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Ceramics Monthly (ISSN 0009-0328) is pub­ lished monthly except July and August by Professional Publications, Inc., 1609 North­ west Blvd., Columbus, Ohio 43212. Second Class postage paid at Columbus, Ohio. Subscription Rates: One year $20, two years $36, three years $50. Add $8 per year for subscriptions outside the U.S.A. Change of Address:Please give us four weeks advance notice. Send the magazine address label as well as your new address to:Ceramics Monthly, Circulation Offices, Box 12448, Columbus, Ohio 43212. Contributors: Manuscripts, photographs, color separations, color transparencies (in­ cluding 35mm slides), graphic illustrations, announcements and news releases about ceramics are welcome and will be consid­ ered for publication. Information may also be submitted on 3.5-inch microdiskettes readable with an Apple Macintosh™ com­ puter system. Mail submissions toCeramics Monthly, Box 12448, Columbus, Ohio 43212. We also accept unillustrated materials faxed to (614) 488-4561. Writing and Photographic Guidelines:A booklet describing standards and proce­ dures for submitting materials is available upon request. Indexing: An index of each year’s articles appears in the December issue. Addition­ ally, Ceramics Monthly articles are indexed in the Art Index. Printed, on-line and CD-ROM (computer) indexing are available through Wilsonline, 950 University Ave., Bronx, New York 10452; and from Information Access Co., 362 Lakeside Dr., Forest City, Califor­ nia 94404. These services are available through your local library. A 20-year subject index (1953-1972), covering Ceramics Monthly feature articles, and the Sugges­ tions and Questions columns, is available for $1.50, postpaid, from the Ceramics Monthly Book Department, Box 12448, Co­ lumbus, Ohio 43212. Copies and Reprints: Microfiche, 16mm and 35mm microfilm copies, and xerographic reprints are available to subscribers from University Microfilms, 300 North Zeeb Road, Ann Arbor, Michigan 48106. Back Issues: When available, back issues are $4 each, postpaid. Write for a list. Postmaster:Please send address changes to Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Form 3579 requested. Copyright © 1991 Professional Publications, Inc. All rights reserved

2 Ceramics Monthly June/July/August 1991 3 4 Ceramics Monthly Volume39, Number 6 • June/July/August1991

Feature Articles Deborah Masuoka...... 26

The Art of Paul Bogatay by Thomas C. Folk...... 28 Japanese Masters’ Pots...... 32 University of Montevallo by Scott Meyer...... 33

Raku Integrationsby Douglas Kenney...... 37 John Foster Retrospective a review by Susan E. Crowell...... 40 Ah-Leon: 14 Principles of a Good Teapot ...... 43 Italian Architectural Influences The time-worn doorways, walls, arcaded streets Italian Architectural Influencesby Mary Lou Alberetti...... 46 and sunny piazzas of Italy were the inspira­ tion for wall reliefs by Connecticut artist Portfolio: Mary Lou Alberetti; turn to page 46. Shiro Otani by Rob Barnard...... 49

Developing Mid-Temperature Clays Test­ Agustm De Andino’s Muralby RaulAcero...... 57 ing with a series of glazes, ranked by ther­ mal expansion, reveals the alterations Explorations in Gold necessary to yield a good clay body suitable Working with Leaf by Cheryl Williams...... 58 for firing at Cone 4 or 6; page 92. Jeff Kell by Maryalice Yakutchik ...... 89

Developing Mid-Temperature Clays by Larry Clark ...... 92 Casting Glazes and Engobes! Slip Casting, Part 6 by Gerald Rowan...... 98

Up Front

Carl Paak, 1922-1991...... 14 Evelyn Shapiro Foundation...... 18 Alfred Museum Established...... 14 William Shinn...... 18 Philadelphia Collections Shown ...... 14 Bernard Mattox ...... 18 Arneson Achievement Recognized ...... 14 Human Form as Mythical Vessel...... 20 Niche Awards...... 16 Deirdre Daw University of Montevallo Thanks to the Nancy Monsebroten...... 16 by Anne Crowley Tom...... 20 enthusiasm of faculty artists such as Ted Canton Invitational ...... 16 Individual Spirits...... 20 Metz (shown left), the ceramics depart­ Craft Fair Optimism...... 16 Clayton Bailey ...... 22 ment at this small liberal arts college in Otto Natzler...... 18 Marian Haigh ...... 22 Alabama has grown from a single room to to a 6700-square-foot facility; see page 33.

Opinion versus Promotion Critic Mat­ thew Kangas reviews people, museums Departments and magazines (the latter seen as erratic forums for serious writers interested in Letters...... 6 Video ...... 84 evaluating functional ware); page 102. Call for Entries ...... 62 Classified Advertising ...... 100 Questions...... 66 The cover Oregon potter Cheryl Wil­ Comment: Calendar ...... 68 Opinion versus Promotion liams with an array of her “Explorations in by Matthew Kangas ...... 102 Gold”; her article (beginning on page 58) Suggestions...... 78 explains how to apply gold leaf. New Books ...... 80 Index to Advertisers ...... 104

June/July/August 1991 5 not currently in use. Nevertheless, the term after all, what we’re here for—what it’s all Letters is still widely used in the commercial dinner- about. This “passing on” must be done with ware industry. I am a ceramic engineer and care and intention so that when we open our at my former employer, Shenango China, hands to show what we’ve done, our daugh­ we had people “placing” and “drawing” ware ters and sons will find mystery awaiting 24 hours a day for both bisque and “glost” them—not Ken and Barbie. (glaze) “kills” (kilns). Kevin Crowe Diverse Oregon Pottery Last week, I sintered some technical alu­ Amherst, Va. As a member of the Oregon Potters Asso­ mina in a Super Kanthal rapid-fire furnace ciation (OPA), I am very happy to see Or­ in my lab at Alfred University, and found Respirator Faux Pas egon potters getting some international myself asking how soon I could “draw the In the spirit of readers’ commentary on coverage (“Oregon Potters Today,” CM, April kiln.” Soldner advertisements, I’d like to point out 1991). There are many excellent potters William J. Walker, Jr. that in the April 1991 ad, the man actually working in Oregon, and although the ar­ Alfred, N.Y. pouring clay (while very attractive) wears no ticle written by Matthew Kangas was some­ respirator—can’t, of course, because of his what hazy as to how he really felt about Sham Ware? beard. Perhaps he should let his friend, who Oregon potters, any publicity is good pub­ It has come to my attention that certain does wear a respirator, pour the clay. licity. unscrupulous persons have opted to hire It is obvious from this photo, since the However, not all the potters in the state, other potters on a subcontract basis, then respirator is being worn incorrectly (both or in the Oregon Potters Association, live in are signing their own names with under­ straps above the ear), that there is no ad­ the Portland-Salem area, as the article sug­ glaze pencil. The sham continues when these equate respirator program, as per OSHA gests. Two-thirds of the state lies east of the pieces are entered into numerous art fairs regulations. Those who want further infor­ Cascade Mountains, where many of the and offered next to the works of honest, mation on respirators can send a SASE for potters are separated by large distances. hard-working artists looking to offer a de­ our data sheet on respirators. This relative isolation allows for many di­ cent investment value for their ware. I urge Angela Babin verse working methods and styles. Here, in the public and collectors to steer clear of Director Central Oregon, we have many fine artists anything that is neither handstamped nor Art Hazards Information Center working in raku, stoneware and porcelain. handsigned into the clay. Caveat emptor Center for Safety in the Arts The coast has some very fine potters who baby! 5 Beekman Street have uniquely Oregon styles. One of the few Name withheld by request New York, New York 10038 American anagamas is in the coastal moun­ tains near Willamina. The city of Eugene has Do you really think that the unscrupulous Comforting Controversy been a haven for potters for years—stimu­ could not handsign or handstamp the work of I have always considered that Letters to lated by the University of Oregon’s pro­ others just as easily ?—Ed. specialist magazines such as Ceramics Monthly grams in ceramics. The southern area has are windows giving immediate access to the long been known for its commitment to the Mystery, Not Ken and Barbie contemporary thought and practice of the arts, and the potters there have developed a Watching the letters reacting to [Paul] people the magazines serve. rich tradition. Soldner’s puzzling marketing values, I’m The space dedicated to such letters is an The OPA show included many excellent neither outraged nor amused—just disap­ indication of their importance. I recognize potters, but was by no means an “Oregon pointed and perplexed why a man of such that there is a scarcity of critical writing on All-Stars” show. Oregon is home to many aesthetic achievement and visibility has cho­ the crafts—writing that seeks to investigate potters who have worked hard for years, sen such an uninspiring approach to public theories of meaning and understand why dedicating their lives to excellence in ce­ relations. Soldner’s ads disappoint in their artists express their values, ideas, beliefs (in ramics. They deserve the recognition they failure to suggest a higher ground at a time short, their ideology) through a craft me­ are receiving. when the lowest common denominator is a dium; writing that seeks to illuminate the I believe that Oregon and the rest of the busy and violent place. process of making and exposing. Northwest are on the verge of being discov­ Objecting to what (at best) may be a With this in mind, it is interesting to note ered as having some of the best ceramics in parody of assumption, one risks being dis­ that a seemingly burning issue, occupying the country. Mr. Kangas and the readers of missed as an advocate of a sexless, humor­ past issues ofCeramics Monthly and a major CM can not be expected to see an accurate less, politically correct world—a small risk. part of the correspondence of the February representation of Oregon potters without However, I suspect that if the sponsor of the 1991 copy of CM, is about the deconstruction traveling outside of the Portland area. There “ad” were simply another industrial con­ of a paid advertisement and, to quote Donna are many outstanding potters to be discov­ cern, little if any support would have been Ragsdale, “the dirty old man of clay.” ered throughout the state. forthcoming. It seems that this issue is so important Michael Gwinup It’s a clarifying practice, whenever there that it has moved one contributor to write to Bend, Ore. is ambiguity or ambivalence about whether a “great intellectual and protector of the women are being exploited or simply in on public morality.” Family Business the joke (usually on them), to insert a signifi­ I am comforted by the publication of Do any Ceramics Monthly readers home cant female into the context—lover, grand­ such critical scrutiny. If it were notso, it school their children and make them a part mother, wife, daughter—and take another might tend to support the modernist’s as­ of their ceramic life? What role do their look. If the issue becomes uncomfortably sumption that producers of crafts possess children play in the pottery business? personal—good, that’s where it belongs. minds incapable of intellectual pursuit, and Meg McClorey I hope for a future for my boys in which that they are incapable of producing objects Somerset, Ky. the exploitation of women by marketing that stand up to intellectual examination. experts will no longer threaten the delicate These assumptions maintain the bound­ Archaic Remains in Industrial Context dance of relationships. I count on those with aries between that which is considered art In the April 1991 “Questions” column, it visibility to exercise and affirm values that and that which is not. These boundaries was stated that the term “drawing a kiln,” will make such a future at least a possibility. continue to keep craft on the periphery of meaning to remove the ware, is archaic and Learning the dance and passing it on are, serious cultural practice and as having no

6 Ceramics M onthly June/July/August 1991 7 Letters ic craft’s approach to validation as fine art. The kid likes to draw BIG, with tremen­ Concerned about the potential of these dous energy and concentration, working on ads to alter the course of history, I have several different areas simultaneously. At taken time to look into the future by means home, he goes to it for hours on 8x4-foot intellectual properties or importance, thus of a stoneware ball to write history based on sections of building paper on the floor. allocating its practices to the nonintellectual, the effect of the December Soldner ad. (Cheap paper—$8 for a big roll in hardware functional stereotype. February 1991: Turmoil reaches a criti­ stores.) He likes working three dimension- Paul Counsel cal point with 67% of the Letters section of ally, too. Sometimes he drives me nuts with Wallongong, New South Wales CM being devoted to this issue. his pileups on the basement floor: clay, Australia September 1991: A male child (we’ll call wood, sticks and anything, all fitted together. him Joe) is born. His parents had seen the Anyway, after the neurologist, I picked Sexist or Sexy ? December Soldner ad, and were so affected up the mail and looked through the Decem­ My feeling is that lots of people are upset by the image in the ad that Joe was born berCeramics Monthly; it was wonderful to see not because Paul Soldner is sexist, but rathernaked and wrinkled. the picture of John Mason and his [large- because Paul Soldner is sexy. I can only pray September 1993: Still feeling the effects scale] works on page 26. that my body and spirit will age as wonder­ of the ad, Joe’s parents give him a beach Margareta Warme fully as his has. shovel and pail for his second birthday. Joe Fort Langley, B.C. Lisette Varlay loses the shovel prior to his 21st year. Canada Areata, Calif. 1993 to 2089: Things happen. November 2089: Joe dies. Reviving Craftsmanship Morality on Patrol As you can plainly see, a clear view of The comment “Reviving Craftsmanship” As Yogi Berra said, “It’s like deja vu all history shows the effect this ad had was well by William Hunt [March 1991] is, itself, an over again.” Yes, it is our task, we who are the below all expectations. example of good craft. Thanks for a precise moral guards of the purity of ideas, to smite Ersatz Sobriquet and pertinent message that affects all of us. anyone who looks at a Soldner ad with fire Lansing, Mich. Matt Povse and brimstone. Or at least throw pebbles. Scranton, Pa. Several years ago [June/July/August Kindred Spirits 1988 Letters], I had to point out to the My six-year-old son recently entered the Very seldom have I liked an article as moral guard that the ad that featured Rob­ school system, to the great bewilderment of much as the one William Hunt wrote about in Whatshemame was in fact a picture of his teachers. In trying to figure him out, they “Reviving Craftsmanship” in the March 1991 Paul Soldner or Abe Lincoln. So now Sold­ sent him to many tests and checkups. The issue. ner has used the magic of half-tone repro­ neurologist he saw asked him to make a I went through a three-year pottery ap­ duction to send a message that will forever drawing: “I can tell you right now he’ll never prenticeship, from 1946 to 1949, in Hohr- and irreversibly change the course of ceram­ become an artist.” Grenzhausen before I could work for my

8 CERAMICS MONTHLY June/July/August 1991 9 Letters hours of pottery per week are not enough to manship, success will come automatically. turn out a good potter, unless the student Annelise Domhoff-Borbe puts in a lot of extra time. Thermopolis, Wyo. To my great joy, when my oldest son, master’s degree. Those three years (a re­ Stephan, decided to become a potter also, More Critical Meat quirement in Germany) were very tough he had two choices—go to college or ap­ There should be meatier articles on aes­ and, looking back today, I am wondering prentice with me. He opted for the latter. thetics and criticism. how I survived. We worked every weekday During those three years, he learned all the Susan Wallace from 7 A.M. to 5 P.M., including Saturdays. steps: making clay, throwing, glazing, build­ Columbia, S.C. When we fired the large muffle or salt kilns— ing kilns, firing and marketing. one with wood and the other with coal— Stephan felt he wanted to have some type Crude Prerequisite? and were done by 3 in the morning, we had of degree to show for “slaving in mother’s It seems like the more crude and ugly a to be at our wheels by 7 o’clock again. pottery,” so I called the potters’ guild in piece is, the more likely it is to be on the I still remember that at one time our Hohr-Grenzhausen; they told me that ac­ cover or written about! pottery had to make 2000 cups for the occu­ ceptance for the German examination re­ Mary Dawes-Rudine pying French army in order not to have our quired a three-year apprenticeship under a Captain Cook, Hawaii electricity cut off. I was the only female German master who went through the same among 13 male potters, and to make handles program. In 1987, Stephan flew to Germany Suggestion Correction was considered women’s work. So I had to and was the first American to pass this test. I would like to correct an error I made on handle all those cups by myself. By the It amazes us when people come to our my “reader’s suggestion” printed in the second thousand, I had developed so much studio to watch us throw and the husband March 1991 issue. I said a great trimming speed that I was able to handle 60 cups an says to the wife, “Honey, what a nice hobby; tool could be made from a jigsaw blade. I hour. I think I’ll buy you a wheel so you can make should have said saber saw blade. I didn’t dare complain, because thou­ a few extra bucks.” I have gone to great The saber saw blade is ideal. It’s a lot sands of veterans would have gladly taken lengths to explain to these people that it thicker and already has a hole in the shank my place. But it taught me discipline, a sense takes more than enthusiasm to become a for mounting. of direction and—last but not least—crafts­ good potter. Don DuBose manship. My professor at the ceramics academy in Albion, Calif. I wish there was a better-organized ap­ Hohr-Grenzhausen told us over and over: prenticeship program in the United States. “Pottery is only for the mentally strong, who Share your thoughts with other readers. All letters It would solve many problems and give pot­ continue after failure, after failure, aftermust be signed, but names will be withheld on ters a good start. I taught for seven years at failure” request. Mail to The Editor, Ceramics Monthly, Western Wyoming College in Rock Springs, This is why I enjoyed the March com­ Box 12448, Columbus, Ohio 43212; or fax to and know firsthand that the required six ment so much. If we strive for better crafts­ (614) 488-4561.

10 Ceramics Monthly June/July/August 1991 11

freshman art student, we began to hear dian Pottery of the Ancient Americas, we Up Front about a kind of mysterious place called the made another leap toward ‘museumhood.’” ‘Glory Hole.’ We eventually came to under­ stand that the Glory Hole was the place Philadelphia Collections Shown where ‘special’ pieces of student work were “Contemporary American Crafts,” an exhi­ kept, having been selected by the faculty bition of 46 ceramic, fiber, glass, metal and from final critiques and end-of-the-year ex­ wood works drawn from the museum’s hold- hibitions. To the students, this honored Carl Paak, 1922-1991 place, and one’s inclusion in it, was a signal New Mexico potter/teacher/author Carl that our work was favored and a source of Paak died at his home in Albuquerque onquiet pride. March 1. Born in Milwaukee, Paak earned “When I eventually returned here to a degree in art education from the Chi­ teach, in 1957,1 realized that Charles Harder cago Art Institute and a master’s in ceram- and Dan Rhodes kept pieces that were fail­ ures as well as successes, and that the Glory Hole was...a study collection. The work il­ lustrated a variety of techniques and pro­ cesses of the ceramic medium. Examples were kept that helped students see what was possible regarding form, function, color, decorative process, different types of firing, different ways of making forms and so on. In with all these kinds of things were also kept pieces that the faculty felt were beautiful and examples of very good work. The study collection was educational and functioned as a...teaching aid, as well as [a] Carl Paak, Albuquerque, New Mexico. source for occasional small exhibitions around the campus and elsewhere. “Charles Binns started this collection in “David,” a larger-than-life glazed clay ics from the Ohio State University, then portrait of David Gilhooly, 1977, by Robert the early 1900s when the school was Ameson, Benicia, California. taught at Cornell College in Mount Vernon, founded. Charles Harder kept the idea go­ Iowa, before joining the faculty at the Uni­ ing, as did all other teachers who came to versity of New Mexico (Albuquerque), Alfred. As time went by, donations were ings and local collections, was on view re­ where he taught for 31 years. made to the Ceramics College and to the cently at the Philadelphia Museum of Art. Though he dedicated his career to teach­ Art and Design School. By the 1960s, we The selection was particularly rich in ing and was proud of his former students’ were given part of the Colonel Fox Collec­ ceramics. The earliest objects, from the accomplishments, his efforts in the field tion of Korean Ceramics, as well as Rosanjin 1940s, were made by Austrian emigres extended beyond the classroom. Paak was pieces, which are extremely rare. Other Gertrud and Otto Natzler, who brought Bau- one of the founders of the New Mexico gifts of this sort began coming in during haus aesthetics with them. Early proponents Arts and Crafts Fair (an annual event since the 1970s and 1980s and it became clear of the studio crafts movement, they were the early 1960s) and a representative to the that we had the beginnings of a ceramics important teachers as well as artists. Among National Arts and Crafts Council. He also museum as well as a study collection. With their students wasBeatrice Wood, still pot­ was an active member of the National Coun­ the gift of the Krevolin Collection of In- ting today at age 98, who was also repre­ cil for Education in the Ceramic Arts, which sented in the exhibition. honored him posthumously at its April More recent works included Robert meeting for his service and contributions Director Margaret Carney Xie (left) Ameson s “David,” a larger-than-life portrait to the field; an honorary membership was discussing museum holdings with graduate of fellow California artist David Gilhooly. accepted by his family. students Kate Maury and Brad Taylor. Even when rheumatoid arthritis forced Ameson Achievement Recognized him to give up working with clay, Paak California ceramist Robert Ameson was one continued his activities in the field, includ­ of eight artists recognized last April for “sig­ ing compiling a series of autobiographies nificant achievement in art” by the New by well-known potters and ceramics artists York-based American Academy and Insti­ that were published inCeramics Monthly dur­ tute of Arts and Letters. The $7500 award ing 1989 and 1990. winners were chosen from over 200 candi­ dates nominated by the organization’s Alfred Museum Established members in the fall of 1990. From that With the appointment of Margaret Carney initial list, 31 artists were selected by a com­ Xie as director, and agreement on a formal mittee of artist members, consisting of chair­ name, the Museum of Ceramic Art at Alfred person Alex Katz, Varujan Boghosian, Jane has been officially established at the New Freilicher, Dimitri Hadzi, Wolf Kahn and George York State College of Ceramics at Alfred University. The museum is considered a You are invited to send news and photos natural evolution of the study collection about people, places or events of interest. begun in the early days of its ceramic art We will be pleased to consider them for program. publication in this column. Mail submis­ In the first issue of Ceramophile, the sions to Up Front, Ceramics Monthly, Box museum’s newsletter,Val Cushing explains: 12448, Columbus, Ohio 43212. “When I first came to Alfred in 1948, as a

14 CERAMICS MONTHLY June/July/August 1991 15 Up Front staff position at the institute last summer to pursue a career as a studio ceramist), “in that I have expanded my thinking on what constitutes a ceramic artist, and have in­ Segal. Approximately 100 works by the vited several who work with combinations finalists were then presented at the or­ of clay and other materials.” ganization’s annual exhibition in March, Among works on view were trompe l’oeil and the committee’s final selections were sculpture byVictor Spinski, Newark, Dela­ made there. ware. Spinski uses social commentary, so Chartered by Congress, the 93-year-old that the sculpture not only “fools the eye,” organization annually honors artists, archi­ but also provokes thought. He does not tects, writers and composers with awards like to think of himself as one of the “nor­ totaling about half a million dollars. mal and practical people. I rejoice in my impracticalities, that even for a short mo­ Niche Awards ment I might interfere with an ‘accepted’ Niche, a magazine for retailers (department train of thought.” Photo: Henry Hulett. stores, craft shops, etc.) published by the Rosen Agency, announced the winners of Craft Fair Optimism its 1991 awards for excellence during the Responses to a survey taken at American Philadelphia Craft Market in February. Se­ Candlesticks formed from flung porcelain Craft Enterprises’ “Craft Fair Baltimore” in lections were based on three criteria: out­ slabs, from the “White Earth” series, by Nancy Monsebroten. February indicate a majority of exhibitors standing achievements in design, technical (55%) are optimistic about the current excellence and market viability. marketplace—despite that, retail sales were The jury includedMary Bahus-White and broad horizons, the swirling snow, the about even with last year and wholesale Andrea Smith, Smithsonian Institution, sculpted drifts. I had known them as a child, figures were down by just over 10%. but not as a potter. I saw them with a new “What we’re seeing may actually be the eye, and began struggling with capturing result of a basic shift in the way crafts are this environment, especially the colors of being purchased wholesale,” commented the winter sunsets (pearly pinks, icy whites, A.C.E. president Carol Sedestrom Ross. “Last pastel purples and oranges) and the pat­ year, wholesale figures were down too, not terns of windblown snow. just at A.C.E. events, but at almost all whole­ “I experimented with the properties of sale craft fairs. Yet 50% of the craftspeople the clay itself, how clay can stretch and we surveyed at Baltimore said that their move. Flung slabs have all kinds of irregu­ total sales actually increased in 1990.” larities, textures, motions, stretch marks, This is apparently the result of several crevices and cracks. After a slab is flung, I factors, says Ross. The first is that the major try not to overmanipulate it to let the viewer wholesale shows have gotten so large that see how the clay can stretch into its own buyers don’t have time to see everything asymmetrical rhythm of patterns.” and place orders. So more buyers are wait­ Bowl and 8-inch plate from a five-piece ing to review their notes back at their of­ dinnerware set retailed for $82; press- Canton Invitational fices, then they order by phone or fax. molded stoneware, with Shino glaze and green glaze overlay, by John Shedd, Rocky Works by 17 ceramists from the United Retailers also are under a lot of pressure Hill, New Jersey. States and Canada were featured in the to control overhead. One way to do this is fourth annual “Ceramic Invitational” at the to keep inventory low, so ‘just-in-time” pur­ Canton (Ohio) Art chases are becoming more common. Washington, D.C.; Lammot (publisher of Institute through Another factor Ross the Crafts Report) and Debby Copeland, March 3. “This cites is Deborah Holmes, Jewelers Circular-Keystone, exhibit differs Devon, Pennsylvania; Paul Leighton, Beauti­ from its pre­ ful Things, Scotch Plains, New Jersey; Lori decessors,” Pourier, First Nations Financial Project, noted the Falmouth, Virginia; Toni Sikes, Kraus-Sikes, show’s cu­ Inc., Madison, Wisconsin; and Rick Snyder- rator Fran man, Snyderman Gallery, Philadelphia. Lehnert In the functional craft category, John (who re­ Shedd was recognized for his production signed stoneware. Curtis and Suzan Benzie received her the award for ceramics in the decorative craft category.

