Edward and Chester Webster. The “Bird-Fish” designation refers to the birds, fish, flowers, trees, Masonic emblems, cartouches and geometric patterns often in­ cised on these utilitarian jars, jugs, pitchers, etc. Ontario Choices In celebration of the tenth anniversary of the Ontario Crafts Council, a “Mentor’s Choice” show was presented at the Craft Gallery in Toronto through February 2. In-

“When 2-D Becomes 3-D...” by Penny Kokkinos 78 CERAMICS MONTHLY eluded in the exhibition was “When 2-D Be­ comes 3-D, Will Things Become More Real?” byPenny Kokkinos. Slab built from earth­ enware, the 104-inch-high form was sur­ faced with polychrome slips, underglazes and glaze. Photo: Jack Ramsdale. Sedestrom at A.C.E. Again At the January 20 meeting of the board of directors Carol Sedestrom was unani­ mously reappointed chief executive officer and president of American Craft Enterprises. Since stepping down from that position in 1984, Sedestrom established a public relations and marketing consulting firm in New York. “I’m looking forward to my new ‘old’job,” she remarked. “The year and a half that I was away from the company has given me a new perspective on the craft field in general and A.C.E. in particular. I had time to really think about what A.C.E.’s contribution had been in the past, what A.C.E. stands for, how it differs from other companies, and how A.C.E. can make a significant contribution to the craft field in the next decade. “Although our program is pretty well set for 1986 [including the national fairs in Bal­ timore; West Springfield, Massachusetts; and San Francisco], we are using this time to plan a well-rounded program for 1987. In the next few months, we will address the need for a New York market, plan to discover new tal­ ent, jointly sponsor shows similar to the American Craft Exposition that I did in Chi­ cago and explore other needs as they emerge in the craft field.” Possibilities include A.C.E. fairs in the Midwest, Southwest and Northwest, and perhaps a replacement for the Dallas Craft- fair by 1987, according to executive vice president Helen Hamada. “Right now a lot of cities and arts organizations are calling with proposals,” she said. “We’re following up with research on these invitations before making any commitments.” Tony Costanzo Wall reliefs by Oakland artist Tony Cos­ tanzo were exhibited recently at Braunstein Gallery in San Francisco. Identified with the minimalist doctrine that reduces art to its

“Dancing Winder ” 65 inches in length essential elements of form and color, his ar­ chitectonic forms are constructed from slip- cast stained clay and wood. Thomas Kerrigan On display recently at the Minneapolis Institute of Art was a solo exhibition of ce­ ramic sculpture byThomas Kerrigan, faculty Continued April 1986 79 80 Ceramics Monthly News & Retrospect artist at the University of Minnesota in Du­ luth. Featured were his “Habitat” works (see Ceramics Monthly, June/July/August 1985) plus a new direction loosely titled “Shelf Still Lifes” which share a fascination with the metaphysical link between reality and art. There is a shadow of memory here. There is a quiet humor. The “Shelf Still Life” work is almost what you see out of the corner of your eye—the blur of time and memory— but you can look directly at it. It is fixed, solid and real. For example, in “Snow Iris II,” the three- dimensional vase that once held an iris is empty, but the blue shadow of the vase does

43-inch-high “Snow Iris II” glazed terra cotta hold a white shadow of the iris. Things re­ membered and things hoped for. The blur of reality’s time and the blend of the present (the three-dimensional form), past (the snow iris) and future (the implied promise of a full vessel). Text: Hal Barnes; photo: Gary Mortensen. Findlay Invitational Sculpture focusing on utility versus non­ utility byMike Chipperfield , Westerville, Ohio; symbolic forms byYosuke Haruta,

Yosuke Haruta’s “Blue Canyon Bridges” Hanover, Michigan; traditional stoneware by Warren MacKenzie, Stillwater, Minne­ sota; sandblasted sculptural vessels by Tim Mather, Athens, Ohio; and painterly raku works by Dale Raddatz, New Albin, Iowa; were featured in a recent invitational at the Findlay College Gallery in Findlay, Ohio. Continued April 1986 81 82 Ceramics Monthly News & Retrospect Shown from the exhibition is “Blue Canyon Bridges,” 8 inches in height, saggar-fired stoneware sculpture by Yosuke Haruta.Pho­ to: George Whitten. Architectural Clay Focus As part of its year-long focus on architec­ tural clay, Greenwich House Pottery in New York City recently presented an exhibition of tileworks by Cary Esser, Chapel Hill, North Carolina. Mounted in frames, the high-fired