Nancy Monsebroten “White Earth” vessels by Nancy Monsebroten (Onalaska, Wisconsin) were represented in a two-year anniversary exhibition at A. Houberbocken Gallery in Milwaukee. The series is “an homage to my childhood,” Monsebroten explained. “When I returned to the prairies of the Midwest as an adult, I “Box with Trash,” 17 inches in length, was amazed to rediscover the vast forms handbuilt and cast whiteware with low-fire glazes, unique to this region: the open fields and $1800, by Victor Spinski, Newark, Delaware.

16 CERAMICS MONTHLY June/July/August 1991 17 Up Front Inspiration for Shinn’s ceramic forms and surfaces comes “from science muse­ ums and nature. While the monumental shapes and textures of glacier erosion and that American crafts are entering the retail flash-flood-formed canyons are inspira­ mainstream—becoming just one more type tional, they can still be overwhelming—a of merchandise offered by department paradoxical reaction for an artist. stores and specialty retailers, instead of the “Although teaching freed me financially exclusive province of craft galleries and to explore and experiment, I found that shops. Such diversity tends to minimize the most of my energy was consumed in the wholesale activity at major craft events. With classroom. Now I work full time in the stu­ this in mind, sales at the “Craft Fair Balti­ dio, but am confronted with the old en­ more” were said to be encouraging when emy, security. However, there have always viewed against the downturn other mer­ chandisers have experienced as a result of the current recession.

Otto Natzler Works by Otto Natzler, plus a selection of pots made in collaboration with his late “Split Disk Form,” approximately 21 inches in height, with blue crystalline glaze, 1984, wife Gertrud, were on view recently at Cou­ by Otto Natzler. turier Gallery in Los Angeles and at MOA Gallery in West Hollywood, California. When the Natzlers began working in clay with textured glazes, most recently explor­ in 1933, Otto concentrated on developing ing the potential of crater glazes fired in reduction.Photos: Gail Reynolds Natzler.

Evelyn Shapiro Foundation New funding for artists, regardless of their medium, has been a very scarce commod­ ity lately. Perhaps it is the recession or a less-than-enthusiastic response from corpo­ “Winged Cantata,” 13 inches in height, rate/business sources when their own belts extruded and altered, by William Shinn. are being tightened by forces outside their control. Thus it comes as particularly good been enemies to the creative process: peers, news that the Evelyn Shapiro Foundation friends, fellow students, gallery directors, (Box 121, Bala Cynwyd, Pennsylvania) plans and even teachers. But risk is a necessary to assist young artists and students in the element in an artist’s existence.” field of ceramics by awarding an annual grant. The board of directors has yet to Bernard Mattox determine the selection process. “Reliquaries,” a series of terra-cotta sculp­ A substantial collector,Evelyn Shapiro ture by Louisiana artistBernard Mattox, was worked as an editor for many publications, presented recently at Galerie Simonne including those of the Morris Gallery/Penn- Stem in New Orleans. Based on a previous sylvania Academy of Fine Arts and the group of “Altars and Alleys,” these pieces Moore College of Art, both in Philadel­ were bisqued, pit fired in sawdust, then phia. She and Stanley Shapiro were initially collectors of American and European art pottery, but became interested in contem­ “Reliquary ” 27inches in height, pit-fired porary ceramics during the 1970s. terra cotta, by Bernard Mattox. The Shapiros often agreed to public ex­ hibition of their collected works. Various examples of Rookwood from the collec­ tion were on display at the Clay Studio (Philadelphia) through April, and can be seen at the Cincinnati Museum of Art (Ohio) in 1992.

William Shinn “Moonskin,” oval vase, 11 inches high, with Extruded and altered vessels by Santa Maria, copper crater glaze, reduction fired, 1982. California, artist William Shinn were exhib­ ited recently at MOA Art Gallery in West glazes that would complement Gertrud’s Hollywood. Schooled in painting, Shinn classic, wheel-thrown forms. After her death appreciates clay’s “infinite plastic and three- in 1971, Otto worked on a series of tiles, dimensional possibilities....It’s for this rea­ which led to slab-built vessels, usually angu­son,” he explains, “that I am puzzled by lar in shape, but often with circular ele­ some potters who only turn the clay surface ments breaking the planes. into a compound curve canvas—missing Throughout the past decade, he has con­ out on all the exciting texture and spatial tinued to concentrate on slab-built formspossibilities of the medium.”

18 CERAMICS MONTHLY June/July/August 1991 19 Up Front in Phoenix for display during the 1991 NCECA conference, held in nearby Tempe. decorated by rubbing in colorants by hand, Deirdre Daw using “a wide range of materials, including by Anne Crowley Tom oil sticks, paint, pastels, oxides and wax.” One of Deirdre Daw’s work objectives is self- Each series of work is meant to “invent examination. Critical to her intentions is and depict both a structural and glyphic an interest in Jungian psychoanalysis—the mythology,” states Mattox. “In short, [these exploration of individual personality, ego handbuilt reliquaries are] a theater in con­ and archetypes. flict, at first glance perhaps somber and Daw speaks of the development of her hidden, but also intending an undercur­ ceramics as a process of making her uncon­ “Story of Life Teapot,” 11 inches in height, thrown and carved earthenware, with low- rent that would celebrate both ritual and scious thoughts and dream symbols con­ fire glazes, $800, by Deirdre Daw, Oakland, innocence.” scious. “I am investigating primordial California. elements of myself, man and nature, and Human Form as Mythical Vessel the underlying structure of organic and which the soul may be extracted by subject­ “The Human Form as Mythical Vessel,” an inorganic things,” she says. ing the original matter to lengthy proce­ exhibition of large-scale figurative sculp­ In keeping with Jung’s ideas, she be­ dures that transform it. Daw compares this ture, was presented recently at the Dinner- lieves that an awareness of a relationship concept to the Jungian psychoanalytical ware Gallery in Tucson. CuratorGary Benna, between the symbols of one’s own uncon­ process of extracting a meaning from a a Tucson ceramist, invited both well-estab- scious and those of the collective uncon­ concrete experience. “The alchemical secret is a state of con­ sciousness, a perception of the archetypal level of reality,” she explains. “Its parallel, transcendence of the self, lies in process­ ing activities of the unconscious.” Her “Story of Life” series, which was exhibited recently at Mobilia Gallery in Cambridge, Massachusetts, was based on the theme of how all life developed over time from the simplest of organisms. Inti­ mately related to this explanation for the differentiation of life forms is a philosophy to which Daw ascribes, existential human­ ism, in part a belief that all life is con­ nected. Through imagery of the natural world and narrative painted/inscribed on these vessels, she reflects upon evolution’s wonders and shares a vision of the inter­ connectedness of all life. For example, narrative written across a banner on her “Story of Life Teapot” reads: “Life has been changing gradually since it first appeared on earth. Simple organisms became more complicated over the years. Life continued to evolve to ever higher levels of complexities.” When researching classical majolica, Daw came across Italian Renaissance apoth­ “Strong Heart,” 25 inches long, with glaze and terra sigillata, by Adrian Arleo, Portland, Oregon. ecary jars that had ceramic ribbons label­ ing the contents. She copied the idea, down lished and emerging artists, who work with scious of humanity, known as archetypal to the script, as a solution to inscribing the human form as metaphor for personal symbols, leads the individual out of isola­ narrative on her pots. and social commentary, to participate. tion, beyond ego. She illustrated this linear science text­ The exhibiting artists were Adrian Arleo, An image that dominates Daw’s work is book statement with deeply carved and tex- Ronna Neuenschwander and Debra Norby, all the garden, a symbol for the place where tured interconnected images that flow into from Portland, Oregon; Rudy Autio, life began and a microcosm of all aspects of one another around the surface of the pot. Missoula, Montana;Janit Brockway, Sisters, the universe. Jung also identifies the gar­ The glaze colors, according to Daw, are Oregon; Nancy Carman, Philadelphia; den as a symbol of human consciousness. not only important symbolically in them­ Esmirelda Delaine, Phoenix; ChristineFederighi, While Daw explains that she does not selves, but in relationship to one another. Coral Gables, Florida; Gayle Fichtinger, believe in magic, the ancient Greek science Largely cool blues, greens, yellows and Tempe, Arizona; Arthur Gonzales, Brooklyn; of alchemy also has had an influence on cream, they denote lushness of vegetation, Lauren Grossman, Seattle; Dick Hay, Terre her work. “The alchemical influence is in new life and growth. Haute, Indiana;Judy Moonelis, New York my attitude toward materials and process— City; Ann Scott Plummer, Newport, Rhode respect for the intrinsic quality or spirit of Individual Spirits Island; Paula Rice, Flagstaff, Arizona; and the material, which I try to understand well “Individual Spirits,” an exhibition featuring Yoshio Taylor, Sacramento. enough to release in new forms.” the work of Arizona clay artists Rose Cabat, Nine of the sixteen works from the show According to ancient alchemy texts, a Maurice Grossman, andMary and Edwin then traveled to Grand Canyon University stone or other mineral has a spirit from Scheier, was presented recently at the Berta

20 CERAMICS MONTHLY June/July/August 1991 21 Up Front 1990 fellowship recipients identified by the National Endowment for the Arts (NEA) Visual Artists Program for Ceramics Monthly, and subsequently was not included in the December 1990 feature article announc­ ing fellowship winners. An NEA spokesper­ son said Bailey checked metal as well as clay when applying for a crafts grant, so his work was automatically classified as “other.” Nevertheless, Bailey is working primar­ ily with clay, and he did receive a $20,000 fellowship based on slides of recent ceramic sculpture. That brings the total number of 1990 awards to “mid-career or senior” ce­ ramists to 15, while 17 ceramists (who have worked for 10 years or less in the field) received $5000 grants. Photo: Kent Marshall.

Marian Haigh Ceramic vessels and teapots by Austin, Texas, artist Marian Haigh were featured in a solo exhibition at the Arkansas State Uni­ versity Museum through April 30. Fiber

“Moon Dog” 26 inches in height, slab built, raku fired, by Maurice Grossman, Tucson.

Wright Gallery in Tucson as part of Art Expo, a city-wide celebration of the arts. Cabat’s small, wheel-thrown bottles are of­ ten surfaced with crystalline glazes, while “Green Leaf” 22 inches long, smoke-fired the Scheiers’ bowls and vases incorporate stoneware, partly glazed, by Marian Haigh. incised images of human figures. Gross­ man’s raku vessels and sculpture, such astechniques, such as weaving, plaiting and “Moon Dog,” explore his interest in desert piercing, are prevalent in Haigh’s works. creatures, rituals and mythology. Summer trips to Santa Fe also inspire new forms. Through these travels, Haigh Clayton Bailey says she gains “renewal through the land­ Thanks to an extra checkmark on the list scape,” a feeling that is carried over into of media under the crafts category, Califor­ her work in the form of bones, antlers and nia artist Clayton Bailey was not among the stark vegetation. Photo: Phyllis Frede.

$20,000 NEA fellowship recipient Clayton Bailey with a sampling of his works in clay.

22 Ceramics Monthly June/July/August 1991 23

Issues of vulnerability and intimidation are addressed in a series of monumental rabbit heads handbuilt by Deborah Masuoka, Las Vegas.

GLANT RABBIT HEADS made by Deborah Masuoka while an Once probed, the giant rabbit image presented Masuoka artist-in-residence at the Bemis Foundation, Omaha, Ne­ with a reservoir of ideas to explore. The sculptures about braska, were featured in a solo exhibition at Mark Masuoka vulnerability were constructed from slabs and coils, pinched Gallery in Las Vegas through April 27. Not the typical view to thicknesses varying from 1½ inches at the bottom to ¾ of bunnies, the imposing forms address “issues of vulner­ inch at the ears, with no inner support structure. Each ability. A 6- or 7-foot rabbit is intimidating,” explains the weighs about 1200 pounds, and took approximately six artist. “The prey [is enlarged] into the predator.” weeks to complete. Masuoka first became concerned with scale and how it After drying slowly for two weeks, the rabbits were influences the space around a sculpture while a student ofscraped, incised and brushed with a mixture of black Jun Kaneko at the Cranbrook Academy of Art in Michi­ copper oxide and CMC gum. The surfaces were then gan. “I wanted to see how fast I could make a rabbit look rubbed with steel wool, leaving copper only in the incised like it was moving through space.” This early exploration lines and fingermarks. Next, terra sigillatas colored with resulted in large, sleek forms with ears drawn back, resem­ commercial stains were applied. Finally, each form was bling aerodynamic sports cars. fired slowly, taking about six days to reach Cone 04. ▲

26 CERAMICS MONTHLY PHOTOS: DIRK BAKKAR

Slab- and coil-built earthenware rabbit Hollow rabbit head, 54 inches high, Earthenware rabbit, 54 inches high, sculpture, 55 inches in height. with walls ¾ to IV2 inches thick. with copper oxide and terra sigillatas.

Weighing up to 1200 pounds each, the heads were fired individually and slowly (taking about six days to reach Cone 04) in a car kiln at the Bemis Foundation in Omaha, Nebraska.

June/July/August 1991 27 The Art of Paul Bogatay by Thomas C. Folk

If in the arts in general Americas contri­ first significant showing of American lande Gregory and Russell Aitken. Al­ bution has been less than her lover’s desire, ceramics in Europe. Featuring 135 though extremely popular in the Mid­ her creative achievements in the difficult pieces, this exhibition traveled to four west, these men’s work was never quite field of ceramics have been still lower... museums in Scandinavian countries,accepted as equal to their contempo­ The stodgier collectors of pottery, with one before returning for a final showing raries in American sculpture who eye cocked on ancient China and another at the Whitney Museum of American worked in stone, wood or bronze, such on the price, may damn such pieces as Art in New York City. as William Zorach, Robert Laurent miniature giraffes and bulls and small, The title of the article was “The and Gaston Lachaise. Unfortunately, shiny, ruminating hippopotamuses as ex­Art with the Inferiority Complex.” ceramists were subject to the biases of pensive bric-a-brac. But ceramics enthusi­ Little did critics of the day realize that, their day—clay was considered an in­ asts see them as signs of the vitality of a in about 25 years, American ceramics ferior sculptural medium by many crit­ growing American art, and if they are true would come to a position of world ics, collectors and public institutions. collectors, treasure them in a way that the importance; that ceramics would earn A major explanation for that atti­ homeowners of Rome probably treasured a fine arts standing (something their tude might be the strong Viennese their collections of unterrifying, homely, fa­European counterparts did not influence on many Cleveland school miliar little gods. achieve) and that innovative ceram­ works. Viennese ceramic sculpture, ists like Paul Bogatay were taking the with its frothy sentimentality and trivial So WROTE an unidentified author first steps in that direction. themes, could certainly be seen in the about a new generation of American Paul Bogatay was part of the Cleve­ work of Schreckengost and Aitken, ceramists in the Christmas 1937 issue land school of ceramic sculpture that who studied under Michael Powolny of Fortunemagazine, at the time of the included Viktor Schreckengost, Way- at Vienna’s Kunstgewerbeschule. But

“Elephant” 14 inches in length, slab-built, salt-glazed stoneware, 1938.

28 CERAMICS MONTHLY “Leopard”4¾ inches in length, handbuilt earthenware, with low-fire glazes, 1931.

Bogatay was unable to study in Eu­ Comfort Tiffany Foundation Studios Baggs, who came to work at the Cowan rope, and his work generally does not at Oyster Bay, New York, for the sum­ Pottery in 1925. Bogatay first met reflect the light-hearted Viennese mers of 1928 to 1930. He also worked Baggs in a 1926 workshop at the Cleve­ sense of humor, which became so as a designer from 1929 to 1930 at the land School of Art. Apparently, Baggs prevalent in Ohio ceramic sculpture. Cowan Pottery in Rocky River, Ohio. threw a pot and asked Bogatay to deco­ Instead, his sculptures almost always Guy Cowan was a principal figure rate it. Baggs was much impressed. express a seriousness of concept, even in establishing the Cleveland area as a He later took the young ceramist if they depict imaginative and whimsi­ center of the ceramic sculpture move­ under his wing, and in 1932 and 1933, cal human and animal figures. And Bogatay worked summers with Baggs unlike other members of this school, at his Marblehead Pottery in Massa­ who at times employed mild ethnic chusetts. There, Bogatay designed humor, Bogatay always treated his na­ bookends, dinnerware and other utili­ tive subjects with a dignity and sensi­ tarian ceramic objects, often incorpo­ tivity unusual for this period. rating nautical themes in these works. The son of eastern European im­ Then, in 1934, Bogatay joined Baggs migrants, Bogatay was born in Ava, as a faculty artist at the Ohio State Ohio, on July 5, 19Q5. He studied in University, first as a temporary assis­ the Cleveland public schools, and tant instructor in design. By 1946, graduated from East Technical High Bogatay had worked his way to the School in 1924. With the encourage­ position of professor of ceramics, a ment of Eva B. Palmer, a wealthy bene­ post he maintained until his retire­ factor, he was able to continue his ment in 1970. Baggs and Bogatay were education at the Cleveland School of principal figures in the formidable Art (later the Cleveland Institute of Ohio State ceramics department, Art). While there, he became ac­ which at that time also included Ed­ quainted with Viktor Schreckengost. gar Littlefield and Carlton Atherton. Paul Bogatay, shown circa At that time, Bogatay was a sopho­ During the 1930s, Bogatay’s work 1940, forever changed “the art more, and Schreckengost, a freshman. with the inferiority complex.” was very well received as he, Schreck­ In fact, both were pledges initiated engost, Aitken and Gregory came to together at the Alpha Beta Delta fra­ be considered leading exponents of ternity. The young men studied de­ ment. In addition to Bogatay, several Ohio ceramic sculpture. “Native sign at the Cleveland School with Julius other Ohio artists, including Viktor Woman” (1935), ‘Javanese Mother Mihalik. After graduation in 1928, Schreckengost and Waylande Gregory, and Child” (1936, now in the collec­ Bogatay worked as a seaman on the created designs for Cowan Pottery. tion of the National Museum of Ameri­ freighter S.S. Bessemer City, sailing Many of the sculptures at Cowan were can Art in Washington, D.C.) and around the world. This gave him a art deco in style; they often reflected “Elephant” (1938) were Bogatay’s best sense of the world and made it pos­ the streamlined and graceful forms known, most exhibited and most re­ sible to visit zoos where he made the of well-known American sculptor Paul produced works of the decade. In fact, pencil drawings of exotic animals, to Manship, who also briefly worked all won prizes at the Everson Museum’s which he would refer when creating there. Only one Cowan vase is known “Ceramic Nationals.” his later ceramic sculptures. to have been designed by Bogatay. “Native Woman” and “Javanese Thereafter, Bogatay earned three A figure of pivotal importance to Mother and Child” are both sensitive consecutive scholarships at the Louis Paul Bogatay’s career was Arthur studies. It is likely that the artist’s son,

June/July/August 1991 29 Paul Joseph, was the model for the folklore, we looked to anything that Ohio State, mass production tech­ child in the second work in which would carry us out of the dumps.” niques played an important role in Bogatay depicts the frightened child No doubt, the 1930s was Bogatay’s Bogatay’s teaching, and in 1952, he tugging at his mother’s skirt. decade of greatest achievement, as he wrote an article titled “Ceramic Pro­ “Elephant” is one of the artist’s gained substantial recognition in the duction Laboratory” for an Ohio State most delightful animals. During the field of American ceramics, and to a engineering journal. summer of 1937, Bogatay had worked lesser degree, in American sculpture. Bogatay eventually became the for two weeks at the Maurice A. Knight By the late 1940s, he had become dis­ most important ceramics professor at salt-glazed chemical ware plant in Ak­ satisfied with the representational Ohio State University, where Howard ron. His interest in the textured sur­ sculpture with which he had become Kottler and Jack Earl were among his face of salt-glazed stoneware resulted associated; he must have been aware most gifted students. Recently, Earl in the creation of the rough skin on of the public’s growing decline in in­ recalled that: “I met Paul Bogatay dur­ his highly stylized pachyderm. In fact, terest in Ohio ceramic sculpture. So ing a session of summer school at Ohio in the December 14,1941 issue of the Bogatay began to experiment with new State University in 1961. For myself Columbus Citizen, Katherine Sater wrote techniques and styles, and he created and the other advanced ceramics stu­ in a review of this work that Bogatay a group of abstract sculptures. How­ dents there at the time, he was the “leaves muscles to the Frenchman, ever, these were never as successful as ceramic arts teacher. We worked in a Barye, and has concentrated on form.” his earlier work. large basement room. The handbuild- In his treatment of form and texture, In 1955, Bogatay was awarded a ing tables were in the center of the Bogatay may have been the most so­ Fulbright Fellowship for study in Ja­ room, the wheels surrounding on the phisticated sculptor of the Cleveland pan. He particularly became inter­ outside walls....Mr. Bogatay spoke school, and certainly an heir to the ested in the Japanese mingei (folk craft) slowly with care.... [One] object I made sophisticated glazes of his colleague, movement, and produced a number was different from anything I’d made Arthur Baggs. The subject for “El­ of tea ceremony pieces in this style. before. It was my first step on the ephant” seems to be somewhat ahead He also assembled an important col­ journey. He later stopped by and told of its time, for it was not until 1941 lection of mingei ceramics, which he me the thing I’d made was good. I that Walt Disney released Dumbo. The later donated to Ohio State. made a hundred of them....Mr. huge ears in the Bogatay work cer­ His work as an artist was always his Bogatay was my teacher....He was my tainly anticipated their movie coun­ priority, but the technical side of ce­ reason for doing.” terpart. ramics also played a significant role in Paul Bogatay’s last major sculpture Interest in exotic subjects was in Bogatay’s career. In 1939, he created was titled “Gorilla,” a life-sized stone­ part a response to the Depression. designs for mass production by the ware figure that was purchased by According to Viktor Schreckengost, Ford Ceramic Arts Company in Co­ Ohio State. He was working on this “In the thirties, in the bottom of the lumbus. The company developed a sculpture when he learned he was dy­ Depression, it was hard to find any­ process where photographic images ing of cancer. That disease finally took thing that would interest buyers. Ex­ could be duplicated in low relief on his life at Hyannis, Massachusetts, in otic places, mythology, religion, ceramic surfaces. Furthermore, at February 1972. A

“Lady and the Tiger ” approximately 12 inches in length, glazed earthenware, 1947; a critic of the day described this as the sassiest tiger and the most abandoned woman he ever saw.

30 CERAMICS MONTHLY “Javanese Mother and Child,” 22 inches in height, handbuilt, burnished earthenware, collection of the Renwick Gallery, National Gallery of Art, Washington, D.C.

Bogatay with maquette and his last major sculpture, a life-size stoneware gorilla, under construction (with removable stoneware drying/firing supports) in his Ohio State University studio.

June/July/August 1991 31 Japanese Masters’ Pots PHOTO: COURTESY OF ARTHUR M. SACKLER GALLERY

Stoneware jar, 123A inches in height, wheel thrown, glazed (with finger-wipe decoration), circa 1988, by “Living National Treasure19 Uichi Shimizu, Kyoto.

THE SMITHSONIAN INSTITUTION in Wash­ Among the latter is Uichi Shimizu Munemaro Ishiguro (1893-1968), Imae- ington has recently acquired (through (b. 1926), who was honored as a “Living mon Imaizumi XII (1897-1978), Kanjiro gifts and purchases) works dating from National Treasure” in 1985 for his work Kawai (1890-1966), Shiro Otani (b. 1936), the 1940s to the 1980s by eight Japanese with iron glazes. The Smithsonian now Tatsuzo Shimaoka (b. 1919) and Wakao potters, including several designated as owns one of his large stoneware jars— Toshisada (b. 1933). They were featured “Living National Treasures.” Some are fa­ covered with a silvery, crystallized-iron in the exhibition “Paper and Clay from miliar to American audiences, but others, glaze, streaked with fingermarks. Modern Japan,” at the Arthur M. Sackler while major figures in Japan, are not well Also new to the institution’s collection Gallery of the Smithsonian Institution known in the United States. are works by Shoji Hamada (1894-1977), through March 31. A

32 CERAMICS MONTHLY The 6700-square-foot ceramics department at the University of Montevallo is housed in a warehouse complex formerly used by university maintenance.

University of Montevallo by Scott Meyer

As SOON AS I plugged in the cord, a from knowing exactly what we’re up yard in the 1960s, unaware art existed. loud whine rose from our makeshift to. The hairs stood up on my neck as I wanted to be a baseball player (any­ vacuum/blower, and the coals nestled they had when I was a kid doing some­ one want to guess how the New York in our salvaged forge roared into thing pretty neat, or mischievous or Yankees were doing in the late ’60s?). frenzied activity. A whoop went up both. I found myself thinking again I discovered clay in 1978 at Penn State, from several students gathered around of the great places of ceramic/art his­ the year after the last “Super Mud” and one added, “Move over, Archie tory: the Archie Bray Foundation in conference there. See a pattern de­ Bray! ” I started to laugh at the notion the 1950s; the Otis Art Institute in the veloping? of the good folks at the Archie Bray ’60s; SoHo in the ’40s and ’50s; Alfred. Marshall McLuhan once likened Foundation making room for the ce­ It is with reverence and awe that one modern society to a driver with eyes ramics department of the University reads of the people who made these firmly fixed on the rearview mirror in of Montevallo (our relatively small, places historically significant. Energy a car hurtling out of control. There liberal arts institution in Montevallo, and collective human spirit have must be more to the trip than appre­ Alabama). I glanced at my student’s elevated them to legend. ciating, without stopping, those places face, but there was no hint of humor But to be honest, I’ve always felt a we’ve passed. or irony. Deciding not to laugh, I certain frustration when learning of An admired professor of mine ac­ looked across the yard to where a another legend. There’s a remoteness, quainted me with the Japanese term couple raku kilns hummed. Our newlyan inaccessibility that comes from the wabi. It refers to the reverence and donated burnout kiln was cooling realization that these are boats that simplicity with which the tea ceremony slowly and a pit fire smoldered quietly have sailed and I wasn’t even on the is approached. If a place has wabi, it in a corner. dock. When Voulkos knocked off the has a harmony and a sense of right­ All this was taking place behind a neck of his first distorted form, I was ness that is correct for us and for our tall fence, which defines our space knocking off another bottle—of baby heritage. The same professor added and keeps the rest of the university formula. I grew up in SoHo’s back­ sabi in reference to patina and a kind

June/July/August 1991 33 of aged tartness. With some distor­ treat from excessive ego and fame and the entire operation moved to a tion, I define the term ‘Svabi sabi” to fixation. Those things are not our con­ huge warehouselike complex that mean, very roughly, richness of place. cern, because they are not within our used to house university maintenance. One can not legislate wabi sabi, nor province to control. Nor, I imagine, I’m sure that accompanying the move concoct it from a formula. Nonethe­ were they the concern of the majority came the administration’s silent less, I feel I can identify some of the of individuals who later attained them. prayers that this would keep them ingredients necessary for it to grow: I believe it is possible to be proud of happy for a while. The department Community:The essence of the hu­ the place one has nurtured without was accredited nationally the follow­ man bond that occurs in an endeavor. excessive ego, and it is with small- ing year. Energy/optimism: Moving forward in the school humility and a little humor that The current facility devotes 6700 endeavor out of a deep sense of its we present the University of Monte- square feet to ceramics; there are two rightness. (The individual and the task vallo ceramics and sculpture depart­ gas kilns, a raku kiln, a lOhp compres­ are on the same side, not at odds with ments. sor for spraying and sandblasting, mix­ one another.) My colleague Ted Metz (a profes­ ing and plaster rooms, plus a wood Discovery potential: It is possible to come sor of sculpture and master at redeem­ shop, forge, a foundry, three types of away each day with a large or small ing junk) offers a singularly uniquewelding, a metal lathe, and various “ah ha.” view of its “biography.” In 1973, he cutters and rollers. Most of this comes Growth potential: The sense that one is opened a small room in the basement from monthly raids on government further along than yesterday, but not of one of Montevallo’s academic halls. surplus warehouses. The lathe, for ex­ nearly as much as will be possible. Inside was a 12x6-inch test kiln and a ample, is around 700 pounds of knobs, (Note: Being unfinished is essential table. He had located Montevallo’s ce­ buttons and grease. We have no idea to wabi sabi. It doesn’t seem to hang ramics department. how to run it...yet. The last raid yielded around when the emphasis shifts from Frank McCoy, a particularly ambi­ a pipe cutter, a planer and some oddly building to admiring and archival pre­ tious art historian/administrator, shaped reflective paneling that looks serving.) came four years later to chair the art military in function. We don’t have a Humor: When a student adds 25 department. With Metz’s flare for en­ clue as to what it is, but we’re glad we pounds of feldspar to 25 pounds of gineering (he could probably build a have it. stoneware to “whiten it up” and you’re rocket launcher with paper clips) and All this is not acquisition for its able to laugh...a little. McCoy’s leadership, departmental own sake (though it is kind of seduc­ Spirit of inquiry:The question “what growth was as inevitable as kudzu (the tive). Implicit is the attitude that one’s if...?” seems to come from the general leafy vine that is gradually consuming dreams are affected by one’s tools; momentum of the work being done the South). They acquired potter’s e.g., you don’t seem to come up with in a place. wheels, built a 60-cubic-foot gas kiln, ideas for bronze casting until you have Healthy resistance (also known as the “it added electric kilns, etc., on almost a foundry. don’t come easy” principle): It may be no budget. They would complain be­ Ted Metz and I teach the clay pro­ more rewarding to scrounge/salvage cause they had no equipment, build gram, which offers a foundations than to order from a company. it, then complain because they had course, and four intermediate and I don’t know how well the pres­ no place to put it. So they got more advanced classes. B.F.A. students ence of wabi sabi correlates with the room. Kudzu. graduate with a concentration in ce­ eventual historical significance of a The year before I came (1986), they ramics and are prepared in firing tech­ place. I do know that it seems to re­ finally outgrew the whole building, niques, glaze formulation, throwing

Student Chris Willcutt dry mixing stoneware before blending Student Regina Alexander brushing glaze on a vase; for easy the batch with slip (from classroom scraps) in a dough mixer. access to all, “shop ” glaze buckets are mounted in the table.

34 CERAMICS MONTHLY PHOTOS: DWAIN ALFORD, ANDY RUSSELL, SCOTT STEPHENS

The main classroom is equipped with 11 kick wheels, 3 electric wheels and a slab roller (right comer). and handbuilding methods, and aes­ recently invited Don Reitz and Rick If wabi sabi is ephemeral, the cur­ thetics. Ironically, my colleague, the Hirsch to do workshops. Their ideas rent wave shows no signs of abating. sculptor, approaches ceramics with a excited the students long after they Last year saw our largest enrollment use-object orientation. I, with the tra­ were gone. in ceramics. The pleasant task now is ditional training, focus on the more It is important that students see to accommodate the activity. sculptural applications. The combina­ teachers as productive artists also. Our Back outside, I sit watching the tion works. studios are always open and we are foundry cool. Metz checks the newly Metz is quick to point out that ex­ usually working. Ted Metz recently poured bronze, as I shut off the forge’s citement about the department seems won a commission to do a public sculp­ blower. After three hours of whining, to come in waves. You bust your tail ture (four stories high). Now his stu­ the silence feels like a fever that’s installing a forge one semester and it dio is filled with grinding noises, sparks broken. I glance at the various stirs up everyone. The next semester, and spirit. I am currently working on branches we’ve built into the new gas new students come in with a blase a series of sculptures that incorporate line...in case we want to add some­ attitude, as if it had been there for­ wrought-iron and clay, and am mak­ thing else. ‘You know, Ted,” I say, try­ ever. One way to deal with this prob­ ing numerous trips to a local black­ ing to sound casual, “We need glass lem is to bring in visiting artists with smith to gain advice and special blowing.” The welding shield fails to interesting, unique points of view. equipment. Students regularly make hide his slow, maniacal grin. Here we Thanks to state grant money, we’ve the trip with me. go again! ▲

High-fire reduction takes place in a 60-cubic-foot downdraft Students Howard Best (left) and Nelson Grice place a fiber- kiln with a detachable door on tracks. lined, half-barrel raku chamber over ware to be fired.

June/July/August 1991 35 far left “Dust Devil ,” suspended sculpture, 57 inches in height, wheel-thrown and handbuilt stoneware, some elements brushed with oxides and fired to Cone 6, other elements pit fired, assembled and painted after firing, by faculty ceramist Scott Meyer.

left Scott Meyer with tile installation, 130 inches in length, press-molded stoneware, raku fired, by student Jennifer Redus.

University of Montevallo Recipes

The following are representative of Mason Red Glaze Raku Body H the high-fire reduction and raku clay (Cone 9-10, reduction) Spodumene...... 5 parts and glaze recipes used at the University Bone Ash ...... 16.95% Talc...... 10 of Montevallo: Dolomite...... 9.38 Cedar Heights Ceramic G-200 Feldspar...... 60.51 Fireclay (50 mesh) ...... 35 Stoneware Clay Body Kentucky Ball Clay (OM 4) . ... 5.60 Cedar Heights Goldart Clay .. 25 (Cone 9-10) Flint...... 7.56 Kentucky Ball Clay (OM 4) ... 15 G-200 Feldspar...... 1 part 100.00% Mullite ...... 5-10 Cedar Heights Ceramic Add: Red Iron Oxide ...... 7.56% 95-100 parts Fireclay (50 mesh) ...... 4 Cedar Heights Goldart Clay .... 6 Oatmeal Glaze Barium Crackle White Raku Glaze Cedar Heights Redart Clay...... 2 (Cone 9-10, reduction) Barium Carbonate...... 14.87 % Kentucky Ball Clay (OM 4) ...... 4Dolomite...... 25 % Colemanite...... 41.89 17 parts Gerstley Borate ...... 5 G-200 Feldspar...... 32.43 Spodumene...... 14 Flint...... 10.81 Caramel Glaze G-200 Feldspar...... 36 100.00% (Cone 9-10, reduction) Kaolin ...... 20 % Dolomite...... 7.0 % 100 Pale Lemon Luster Raku Glaze Add: Zircopax...... 5 % Gersdey Borate...... 12.0 Colemanite...... 75.0% Talc...... 15.0 Soda Feldspar ...... 25.0 G-200 Feldspar...... 41.0 Bauer Clear Glaze 100.0% Kaolin...... 5.0 (Cone 9-10, reduction) Add: Copper Carbonate...... 3.0 % Flint...... 20.0 Gersdey Borate ...... 3.03% Manganese Dioxide ...... 1.5% 100.0% Whiting ...... 18.18 Add: Ilmenite...... 1.5% Zinc Oxide ...... 3.03 Manganese ...... 2.0% Cornwall Stone...... 72.73 Copper Luster Raku Glaze Bentonite...... 3.03 Colemanite...... 82% Cornwall Stone...... 18 Turquoise Dry Matt Glaze 100.00% 100% (Cone 9-10, reduction) Add: Cobalt Carbonate...... 3 % Barium Carbonate...... 38.44% Leach White Glaze Copper Carbonate...... 5 % Lithium Carbonate...... 0.64 (Cone 9-10, reduction) Nepheline Syenite ...... 59.63 Whiting ...... 20 % Kentucky Ball Clay (OM 4) .... 1.29 G-200 Feldspar...... 40 Pale Aqua Luster Raku Glaze 100.00% Kaolin...... 10 Colemanite...... 25.0% Add: Copper Carbonate...... 2.75 % Flint...... 30 Gerstley Borate ...... 75.0 100% 100.0% Shino Glaze Add: Zircopax ...... 8 % Add: Cobalt Oxide...... 0.1 % (Cone 9-10, reduction) Copper Carbonate...... 3.0 % Soda Ash ...... 3.98% Raku Body I Spodumene...... 15.22 Talc...... 10% Tomato Red Raku Glaze Kona F-4 Feldspar...... 18.41 Cedar Heights Ceramic Borax...... 50% Nepheline Syenite ...... 44.97 Fireclay (50 mesh) ...... 35 Gerstley Borate ...... 50 Bentonite...... 1.00 Cedar Heights Goldart Clay...... 20 100% Kentucky Ball Clay (OM 4) .... 16.42 Grog...... 35 Add: Copper Oxide ...... 20 % 100.00% 100% Red Iron Oxide ...... 5 %

36 CERAMICS MONTHLY Raku Integrations by Douglas Kenney When first introduced to clay in valuable knowledge about how hard When finally arriving in Rochester, 1980, I thought it was really fun to one has to work for success in the I realized R.I.T. was an institution that work with, but never considered the ceramics business. I learned that time quite literally lived up to its name. Its possibility that it would one day be is synonymous with money, and that library had a computerized card cata­ such a vital part of my life. At San production means long hours of of­ log, and there was a whole fleet of Diego Mesa College, I majored in fine ten tedious labor. Soon, it also was computers in the art department. Sur­ arts with an emphasis in crafts, then obvious that earning a graduate de­ rounded by this high-tech environ­ earned a B.A. in applied design/ce- gree in ceramics would lead to better ment, I decided to incorporate a ramics at San Diego State University. opportunities for employment. technological theme in my artwork, After graduation in 1985,1 contin­ With this in mind, I began sending juxtaposing the computerized and ued to take courses in ceramics while out applications, and was accepted by highly developed scientific nature of working part time at a commercial both Scripps College and the Roches­ the institute with the more organic pottery firm named “Out of Hand,” ter Institute of Technology’s School and down-to-earth characteristics of making potpourri steamers and for American Craftsmen. Having lived clay. The combining of these seem­ candlesticks by the thousands. Produc­ only in Southern California, I felt the ingly opposite elements is what even­ tion at this small factory was admit­ need for a change, so I packed my tually led to an approach that focused tedly routine, but I did gain some $1000 van and headed for New York. on integrating traditional, utilitarian

“The Nature of Ceramics ” 19 inches in diameter, textured with crushed clay, photo-silk-screened and airbrushed underglazes, clear glazed, raku fired.

June/July/August 1991 37 PHOTOS: PAUL GUBA, DOUGLAS KENNEY, ERIC RIPPERT, ROBERT WOLFE

“Architectural Study 3 ” jiggered slab platterwith, embedded “Lines and Pottery 2” 19 inches in diameter, u/it/i under­ slips and clay, airbrushed underglazes, 20 inches in diameter. glazes (some textured with grog) and clear glaze, raku fired.

uses of clay with the more scientific relationship between antique and con­ the term “push and pull,” while inves­ applications that are common today— temporary ceramic applications. But, tigating the layering of colors and semiconductors and computer chips. because of the Vallpaperlike” quality shapes to create illusionistic depth to I decided to take advantage of the of silk-screened designs, this potential­ his work. His paintings depict unin­ flat, open, canvaslike spaces provided ly superficial process was abandoned. hibited gestural strokes of color in con­ by large platter forms made from the trast to geometric rectangular shapes. following raku body: Another influence was a class in Oriental art history at R.I.T. It is this Raku Body exposure to old Chinese paintings and Spodumene...... 11 lbs. Japanese prints, with their sense of Talc...... 5 space and depth relationships between Bentonite...... 2 the foreground and background, as Hawthorn Bond Clay ...... 25 well as the quietly powerful way they Kentucky Ball Clay (OM 4) ... 11 express elements of nature, that most Kentucky Special Ball Clay .... 11 directly relates to my current work. Kentucky Stone...... 11 Because of my strong concern with Kyanite ...... 13 the painterly, I am often asked, “Why Medium Grog...... 5 don’t you just drop ceramics and be­ Coarse Grog...... 5 come a painter?” While I do enjoy 99 lbs. painting on canvas very much, paint After their surfaces were embed­ lacks the wonderful tactile qualities of ded with stains, oxides and dry clay, clay. Furthermore, there is that fasci­ round slabs were hand jiggered (over nating challenge of successfully bring­ a plaster mold), dried and bisqued. ing large platters through the hazards The imagery was then developed fur­ of raku firing. Painters apply paint to ther with airbrushed underglazes. Douglas Kenney, San Antonio, Texas. a canvas and get exactly what they put Disappointed with my first efforts, down. They do not take the risks that which seemed somewhat lifeless, I de­ I still like to explore the possible ceramic artists do when they subject cided to experiment with raku firing. relationships that can exist between the results of hours of labor and The crackling effect, as well as the seemingly disparate elements but, in­ thought to the intense (and precari­ blacks and grays from postfiring re­ stead of using such symbolic and obvi­ ous) heat of a kiln. It is this risk taking duction in sawdust, added to the work, ous images as Greek amphoras and that so attracts me to ceramics. particularly in integrating the air­ computer chips, I am now combining brushed designs. and integrating organic textures and The author Douglas Kenney teaches ce­ Then came photo-silk-screened im­ geometric shapes. ramics and three-dimensional design at San ages of ancient pottery and modern Of particular interest to me is the Antonio College in Texas; a solo exhibition electronic circuit boards as a means work of Hans Hofmann and Jackson of his work was presented in May at Gal­ to a more literal representation of the Pollock. It was Hofmann who coined lery Authentique in Roslyn, New York.

38 CERAMICS MONTHLY “Pots of the Past ” 19-inch raku platter, with underglazes airbrushed through stencils and photo silk screens, clear glazed.

“Crackle Plate” 22-inch diameter, embedded with slips, “Buildings and Landscape,” 21 inches in diameter, textured porcelain scraps and copper filings, airbrushed underglazes. slab, with underglazes and clear glaze, raku fired.

June/July/August 1991 39 John Foster Retrospective a review by Susan E. Crowell

JOHN FOSTER (1900-1980) was a cen­ much of the work produced in his appropriate, the art of other cultures. tral figure in the establishment of the later life. He worked during more innocent Michigan ceramics community dur­ During the fifties—a tumultuoustimes, when a self-conscious intent to ing the 1930s and 1940s. Having period for American ceramics that re­ build a consistent, identifiable body taught at the Society of Arts and Crafts examined those earlier European ties of work for the marketplace and for and at Wayne State University, he or­ in light of influences from the Far the sake of historical continuity would ganized and chaired the Michigan Pot­ East—Foster maintained a formalist have seemed cynical and vulgar. ters Association during its early years. approach to clay, but also began to While “originality,” in its contem­ A retrospective of his work at the Cen­ pursue other surfaces. His crystalline- porary Western context, was not a cen­ ter for Creative Studies in Ann Arbor, glazed vessels exemplified this con­ tral feature of the retrospective Michigan, revealed Foster’s broad vergence between Eastern surrender exhibition, there were especially bright technical and aesthetic interests. and Western control over ceramics. and innovative moments—particularly John Foster’s careful, considered At the beginning of the sixties and those in which Foster’s technical proportioning recalls the period of progressively throughout the decade, finesse and playful approach find syn­ transition in American ceramics dur­ Foster reexamined his formalist ten­ thesis with his more successful experi­ ing the mid-20th century that still bore dencies. His level of interaction with ments in surface decoration. European, especially Northern Euro­ surfaces, which in earlier times had Through this exhibition, it was pos­ pean, influences. Like other potters been decorative or graphic, became sible to recognize both the man and of that era, such as Edwin and Mary labor-intensive, painterly and reflec­ the time in which he worked. He was Scheier or Maija Grotell, his notion of tive of a more resolved and intense chief ceramic engineer for the Ford form was concentrated and nonplastic, involvement with volumetric concerns. Motor Company and a fierce partisan and the interaction between form and In evaluating Foster’s ceramics, it of ceramic higher education. His pas­ surface tightly articulated. is important to recognize the time and sion for meticulous craftsmanship bal­ Through his earlier collaboration place in which he worked. Judged by anced an intense concern for the with art historian James Marshall contemporary standards, which value natural world. As a teacher, he left Plumer, an orientalist at the Univer­ pluralism, worldliness and sophistica­ students a rich set of technical and sity of Michigan who studied temmo- tion, many of his design elements and aesthetic tools for apprehending their ku ware, Foster had investigated the aesthetic strategies seem derivative or world; and as a ceramist, he left a aesthetics and techniques of Far East­ perhaps naive: in his enthusiasm for strong body of work that shares his ern ceramics, particularly Chinese an ever-widening ceramic world, Fos­ concise and precise notions of what Yiieh ware. Its influence was seen in ter sought to appreciate, rather than clay might become. A

40 CERAMICS MONTHLY abovePlate titled “Dog,” 6¾ inches in diameter, with low- fire glazes—bright red, yellow and black on a white ground (each color is outlined with a thin line of exposed red earthenware body), 1954, by John Foster (above left). top “Sukiyaki Rice Bowls,” to2A 9 inches in diameter, porcelain with Albany/umber slip and black oil-spot glaze, 1953. right Porcelain vase,9 V2 inches in height, with crystalline glaze (green crystals on amber ground), 1956.

June/July/August 1991 41 PHOTOS: ROBERT VIGILETTI

“Geometric”4V2 inches in diameter, porcelain with sgraffito decoration through satin black glaze, 1953.

Porcelain bowl,6 V2 inches in diameter, with pale yellow crystalline glaze, circa 1950, by John Foster, whose meticulous craftsmanship belies the fact that he lost his right hand in an accident.