Tilework, 26 inches square, by Cary Esser tiles feature deep relief patterns, decorated with a palette of colors ranging from deep reds to muted blues, greens, rich blacks and browns. Then the series of exhibitions on “Archi­ tectural Clay/Clay in Architecture” contin­ ued with a solo show of works by Susan B. Woody Greenwich House Pottery director.

“Forgotten,” 24 inches high, by Susan B. Wood Constructed from terra-cotta clay, wood and fabric, “the pieces present statements con­ cerning family, home, nostalgia and time,” Susan commented. The clay elements were

“The Wall in the Hall,” 54 inches long slip cast, colored with slips and glazes, then once fired. Among the works shown were “Forgotten,” 24 inches in height, terra cotta Continued

sipriL /you oj 84 Ceramics Monthly News & Retrospect with fabric, on a wood and paper base; and “The Wall in the Hall,” 54 inches in length, slip- and glaze-decorated clay elements, on a wooden shelf. Francine Ozereko Using “color pattern on form to create il­ lusions and to define the particular form in­ volved,” Massachusetts ceramist Francine Ozereko chooses images for her earthenware vessels “as much for their formal design con­ tent as for their literal meaning.” For new works shown at Ten Arrow Gallery in

“Cubist Vaseapproximately 12 inches high Cambridge through February 22, she used boldly colored images of animals (laughing dogs in particular), fish and vegetation. The slab-built red earthenware vases were first covered with a white or black slip. After bisque firing, they were decorated with un- derglazes. Coated with a clear glaze, they were then fired to Cone 04. David Leach Workshop David Leach is the son of English potter Bernard Leach, from whom he received a major part of his indoctrination into the world of clay. In 1930 David started his appren­ ticeship at the Saint Ives pottery where sub­ sequently he was in charge of technical, eco­ nomical and training aspects. After World War II, he formed a partnership with his father, but by 1952 he felt the need to express his own creativity. Recognizing both his fa­ ther’s importance in the field as well as his shortcomings, David made the decision to break away and open his own studio in Dev­ onshire. No longer involved in production, David now works alone five to six hours a day, pro­ ducing 3000 pieces a year. He doesn’t think of retiring, because one just doesn’t retire from clay. He enjoys it too much. For the past six years, David has con­ ducted workshops in the United States—most Continued April 1986 85 86 CERAMICS MONTHLY News & Retrospect recently at the Clayhouse in Santa Monica, California. There he demonstrated throwing with porcelain. He finds that porcelain requires throwing with precision because it is very sensitive to the touch; therefore to avoid distortion one must avoid wrenching the clay. His porcelain recipe is: Leach Porcelain Body (Cone 10) Potash Feldspar ...... 25% Grolleg Kaolin...... 52 Quest White Bentonite ...... 4 Flint ...... 19 100% Fired at Cone 10, shrinkage amounts to 15%; in the United States some potters are using this recipe with 1-2% Macaloid substituted for the bentonite, resulting in shrinkage of 10-11%. At home, David uses both power and kick wheels. When centering a large hump of clay on the wheel head, he pounds it into place to help speed up the process. Having thrown an open bowl, he places a sheet of paper over the rim and smooths it on, to prevent dis­ tortion when removing the bowl from the wheel head. After setting it down on the bat, he removes the paper. In making an octagonal bowl, he marks the rim then slices the facets with a cheese cutter. With the wheel turning, he continues to expand the rim with a rib, being careful not to get it too thin. If a pot is too heavy, he can trim it later when it is harder. For teapots, he uses about 2½ pounds of clay. David likes teapots because they are a relationship of parts. The whole idea is con­ ceived in angles. He considers the curvature of the belly, the size of the spout, and place­ ment of lugs for the bamboo handle. David has found that one’s eye can become very skillful in calculating measurements without tools. His lid diameters which are calculated by visual estimation usually fit. He makes a hole in the teapot lid to allow air in, saying that it really isn’t necessary, but he does it anyway. When the teapot is ready for bisque firing, he brushes alumina hydroxide on the lid rim and gallery to pre­ vent sticking. When making a two-part vase, he throws 5-6 pounds of clay. Initially, he uses his knuckles when pulling up the thick wall of the top part; fingertips are then used to refine the wall to approximately ½ inch thick. On the bottom part, he allows a thicker wall. The rim is then beveled to meet the top part. Tools for fluting covered jars, teapots and bowls are made from beveled hacksaw blades or steel strapping that is bent over and sharp­ ened. David sets his elbow in his waist to establish a pivotal point. The first cut is the deepest and is followed by a shallower one, developing a thick/thin pattern. He marks ■the final four cuts so that the fluting is even. When fluting, wearing a mask is advisable because of clay dust. Continued April 1986 87 88 Ceramics Monthly News & Retrospect David finds it very exciting to research glazes. Taking a pot out of a kiln to discover the results gives him a tremendous lift. Some of David’s favorite glazes follow: Red-to-Orange Glaze (Cone 8-10, reduction) Nepheline Syenite...... 50% Calcined Red Ball Clay...... 50 100% Apply thickly over another glaze. Jade Green Celadon Glaze (Cone 10, reduction) Whiting ...... 25% Cornwall Stone...... 25 Kaolin ...... 25 Flint...... 25 100% Add: Red Iron Oxide...... 0.5-2% If crazing is desired, replace the Cornwall Stone with a different feldspar. To color cracks, apply a mixture of machine oil and red iron oxide to the still hot pot. Yellow Celadon Glaze (Cone 9, reduction) Talc ...... 12.37% Whiting ...... 14.43 Potash Feldspar ...... 31.96 Kaolin ...... 7.22 Flint...... 34.02 100.00% Add: Red Iron Oxide ...... 3.09% This recipe tends to yield a mustard-yellow, depending on thickness of application. Like his father, David enjoys using Jap­ anese bamboo brushes to apply decoration. He prefers working with overglaze decora­ tion because it gives a greater strength and definition to brushwork. Overglaze Blue Slip (Cone 10, reduction) Dry Porcelain...... 25% Cobalt Oxide ...... 25 Manganese Dioxide...... 25 Red Iron Oxide ...... 25 100% Overglaze Red Slip (Cone 10, reduction) Dry Red Clay...... 75% Red Iron Oxide ...... 25 100% Earlier firings were done in 13½ hours to Cone 10 reduction in an oil-burning kiln, but David now uses an 8-cubic-foot fiber kiln which fires with propane to Cone 10 in ap­ proximately eight hours. Text: Karen Alpert Entous. Kathrin Burleson Eureka, California, ceramist Kathrin Burleson was recently commissioned by the Continued April 1986 89 90 Ceramics Monthly News & Retrospect

Smoked earthenware bottle by Ilena Grayson suggests something.” After bisque firing, the vessels are smoked in sawdust, pine branches or weeds. Photo: Jerry Grayson. New Jersey Invitational The “10th Annual Invitational Pottery Show” at the Old Church Cultural Center and School of Art in Demarest, New Jersey, was organized by Vermont potter Karen Karnes; she invited 38 potters from 12 states and the Netherlands to participate. With