42 CERAMICS MONTHLY Ah-Leon 14 Principles of Gooda Teapot

CHING-LlANG CHEN (Ah-Leon) is a Test pieces are fired, and the cor­ Chinese potter working in the Yixing ners chipped. “A fired stoneware body tradition, but “determined to culti­ should show beautiful interior color, vate his own garden of expression.” as well as firm structure. Moreover, Because the work of Yixing has been Chinese potters stress the sandiness “honored from generation to genera­ of the inner structure as well as the tion, numerous teapots are being surface texture. To examine the in­ made in one stereotype.” Today, he ner structure, they break off a corner sees “potters who ‘produce’ but who of a test piece. do not ‘create’ pots. And materials “There are hundreds of theories being employed are limited to purple on evaluating a teapot, and much ad­ sand and red clay.” vice too. My favorite is ‘to care for A native of Taiwan, Ah-Leon cur­ both the theory and the interest.’ It is rently has a studio at the top of a five- Taiwan potter Ah-Leon. easy to understand this sentence, but story apartment building in Taipei. It difficult to carry it out.” is equipped with five potter’s wheels, from “freezing” as substantial fuel is The following 14 principles on mak­ a ball mill, three slip mills, a gas kiln drawn off during firing. ing a teapot are drawn from his expe­ and two electric kilns (one is experi­ Ah-Leon’s clay comes from a moun­ riences. The first nine address theory; mental—equipped with computer- tain near his home. “I pick up some the last five are for interest’s sake. driven controls). Ah-Leon built the dirt, hammer it, screen it and com­ Begin with good clay: The character­ gas kiln. Its design incorporates what bine it with other clays. Having ap­ istics and quality of the clay decide he calls a “water closet,” which allows prenticed to Taiwanese potters, I the texture and tint of the pot. Only a heat from the chimney to warm wa­ understand the local clay. Like a pen craftsperson, who understands the ter; in turn, this water contacts the to a writer, it is so important that a nature of the clay, can utilize it well. liquid propane tank, preventing it potter engage with the clay.” The body must be thin: The wall thick­

Working under the influence of the Yixing teapot tradition, Ah-Leon concentrates on expression.

June/July/August 1991 43 A kettle to boil water is designed to fit on top of a charcoal “Hanging Heart Pot ” approximately 9 inches in height, stove; both are thrown from a flameware clay body. thrown and handbuilt from local, sandy stoneware.

ness decides the weight of the pot and is well balanced, the pot will be steady hardness. The best example of this is the feeling of touch. when lifted. the ancient pot that has been passed The lid must fit tightly against the rim The base should be round and gentle: down through generations, but re­ and still look graceful: It can’t be too The bases of teapots vary a lot; this mains intact. Those that are not hard loose; otherwise, the fragrance will interests many appreciators as well as enough have already been destroyed. come out through the crack. The most potters. As the saying goes, we are The teapot must look sound: Harmo­ difficult part to make is the lid. supposed to evaluate a person from nizing color, shape and volume pro­ The rim must be level: If the rim is bottom to top; in the case of a teapot, duce a feeling of quality. It is not well designed, it will not be difficult to we should appreciate from the base necessary for the pot to be large. Ex­ seat the lid. too. The base is where the body ends, aggeration might destroy the feeling The tea must flow smoothly: If the and where the teapot touches the of quality. neck is clogged, it won’t pour the tea table. If it is carelessly made, the whole The spirit must be enduring: The spirit easily, let alone pass through the spout shape will look wrong. to the pot is the life to a human be­ freely and smoothly. The body should be elegant and unique: ing. Enduring spirit is not only the The spout must function well:The The teapot elements (body, handle bone, the structure of the work; it is outlet of the spout controls the size of and spout) make a vessel, but it will also the maker’s disposition. the flow and the last drop of the pour­ be worthless without elegance. The The tone must be profound:The tone ing. A full teapot should not spill its designing of the body is a language is like the pulse. We can find tone and contents onto the table. explaining its identity, context and dis­ spirit in every artistic work. The handle must be appropriate: When position. If it is unnatural, the pot will “As our ancestors advised, we appreciating a teapot, the first thing be vulgar. A vulgar pot can’t be shown should choose interest and taste, and we touch is the handle; that has a lot in public, while an elegant pot has a sacrifice theory when it is impossible to do with the pot’s disposition. If the refined and dignified disposition for to maintain both. For what we want is handle is properly arranged, the whole all to see. the joy of life rather than the theory. framework appears right. The firing must be appropriate:The “The most important thing about The pot must be steady when lifted: type of fire and time needed are the a teapot is not its shape or color,” says The handle’s shape is part of the pot, last artistic goals the potter pursues. Ah-Leon. “Most important are the but its function is the lifting. Potters Different types of clay need different ideas and cultural background behind should recognize that these are two temperatures and firing cycles; these it. A teapot without taste and mean­ different things. So long as the handle elements decide appearance and ing is only a thing, not a work of art.” ▲

44 CERAMICS MONTHLY PHOTOS: JIM DUSEN, AND COURTESY OF THE ARTIST

right Ah-Leon’s studio/showroom/ home is at the top of a five-story apartment building in Taipei. below “Trunk Teapot” carved, reduced stoneware, approximately 8 inches in length. “As our ancestors advised, we should choose interest and taste, and sacrifice theory when it is impossible to maintain both. For what we want is the joy of life rather than the theory.”

June/July/August 1991 45 Italian Architectural Influences by Mary Lou AJberetti PHOTOS: LEO PHILLIPPE

FINDING ONE’S DIRECTION in ceramic the streets of that ancient city forced ite or volcanic rock. Others were com­ sculpture is somewhat similar to em­ me to see architecture in a new light. posed of brick covered with a veneer barking on a journey without any clear Our small, rented house was situ­ of stucco. Regardless of the material, road markers to point the way. Occa­ ated in a medieval section of town, I immediately sensed their surface af­ sionally one comes across a light to right on the edge of the city wall, on a finity with clay. This first visit to Italy illuminate the path and guide one’s street too narrow for cars to pass. Here, awakened in me a deep appreciation aesthetic vision. Italian architecture, where everything is made of stone, for urban architectural forms. from the Early Christian era through shadow and light play hide-and-seek Inspired by what I had seen, on the 16th century, has served both as a in the hot Mediterranean sun. The returning to Connecticut, I was anx­ road map and a light of inspiration arcaded streets open into steeply ious to get back into my studio. Site for my work of the past six years. stepped passageways. The steps spill sketches, slides and photographs Free-standing sculpture and pottery out into piazzas of sienna, gold, gray proved invaluable references. They were the antecedents to my growing and dusty rose. Also striking are the helped clarify issues of scale, light, interest in sculptural wall reliefs. I had remarkable changes in scale, from color and form. been attracted to such wall pieces and one- and two-story houses to huge, In response, I turned to extrusion, architectural forms in museums, butmultistoried churches and fortress press molding, impressing and carv­ a summer in Italy in 1985 was a par­ walls. Still, the streets, walls and build­ ing. To achieve a sense of the texture ticularly influential experience. Liv­ ings create a unified whole. and color of time-worn walls, sawdust, ing in Urbino, without a car, I walked I remember being astonished and sand, coffee grounds and rice mixed everywhere. It wasn’t unusual to cover delighted with such functional archi­ into slips, along with Mason stains, 8 to 10 miles a day on foot. More than tectural details as doorways—some oxides and underglazes, worked well. just an invigorating lifestyle, roaming carved from marble, some from gran­ A sabbatical from Southern Con-

46 CERAMICS MONTHLY above“Colonna di Umbria ,” 52 inches in height, press molded, slab built and carved, with slips and clear glaze wash, fired to Cone 05 in oxidation, $3200, by Mary Lou Alberetti (above left).

top right “Ricordo 24 inches in height, $2200.

right Pen, ink and colored pencil drawing of an abandoned chapel in Urbino, Italy. Site sketches, slides and photographs helped Alberetti “clarify issues of scale, light, color and form.”

June/July/August 1991 47 necticut State University in 1986, a each section from the following clay Slip 2 subsequent research grant and two body, carving, impressing or applying (Cone 05) summer sessions teaching in Urbino, details: Gerstley Borate ...... 40% gave me further opportunities to study White Sculpture Body Bentonite...... 1 Italian architecture. The magic was (Cone 05) Edgar Plastic Kaolin ...... 10 still there. Spodumene...... 9 parts Kentucky Ball Clay (OM 4)...... 20 In Ferrara, I sketched the columns Talc...... 10 White Sculpture on the side of the main cathedral. Cedar Heights Goldart...... 12 Clay Body (dry) ...... 24 They marched along in pairs—over Kentucky Ball Flint...... 5 250 of them (it seemed natural to Clay (OM 4) ...... 12 100% count them!)—at once the same, yet North American Fireclay ...... 30 infinitely varied, a vision of gaiety, form Molochite...... 14 Slip 3 and rhythm. Filler*...... 5 (Cone 05) In Volterra, I walked through the 92 parts Ball Clay ...... 25% town mindful of the history beneath Edgar Plastic Kaolin ...... 20 my feet—Roman roads, chunks of *Nylon fiber, sawdust, wood shavings, vermiculite, crushed red brick. White Sculpture Etruscan walls. Ancient strata were re­ Clay Body (dry) ...... 50 vealed in the juxtaposed Early Chris­ Once the forms are resolved, I im­ mediately begin surface treatment— Flint...... 5 tian, Romanesque, Renaissance, 100% Gothic and Baroque architecture— spontaneous application of color on doors chinked up, rebuilt, reshaped; the nearly finished wet to leather-hard All three recipes are mixed with tex­ evidence of repeated face-lifts; rem­ piece, sgraffito, rubbing through lay­ tural ingredients (sawdust, sand, cof­ nants of arches; columns embedded ers of color, adding, subtracting, fee grounds and rice) and oxides or in new stone. brushing, sponging, pouring and stains. I am working toward that same scumbling. Slips used in these pro­ This painterly approach is an ex­ sense of color, light and texture in my cesses include: hilarating process, as the works simul­ current wall reliefs. They range in size Slip 1 taneously become drawings, paintings from 18x12x2 inches to 70x24x5 (Cone 05) and sculpture. inches. The larger forms are usually Talc ...... 40% diptyches or triptyches of approxi­ Ball Clay ...... 60 The author Mary Lou Alberetti resides mately 2-foot-square units. I slab build 100% in New Fairfield, Connecticut.

above“di Pietra,” 25 inches in length, slab-built, carved and impressed wall form, with colored/ textured slips applied on wet to leather-hard clay, $1600, by Mary Lou Alberetti. This piece was influenced by an on-site pencil sketch (left) of stonework in Florence, Italy.

48 CERAMICS MONTHLY Shiro Otani A Ceramics Monthly Portfolio by Rob Barnard The landscapes on Shigaraki jarsperson’s view of ceramic art. presided over a new aesthetic Japan and is felt even here in have seasons also. Some jars are Try to imagine, if you can, be­ in the tea ceremony that trans­ the West. as bright and vivacious as a springing raised in a town whose formed forever the way Japa­ When Otani bought land morning, with green glaze cascad­identity was formed by the nese view the commonplace and built his own wood-burn­ ing over a warm orange surface. esoteric and poetic descrip­ objects that surround them. ing kiln across the road from Others are moody and withdrawn,tions of its wares voiced by This aesthetic, referred to as Shigaraki’s old imperial palace barely touched with color—streaks15th-century tea masters, and wabi cha, elevated rough, natu­ in 1973, he was totally ab­ of lavender and blue—against drybecoming aware from your ralistic and mundane objects sorbed with the idea of work­ gray clay. The 15th-century tea earliest moments of the into the realm of connoisseur- ing in the tradition of men who first brought those jars uniqueness of Shigaraki pot­ ship, which until then had Shigaraki that had developed into their tea rooms knew howtery. to Consider what it would been occupied exclusively by around Juko’s philosophy of read the landscape, just as they be like to work your way more elaborate and techni­ wabi cha and was epitomized could read shadings of ink on throughpa­ high school as a la­ cally sophisticated pottery by those early Shigaraki tea per and see mountains andborer in various potteries; and, from China. Juko’s poetic de­ wares. Shiro Otani’s image of streams. In their mind’s eye, they after graduation, to study with scription of Shigaraki and that tradition springs from and saw the valley that had made the a pottery decorator, then Bizen as being “chilled and revolves around a special feel­ jars. spend five withered,” ing he has for two elements —Louise Cort years deco­ and his he believes make Shigaraki Shigaraki Potters’ Valley rating over linkage of ware special. The first is the 50 hibachi this kind of material itself: a coarse, white, Shiro Otani was born in a day. This apprecia­ highly refractory clay, flecked Shigaraki in 1936. For the ma­ was Otani’s tion with with feldspathic rocks that ap­ jority of American potters, youth. Shi­ the search pear to erupt over the entire whose awareness of pottery garaki pot­ for spiritual surface of the pot when it is came late in adolescence tery was enlighten­ fired. The second is the inter­ through the introduction re­ more than Otani’s studio in Shigaraki. ment made action of the clay with ash and ceived in university ceramics just part of wabi cha flame in the lengthy and in­ classes, it may be difficult to his daily life; it became part of (and objects like the Shigaraki tense wood firing that gives understand all that being bom his psyche. jars that embody it) a power­ Shigaraki pottery its distinctive in Shigaraki implies; and how, In the late 15th century, ful philosophical and aesthetic surfaces, ranging from soft for better or worse, it shapes a the tea master Murata Juko force that still reverberates in pinks and oranges to crusty

above Shiro Otani with a 150-year-old Shigaraki jar outside his showroom. portfolio cover Vase with ash-wind glaze, 12 inches high; Otani arranging flowers in one of his pots displayed on an old potter’s wheel converted into a small table. Vase, approximately 14 inches in height, wheel-thrown stoneware, fly-ash glazed, wood fired. A Ceramics Monthly Portfolio gray and toasted brown cov­ ture and the National Endow­ taking the kinds of risks that over the Great Smoky Moun­ ered with transparent olive ment for the Arts. He spent a most Japanese potters would tains National Park, I re­ green glaze. Although other year at the University of Ten­ find unacceptable. This desire thought these problems as if places in Japan also have a long nessee, and a brief period at not only led him to live and standing outside myself.” history of wood-fired ware, Arrowmont School for Arts work in an alien culture where There was no sudden mo­ Shigaraki’s clay and the and Crafts, where he built and his cultural preconceptions ment of enlightenment where unique way it interacts with fire fired a Japanese-style, wood- were severely challenged, but he clearly saw the direction his have made it recognizable burning anagama. also forced him to focus on work should take. Instead, cer­ worldwide. Although his stay in the that part of his work where tain elements and concepts Up until the mid 1970s, U.S. was personally gratify­ the superficial idiosyncrasies of slowly seemed to reassert Otani expended all his energy ing—allowing him to meet, ex- culture cease to be relevant. themselves in his mind and be­ and resources learning how to change ideas and form Otani’s approach, both then gan to take on renewed sig­ make and fire work that fit his friendships with many Ameri­ and now, reminds me of some­ nificance. One of the most image of traditional Shigaraki can craftspeople—it only cre­ thing Walt Whitman said in important of these was the con­ ware. Then, he experienced a ated more confusion in his Leaves of Grass: “I reject none, cept of harmony. A vase, for kind of crisis in faith and be­ mind about exactly what kind accept all, then reproduce in example, must not only accom­ gan to fear that it was impos­ of work he wanted to make. my own form.” modate the flowers it was made sible as a modern artist to The freedom to experiment In 1985, Shiro Otani re­ to contain, but also fashion a make any impact on the exhausted him. He started turned to Arrowmont for three moment in space where those Shigaraki tradition. It seemed down numerous paths of in­ months to make work for a flowers together with the vase to him that there might not quiry only to reach as many Tokyo exhibition. In the cata­ create an aesthetic or spiritual be any room for his personal dead ends. It was a time when log for that show, he wrote: resonance that either of them aesthetic investigations. Otani he changed his mind a lot, a “Since Shigaraki ware is un­ alone would have been unable struggled through the early time when he was often un­ glazed and carries no external to achieve. This idea of har­ ’80s to find his own voice, at sure of himself, and his work design, its quality can only be mony, which eschews the times even exploring possibili­ by his own admission reflec­ expressed in such abstract supercilious and egotistical in ties outside the Shigaraki tra­ ted this state of uncertainty. words as ‘taste’ or ‘sense of favor of the subtle and unas­ dition. In 1980, for example, This period shows, though, understated elegance.’ Within suming, forms the cornerstone he applied for and received perhaps more than anything these parameters, I asked my­ of Otani’s idea of beauty. This an exchange fellowship from else the strength of Otani’s de­ self what it was that I could kind of harmony, however, the Japanese Ministry of Cul­ sire to find his own voice by add to Shigaraki. Looking out should not be confused with above “1981 Plate,” approximately 16 inches in length. A plate is simply a surface for serving food. In that context, this challenging piece “can be read as two plates, each with its own distinct surface and edge. Furthermore, when...placed side by side, they create the sort of dynamic tension that either piece alone or both together as an unbroken whole would be incapable of delivering.” “Hanging Vase,” approximately 8 inches in height, wheel thrown from local clay (a coarse, white, refractory body flecked with feldspathic rocks), wood fired, with traditional bronze eyelet for wall mounting. A Ceramics Monthly Portfolio the easily appreciated, predi­ plate is simply a surface on ential potters of his generation amine our preconceptions gested sort of beauty that lacks which food can be served. In in Japan. about how beauty can be ex­ psychological texture and that context we see that this Otani, like all modern pot­ pressed inside that tradition. emotional tension. Instead, it piece can be read as two plates, ters who are engaged in the Some of Otani’s works are is much like the imperfect per­ each with its own distinct sur­ struggle to fashion meaning more aggressive in this respect fection of nature—fragile, raw, face and edge. Furthermore, rather than mere utensils, is than others, but all are about full of contradictions—that is when the two are placed side involved in creating objects his struggle—and we could say never redundant and always by side, they create the sort of that actively challenge our our own—with the dilemma compelling. Shiro Otani tries dynamic tension that either imagination and point beyond of what it means to be mod­ to emulate these qualities in piece alone or both together themselves to ideas, feelings ern and yet feel mysteriously his own work by the continu­ as an unbroken whole would and emotions that are part of drawn to primordial forms of ous denial of the superfluous, be incapable of our cultural as expression. as well as his insistence on delivering. Otani well as our per­ Like tea-ware potters of the searching for beauty in the not only has en­ sonal lives. A late 16th and early 17th centu­ basic, rather than trying to find larged our no­ vase, for exam­ ries, who built on the tradi­ it in the lavish and/or the ex­ tion of the plate ple, may appear tion of Shigaraki that preceded travagant. and how it can mannered and them, Otani has struggled to One of the best examples be perceived and self-conscious expand on what he inherited. of melding this notion of har­ used, but also when compared He has taken that history and mony with his desire to fash­ has invited us, to the deliber­ combined it with his own mod­ ion a personal statement inside through use, to ately crude mod­ ern vision to give us work that the Shigaraki tradition is his participate in his eling of early somehow satisfies both our “broken” ware. Begun in the aesthetic propo­ Shigaraki tea sense of continuity with the early ’80s, these plates and sition. Though wares that were past and our desire to explore vases were made deliberately controversial, Otani throws clockwise.trying to affect the possibilities of the future. to crack or break in the long these dramatic the rusticity of firing. and elegant statements have older utilitarian jars. By play­ The author Rob Barnard pro­ While “1981 Plate” may brought significant critical rec- ing, however, to our traditional duces wood-fired ware at his stu­ seem to be nothing more than ognition and mark Shiro view of Shigaraki, while at the dio in Timberuille, Virginia; he is a dysfunctional abstraction, Otani’s emergence as one of same time contradicting that also the ceramics editor for New one only has to realize that a the most important and influ­ view, Otani forces us to reex­ Art Examiner.

Otani constructed his kiln across the road from the old imperial palace in Shigaraki; at the front it has one large anagamalike chamber, sloping uphill to additional noborigamalike chambers. Heavily fly-ash-glazed vase, approximately 12 inches in height, wheel thrown from feldspathic Shigaraki clay, wood fired. A Ceramics Monthly Portfolio Wood-fired vase, approximately 16 inches in height; such works have brought “significant critical recognition and mark Shiro Otani’s emergence as one of the most important and influential potters of his generation” A Ceramics Monthly Portfolio Agustin De Andino’s Mural by Raul Acero

A COMMISSION to itself would then serve as a template were brushed with stains and com­ create an exterior to cut the tile to its correct shape. mercial glazes, then fired to Cone 6. ceramic mural at Working with a Cone 6, dark brown The building wall was prepared for Hostos Commu­ clay body and firing in an electric kiln, installation with a scratch coat of con­ nity College in the he calculated shrinkage and had crete, copper cap flashing and stain- Bronx was com­ molds made accordingly; then sculp­ less-steel corner iron. This was pleted recently by tor Paul Konchagulian was asked to fabricated and installed by the same Agustin De Andi­ fabricate a press for the molds. Once firm De Andino hired to install the no, a well-known the press and molds were ready, pro­ tile, and their advice and expertise figure on the art scene in his native duction was begun. proved invaluable. San Juan, Puerto Rico, and presently The raw tiles were completed in The tiles were then placed using an adjunct assistant professor of art at eight weeks. Due to the pressing thin-set mortar; %-inch vertical expan­ Kingsborough Community College of method, tiles remained remarkably sion joints were left at 10-foot inter­ the City University of New York. The flat and uniform, and there was very vals. A coat of stucco completed the state-funded commission was the re­ little waste. Bisqued at Cone 04, they building facade.A sult of a competition to incorporate art into buildings on campus. De Andino submitted a maquette, scaled down to 1 inch equaling 1 foot, to represent his idea for a 30x5-foot space; also prepared were a budget and a timetable for completion. Seiz­ ing on the school’s name (after the Puerto Rican visionary and educator Eugenio Maria de Hostos), he sug­ gested a tile mural fusing the land­ scape and colors of the Caribbean to represent Hostos’s idea of a federa­ tion of Caribbean nations. The frieze, entitled “The Unification of the Americas,” would incorporate six dif­ ferent designs organized into blocks of ten and repeated throughout. On learning that he had won the competition, De Andino enlisted the help of New York ceramist Renee Azenaro. The two set about refining the designs to enable them to create standardized tiles that could be inter­ changed easily. De Andino was familiar with the difficulties of producing tiles free of warpage, having already done a tile commission for the Prudential Life Insurance headquarters in Princeton, NewJersey. Using what he had learned from that experience, De Andino de­ “The Unification of the Americas” 30 feet in length, a tile mural composed of six cided to make molds that would be different designs (press-molded, bisqued, stained/glazed and fired to Cone 6), at pressed into a clay slab. The mold Hostos Community College in the Bronx, New York, by Agustin De Andino.

June/July/August 1991 57 Working with Leaf

Explorations in Gold by Cheryl Williams

THE CONTRAST of brilliant gold on a on the inside, often coarse and plain on the rim of a cylinder allows a pot­ rough-textured clay body intrigues me. on the outside. ter to easily preserve a pot’s narrow Hence my recent experimentation A workshop with Berkeley potter mouth while reaching inside to fully with gold leaf on bowls thrown from Jim Gremel in 1989 was the catalyst expand the wall. Taking this technique clay containing a large percentage of for this work. He demonstrated the one step further, I also began pushing sand or grog. To me, these bowls are a technique of throwing with 6-inch-dia- out the rims of my bowls until they metaphor for humankind: luminous meter wooden rings. Placing a ring achieved maximum thinness. The

Gold leaf (a sheet of very thin gold metal) may be applied totakes one to five hours to become sufficiently tacky. With any clay surface, smooth or rough, depending on the desired clean fingers, a sheet of gold leaf is carefully removed from effect—the smoother the clay, the more mirrorlike the gold. its book, then laid in place. Once positioned, the leaf is First the surface is coated with a gilding adhesive, which adhered by tapping with the fingers or a brush.

58 CERAMICS MONTHLY work with gold leaf came shortly there­ brush, then rub with a smooth cloth after, when I had the impulse to con­ or brush. trast the bowls’ coarse exteriors. Gold may be purchased in several For those wishing to experiment forms: powder, skewings (confettilike with gold leaf, I recommend using a pieces of gold, often used for culinary soft, bushy brush with flat sides. Sable purposes—decorating cakes, cham­ brushes are excellent, but not essen­ pagne punches, etc.), ribbons (rolls ½ tial; a less expensive brush can serve to 4½ inches wide and 69 feet long), well. Leaf application is basically a two- and books of thin sheets of varying step process: Cheryl Williams, Eugene, Oregon, with thicknesses. Composition gold leaf, or 1. Brush the surface to be gilded a selection of her gold leaf work. metal leaf, is actually a mixture of cop­ with a small amount of adhesive (such per and zinc; while European gold as Old World or Easy Leaf). The sur­ clothes, hair, etc. The static charge leaf is composed of gold that ranges face may be either rough or smooth, draws the leaf to the brush, so that it anywhere from 16 to 24 karats. I pre­ depending on the desired effect. can be gently lifted from the book of fer using sheets, and purchase them 2. When the adhesive becomes leaves. Of course, too much static can from Sepp Leaf Products, Incorpo­ tacky (one to five hours), lay the leaf be a deterrent to placement. That’s rated; 381 Park Avenue, South; New in place. I carefully position each sheet why I prefer the free-floating applica­ York 10016; (212) 683-2840. Prices with very clean fingers, but some pot­ tion achieved by simply using one’s currendy range from $25.50 for a 25- ters like to use a brush charged with hands. Once the sheet is in place, ad­ sheet book of 16-karat leaf to $42.00 static electricity by rubbing it on their here by tapping with the fingers or a for a 25-sheet book of 24-karat leaf. A

above A wooden ring stuck on the rim of a thrown cylinder (during shaping) allows the wall to be fully expanded while maintaining a small mouth.

top Bowl, 11 inches in height, thrown from a high-sand stoneware body, fired to Cone 10, surfaced with airbrushed acrylics and gold leaf.

left Stoneware bowl, 14 inches in height, wheel thrown, bisqued, exterior covered with “granite”glaze, fired to Cone 06, interior covered with gold leaf.

June/July/August 1991 59 60 C eramics Monthly June/July/August 1991 61 July 5 entry deadline Ingram, Texas “Counterpoint” (August 25- Call for Entries September 29), open to fine crafts, graphics and Exhibitions, Fairs, Festivals and Sales photography. Juried from slides. Fee: $22 for up to 3 entries. Awards: $2200. Send sase to Hill Country Arts Foundation, Box 176 CM, Ingram 78025; or telephone (512) 367-5121. July 6 entry deadline Gatlinburg, Tennessee “From All Directions” International Exhibitions (October 17-December 14). Juried from slides of up to 3 works. Jurors: John McGuire, Geneva, June 24 entry deadline New York; and John McQueen, Alfred Station, Dexter, Michigan “The Mask: 1991” (July 13- New York. Entry fee: $15. Cash awards. Contact August 24) .Juried from slides. Entry fee: $10; $5 Arrowmont School of Arts and Crafts, Box 567, for each additional entry up to 5. Commission: Gatlinburg 37738; or telephone (615) 436-5860. 40%. Awards: $500. Juror: Liza Bancell, artist/ August 9 entry deadline teacher/lecturer. For prospectus, send sase to Mesa, Arizona “Hidden Personas” (December the Farrington Keith Creative Arts Center, Clara lO^January 18, 1992), competition for artwork Kott Von Storch Gallery, 8099 Main Street, Dexter exploring the transformative power of masks. 48130; or telephone (313) 426-0236. Juried from slides. Jurors: Margaret Archuleta July 22 entry deadline and Krista Elrick. Awards: $1400. For prospectus, Toronto, Ontario, Canada “6th Annual Inter­ contact Galeria Mesa, Box 1466, Mesa 85211; or national Exhibition of Miniature Art” (Novem­ telephone (602) 644-2242. ber 1-December 30). Juried from up to 4 actualAugust 15 entry deadline works. Entryfee: Can$34 (approximately US$30). Wichita Falls, Texas “Works in Clay VII” (Octo­ Awards: over $8000. Contact Del Bello Gallery, ber 20-December 1). Juried from slides. Juror: 363 Queen Street, West, Toronto M5V 2A4; or Mary Roehm. Entry fee: $20 for up to 3 works. telephone (416) 593-0884 or fax (416) 593-8729. Commission: 30%. Awards: approximately $2000. October 18 entry deadline For prospectus, send sase to Polly Cox, 2609 Warrensburg, Missouri “Greater Midwest Inter­ Amherst, Wichita Falls 76308. national VH” (January 20-February 14, 1992). Juried from slides. Entry fee: $20 for a maximum Regional Exhibitions of 3 entries; maximum of 2 slides per entry. Awards: $1500 plus exhibition contracts. Send July 1 entry deadline business-sizeSASE for prospectus to Billi R. S. Kansas City, Missouri “Six States of Clay: A Rothove, Gallery Director, Central Missouri State Juried Midwestern Competition” (October 4— University, Art Center Gallery, Warrensburg 29), open to artists from Arkansas, Iowa, Kansas, 64093; or telephone (816) 429-4481. Missouri, Nebraska and Oklahoma. Juried from slides. Entry fee: $ 15 for up to 3 entries. Juror: Val National Exhibitions Cushing. For prospectus, send #10SASE to Six States of Clay, Kansas City Artists Coalition, 201 June 15 entry deadline Wyandotte, Kansas City64105; or telephone (816) New Haven, Connecticut “The Celebration of 421-5222. American Crafts” (November 11-December 23). September 28 entry deadline Juried from slides. For prospectus, send sase to New Rochelle, New York “New Rochelle Art the Celebration, Creative Arts Workshop, 80 Association’s 77th Annual Open Juried Exhibi­ Audubon Street, New Haven 06510; or telephone tion” (September 30-0ctober 19), isjuriedfrom (203) 562-4927. works hand delivered on September 28,10 A.M- Chicago, Illinois “Anticipation ’91” (Septem­ 2 P.M. Over $2500 in cash and art material awards. ber 19-22, in conjunction with the International For prospectus, send #10 sase to Br. Andrew La New Art Forms Exposition), open to emerging, Combe, 148 Main Street, New Rochelle 10802; or unrepresented artists and craftspersons. Juried telephone (914) 235-4554. from a maximum of 3 slides. Jurors: Edward Cooke, Jr., associate curator of American Deco­ Fairs, Festivals and Sales rative Arts and Sculpture, Museum of Fine Arts, Boston; Wayne Higby, artist/professor, New York June 15 entry deadline State College of Ceramics at Alfred University; Pittsburgh, Pennsylvania “A Fair in the Park” andJoanne Rapp, owner,Joanne Rapp Gallery/ (September 6-8) .Juried from 5 slides. Entry fee: The Hand and the Spirit, Scottsdale, Arizona. $5. Booth fee: $120. Contact A Fair in the Park, Entryfee: $20. Awards: $4000. Contact Anticipa­ Box 10128, Pittsburgh 15232; or telephone (412) tion ’91,600 North McClurg Court, Suite 1302A, 361-8287. Chicago 60611; or telephone (312) 787-6858 or June 25 entry deadline fax (312) 787-2928. San Diego, California “Contemporary Crafts June 20 entry deadline Market” (October 12-13). Juried from 5 slides. Wichita, Kansas “The Wichita National” (Sep­ Entry fee: $15. Booth fee: $390 for a 10x10-foot tember 12-October 27). Juried from slides. Ju­ space; larger and smaller booths available. Con­ ror: Marcia Manhart, executive director, Phil- tact Roy Helms or Chris Andrews, 777 Kapiolani brook Museum, Tulsa, Oklahoma. Entryfee: $20 Boulevard, Suite 2820, Honolulu, Hawaii 96813; for up to 3 entries. Awards: $3000 cash, plus or telephone (808) 422-7362. purchase prizes. Commission: 30%. For prospec­ SanFrancisco, California “Contemporary Crafts tus, send first-class stamp to Wichita Center for Market” (March 21-22, 1992). Juried from 5 the Arts, 9112 East Central, Wichita 67206; or slides. Entryfee: $15. Booth fee: $450 for a 10x10- telephone (316) 634-2787. foot space; larger and smaller booths available. June 30 entry deadline Contact Roy Helms or Chris Andrews, 777 Richmond, Virginia Place setting exhibition Kapiolani Boulevard, Suite 2820, Honolulu, (January 10-February 28,1992) .Juried from 10-Hawaii 96813; or telephone (808) 422-7362. 20 slides. Send a resume and sase to Place Set­ Santa Monica, California “Contemporary Crafts tings, Hand Workshop, 1812 West Main Street, Market” (November 1-3) .Juried from 5 slides. Richmond 23220; or telephone (804) 353-0094. Entry fee: $15. Booth fee: $434 for a lOxlO-foot space outside, $530 for a 10x10 inside; larger or Send announcements of juried exhibitions, fairs, festi­smaller booths available. Contact Roy Helms or vals and sales at least four months before the event’s Chris Andrews, 777 Kapiolani Boulevard, Suite entry deadline (please add one month for listings infuly 2820, Honolulu, Hawaii 96813; or telephone and two monthsfor those in August) to Callfor Entries, (808) 422-7362. Ceramics Monthly, Box 12448, Columbus, OhioJune 29 entry deadline 43212; or telephone (614) 488-8236. Fax announce­ Manitou Springs, Colorado “Commonwheel ments to (614) 488-4561. Artists 17th Annual Labor Day Arts and Crafts

62 CERAMICS MONTHLY June/July/August 1991 63 Call for Entries

Festival” (August 31-September 2). Juried from 3 slides. Entry fee: $5. Booth fee: $55 for a 10x10- foot space. Commission: 10%. Contact the Commonwheel Fair, Box 42, Manitou Springs 80829; or telephone (719) 685-1008. June 30 entry deadline Mobile, Alabama “27th Annual Outdoor Arts and Crafts Fair” (September 28-29) Juried from slides. Entry fee: $10. Booth fee: $75. Awards: up to $6500 in purchase, distinction and merit awards. Contact the Fine Arts Museum of the South, Outdoor Arts and Crafts Fair, Box 8426, Mobile 36689. July 1 entry deadline Eureka Springs, Arkansas “15th Fall Art Fair” (October 11-13) .Juried from 5 slides. Entry fee: $10. Booth fee: $65 or $95. Awards. For further information contact Lynn Williams, Uptown Gallery CM, 123 Spring Street, Eureka Springs 72632; or telephone (501) 253-8313. Herkimer, New York “16th Annual Herkimer County Arts and Crafts Fair” (November 9-10). Juried from 5 slides. Fee: $100 ($5 non- refundable). Awards. Sendsase to HCC Founda­ tion Arts and Crafts Fair, Jackie Baggetta, Reser­ voir Road, Herkimer 13350. July 5 entry deadline Auburn Hills, Michigan “Golden ’90s Exposi- tion-Auburn Flills” (October 11-12 and/or November 15-16). Juried from 3 photos, 1 of display. Booth fee: $135 and up. Contact Michi­ gan Cultural Association, Box 877, Sterling Heights, Michigan 48311; or telephone (313) 795-4258. Port Huron, Michigan “Golden ’90s Exposi- tion-Port Huron” (November 1-3) .Juried from 3 photos, 1 of display. Booth fee: $135 and up. Contact Michigan Cultural Association, Box 877, Sterling Heights, Michigan 48311; or telephone (313) 795-4258. Rochester, Michigan “Golden ’90s Exposition- Rochester” (November 29-30). Juried from 3 photos, 1 of display. Booth fee: $195 for a 10x11- foot space. Contact the Michigan Cultural Asso­ ciation, Box 877, Sterling Heights, Michigan 48311; or telephone (313) 795-4258. Taylor, Michigan “Golden ’90s Exposition- Taylor” (October 18-20) .Juried from 3 photos, 1 of display. Booth fee: $135 and up. Contact Michigan Cultural Association, Box 877, Sterling Heights, Michigan 48311; or telephone (313) 795-4258. July 15 entry deadline Jacksonville, Florida “20th Annual Riverside Art Festival” (September 28-29). Juried from 3 slides. Registration fee: $75. Jury fee: $10 non- refundable. Awards: over $4000. Contact River­ side Art Festival Committee, Riverside Avondale Preservation, 904 King Street,Jacksonville 32205; or telephone (904) 389-2449. July 20 entry deadline Ellicottville, New York “17th Annual Fall Festi­ val Arts and Crafts Show” (October 12-13). Ju­ ried from 4 slides, including 1 of display. Entry fee: $5. Booth fee: $60 for a lOxlO-foot space. Send sase to Fall Festival Art Committee, Box 808, Ellicottville 14731. August 15 entry deadline Nashville, Tennessee'1 Tennessee Fall Crafts Fair” (October 11-13) .Juried from 5 slides. Entry fee: $10. Booth fee: $225 for a 10x10-foot space, $335 for 10x15, and $445 for 10x20. For further infor­ mation contact Tennessee Fall Crafts Fair, Box 120066, Nashville 37212; or telephone Alice Merritt (615) 665-0502. September 3 entry deadline White Plains, New York “9th Westchester Art Workshop Craft Fair” (November 9-10) Juried from 5 slides. Booth fee: $175 for an 8x10-foot indoor space. Contact Westchester Art Work- shop/Craft Fair, Westchester County Center, White Plains 10606.

64 C eramics Monthly June/July/August 1991 65 Questions CM, that you might like to experiment with: Griffith Porcelain Body David Leach Porcelain Body (Cone 8-10) Custer Feldspar...... 25% Answered by the CM Technical Staff (Cone 10) Bentonite...... 3 Potash Feldspar (Custer) ...... 25% Edgar Plastic Kaolin ...... 45 Grolleg Kaolin ...... 52 Flint...... 25 Quest White Bentonite...... 4 Macaloid...... 2 Q I have been searching for some very durable, Flint...... 19 100% translucent “trueporcelain” bodies with which to 100% experiment. I would particularly like a body simi­ For handbuilding strength, add 1.25% Du­ lar to that used at the Norwegian factory whose Flanagan Porcelain Body Pont ¾-inch nylon fiber. artistic director, PoulJensen, was featured in CM (Cone 10, reduction or oxidation) Utah Porcelain Body last year [June/July/August]. Could you recom­Cornwall Stone...... 12.5% (Cone 9-10, reduction or oxidation) mend some good ones suitable for throwing G-200 and Feldspar...... 12.5 Custer Feldspar...... 25% handbuilding that I can fire in a standard top- Kaolin (6 Tile Clay) ...... 25.0 Grolleg Kaolin ...... 55 loading electric kiln —? W.K Tennessee Ball Clay (9)...... 25.0 Kentucky Ball Clay (OM 4) ...... 8 The very best, true porcelain—like that Flint...... 25.0 Flint...... 5 used at Porsgrund in Norway—is quite 100 0 . % Macaloid...... 2 nonplastic (unsuitable for anything but cast­ Pyrophyllite ...... 5 ing), and fires at Cone 15—well beyond the Porcelain Body 100% range of most electric kilns (unless yours is (Cone 10, reduction or oxidation) fired with Globars or silicon carbide ele­ Ball Clay ...... 25% Ferguson’s Porcelain Body ments). There are recipes for good quality Feldspar...... 25 (Cone 10-11, reduction or oxidation) porcelain that can be fired at Cone 10 or Kaolin ...... 25 Custer Feldspar...... 19.42% below, well within the range of most electric Flint...... 25 Bentonite...... 1.63 kilns, though. Durability, however, is strongly 100% Grolleg Kaolin ...... 53.07 tied to firing temperature/vitreousness. Flint...... 12.94 Translucency can be improved with some Martin Porcelain Body Pyrophyllite (Pyratol) ...... 12.94 of the lower-firing “soft-paste” recipes; while (Cone 10, reduction or oxidation) 100 00 not true porcelains, they are quite handsome Kingman Feldspar ...... 25 % . % materials in their own right. Soft pastes are Grolleg Kaolin ...... 46 Dry mix the ingredients, add hot water and nearly glass because of high flux content. Kentucky Ball Clay (OM 4) ...... 16 stir as slip for at least five minutes with a The following are some soft- and hard- Flint...... 13 blade powered by an electric drill or a paste recipes, many from previous issues of 100% blunger; then dry to a workable consistency.

66 CERAMICS MONTHLY Porcelain Body NS7 (Cone 9) Nepheline Syenite ...... 30 % Edgar Plastic Kaolin ...... 25 Tennessee Ball Clay #7...... 15 Flint...... 30 100% Add: Bentonite ...... 3 %

Harry Hall Porcelain Body (Cone 9, reduction or oxidation) Dolomite...... 1.96% Nepheline Syenite ...... 9.80 Potash Feldspar ...... 9.80 Ball Clay ...... 19.61 Edgar Plastic Kaolin ...... 39.22 Flint...... 19.61 100.00%

Porcelain Body (Cone 6-11, reduction or oxidation) Nepheline Syenite* ...... 24.51 % Bentonite...... 4.90 Edgar Plastic Kaolin ...... 46.08 Flint...... 24.51 100.00% *Or substitute Cornwall Stone. Add a spoonful of tannic acid powder to the batch. Peleg Porcelain Body (Cone 6, reduction or oxidation) Talc...... 3.9% Custer Feldspar...... 11.5 Nepheline Syenite...... 9.6 Ball Clay...... 5.8 Georgia Kaolin ...... 17.3 Kaolin (6 Tile Clay) ...... 34.6 Flint...... 17.3 100.0%

Rothman Porcelain Body (Cone 3, reduction or oxidation) Desert Talc (51) ...... 6.25% Dolomite...... 3.13 Custer Feldspar...... 6.25 Nepheline Syenite...... 12.50 Edgar Plastic Kaolin ...... 46.87 Kentucky Ball Clay (OM 4) .... 12.50 Flint...... 6.25 Pyrophyllite ...... 6.25 100.00% Add: Bentonite...... 3.13%

Duca Porcelain Body (Cone 05, reduction or oxidation) Frit P-311 (Pemco) ...... 27.5% Frit P-830 (Pemco) ...... 27.5 Grolleg Kaolin ...... 38.0 Tennessee Ball Clay...... 5.0 Flint...... 2.0 100.0% Add: Macaloid...... 1.0% Subscribers’ questions are welcome and those of general interest will be answered in this column. Due to volume, letters may not be answered person­ ally. Address the Technical Staff, Ceramics Monthly, Box 12448, Columbus, Ohio 43212.

June/July/August 1991 67 ture brought about by immigrants. Location: Wyndham Franklin Plaza. For further informa­ Calendar tion contact Regina Brown, Executive Secretary, Conferences, Exhibitions, Fairs, Box 1677, Bandon, Oregon 97411. Wisconsin, MadisonOctober 16-19 “Vision: To­ Workshops and Other Events to Attend ward the 21st Century,” 55th annual conference of the Mid-America College Arts Association. Contact MACAA 1991, Department of Art, Uni­ versity of Wisconsin-Madison, Humanities Build­ Conferences ing, Madison 53706; or telephone (608) 262- 1660 or fax (608) 262-2150. D.C., Washington June 17 “Health and Safety Compliance: What the Glass and Ceramic In­ International Conferences dustry Needs to Know,” sponsored by the Society of Glass and Ceramic Decorators. Fee: $275 ($300 Australia, Queensland, BroadwayJuly 1-5 “Arts: after June 3); SGCD member, $225 ($250 after Industry Interface—Sixth National Ceramics June 3). Contact James Calderwood, Society of Conference” will include seminars, panel discus­ Glass and Ceramic Decorators, 888 17 Street, sions, workshops and gallery tours. Location: Northwest, Suite 600, Washington 20006; or tele­ Griffith University. Fee (US$ equivalents approxi­ phone (202) 728-4132. mate): Aus$335 (US$250), students Aus$200 Illinois, ChicagoSeptember 21 “The Millennium (US$150); on-site Aus$360 (US$270), students Series 1991: Social Signals,” the Coalition of Aus$220 (US$165). For further information con­ Creative Organizations symposium focusing on tact the National Ceramics Conference, Box 231, social and political issues pertinent to the artist Broadway, Queensland 4006; or telephone (07) and the collector involved in clay, glass, wood, 358 5121 or Phil Greville, Conference Manager metal and fiber; held in conjunction with the (07) 553 4419. Chicago International New Art Forms Exposi­ England, LondonJune 14-17 “The International tion. Coalition members: American Association Ceramics Fair and Seminar” will include “Ce­ of Woodturners, American Craft Council, Glass ramics from thejohannjacobs Museum, Zurich” Arts Society, National Council on Education for exhibition; and an antique ceramics, glass and the Ceramic Arts (NCECA), Society of North enamel sale; as well as lectures by Tatiana American Goldsmiths. Location: Rubloff Audi­ Arapova, curator, department of Oriental art, torium, Art Institute of Chicago. Fee: $50; NCECA State Hermitage Museum, Leningrad; Meredith members, $40. For further information contact Chilton, curator, George R. Gardiner Museum the Coalition of Creative Organizations, 600 of Ceramic Art, Toronto, Ontario, Canada; Sir North McClurg Court, Suite 1302A, Chicago Geoffrey de Bellaigue, director of the Royal Col­ 60611; or telephone (312) 787-6858 or fax (312) lection; Anthony Du Boulay, author/lecturer, 787-2928. former director of Christie’s, adviser on ceram­ February 13-15, 1992 “College Art Association ics to the National Trust of England and Wales; Annual Conference.” Location: Chicago Hilton H. E. Frost, curator, Dyson Perrins Museum, Hotel and Towers. For further information con­ Worcester, England; Leslie Grigsby, consultant, tact the College Art Association, 275 Seventh former assistant curator of ceramics and glass, Avenue, New York, New York 10001; or tele­ Colonial Williamsburg Foundation; Mary phone (212) 691-1051. Campbell Gristina, assistant to the director, Iowa, Iowa CityOctober 23-26 “American Wood- Cummer Gallery of Art, Jacksonville, Florida; fire ’91 Conference” will include aesthetics, pot­ Letitia Roberts, senior vice president/director ters and technical panels, plus lectures by Louise of European ceramics and Chinese export por­ Cort, author of Shigaraki, Potter’s Valley/curator celain, Sotheby’s, New York; William Sargen, at the Freer Gallery, Washington, D.C.; and associate curator, Asian export art, Peabody Charles Zug III, author of Turners and Burners/ Museum, Salem, Massachusetts; Rosalind Savill, professor of history, University of North Caro­ assistant to the director, the Wallace Collection, lina, Chapel Hill. Aesthetics panel members: London; Rosemary Scott, curator of Percival Rob Barnard, potter/author, Timberville, Vir­ David Foundation of Chinese Art, London Julian ginia; Kirk Mangus, potter/educator, Kent, Ohio; Thompson, deputy chairman, Sotheby’s, Lon­ John Perreault, critic/senior curator of Ameri­ don; Maureen Torgerson, research consultant, can Craft Museum, New York; Phillip Rawson, division of ceramics and glass, National Museum sculptor/author, Dorset, England; Mary Roehm, of American History, Smithsonian Institution, potter/director of Pewabic Pottery, Detroit; and Washington, D.C.; and Timothy Wilson, keeper Jack Troy, potter/educator/author, Hunting­ of Western art, Ashmolean Museum, Oxford, don, Pennsylvania. Potter panel members: Joy England. Fee: £8 for fair only (approximately Brown, South Kent, Connecticut; Mark Hewitt, US$14); £14 (approximately US$24), one lec­ Pittsboro, North Carolina; RandyJohnston, River ture plus entrance to fair; £9 (approximately Falls, Wisconsin; and Dave Shaner, Bigfork, Mon­ US$15), each subsequent lecture. Contact Inter­ tana. Technical panel members: Richard Bresna- national Ceramics Fair and Seminar, Booking han, potter/educator, Avon, Minnesota; Gary Office, 3B Burlington Gardens, Old Bond Street, Hatcher, potter, Mineola, Texas; John Neely, London W1X 1LE; or telephone (71) 734-5491 potter/educator, Logan, Utah; and Vernon or fax (71) 494-4604. Owens, potter, Jugtown, North Carolina. Fee: New Zealand, RotoruaJune 14-16 “ClayAZ Art registration, $100; late registration (beginning International Conference: Ceramics, Weaving, one week prior to conference), $125. Contact Spinning” will include preconference salt-glaze Center for Conferences and Institutes, 249 Iowa firing with Barry Brickell; demonstrations by Memorial Union, University of Iowa, Iowa City Brickell, Don Reitz and others; plus lectures and 52242; or telephone (319) 335-3231 or fax (319) tours. In New Zealand, contact Mark Chadwick, 335-3533. 100 Town Point Road, Maketu, RD 9, Te Puke; Pennsylvania, Philadelphia March 4-7, 1992 or telephone 0164 753 2102. In the U.S.A., con­ “NCECA 1992—Old Worlds/New Worlds,” an­ tact Northern Arizona University Art Gallery, nual conference of the National Council on Box 6021, Flagstaff, Arizona 86011; or telephone Education for the Ceramic Arts, focusing on the Joel Eide (602) 523-3471; Donald Bendel 523- formation and change of American art and cul- 2398; or Paula Rice 523-2622.