!41/$-inch carved vase, with handbuilt orchids Southland Corporation of Dallas to produce 432 celadon-glazed plates and vases as the firm’s Muscular Dystrophy Association awards for 1985. Recipients of the awards were the 7-Eleven employees and managers who raised the most money for the Jerry Lewis telethon. Southland’s creative projects director, Hans Streich, first saw Kathrin’s work at the American Craft Enterprises’ Dallas fair, and arranged the order for the slip-cast and carved forms. “When Hans first contacted me about the order, I was a little apprehensive,” Kath- Wood-fired teapot by Ruggles and Rankin rin recalled. “Not only was it a larger order prices ranging from $8 to SI000, the works than I’m used to handling, but it introduced shown included everything from functional several challenging technical problems. ware, such as this 7-inch-high teapot with However, it’s been a wonderful experience. slip decoration by Will Ruggles and Doug­ Southland gave me full creative rein, and to­ lass Rankin, Bakersville, North Carolina; to gether we pushed the medium farther than I ever had before. It has opened up many new directions.” New Haven Annual The “Seventeenth Annual Celebration of American Crafts” at the Creative Arts Work­ shop in New Haven, Connecticut, featured clay, glass, wood, metal, leather, paper and fiber by approximately 200 craftspeople. Among the ceramic objects on view in this 7 7-inch-long sculptural vessel by Mikhail Zakin invitational/juried show were smoked earth­ enware vessels, such as this 16-inch bottle stylized forms, such as this salt-glazed vessel byIlena Grayson, Albuquerque, New Mex­ sculpture byMikhail Zakin, Closter, New ico. Slab and coil built from red earthenware, Jersey.Text: David Douglass. the forms are paddled, burnished, incised and painted with slips. Ilena describes the incis­ Frank Russo ing as “pictographic, primitive drawings tak­ “By using the vessel, I blend the charac­ en from caves and rocks. I like the drawings teristics of modernism and traditional forms. to be very simple, where just a line or two Please Turn to Page 95 April 1986 91 Cone 04-7 Wood Ash Engobes by Gerald Rowan

Pale Blue: Electric Blue Engobe 1 Wood ash adds an earthy vitality toZircopax...... the 10.00% (Cone 04-7, oxidation or reduction) following engobes, producing broken,Cobalt Oxide...... 1.50% Barium Carbonate...... 23.08% mottled surfaces when applied under most Blue/Green: Dolomite...... 7.69 glazes. Such surface enrichment char­ Cobalt Carbonate...... 1.00% Unwashed Wood Ash...... 19.23 acteristics of wood ash make these en­ Copper Carbonate...... 4.00% Cornwall Stone...... 19.23 gobes ideal for use under oxidation glaz­Toned-Down Blue/Green: Frit 3819 (Ferro)...... 11.54 es fired in an electric kiln. Chrome Oxide...... 3.00% Kentucky Ball Clay (OM 4) . 19.23 The first two recipes work equally well Cobalt Oxide...... 0.75% in oxidation or reduction over a Red wide Iron Oxide...... 0.25% 100.00% firing range. At Cone 04, both engobesToned-Down Green: Add: Copper Carbonate...... 4.00% are stiff, yet vitreous. At Cone 7, theyCopper Carbonate...... 2.00% are glassy and somewhat fluid. A great Rutile...... 1.00% Electric Blue Engobe2 number of variations are possible. Their Green: (Cone 04-7, oxidation or reduction) glassy/fluid qualities can be manipu­ Copper Carbonate...... 4.00% Barium Carbonate...... 23.08% lated by increasing or decreasing the fluxChartreuse: Talc...... 11.54 content. Other leadless fluxes, such as Cobalt Carbonate...... 0.25% Unwashed Wood Ash...... 15.38 Pemco frit P-25 or Hommel frit 259, Vanadium Pentoxide...... 4.00% Cornwall Stone...... 19.23 may be substituted for the leadless FerroYellow Ocher: Frit 3819 (Ferro)...... 11.54 frit 3819. The character of the engobe Rutile...... 1.50% Kentucky Ball Clay (OM 4) . 19.23 may be further altered by replacing theVanadium Pentoxide...... 4.00% 100.00% ball clay with another clay (e.g., kaolin, Opaque Warm Tan: Add: Copper Carbonate...... 4.00% fireclay, stoneware, Albany slip or earth­Titanium Dioxide...... 6.00% enware clay). Red Iron Oxide...... 1.50% Albany Slip Engobe 1 These engobes may also be adapted Rutile Tan: (Cone 04-7, oxidation or reduction) to higher temperature ranges. For ConeRutile...... 15.00% Dolomite...... 8% 8-10, eliminate the flux content or re­Deep Brown: Unwashed Wood Ash...... 20 duce it to 5%. Red Iron Oxide...... 20.00% Albany Slip Clay...... 20 Pinkish Brown: Cornwall Stone...... 20 Wood Ash Engobe 1 Zircopax...... 10.00% Frit 3819 (Ferro)...... 12 (Cone 04-7, oxidation or reduction)Manganese Dioxide...... 3.00% Kentucky Ball Clay (OM 4) . . . 20 Dolomite...... 10.00% Zinc Brown: Unwashed Wood Ash...... 25.00 Zinc Oxide...... 10.00% 100% Cornwall Stone...... 25.00 Chrome Oxide...... 3.00% Frit 3819 (Ferro)...... 15.00 Toned-Down Stain: Albany Slip Engobe2 Kentucky Ball Clay (OM 4) . 25.00 Commercial Stain...... 8.00% (Cone 04-7, oxidation or reduction) Nickel Oxide...... 1.50% Talc...... 12% 100.00% Gray: Unwashed Wood Ash...... 16 Iron Chromate...... 3.00% Albany Slip Clay...... 20 Wood Ash Engobe 2 White: Cornwall Stone...... 20 (Cone 04-7, oxidation or reduction)Zircopax...... 15.00% Frit 3819 (Ferro)...... 12 Talc...... 15.00% For a loaded black engobe, reduce the Kentucky Ball Clay (OM 4) ... 20 Unwashed Wood Ash...... 20.00 frit content (of either recipe) to 10% and 100% Cornwall Stone...... 25.00 add 5% borax, 3% chrome oxide, 2% co­To achieve a deeper brown to black with Frit 3819 (Ferro)...... 15.00 balt oxide, 5% copper oxide, 5% red ironthe two preceding recipes, use Barnard Kentucky Ball Clay (OM 4) . 