Send announcements oj conferences, exhibitions, Soloju­ Exhibitions ried Jairs, workshops and other events at least two months before the month of opening (add one monthCalifornia, for El Dorado HillsJuly 19-August 17 listings in July and two months for those in August)Mary to Mendlein-Schroeder, “Earth, Fire and Calendar, Ceramics Monthly, Box 12448, Columbus, Smoke,” raku and burnished vessels with mixed Ohio 43212; or telephone (614) 488-8236. Fax an­ media; at New Beginnings, 899 Embarcadero nouncements to (614) 488 4561. Drive, #2, The Village.

68 C eramics Monthly California, La JollathroughJune #Byron Temple; works by Arneson and 50 of his students; at at Gallery Eight, 7464 Girard Avenue. Natsoulas/Novelozo Gallery, 140 F Street. California, VenturaAugust 2 7-September 22 Hanna California, DowneythroughJuly 7 “Ceramics Now Lore Hombordy, “Contrasts,” clay, mixed me­ 1991”; at the Downey Museum of Art, 10419 dia; at Buenaventura Gallery, 700 E. Santa Clara. Rives Avenue. Connecticut, Washington Depotthrough June 14 California, Lincoln June 1-29 “Fourth Annual Paul Chaleff; at Mendelson Gallery, Titus Square. Feats of Clay,” juried national; at the Gladding, D.C., Washingtonthrough June 22 Otto Natzler, McBean and Company terra cotta factory. Res­ sculpture, plus vessels made in collaboration ervations only: (916) 645-9713. with his late wife Gertrud; at Susan Conway California, Los AngelesJune 1-26Works by Kim Carroll Gallery, 1058 Thomas Jefferson St., NW. Dickey and James Lawton. June 29-August 2 Illinois, ChicagoJune 7-July 13 Christopher Davis Works by Virginia Cartwright and Michael Benavides, sculpture; at Esther Saks Gallery, 311 Magoto; at Garth Clark Gallery, 170 South La West Superior Street. Brea Avenue. Louisiana, New Orleans through June 30 Evelyn California, Newport Beachthrough June 9 “Con­ Witherspoon, ceramics and watercolors; at New temporary Yixing Teapots”; at Silas Dean, 512 Orleans Museum of Art, City Park, 1 Lelong Ave. 31 Street. Maine, Portland through June 30 Paul Heroux, California, RiversideJune 17-July 19 “California “Perspectives”; at Pordand Museum of Art, Seven Collegiate Ceramic Competition”; at the River­ Congress Square. side Community College, 4800 Magnolia Ave. Missouri, Saint Louis through June 30 Virginia California, WillitsJune 21-October 21 “Clay in the Scotchie; at Pro-Art, 1214 Washington. Hands of the Creator”; at the Upstairs Gallery, NewJersey, Millbum June 8-July Nancy6 Adams, Mendocino County Museum, 400 East Commer­ wheel-thrown earthenware vessels with realistic cial Street. flora and fauna additions; at Sheila Nussbaum D.C., Washington June 6-July 7 Works by the Gallery, 358 Millburn Avenue. Montgomery Potters; at the Art Barn Gallery, NewJersey, Newark June 8-September 1 “Strong 2401 Tilden Street, Northwest. Tea: Richard Notkin and the Yixing Tradition’; Illinois, ChicagoJune 7-August 1 Earthenware at the Newark Museum, 49 Washington Street. sculpture and vessels by Everette Busbee and New Mexico, Santa Fe July 19-August 14 Avra stoneware “artifacts” by Patrick Crabb; at Leodas, vessels and sculpture; at Linda Durham Schneider-Bluhm-Loeb Gallery, 230 West Supe­ Gallery, 400 Canyon Road. rior Street. New York, Catskill June21-July 27Frank Giorgini, June 15-July 21 “The Fifth Annual Great Lakes sculpture Avail reliefs; at Greene County Coun­ Show,” juried national; at Lill Street Gallery, cil on the Arts, Catskill Gallery, 398 Main St. 1021 West Lill Street. New York, New York through June 7 Jolyon June 29-October 27 “Eighteenth-Century English Hofsted, clay and bronze; at the Dome Gallery, Pottery from the Collection of Harry Root”; at 578 Broadway. the Art Institute of Chicago, Michigan Avenue at through June 15 Jack Earl, sculpture; at HelenAdams Street. Drutt Gallery, 724 Fifth Avenue, Ninth Floor. Indiana, Indianapolis through June 30 “Yixing New York, NyackJune 16-July 7 Susan Eisen; at Ware from the K S. Lo Collection in the Flag­ Hopper House Art Center, 82 North Broadway. staff House Museum of Teaware, Hong Kong ’; New York, Piermont-on-HudsonJuly 1-31 Liz at Indianapolis Museum of Art, 1200 W. 38 St. Anderson; at America House Gallery of Con­ Maine, Brunswick throughJuly 6‘Watershed ‘Art­ temporary Crafts, 466 Piermont Avenue. ists Invite Artists’ Exhibition,” with works by Linda New York, Syracuse through June 8 Angelo di Arbuckle, Mary Barringer, Linda Christianson, Petta; at Eureka Crafts, 210 Walton Street, Ar­ Barbara Diduk, Scott Goldberg, JeremyJernegan mory Square. and Ron Meyers; at the Elements Gallery, 56 Ohio, ClevelandJune 1-30 Arthur Kuhl, “Vessels Maine Street. of the Eucharist”; at the Trinity Episcopal Cathe­ Maine, Portland June 10-21 ‘Watershed Winter dral, Chapter Room, East 22 at Euclid Avenue. Residents Exhibition,” with works by Randy Ohio, Columbus through June 15 Julius Prater, Carlson, Linda Casbon, Doug Gimbel, Susan “No Parking Anytime,” ceramic/neon art and Griswold, Sandy MacLeod, Janice Millman, drawings; at Ohio State University, Drake Union, Jonathan Millman, Paul Steuerwald, Robin Teas 1849 Cannon Drive, Second Floor. and Holly Walker. June 10-August 16 “1991 Wa­ Pennsylvania, EriethroughJuly 9Curtis and Suzan tershed Guest Artist Exhibition,” with works by Benzie; at the Glass Growers Gallery, 701 Hol­ Joe Bova, Cheryl Laemmle, Bruno LaVerdiere, land Street. Michael Lucero and Farley Tobin; at the Baxter Pennsylvania, PhiladelphiathroughJune 29 Rudolf Gallery, Portland School of Art, 619 Congress St. Staffel, an 80th birthday celebration; at Helen Maryland, BaltimoreJune 25-September 22 “Na­ Drutt Gallery, 1721 Walnut Street. tional Museum of Ceramic Art Regional Juried June 7-30 Christina Carver, “Metamorphose”; Exhibition”; at the National Museum of Ceramic and Diana Kulisek; at the Clay Studio, 139 North Art, 250 West Pratt Street. Second Street. Massachusetts, Ipswich June 5-30“In and Around Pennsylvania, Pittsburghthrough June 12 Kyle the Garden,” featuring works by the Northshore Hallam, “Painted Clay.” through July 10 Jerry Clayworks members; at the Ocmulgee Pottery Caplan, “Reduction Stenciling”; at the Clay Place, and Gallery, 263 High Street. 5416 Walnut Street. Michigan, Flint through July 21 “The 28th Ce­ Texas, San AntonioJuly 5-29 Douglas Kenney, ramic National: Clay, Color, Content”; at Flint raku platters and sculpture; at the TurquoiseInstitute of Art, 1120 East Kearsley Street. Coyote Gallery, 405 East Commerce. Michigan, Royal OakJune 1-July 31 “Platters: On Washington, SeattlethroughJune 7Debra 1 Norby, the Table/On the Wall,” decorative and func­ “Bait and Tackle Series.” July 10-August 5 John tional work by 30 ceramists; at Swidler Gallery, Harris, vessels and sculpture; at Foster/White Washington Square Plaza, 308 W. Fourth St. Gallery, Frederick and Nelson, Seventh Floor, Minnesota, Saint Paul through June 22 “Fire!” Fifth and Pine. primitive and low-tech works by Dale Bryner- July 3-28 Jim Kraft, vessels and sculpture; at McMillan, George Kokis and Nancy Liedl. June Foster/White Gallery, 311½ Occidental Ave., S. 28-August 3 “Clay: About or for the Garden,” Northern Clay Center members’juried show; at Group Ceramics Exhibitions the Northern Clay Center, 2375 University Ave­ nue, West. Arizona, Tempe through June 9 “Contemporary Missouri, Kansas CityJune 7-July 2 7 Vessels with Ceramics from the Collection of Stephane spouts, handles and legs cast from found objects Janssen and Michael Johns”; at the Arizona State by Cindy Kolodziejski; raku teapots by James University Art Museum. Lawton; at Garth Clark Gallery, 855 Rockwell California, DavisJune 8-July 7 “30 Years of TB-9 Lane. (1961-1991): A Tribute to Robert Arneson,” New York, Catskillthrough June 16 Works by

June/July/August 1991 69 turing seven NEA fellowship winners, includes Calendar clayworks by RandyJohnston James Leedy, Ellen Shankin and Patrick Siler; at the Farrell Collec­ tion, 2633 Connecticut Avenue, Northwest. Florida, Saint Petersburg/?tne 14-August 2 “North Janet Corrigan, Milly DeAngelo, Lillian Dodson, Florida Visits Florida Craftsmen”; at the Florida Betty MacDonald; at Greene County Council on Craftsmen Gallery, 235 Third Street, South. the Arts Mountain Top Gallery, 398 Main St. Georgia, Athensthrough June 16 “Master of Fine New York, New Yorkthrough June 9 “Personal Arts Degree Candidates’ Exhibition,” with Approaches to Clay,” sculpture by Carole Aoki clayworks by Heather Delisle; at the Georgia and Barbara Takiguchi; at Wheeler-Seidel Gal­ Museum of Art, University of Georgia. lery, 129 Prince Street, Soho. Georgia, Atlantathrough June 16 “Yoruba: Nine June 4-July 6 Yixing-inspired works by Richard Centuries of African Art and Thought”; at the Notkin and sculpture by Arnold Zimmerman. High Museum of Art, 1280 Peachtree St., NE. July 9-August 2 Works by Barbara Diduk, Steven Illinois, Chicagothrough June 23 “A Selection of Montgomery and David Regen; at Garth Clark Masterworks from the Asian Collection”; at the Gallery, 24 West 57 Street. Art Institute of Chicago, Michigan Avenue at New York, Piermont-on-HudsonJune 1-30 Exhi­ Adams Street. bition of works by Sarah MacFarlane and Geff Indiana, Indianapolis June 1-July 7 “Teapots,” Reed; at America House Gallery of Contempo­ with ceramics by Marianne Baer, Jerry Berta, rary Crafts, 466 Piermont Avenue. Henry Cavanagh, Wells Gray, Jolyon Hofsted, North Carolina, Charlottethrough July 14 “Fired Randy James Johnston, Debra Manfree, Tim by Imagination: Clay Today,” functional forms Mather, Riki Moss, John Peterson, Steve by Kate Collie, Julie Terestman, Kurt Weiser and Schrepferman, Byron Temple and Kathy Triplett; Bruce Winn, through August 25 “So Proudly We at Artifacts, 6327 Guilford Avenue. Hail: The Evolution of American Ceramics”; at Iowa, Mason Citythrough July 14 “26th Annual the Mint Museum of Art, 2730 Randolph Road. Area Show”; at Charles H. MacNider Museum, Ohio, Dennison through August 31 “Molded 303 Second Street, Southeast. Whimsies: Sewer Pipe Folk Art”; at the Dennison Kansas, Lenexa June 7-9 “Dimensions ’91”; at Railroad Depot Museum, 400 Center Street. the Sar-Ko-Par Trails Park. Oklahoma, Norman through June 30 “Platters: Maine, Pordand June 1-29 Eleven-person exhi­ Functional and Decorative”; at the Firehouse bition with ceramics by Joy Brown, Barbara Art Center, 444 South Flood. Diduk, Eric Jensen and James Watral. July 1— Pennsylvania, BethlehemJune 22-July 28 “Tile,” September 3 Exhibition featuring ceramics by juried national; at the Luckenbach Mill Gallery, Carole Aoki, Joy Brown, Barbara Diduk, Dennis 459 Old York Road. Maust, Joellyn Rock, Susanne Stephenson, Vermont, Benningtonthrough September 2 “Red- Marvin Sweet, James Watral and David Wright; ware and Stoneware: The Bennington Museum at Nancy Margolis Gallery, 367 Fore Street. Collection”; at the Bennington Museum, West Maryland, Eastonthrough June 29 “27th Annual Main Street. Juried Exhibition”; at the Academy of the Arts, Virginia, Richmondthrough August 16 Tiled fur­ 106 South Street. niture, wall forms and platters by Laurel Izard, Massachusetts, Bostonthrough August 4 “Witness Susan Maye and Gordon McVay; at the Hand to America’s Past: Two Centuries of Collecting Workshop/Virginia Center for the Craft Arts, by the Massachusetts Historical Society”; at the 1812 West Main Street. Museum of Fine Arts, 465 Huntington Avenue. July 1-August 31 Exhibition of cups; at Signature Ceramics in Multimedia Exhibitions Gallery, Dock Square, 24 North Street. Massachusetts, Chestnut Hill July 1-August 31 Arizona, Mesa June 14-July 13 “E-I-E-I-O,”juried Exhibition of cups; at Signature Gallery, the national of works depicting barnyard themes; at Mall at Chestnut Hill, Boylston Street. Galeria Mesa, 155 North Center. Massachusetts, Mashpee July 1-August 31 Exhi­ Arizona, Scottsdale August 1-31 Works in clay, bition of cups; at Signature Gallery, Mashpee wood, metal, glass and fiber; at Joanne Rapp Commons, 10 Steeple Street. Gallery/The Hand and the Spirit, 4222 North Massachusetts, Northampton through July 7 Marshall Way. “Pearls and Porcelain,” white porcelain works/ Arizona, Tucson June 4-29 “Seven-State Juried jewelry that features pearls. August 10-September Exhibition”; at the Dinnerware Artists’ Coopera­ 22 “Dog Days”; at Ferrin Gallery, 179 Main St. tive Gallery, 135 East Congress Street. Michigan, DetroitthroughJune 29 “Made in Michi­ California, Los AngelesJune 30-August 25 “De­ gan,” including clayworks by Alan Vigland; at the sign 1935-1965: What Modern Was”; at Los An­ Detroit Gallery of Contemporary Crafts, 104 geles County Museum of Art, 5905 Wilshire Blvd. Fisher Building. California, Palo AltoJuly 14-September 15 “Re­ Minnesota, Minneapolis through June 12 “1991 sponsive Witness,” exhibition addressing social Contemporary Tribal Mask Exhibit,” with and political concerns; at Palo Alto Cultural clayworks by Lillian Pitt and Sally Thielen; at the Center, 1313 Newell Road. Raven Gallery, 3827 West 50 Street. July 27-August 31 “In Praise of Animals,” with June 29-August 3 Dual exhibition featuring raku ceramics by Roberta Laidman; at Branner/ vessels by Philip Williams; at Anderson and Spangenberg Gallery, 728 Emerson Street. Anderson Gallery, 414 First Avenue, North. California, Sacramentothrough June 6 “66th An­ Minnesota, Saint Paul through June 16 “Art that nual Crocker-Kingsley Open Art Exhibition”; at Works”; at Minnesota Museum of Art, Land­ the Crocker Art Museum, 216 0 Street. mark Center, Fifth at Market. California, San Francisco July 4-27 “Introduc­ Missouri, Saint Louis July 12-August 17 “Mid- tions,” dual exhibition with ceramics by Sana America Arts Alliance National Endowment for Krusoe; at Dorothy Weiss Gallery, 256 Sutter St. the Arts Fellowship Winners,” with clayworks by California, San MateoJuly 18-August 25 “Gone Janet Kastner; at Crafts Alliance, 6640 Delmar Fishin’,” including clayworks by Susannah Is­ Boulevard. rael; at Modern Myths, 2124 Fashion Island Blvd. New Jersey, MontclairthroughJune 23 “Signs and California, Walnut Creek through July 6 Crafts Symbols in Native American Art”; at the Montclair exhibition with clayworks by Skip Esquierdo and A^rt Museum, 3 South Mountain Avenue. Barbara Takiguchi; at Banaker Gallery, 1373 New Jersey, Newark through August 4 “The Locust Street. Regilded Age,” contemporary and historical Colorado, GoldenthroughJune 25 “North Ameri­ works, through February 1992 “Continuity and can Sculpture Exhibition”June 30-July 28 “Earth Innovation in Contemporary Native American and Images,” six-person exhibition with clay Art, 1976-1986”; through March 1, 1992 “Teapots sculptures by Dianne Hackett; at the Foothills and Coffeepots”; at the Newark Museum, 49 Art Center, 809 15 Street. Washington Street. D.C., Washington throughJune30Exhibition fea­ New Jersey, Red BankthroughJune 22 Exhibition

70 Ceramics Monthly June/July/August 1991 71 at the Bellevue Art Museum, 301 Bellevue Square. Calendar Washington, Richland through June 7 “Annual Juried Multimedia Show” July 2-27 “Members’ Works”; at Allied Arts Association, 89 Lee Blvd. Wisconsin, Milwaukee June 7-July 13 “Under the including ceramics by Wendy Williams; at Art Big Top.” July 19-September 7 “Vessels”; at A. Forms, 16 Monmouth Street. Houberbocken, 230 West Wells, Suite 202. New Mexico, Santa Fethrough September3“Tenth Anniversary Inaugural Exhibition”; at Bellas Fairs, Festivals and Sales Artes, 653 Canyon Road. New York, New YorkJune 27-September 8 “The Arizona, Tempe August 2-4 “Festival in the Pines”; Here and the Hereafter: Images of Paradise in at the Coconino County Fairgrounds. Islamic Art”; at the Asia Society, 725 Park Ave. California, Laguna BeachJuly 10—August 30 “Fes­ New York, Rochesterthrough June 9 “50th Roch- tival of Arts”; along Laguna Canyon Road. ester-Finger Lakes Exhibition”; at Memorial Art California, San FranciscoJune 9 “Sandra John­ Gallery, 500 University Avenue. stone Memorial Scholarship Silent Auction and June 15-October25 “Sculpture ’91,” with clayworks Association of California Ceramic Artists Spring by Carol Fleming, Jeremy Jernegan, Heather Sale”; proceeds from auction will provide fund­ Nicol and Chang Ching Yuan; at the Dawson ing each year to send a student to the NCECA Gallery, 349 East Avenue. conference; at San Francisco County Fair Build­ North Carolina, Ashevillethrough August 4“New ing, Golden Gate Park, Ninth and Lincoln Aves. Members Exhibit.” August 9-December 1 “Black California, Sausalito August 31-September 2 and White,” members’ exhibition; at the Folk “Sausalito Art Festival”; on the lawn of the Bay Art Center, Blue Ridge Parkway. Model Visitor Center. North Carolina, Charlottethrough June 16 “Irish California, Walnut Creek June 14-16 ‘Walnut Decorative Arts from Collections of the National Creek Clay Arts Guild Summer Pottery Sale”; at Museum of Ireland”; at the Mint Museum of Art,the Civic Arts Education Studio E, 1313 Civic Dr. 2730 Randolph Road. Colorado, Beaver CreekAugust 17-18 “Beaver Ohio, ClevelandJune 6-August 18 “Object Les­ Creek Arts Festival”; at the Plaza Promenade. sons: Cleveland Creates an Art Museum”; and Colorado, PuebloAugust 16-September 2 “Colo­ “Notable Acquisitions”; at the Cleveland Mu­ rado State Fair Fine Art Exhibit”; at the Colo­ seum of Art, 11150 East Boulevard. rado State Fairgrounds. Ohio, Columbus August 1-18 “Ohio State Fair Colorado, VailJuly 13-14 “Vail Arts Festival”; at Fine Arts Exhibition”; at Ohio Expositions Cen­ Lionshead Mall at Vail. ter, Ohio State Fairgrounds. Connecticut, Guilford July 18-20 “34th Annual Ohio, Massillonthrough June 16 “Massillon Mu­ Guilford Handcrafts Exposition”; at Guilford seum Stark County Artists Exhibition”; at the Handcrafts, 411 Church Street. Massillon Museum, 212 Lincoln Way, East. Connecticut, Monroe June 15-16 “Strawberry Ohio, Parma through June 8 “1991 Student ArtFestival Craft Show”; on the Monroe Center Show”; at Gallery West, Cuyahoga Community Green. College, Western Campus, 11000 Pleasant Val­ Connecticut, South NorwalkAugust 3-4 “15th ley Road. Annual SoNo Arts Celebration”; in the water­ Ohio, PortsmouthJune 1-July 20 “The Best of front district. 1991 /’juried exhibition of Ohio residents; at the Idaho, Coeur d’AleneAugust 2-4 “Art on the Southern Ohio Museum, 825 Gallia Street. Green”; on the North Idaho College campus. Ohio, ToledoJune 9-July 7 “Toledo Area Artists Kentucky, BereaJuly 12-14 “10th Annual Berea 73rd Annual Exhibition”; at the Toledo Mu­ Craft Festival”; at Indian Fort Theater, Berea seum of Art, 2445 Monroe Street. College. Oklahoma, Tulsa July 6-September 1 “Art That Kentucky, LouisvilleJuly 5-7‘Waterside”; at the Works”; at the Philbrook Museum of Art, 2727 Water Tower, Zorn Avenue and River Road. South Rockford Road. Maryland, ColumbiaJune 28-30 “Columbia Fes­ Oregon, PortlandAugust 4-September 7 “Clay and tival of the Arts”; on the Kittamaqundi Lakefront. Canvas,” clay artists and their invited counter­ Maryland, Fair Hill August 10 “Fair Hill, Mary­ parts who complement their work in painting; at land, Country/Bluegrass and Crafts Festival”; Contemporary Crafts Gallery, 3934 Southwest along Gallaher Road, Cross Country Course. Corbett Avenue. Maryland, Havre de GraceAugust 17-18 “Havre Pennsylvania, Bethlehemthrough June 9 ‘Water/ de Grace Art Show”; at Tydings Memorial Park. Life.” August 10-September 22 “The Dining Expe- Minnesota, Saint Paul June 15-16 “Minnesota rience/A Craft Expression”; at the Luckenbach Crafts Festival”; at the College of Saint Catherine. Mill Gallery, 459 Old York Road. New Hampshire, Newbury August 3-11 “58th Pennsylvania, University ParkJuly 6-28 “Crafts Annual Craftsmen’s Fair”; at Mount Sunapee National 25”; at the Zoller Gallery, Penn State State Park. University. New Jersey, LaytonJuly 27-28 “Peters Valley Tennessee, ChattanoogaJuly 14-September 22 Craft Fair”; at the Peters Valley Craft Center. “Next Generation: Southern Black Aesthetic”; at New Mexico, AlbuquerqueJune 27-30 “Summer Hunter Museum of Art, 10 Bluff View. Festival of the Arts”; at the New Mexico State Tennessee, Gatlinburg through August 9 “Sum­ Fairgrounds. mer Faculty and Staff Exhibition,” featuring ce­ New York, Chautauqua July 5-7 and August 9-11 ramics by Linda Arbuckle, Sandra Blain, MaryJo “Chautauqua Crafts Festival, ’91 ”; at Bestor Plaza, Bole, Patrick Crabb, Bill Griffith, Patrick Horsley, Chautauqua Institution. Ron Meyers, Walter Ostrom, Pete Pinnell, Rob New York, GarrisonAugust 17-18 “22nd Annual Reedy and Owen Rye; at Arrowmont School of Arts and Crafts Fair”; at Garrison’s Landing, Arts and Crafts, 556 Parkway. along the Hudson River Waterfront. Texas, IngramAugust 25-September 29“Counter­ New York, New Paltz August 31-September 2 point,’’juried national; at Hill Country Arts Foun­ ‘Woodstock-New Paltz Art and Crafts Fair”; at dation Gallery, Highway 39, West. the Ulster County Fairgrounds. Texas, San Ajitoniothrough August 4 “Mexico: New York, New York June 29-30 and July 6-7 Splendors of Thirty Centuries”; at the San Anto­ “15th Annual American Crafts Festival.” August nio Museum of Art, 200 West Jones. 24-25 and August 31-September 2 “8th Annual Vermont, MiddleburyJuly 26-September 3 “The Autumn Crafts Festival; at Lincoln Center, Ford- Ubiquitous Bowl”; at Vermont State Craft Cen­ ham University Plaza. ter, Frog Hollow. New York, ValhallaJune 15-16“Clearwater’s 1991 Virginia, RichmondAugust 23-October 4 “Shrines Great Hudson River Revival”; at the Westchester and Icons”; at the Hand Workshop, Virginia Community College. Center for the Craft Arts, 1812 West Main Street. North Carolina, AshevilleJuly 18-21 “44th An­ Washington, BellevueJuly 26-August 25 “Master- nual Guild Fair”; at the Asheville Civic Center. works: Pacific Northwest Arts and Crafts Now”; North Carolina, CharlotteJuly 20-21 “Queen