25.00 oxide and 10% vanadium pentoxide. slip in place of the Albany slip. 100.00% Colors will vary according to the fir­ The following are among the color var­ ing atmosphere and temperature. All iations possible with additions to Wood Ash Engobes 1 and 2. Toned-Down Blue: Cobalt Oxide...... 1.00% Nickel Oxide...... 1.00% Red Iron Oxide...... 0.25% 92 CERAMICS MONTHLY colors tend to be darker and more sub­Lavender: dued in reduction atmospheres; those Cobalt Carbonate...... 0.5% engobes containing copper compounds Pink Stain (Mason 6001).... 5.0% produce reds under the right reduction Light Blue to Olive: conditions. Colors are also more sub­Light Blue Stain (Mason dued at the higher temperature ranges. 6308)...... 5.0% Rutile...... 2.0% Textured Ash Engobe Tan to Green: (Cone 04-7) Copper Carbonate...... 3.0% Gerstley Borate...... 10.0% Rutile...... 2.0% Unwashed Wood Ash...... 50.0 Brown: Alumina Hydrate...... 20.0 Red Iron Oxide...... 10.0%) Georgia Kaolin...... 20.0 Loaded Green: Copper Carbonate...... 10.0% 100.0% Gray: Add: Fine Grog...... 15.0% Zircopax...... 15.0% The following are among the possible Chrome Oxide...... 3.0% color variations. Cobalt Oxide...... 1.0% Brown: Copper Oxide...... 3.0% Red Iron Oxide...... 7.5% Red Iron Oxide...... 5.0% Blue: Cobalt Oxide...... 1.5% Glassy Yellow Wood Ash Engobe Green: (Cone 04-7) Chrome Oxide...... 3.0% Bone Ash ...... 4.76% Copper Oxide...... 3.0% Gerstley Borate...... 28.57 Tan: Unwashed Wood Ash...... 52.38 Red Iron Oxide...... 2.0% Bentonite...... 4.76 Rutile...... 4.0% Kentucky Ball Clay (OM 4) 9.53 Interesting results are achieved when this 100.00% engobe is applied thickly and allowed toAdd: Tin Oxide...... 5.00% crack on drying. Vanadium Pentoxide ... 7.50% Dense Brown Ash Engobe Wood/Volcanic Ash Engobe (Cone 04-7) (Cone 04-7) Unwashed Wood Ash...... 40.0% Unwashed Wood Ash...... 33.3% Barnard Slip Clay...... 30.0 Volcanic Ash...... 33.3 Frit 3134 (Ferro)...... 30.0 Edgar Plastic Kaolin...... 33.4 100.0% 100.0% Add: Titanium Dioxide...... 10.0% The following are among the color var­ Zircopax...... 5.0% iations possible. This recipe is very dense at Cone 04 and glassy at Cone 7. Metallic Brown: Red Iron Oxide...... 25.0% Glassy Wood Ash Engobe Tan: (Cone 04-7) Rutile...... 25.0% Gerstley Borate...... 30.0% Blue: Unwashed Wood Ash...... 55.0 Titanium Dioxide...... 15.0% Bentonite...... 5.0 Cobalt Carbonate...... 3.5% Kentucky Ball Clay (OM 4) . . 10.0 Yellow: Tin Oxide...... 5.0% 100.0% Vanadium Pentoxide...... 20.0% Additions yield the following color var­Green: iations. Zinc Oxide...... 20.0% Copper Oxide...... 5.0% April 1986 93 94 Ceramics Monthly News & Retrospect functional ware on view was this thrown- and-carved vessel, approximately 10 inches Continued from Page 91 in height, smoke fired, by Jackie Cortese. This shape allows me to express the simple dynamics of pottery, but still stay outside theRenwick Acquisition realm of function,” observed Frank Russo, The Renwick Gallery of the Smithsonian faculty artist at Montgomery College in Institution in Washington, D.C., recently ac­ Rockville, Maryland. quired a thrown stoneware plate by Mich­ Characteristic of works shown in recent igan studio potter John Glick as part of its exhibitions at Pennsylvania’s Edinboro Uni­ permanent collection of American ceramics. versity and at Craftsman’s Gallery in White Plains, New York, this vessel was handbuilt