72 Ceramics Monthly June/July/August 1991 73 Shankin. Fee: $220. Contact Wesleyan Potters, Calendar 350 South Main Street, Middletown 06457; or telephone (203) 347-5925. Hawaii, Honaunau June 8, 9 and 15 “Once-Fired Pit Fire” with Jan Daniels. Fee: $50, includes 12 Charlotte Ceramic Expo”; at the Embassy Suites, pounds of clay and firing; reduced fee for SKAEA South Tryon Street. members. Contact South Kona Potters Guild, Ohio, CantonJuly 13-14 “Hall of Fame Artfest”; Box 1877, Kealakekua, Hawaii 96750; or tele­ on the campus of the Stark Technical College. phone (808) 328-9392. Ohio, Cincinnati June 7-9“Summerfair 1991”; at Illinois, EdwardsvilleJuly 15-26 ‘Wood and Salt” Coney Island. with Ron Kovatch. Contact the School of Fine Ohio, ColumbusJune 7-9 “1991 Columbus ArtsArts and Communication, Department of Art Festival Streetfair”; downtown. and Design, Southern Illinois University at Ohio, Peninsula June 28-30 andJuly 4- 7 “Boston Edwardsville, Box 1774, Edwardsville 62026; or Mills Artfest”; at the Boston Mills Ski Resort, telephone (618) 692-3071. Riverview at Boston Mills Road. Illinois, EvanstonJuly 14, 21 and 28 “The Ce­ Ohio, Shaker HeightsJune 14-16 “The Craftfair ramic Cup: Small Form, Large Idea” with Mary at Hathaway Brown”; at Hathaway Brown school. Seyfarth. Fee: $125; Evanston Art Center mem­ Ohio, Upper ArlingtonJuly 12-14 “Midsummer bers, $115. Advance registration required. Con­ Fair”; at Wellington School, 3650 Reed Road. tact Evanston Art Center, 2603 Sheridan Rd., Oklahoma, Norman July 12-13 “A Midsummer Evanston 60201; or telephone (708) 475-5300. Night’s Fair”; at the Firehouse Art Center, 444 Maryland, Baltimore June 22 and 29 “Inspired South Flood. Transformations” with Patrick Caughy and Oregon, EugeneJuly 4-7 “Art and Vineyard Lonnie Graham, focusing on raku. Fee: $55 .July 1991 ”; at Alton Baker Park. 15-16 Handbuilding workshop with Magdalene Oregon, PortlandAugust 31-September 2 “Art- Odundo. Fee: $65. Limited housing available. quake”; along Broadway Street. Contact Baltimore Clayworks, 5706 Smith Ave., Oregon, SalemJuly 19-21 “42nd Annual Salem Baltimore 21209; or telephone (301) 578-1919. Art Fair and Festival”; at Bush’s Pasture Park. Massachusetts, Hadley June 22 “Glaze and Clay Pennsylvania, GreensburgJuly 4-7 “West­ Body Defects: Cause and Correction” with Jeff moreland Arts and Heritage Festival” at Twin Zamek. Fee: $35; advance registration, $30. Con­ Lakes Park. tact Amherst Potters Supply, 47 East Street, Pennsylvania, Lancaster July 25-28 “The 44th Hadley 01035; or telephone (413) 586-4507. State Craft Fair”; on the campus of Franklin and Massachusetts, Williamsburg August 15-18 “Cast, Marshall College. Molded and Slipped” with Marek Cecula. Con­ Pennsylvania, Shawnee-on-DelawareAugust 24- tact Horizons: The New England Craft Program, 25 “The Pocono State Craft Festival”; at the Sun 374 Old Montague Road, North Amherst, Mas­ Mountain Resort. sachusetts 01002; or telephone (413) 549-4841. Pennsylvania, State CollegeJuly 11-14 “25th Missouri, Kansas CityJuly 7-13Single-fired func­ Annual Sidewalk Sale/Central Pennsylvania Fes­ tional pottery workshop. Intermediate through tival of the Arts”; on the Penn State University professional. Fee: $1400, includes some materi­ campus. als and firing. Dormitory accommodations avail­ Texas, AmarilloJuly 13-1411 High Plains Ceramic able. Contact Carla Crook, Kansas City Art Insti­ Association 14th Annual Ceramic Show”; at the tute, 4415 Warwick, Kansas City 64111; or tele­ Amarillo Civic Center, Third and Buchanan. phone (816) 561-4852. Washington, Richland July 26-27 “Allied Arts Nebraska, Omaha June 13 Slide lecture with Association Sidewalk Show 1991”; at Howard Alberto de Braud and Norbert Kleinlein. No fee. Amon Park. Contact the Bemis Foundation, 614 South 11 Wisconsin, MadisonJuly 13-14 “Art Fair on the Street, Omaha 68102. Square”; at Capital Square. New Mexico, Chaco CanyonAugust 21-30 Wisconsin, Milwaukee June 14-16 “The Lakefront “Acoma Pottery” with Delores Lewis Garcia and Festival of Arts”; at the Milwaukee Art Museum, Emma Lewis Mitchell, and guest artist Lucy Lewis. 750 North Lincoln Memorial Drive. Fee: $850. Contact Registrar, Summer Program, August 10-11 “Morning Glory Fair”; at the Charles Idyllwild School of Music and the Arts, Box 38, Allis Art Museum, 1630 East Royall Place. Idyllwild, California 92349; or telephone (714) Wisconsin, SheboyganJuly 20-21 “21st Annual 659-2171 extension 204. Outdoor Arts Festival”; on the grounds adjacent New York, Scarsdale June 4-6 “Ceramic Tile to the John Michael Kohler Arts Center, 608 Workshop” with Siglinda Scarpa, carving relief New York Avenue. inlay, working with majolica. Fee: $150. Contact Wisconsin, Spring GreenJune 29-30 “22nd An­ Carol Stronghilos, YM & YWHA of MidWest- nual Spring Green Arts and Crafts Fair”; down­ chester, 999 Wilmot Road, Scarsdale 10583; or town. telephone (914) 472-3300. North Carolina, AshevilleJune 15 “Clay Day.” Workshops Contact the Folk Art Center and Southern High­ land Handicraft Guild, Box 9545, Asheville California, Idyllwild June 23-29 “Hopi Pottery” 28815; or telephone (704) 298-7928. with Rondina Huma.June 30-July <5“Acoma Pot­ North Carolina, Penland September 2-6 “Pre- tery” with Delores Lewis Garcia and Emma Lewis Forms” with William Daley; and “Wheel-Thrown Mitchell, and guest artist Lucy Lewis. July 7-13 Technique” with David Nelson. Fee: $215. Live- “Casas Grandes Pottery” with Juan Quezada; and in accommodations available. Contact Registrar, “San Ildefonso Pottery” with Blue Corn. Fee for Penland School, Penland 28765; or telephone each workshop: $465. Contact Registrar, Sum­ (704) 765-2359. mer Program, Idyllwild School of Music and the Pennsylvania, UniontownSeptember20-22 “Glaze Arts, Box 38, Idyllwild 92349; or telephone (714) Decoration” with Donn Hedman. Fee: $195; in­ 659-2171 extension 204. cludes materials, firing, lodging and meals. Con­ California, Walnut Creek July 13 “Master Potter tact Julie Greene, Touchstone Center for Crafts, Workshop” with Warren MacKenzie. Fee: $35. Box 2141, Uniontown 15401; or telephone (412) Contact Walnut Creek Civic Arts Education, Box 438-2811. 8039, Walnut Creek 94596; or telephone (415) Virginia, The Plains June 22-23 “Raku” with Rick 943-5846. Berman. Fee: $80. Contact Tin Barn Pottery, Connecticut, BrookfieldJuly 20 A lecture with Box 152, The Plains 22171; or telephone (703) Jeff Zamek on glaze and clay body materials. 253-5997. Contact the Brookfield Craft Center, Box 122, Brookfield 06804; or telephone (203) 775-4526. International Events Connecticut, MiddletownJuly 13,14 and 20 “Pot­ tery Workshop” with Mary Barringer. Fee: $120. Barbados, Saint James July 1-19 “Raku Ceram­ August 5-9 “Functional Pottery” with Ellen ics” with Roger Ferland. Beginning through ad-

74 Ceramics Monthly June/July/August 1991 75 Vincennes University, Department of Arts, Ce­ Calendar ramics, Vincennes, Indiana 47591; or telephone (812) 885-4449. Italy, Bassano del Grappathrough July 30 “Terre Dall’est,” exhibition of works by 5 middle Euro­ vanced skill levels. Limited to 15 participants. pean ceramists, Mirjana Isakovic, Ildiko Poigar, Registration fee: Can$l 64.01 (approximately Imre Schrammel, Kurt Spurey andJindraVikova; US$140). Airfare: Can$618 plus tax (approxi­ at Palazzo Agostinelli. mately US$535). Accommodations, including Italy, Calci July 1-13, July 15-27, August 26- breakfast: approximately US$380. Lunch and September 7 and/or September 9-21 Two-week ses­ dinner available upon request: approximately sions on handbuilding, glazing and ceramic de­ US$4.50 and US$6.50, respectively. Contact sign with Silvia Fossati. All skill levels. Instruction Roger Ferland, Department of Education in the in English, German and Italian. Fee: 825,000 lire Arts, McGill University, 3700 McTavish Street, (approximately US$670), includes materials, Montreal, Quebec H3A 1Y2, Canada; or tele­ lodging, breakfast, guided tours and use of phone (514) 398-6946. kitchen. Contact Studio Giambo, Associazione Canada, Alberta, Edmonton June 28-July 10 Arte Lingua E Cultura, Via Giano della Bella 22, “Cups,” held in conjunction with “Works”; at Firenze 50124, Italy; or telephone (55) 22 44 47. Manulife Place, E, 10180 101 St., Seventh Floor. Italy, Faenza June 20-27, July 1-8, 14-21 and/or Canada, British Columbia, Cortes IslandSeptem­ September 2-9 “Sculpture Workshop.” Contact ber 23-28 “Fire by the Sea,” raku, low-fire salt Emidio Galassi, Arte Aperto, Via Castellina 4, workshop with Paul Soldner. Participants are Faenza 48018; or telephone (546) 661-655. encouraged to bring bisqued work. Fee: Can$615 Italy, UrbinoSeptember 9-2 7 Workshop on hand­ (approximately US$530), includes living accom­ building, throwing, slip casting, glazing, Faenza modations and meals. Contact Hollyhock Farm, majolica, terra cotta and raku. All skill levels. Box 127, Manson’s Landing, Cortes Island V0P Instruction in English and Italian. Fee: US$2200, 1K0; or telephone (604) 935-6465. triple occupancy; US$2300, double; or US$2400, Canada, British Columbia, PentictonJuly 22-26 single; includes materials, firing, tours, lodging “Handbuilding and Primitive Firing Techniques” and meals. Contact Lynne Streeter, La Corte with Laura Wee Lay Laq. Fee: $120. Contact the della Miniera, 627 Adams Street, Albany, Cali­ Okanagan Summer School of the Arts, Box 141, fornia 94706; or telephone (415) 524-7115. Penticton V2A6J9; or telephone (604) 493-0390. Japan, TokyoJune 3-15 Exhibition of vessel sculp­ Canada, Ontario, Torontothrough August 4 “Por­ ture by Ban Kajitani; at Akasaka Green Gallery. celain Boxes: Miniature Masterpieces of the 18th Mexico, ChihuahuaAugust 6-15 “Casas Grandes Century”; at Royal Ontario Museum, 100 Queen’s Pottery” with Juan Quezada. Limited to 16 par­ Park. ticipants. Fee: $750, includes materials, camp­ Canada, Quebec, MontrealJune 7-July 21 “Fourth ing facilities and meals. Contact Registrar, Sum­ National Biennial of Ceramics”; at the Galerie mer Program, Idyllwild School of Music and the d’Art Lavalin, 1100, Boul. Rene Levesque O. Arts, Box 38, Idyllwild, California 92349; or tele­ Canada, Quebec, Saint-Laurent through June 16 phone (714) 659-2171 extension 204. EdouardJasmin, retrospective exhibition; at the Mexico, MitlaOctober 31-November 9 “Ceramics: Musee d’Art de Saint-Laurent, 615, Boulevard From the Zapotec Tradition and Beyond.” Loca­ Sainte-Croix. tion: Frissell Museum of Zapotec Art. Contact England, DevonAugust 28-September 7 “Ceram­ Horizons: The New England Craft Program, 374 ics: Form and Firing.” Location: Dartington Col­ Old Montague Road, North Amherst, Massa­ lege of Arts. Contact Horizons: The New En­ chusetts 01002; or telephone (413) 549-4841. gland Craft Program, 374 Old Montague Road, Netherlands, Delft through June 30 “Ceramics North Amherst, Massachusetts 01002; or tele­ from Italy,” with works by Alda Brembilla, phone (413) 549-4841. Giovanni Cimatti, Mirco Denicolo, Guiseppe England, FalmouthJuly 21-August 3 “Leach Tra­ Lampariello and Ingrid Mair Zischg; at Galerie dition at Falmouth” with David Leach, Janet Terra, Nieuwstraat 7. Leach and Bill Marshall. All skill levels. Fee: Netherlands, Deventer through June 9 Solo exhi­ £400 (approximately US$665), includes materi­ bition of ceramic sculpture by Teja van Hoften. als and firing. Live-in accommodations avail­ June 16-August 18Porcelain exhibition with works able. Contact Peter Smith, Ceramics Depart­ by Jeroen Bechtold, Wil Broekema, Mieke ment, Falmouth School of Art and Design, Wood Everaet, Horst Gobbels, Saskia Koster, Anne Lane, Falmouth, Cornwall TR11 4RA; or tele­ Leclerqc, Ursula Morley Price, Leen Quist, phone (326) 211-077. Corien Ridderikhoff, Agathe Larpent Ruffe, Hein England, LondonSeptember 18-October 18 Solo Severijns and Henk Wolvers. September 1-29 JLx- exhibition of works by Japanese potter Tatsuzo hibition of ceramics by Johan Broekema, Inke Shimaoka; at Galerie Besson, 15 Royal Arcade, and Uwe Lerch, and Heide van Veen; at Kunst 28 Old Bond Street. and Keramiek, Korte Assenstraat 15. England, OxfordJuly 1-31 Three-person exhibi­ Netherlands, Oene August 1 and 8, 6 and 13, 22 tion with ceramics by Judy Trim; at the Oxford and 29, 27 and September 3, 21 and 28 Two-day Gallery, 23 High Street. raku workshops with Jan Warnaar. Instruction England, Stamfordthrough October 6 Exhibition in English and Dutch. All skill levels. Fee: fll 25 of European pottery and porcelain; at the (approximately US$65). Contact Jan Warnaar, Burghley House. Huttenbosweg 3, 016 7LB Oene (Epe); or tele­ France, Paris through June 23 “Une Passion pour phone (57) 84 12 29. la Ceramique,” from the collection of Fina New Zealand, Auckland May 31 -June 30 “Fletcher Gomez, 30 years of contemporary ceramics; at Challenge Ceramics Award”; at the Auckland the Musee des Arts Decoratifs, Palais du Louvre, Museum, Private bag. 107 Rue de Rivoli. New Zealand, Christchurch through June 23 “Mau France, Saint-Beat September 15-22 “Raku,” hand- Mahara: Our Stories in Craft”; at the Robert building, throwing and glazing workshop with McDougall Art Gallery. Jean Paul Betton. Beginning and intermediate New Zealand, Dunedin July 20-September 1 “Mau skill levels. Fee: Frl740 (approximately US$310), Mahara: Our Stories in Craft”; at the Otago includes materials and firing. Live-in accommo­ Museum, 419 Great King Street. dations and camping facilities available. Contact Switzerland, Aubonne through June 9 Exhibition Secretariat CEDTE, 11, Rue du Cap Horn, 33700 of works by Phillipe Barde; at Galerie de l’Amiral Merignac, France; or telephone (56) 34 33 40. Duquesne, Rue de l’Amiral Duquesne 6. Greece, Porto CheliJune 20-August 3 “Classical July 11-September 8 Exhibition of works by 16 Archaeology, Ceramics and Metalsmithing Work­ ceramists; at the castle of Aubonne. shop.” Contact Wolf Rudolph, Indiana Univer­ Wales, Cardiff September 26 Gallery talk with sity School of Fine Arts, Fine Arts Building 412, Alison Britton. No fee. Contact O. Fairclough, Bloomington, Indiana 47405; or telephone (812) National Museum of Wales, Cathays Park, Cardiff 855-7501 or 855-7766. Or contact Greg Pitts, CF1 3NP; or telephone (222) 397-951.

76 C eramics Monthly June/July/August 1991 77 heating water distributed throughout a cold and the glaze will again settle to the bottom Suggestions chicken, I experimented with various of the bucket.—Dolly Thompson, Boulder, Colo. From Readers amounts of clay and heating times, with quite satisfactory results. Recycled Kiln Elements For an 8-pound pug, two runs of two Don’t throw away defunct kiln elements. minutes each produced a comfortable and They can be divided into sections for use as long-lasting warmth, even when cold water hangers on decorative objects. Simply snip Angled Knife for Trimming Toolwas used to pull the cylinder. To ensure with wire cutters and push into the wet clay, A soft steel fettling knife bent at a 90° uniform heat, I turned the pug over and then fire them in place.— Sandy Closs, Mari­ angle makes a great trimming tool for wheel rotated it 90° between runs. You can experi­ etta, Ga. work. Place the knife in a vise at the point ment by heating pugged or wedged clay for a minute, cutting it in half with a wire, then Minimizing Dust tracing the temperature profile with your A simple, yet effective way to minimize finger to determine the appropriate amount clay dust in the studio air is to keep a kettie of time to add. of saltwater boiling on an electric hot plate. As to safety, too much microwaving can A couple of vaporizers, picked up cheaply at boil water within the clay, which will cause second-hand shops, will serve the same pur­ the mass to burst open, but this would not bepose.— Wes Warlop, Anna, Kans. explosive (like an egg). Remember, over­ you wish to angle the blade, bend the blade heated water in the clay could burn your Flying Scrap Catcher by hand, then tap with a hammer a few times hands when opening a centered mass. —Roy To stop clay scraps from flying all over to square it off. Remember to orient the Hackett, Woodland Hills, Calif. when trimming on the potter’s wheel, I knife so that the cutting edge is to the left bought an 18-inch-diameter, close-weave, when you are holding the tool —Joe Vitek, Changing Glaze Pudding to Creamplastic laundry basket, then cut off the top 6 Baltimore Did you ever have a glaze batch set up like inches. Nestled into the splash pan, this “fly vanilla pudding? It is due to an excess of catcher” eliminates the mess. It is quick to Cold Clay Comfort calcium or magnesium in the glaze, and can put on and take off, and costs only $3.— December was unusually cold in South­happen when you try to save a “sinker” by Diana Frank, Troy, W.Va. ern California, and throwing frigid clay in adding calcium chloride to the mix. The an unheated studio added insult to injury.cure, as prescribed by an oil-well mud engi­ Decorating “Chair” for Pots (Okay, I can hear you northeasterners yell­ neer, is Calgon. Mix a tablespoon or two in Large bags (plastic, cloth, even old pil­ ing, “Sissy.”) Reasoning that the coldness a cup of water. Add drop by drop to the thick low cases) filled with Styrofoam chips or came from the water in the pugged clay and glaze while stirring until it reaches the de­ peanuts make good supports when decorat­ that my microwave oven did a great job of sired consistency, then stop. Add too much ing large pots. The pellet-filled bag acts like

78 CERAMICS MONTHLY a beanbag chair. If the bag is placed in a box, it can go with a moist pot right into the damp box, thus reducing the danger of break­ age.— Lili Krakowski, Constableville, N.Y. Firing Glaze Tests A small electric kiln is a good tool for glaze testing, but I had to devise a tempera­ ture schedule that would yield results com­ parable to firing in a large kiln. My test kiln (with interior dimensions of 8x8x4% inches) is controlled by a dial switch, draws 15 amps at 115 volts, and can be plugged into any heavy-duty appliance outlet. The following chart is the result of experimenting with firings to a cool Cone 5. Time Temperature Switch Setting Low (lid propped Start Room temperature with 1-inch stilt) End of Hour 1 200° F 2 End of Hour 2 350°F 3 End of Hour 3 500°F 4 End of Hour 4 700°F 5 5 (stilt removed, 1 leaving/ 2-inch End of Hour 5 850°F opening) End of Hour 6 1150°F 5 (lid closed) End of Hour 7 1350°F 6 End of Hour 8 1550°F 6½ End of Hour 9 2150°F 5 End of Hour 13 1550°F 3 End of Hour 14 1350°F Off My full-size kiln has an optional 4%-inch extender ring. When it is used, the tempera­ ture increase per hour is less. Also, when the temperature reaches 2000°F, pyrometer readings should be checked every ten min­ utes. I rely mainly on the pyrometer, but also place cones in the kiln. At 2150°F, I check to confirm that Cone 4 has flattened and 5 is tipping. Caution: Even a small test kiln should be vented outside. Protective goggles should be worn when looking into any kiln, even a small one.—ElizabethDrachman, Bethesda, Md. Pin-Point Accuracy Measurements taken with aluminum calipers can be rather vague. If you come across situations where this is insufficient,

grind the blades to a very sharp point for greater accuracy.—-Joe Vitek, Baltimore Dollars for Your Ideas Ceramics Monthly pays $10 for each suggestion published; submissions are welcome individually or in quantity. Include an illustration or photo to accompany your suggestion and we will pay $10 more if we use it. Mail ideas to Suggestions, Ceramics Monthly, Box 12448, Columbus, Ohio 43212; or fax to (614) 488-4561. Sorry, but we can’t acknowledge or return unused items.