18-inch stoneware plate by John Glick This slip- and glaze-decorated plate was of­ fered to the gallery in memory of John’s for­ mer student and friend Martha Hada. Photo: Robert Vigiletti.

23-inch handbuilt stoneware vessel Michael Bliven from white stoneware. Sprayed with iron and “How far can the human figure be ab­ cobalt sulfates, it was then wrapped with hay stracted and yet retain some relationship to which had been soaked in sodium chloride the human form?” is the question Portland and copper carbonate; the hay was tied to artist Michael Bliven asked himself when the form with copper wire. Firing was to Cone 06 in oxidation. After reaching tem­ perature, the kiln was cooled quickly to re­ tain and enhance the surface colors. Text: Shirley Skidmore. Florida League Show An exhibition of works by members of the Ceramic League of the Palm Beaches was featured recently at Lighthouse Gallery in Tequesta, Florida. Among the sculpture and

2^,/z-niLii jiyuure constructing ceramic sculpture exhibited at Clark College Index Gallery in Vancouver, Washington, recently. Slab-built, incised and excised, the glazed figures in the show rep- 10-inch smoked vessel by Jackie Cortese Continued April 1986 95 News & Retrospect bic outer shape, pushing beyond the limi­ tations of physical matter to be at once con­ resent anthropomorphic as well as abstract tained, and free.” interpretations. Shown from the exhibition is “Vladimir’s Ceremonial Vestment,” 6½ feet in height, handformed tiles, raku fired, connected with Alexandra Kochman wire. The gray tones of raku-fired clay “provide the backdrop” for many of the works by Al­ exandra Kochman, faculty artist at Rosary Nancy Gardner College, exhibited recently at the Ukrainian Trotwood, Ohio, ceramist Nancy Gardner Institute of Modern Art in Chicago. “In my recently exhibited brightly glazed handbuilt plates, they constitute the smog that encloses earthenware works from her “Plant Series” an urban architectural landscape. In my tiled at the Dayton Art Institute. Characteristic of tapestry, they represent the milky quality of

61/2-foot “Vladimir's Ceremonial Vestment” space. Colorful spheres splash onto sculp­ tural forms, but they are just moving through, interlopers, visitors of the moment. They provide a dramatic alternative. “Line, however, is a persistent intruder 16½-mch “Squat Vase with Plant whether drawn, impressed or applied. It or- theforms shown is “Squat Vase with Plant,” ganizes its own asymmetry: pressing regular, 16½ inches in height, with low-fire glazes controlled inner space against a large, amoe- and luster.

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