June/July/August 1991 79 oped in Japan during the early 1500s by the New Books Korean-born son of a tile maker, raku has been a highly favored ware for the Japanese tea ceremony. Because “a knowledge of the tea cer­ emony is helpful in understanding and ap­ preciating its influence both in the field of Khmer Ceramics from the ceramics and on the conduct of life,” Piepenburg begins by describing the intri­ Kamratan Collection cate details of this ritual, including the point by Hiroshi Fujiwara at which the teabowl itself is inspected and Based on the catalog for an exhibition of appreciated. the same name at the Toyama Museum of He goes on to discuss the more practical Fine Art injapan, this aspects of raku production, such as clay history gives an over­ preferences, glazes view of the Khmer (with more than ceramics produced twice as many recipes in Southeast Asia. Lo­ as in the first edition) cated between the and glazing. “The Menam and Mekong way the glaze is ap­ Rivers, the Khmer plied should be deter­ Empire existed be­ mined by the shape tween the 9th and of the pot and the 15th centuries. Ce­ creative insights of ramics made during the potter. The meth­ the Khmer reign ods of glazing should were used for cooking and storage, as well as not be thought of for animistic and religious rituals. separately from the ceramic form to be “In contrast to the temples built for gods glazed. Application and form should be and kings, ceramics were made for the indistinguishable” people.... Because they are functional wares, The text also covers kilnbuilding, as well the sheer beauty manifested in other as­ as the firing process. A final section offers pects of Khmer art is absent in ceramics,” safety precautions. 159 pages, including fore­ states the author. “Still, they are no less word, epilogue and a list of instructional appealing. The directness and realism of videos. 13 color plates; 126 black-and-white these wares are highly artistic.” photographs; 10 diagrams. $24.95. Pebble Shaping was accomplished “by model­ Press, 1313North Main Street, Ann Arbor, Michi­ ing and with coils and a potter’s wheel. gan 48104. Regardless of the method used, the base is always flat, without a foot rim. The consis­ Tempest in a Teapot tency of this feature makes it a hallmark of Khmer wares.” Shapes modeled by hand The Ceramic Art of Peter Shire include sculpture, such as animals and Although he describes teapots as “the conches. Pots formed by coils include me­ Holy Grail of pottery” because of their diffi­ dium and large vessels, while the potter’s cult and complex forms, California artist wheel was used to make small pieces. Peter Shire has been creating them since For the most part, the glaze color was the early 1970s. In fact, when working with either green or brown; a few pieces have clay, he makes teapots almost exclusively. both colors. Although some sites are not yet Shire also designs jewelry, furniture, archi­ excavated, the brown-glazed wares outnum­ tecture and stage sets. ber the green, three to one. This book chronologically documents The text also addresses the dating of all of Shire’s teapot production since 1974. Khmer wares, influences from other areas, Included are essays by Hunter Drohojow- characteristic shapes and decoration, and ska, chair of the department of liberal arts at firing techniques. Ill pages, including bib­ Otis Art Institute/Parsons School of Design, liography; plus plate/figure/map indexes. Los Angeles; and Norman Klein, Los Ange- 147 color plates; 14 black-and-white photo­ les-based critic and art historian; as well as a graphs; 16 sketches; 2 maps. $45. Oxford foreword by Ettore Sottsass, founder of the University Press, 200 Madison Avenue, New Milan-based Memphis movement. York, New York 10016. While Klein’s writing focuses on the his­ tory of ceramics that has influenced Shire, Raku Pottery Drohojowska discusses the man and his work. “Like so many artists of his generation,” says by Robert Piepenburg Drohojowska, “Shire has been dodging, “Raku comes from a background of uni­ upsetting, or confronting the legacies of versal human experience and offers potters modernism since 1974, the date he affixes spiritual insight into themselves as well as to his first mature work....Shire chose ce­ their craft,” states the author of this how-to ramics from the pantheon of late-20th- guide, an updated version (with many new century art media in part because of its illustrations) of his 1972 text. First devel­ problematic status.” Continued

80 CERAMICS MONTHLY June/July/August 1991 81 New Books much money you can beg or borrow. It will tell you whether or not you have a business at all.” The author goes on to explain each step of planning a business, using actual Graduating from the Chouinard Art In­ plans written by successful entrepreneurs as stitute in 1970, Shire was influenced by the real-world examples. ceramics movement at the Otis/Parsons Art Although this book is directed toward a Institute. Ken Price especially, Shire says, general audience, much of the information was one of the great­ is useful for craftspeople thinking about est influences on his starting their own studio businesses. It cov­ work. Upon viewing a ers deciding what to sell, marketing yourself 1969 exhibition of and your business, dealing with the media, Price’s work, he re­ finding and keeping track of money, man­ members, “I saw ce­ aging employees, using computers; plus tax ramics could be stuff obligations and advantages, and the law. you could love rather The final chapter identifies crisis points in than big lumps of clay the first few years. trying to take the art Throughout the guide, the author sug­ world on its own gests further readings, with specific sources terms. That stuff was for different types of businesses. 213 pages; playing into the business that sculpture has 8 charts. $14.95, softcover. Stackpole Books, to be heroic and macho. Price wasn’t doing Box 1831, Cameron and Kelker Streets, Harris­ any of that.” burg, Pennsylvania 17105. In his own work, Shire tries to balance both the functional and sculptural. “Instead Lustre of underscoring the plasticity of clay, Shire dedicates considerable effort to disguising For China Painters and Potters it...,” says Drohojowska. “Thus, utility is ad­ by Heather Tailor mitted and subverted simultaneously. The Geared toward beginners, this how-to teapots are often so complicated that it is book discusses various aspects of luster glazes daunting to pick them up.” in easy-to-read, short chapters. Lusters are Shire explains, “I eliminate references “...best applied over a high-fired glossy sur­ to the hand, to the small, discreet, and face. The colors fire bright, clear and shiny, comfortable object. I began by making them and will take a firing of between 720° and confrontational so you’d have a hard time 800°C [1325°-1475°F]. Over semimatt sur­ grabbing them....They had to be more than faces, luster fires less glossy and loses some groovy little constructions.” 144 pages, in­ of its reflective iridescence. Over matt sur­ cluding bibliography. 113 color plates; 8 faces, luster will not glaze and loses all of its sketches; and 25 black-and-white photo­ iridescence.” graphs. $27.50, softcover. Rizzoli, 300 Park Further chapters cover the hazards of Avenue, South, New York, New York 10010. luster, which tools to use and when, firing techniques, luster colors, stenciling, resist How to Start a Business and work and special effects. One of the last Succeed chapters discusses disappointing results. Although the author says that “experi­ A Guide to Being Your Own Bossmenting with the luster colors, making test by Ripley Hotch pieces, keeping notes and planning a design Before starting your own business, the based on the results will contribute to suc­ author of this guide suggests you ask your­ cessful pieces,” she self the following does note that some­ questions: “Are you a times things can still self-starter? Do you go wrong, and offers relate well to other some suggestions for people? Do you have what to do when they a lot of energy? Can do. For example: you hang in there? “Fired luster can be Are you organized? darkened by adding Are you decisive? Are another coat of lus­ you creative?...If you ter and refiring. Un­ find yourself saying even [application], ‘no’ far more often tide marks, dust and than ‘yes,’” he rec­ unwanted speckles can usually be covered ommends that you or camouflaged with another coat of color.... “save yourself a lot of grief and keep working Mother-of-pearl will add an iridescent play for someone else.” of colored lights to a dark luster and give the If, however, you answer yes to most of the illusion of a lighter surface.” 48 pages, in­ questions, your first step should be develop­ cluding index. 35 color plates; 18 black-and- ing a business plan. “A plan done properly at white photos. $14.95. International Special­ the beginning of your project will tell you ized Book Services, 5602Northeast Hassalo Street, something far more important than how Portland, Oregon 97213.

82 CERAMICS MONTHLY June/July/August 1991 83 Video this tape was assembled from stills, blend­ ing one into another. Usually, this kind of production creates an inferior video, but that is not the case here. All of Cardew’s sense of humor, love of pottery, joy in life, and full-bodied philosophy come through, Vessels of the Spirits and at times are enhanced by the marrying Pots and People in North Cameroonof taped/edited voiceover and quickly changing images. In this anthropological look at a West At 75, Cardew dealt with diminishing Africa village, coil-built earthenware pot­ strength by producing most large forms in tery is identified as a key element of the two parts. There was a time, he says, when culture. “Pots are everywhere...used for he would have “held this type of throwing cooking, for shrines, for storage and trans­ in contempt,” but after working in West port of water and beer.” Africa, he recognized the merits of thrown- Only the women are potters, and they coil techniques. pot only during the dry season. The film After the clay is spiral wedged, an ovoid crew visits one woman’s workspace near form is thrown at the wheel. “The wheel is her family compound—a sheltered area a tool,” he explains, “not a machine. It is that will revert to a field during the rainy completely under the control of the per­ season—to document typical forming and son who is operating it. Repetition throw­ firing techniques. ing...smooths out all your jumpy vibrations Clay, dug nearby, is aged in a large pot, and puts you into a rhythm. Once...estab­ then wedged by foot. A cone-shaped mallet lished, the rhythm will carry you,...allowing is used to form the base—by tapping and the clay to make the pot.” turning while the clay is supported by a A thick coil, thrown off the hump to carved tree trunk. The top is built up with match the rim diameter, is attached to the coils. Larger jars are begun on the trunk ovoid base, then pulled to form the neck. support, then transferred to an ash-filled Lid and spout (a flared form that is pinched bowl. Typically, several pots are made in to shape, then divided in two) are also succession, built up in stages so that the thrown off the hump. walls have time to dry sufficiently before Careful attention is paid to attaching coils are added. spout and handle. Cardew advises not to Having dried for days in the shade, pro­ rush, to take the time to do it well, and to tected from animals and children, the pots start over if the result is not satisfactory. are fired in a shallow pit, stacked on dung To him, form was “the beginning and with straw piled on top. For blackware, pul­ end of the potter’s art, almost.” A pot is verized dung is spread over the pit after the finished when “it looks right. I feel that fire has died down; this both starves the about all the most admired pots. A success­ fire of oxygen and creates a carbonaceous ful design is the way it ought to be, and atmosphere, which together blacken the there’s absolutely no discussion about it.” pots’ surfaces. The classical sound track is performed Utilitarian pots are sold from the home by Michael Cardew and his son Seth on and at market. Their quality is high and what appear to be recorders, although the prices are reasonable. instruments used and the title of the work Other pots are made to express the played are unspecified. 15½ minutes. Avail­ owner’s social status or achievements, or to able as VHS videocassette. $34.95. Piker Pro­ placate the spirits, which have shrines ev­ ductions, Ltd., 34 East 30 Street, New York, erywhere and can be influenced by pottery New York 10016. offerings. 50 minutes. Available as VHS or ¾-inch videocassette. $275 purchase; $60 rental. Barbara Murray, Administrative Assis­ From the Potter’s Hands tant, Film Library, Department of Communica­An Introduction to Ceramics tions Media, The University of Calgary, 2500 Produced for an elementary/middle/ University Drive, Northwest, Calgary, Alberta high school audience, this aesthetically dis­ T2N1N4, Canada. mal video is supposed to demonstrate all the basic pottery techniques in just half an Michael Cardew: A Coffeepot hour. Perhaps that’s the problem. No one Adapted from a slide presentation, this could effectively cover wedging, pinching, video features British potter Michael Car­ coiling, slab building, throwing and glaz­ dew (1901-1983) demonstrating coffeepot ing in such a short time. making at his Wenford Bridge Pottery in The result is more an overview of possi­ Cornwall, England. More than a simple les­ bilities with troubling inaccuracies and son, it is also a loving portrait of one of the much left to the imagination; it should not world’s most remarkable, amiable and in­ be considered a “how to” by art teachers fluential potters. with limited knowledge of ceramics. 32 min­ Sensitively paced step-by-step photogra­ utes. Available as VHS videocassette. $129, phy and well-edited voiceover give one the plus 8% ($10.32) for shipping and han­ sense of watching real motion, even though dling; state sales tax may also apply. Ameri-

84 CERAMICS MONTHLY June/July/August 1991 85 Video low-tech method of processing that yields about 200 pounds of throwable material per week—not exacdy production scale, but can School Publishers, Princeton Road, Boxrespectable 408, enough for the labor involved. Hightstown, New Jersey 08520. What’s more, it follows from the techniques shown that one could process very large Dance of the Wheel quantities of clay with this method, simply by adding to the number of drying racks. The Pottery of Todd Piker Equipment requirements are minimal: According to studio potter Todd Piker, a shovel; a large supply of recycled, lidded, throwing is “a dance. Each particular pot plastic buckets (the kind in which joint represents a different dance. Each pot will compound and other building materials have the steps that a dance will have. If you are packaged—usually obtained free from put the steps together in a certain way, contractors); a scale; a ½-inch electric drill you’ll get a certain dance. The same thing and mixing blade; and several foam- and goes with a pot. You can’t make one dance tarp-lined drying racks built from 2x4s and look like another.” plywood. More a “how come” than a “how to,” this From his suburban studio, California video profile follows Piker, a successful func­potter Paul Bodtke drives to the country to tional potter with a large studio operation, load his pickup truck with clay dug from a through the stages of production (pugging, dry creek bed. Under a bridge, he finds a weighing, wedging, throwing, glazing, load­ relatively free-of-debris deposit that has ing and wood firing ware), as he discusses dried to the point of cracking. Shovelfuls the work, both on and off camera. of cracked clay are skimmed from the sur­ Piker established his pottery in Corn­ face and dumped into awaiting buckets— wall Bridge, Connecticut, in 1972 (see about 40 pounds each, 900 pounds per “Cornwall Bridge Pottery” in the Septem­ truckload. “The larger the cracks, the bet­ ber 1976 CM), after apprenticing with ter the quality of the clay,” says Bodtke. Michael Cardew. He “stepped out of mid­ Back at the studio, he stores most of the town Manhattan, away from peace marches, raw clay, covering the buckets with lids, nights at the Fillmore East, rock concerts, then begins processing the remainder by things like that, and one week later was in a weighing out 20-pound batches. To make a little granite building [in England], trying Cone 1 body, he adds 5 pounds (20%) ball to be a production potter.” clay to each batch, then floods the buckets That first year was difficult, as he had with water and sets them aside for a few little previous experience; most of his work days until all the clay is wet. ended up in the scrap bucket. But Piker Next, part of the slaked clay is poured stayed with it because he liked making pot­ into additional buckets so that Bodtke ends tery. Besides, he had been warned that it up with half-full containers. Each is then takes seven years to become a thrower. Piker mixed with a drywall mortar mixing blade says he was very much an example of that powered by a ½-inch electric drill—the adage. Only after seven years of professional blade was purchased for $9 at a hardware work did it begin “to come to me.” Today, store. The batches are then homogenized his goal remains to make functional pots by pouring slurry from bucket to bucket. that can be sold at affordable prices. After the slurry has been passed through Piker has always considered potting a bucket-fitting sieve (made from metal win­ “something of a social occupation, not a dow screen) to remove debris, it can be solitary endeavor,” so over the years he has poured into the drying racks. A few days worked with a series of assistants from later, it is scooped out and transferred around the world. Film sequences of Piker (again by bucket) to a Masonite bat in the and current assistant Cary Hulin throwing studio where drying to throwing consistency standard forms illustrate similarities and can be carefully monitored. differences in their techniques. Once the processing routine is estab­ “Something that I’ve tried to maintain lished, it really doesn’t take much time away here...just because I know it’s somehow con­ from production, says Bodtke. For him, it is nected with my love of what I’m doing,” all worthwhile, as he obviously enjoys pot­ says Piker, “is having the option open at all ting with the results of his labor. times to make something slightly differently For those seeking a professional, well- than I made it the last time.” 28 minutes. edited presentation, this video leaves much Available asVHS ($49.95) or^inch ($100) to be desired: music/narration conflict; very videocassette. Frydenborg Videoworks, 29Northslow start; too much “real time,” including Street, Guilford, Connecticut 06437. lots of watching the potter’s truck drive off into the hills. Yet Bodtke overcomes most Native Clay of these production annoyances through a consistently upbeat manner and a barrage A Potter’s Home Refinery of insider tips. 48 minutes. Available asVHS Of interest to local materials fans, or videocassette. $18 (includes shipping). Paul anyone interested in saving money on the Bodtke, 1262 Weymouth Lane, Ventura, Cali­ next clay bill, this video fully describes a fornia 93001.

86 CERAMICS MONTHLY June/July/August 1991 87 88 C eramics Monthly Jeff Kell by Maryalice Yakutchik

They ARE MADE on a potter’s wheel in ing exposure to primitive cultures. the dusty basement studio of his “Sometimes I am made aware that Reading, Pennsylvania, row house, but what I see or read directly influences Jeff Kell’s vessels achieve their iden­ my work,” he adds. tity through pit firing in a country Thrown in sections at the wheel, field. There, bisqueware is placed in a his vessels range in height from 15 to 55-gallon drum punched full of holes, 60 inches and in diameter from 12 to Vhich sits in a 4-foot-deep pit dug 22 inches. Using a heavily grogged, into the bank of a hill,” Kell explains. commercial sculpture clay “helps pre­ “This natural shelter protects the vent slumping when I throw large drum from the wind, captures heat forms. Additionally, this body [made and allows for more even tempera­ of approximately 35% kaolin, 35% ture while firing. fireclay, and 30% grog] resists crack­ “Initially, I tried burning myriad ing (in the uneven temperatures that materials—wood chunks, sawdust, occur during straw firing) better than grass, leaves, etc.—in an attempt to Jeff Kell, Reading, Pennsylvania. other clay bodies with which I have attain even temperature,” he says. “But experimented.” they all resulted in inconsistent fires fire quickly attains, then stays at a tem­ Once the sections are assembled, and cracked vessels. perature intense enough to permit altered and textured, he completes “Finally, I tried straw and have color development. the form with slip trailing. “Although found it to be the ideal fuel for my “Exciting, unexpected things hap application of the slip is the most spon­ purpose. It can be spread evenly and pen, but always within certain param­ taneous part of the process, I still con­ so yields consistent heat over the en­ eters, which I control.” trol the movement, still plan for it, to tire vessel, which helps prevent crack­ Kell’s current work is influenced a degree,” he says. “I want fluid lines ing. I continuously add straw so the by early impressions of and continu­ that take the eye first horizontally

“Ritual Vessel II,” 26 inches in height, “Classic Vessel” 2 feet high, with impress­ thrown and slab built, fired in straw. ing, trailed slips and sprayed copper matt.

June/July/August 1991 “Prelibation of Deity ,” 41 inches in height, heavily grogged sculpture clay, thrown and slab built, impressed, trailed with slip, bisqued to Cone 06, sprayed with copper matt solution, straw fired.

90 CERAMICS MONTHLY Basic shapes are thrown at the wheel in Kell’s basement studio.

Thrown sections are assembled, topped with a thrown andBisqueware is misted with a copper matt solution, then fired slab-built lid, then textured by impressing and trailing. with straw inside a metal drum punched full of holes. across the vessel, then draw it down sprayed—with an ordinary plant mis­ vessels a wide range of color, pre­ dramatically. What allows me a bal­ ter—onto each vessel. (The recipe dominantly blue and rust tints, but ance between planned and spontane­ originally came from “The Copper also some unexpected ones: muted ous action is the consistency of the Matt Finish” published in the April shades of pale peach through steel slip, which must be fairly stiff, so that 1985 Ceramics Monthly. It is 10% Ferro blue/gray with some dark rust and it holds three-dimensional shape.” frit 3110 and 90% copper carbonate. orange spots. “The copper starts to Trailing slip is made from equal To this, Kell usually adds 1%-2% red react at very low temperatures (around parts of the same clay body used to iron oxide.) 700°F), which is important since the make the vessels and an earthenware “I’ve experimented with an air­ straw fire probably doesn’t get much clay. This is subsequently passed brush,” he explains, “but that rendered above 1000°F. through an 80-mesh screen. regular results that looked too con­ Tire is an elemental force, straight­ Once the vessels are bone dry, they trived. With a mister, I get intermit­ forward, powerful and primitive,” Kell are bisque fired to Cone 06. To en­ tent little drops and the occasional says. “I enjoy standing over and feed­ hance color development during big splash. The copper, in the atmo­ ing it, and watching as it changes the firing, a copper matt solution is sphere of the straw firing, gives the vessel within.” ▲

June/July/August 1991 91 Developing Mid-Temperature Clays by Larry Clark

ALONG WITH the aesthetic qualities tined for the table—sometimes Glaze 5 that we ask of clays and glazes, we straight from the oven. At the same Talc (Nytal 100HR) ...... 13.6% sometimes want bodies that survive time, I would like to have the free­ Whiting (Atomite) ...... 3.8 repeated thermal shocks and that pro­ dom to fire the same body over a Zinc Oxide ...... 2.7 vide adequate fit for a variety of glazes. range from Cone 4 to Cone 6. Could Frit 3134 (Ferro)...... 19.8 To achieve this, we seek a balance of the feldspar/quartz approach be used G-200 Feldspar...... 20.1 quartz and cristobalite. Clays fired at to achieve what is needed? Calcined Alumina...... 4.4 earthenware temperatures may re­ A test glaze series appropriate for Edgar Plastic Kaolin ...... 14.6 quire a catalyst to induce the develop­ these lower temperatures will demon­ Flint...... 21.0 ment of cristobalite, while at stoneware strate by applying the previously out­ 100.0% temperatures it arises naturally, some­ lined procedure. The following are times too much for shock resistance transparent glazes that work well at Glaze 6 and glaze fit. In these instances, feld­ Orton Cones 4 and 6: Talc (Nytal 100HR) ...... 16.6% spar is of use in controlling its forma­ Whiting (Atomite) ...... 6.5 tion, and quartz may be added where Glaze 1 Zinc Oxide ...... 2.4 necessary in order to place glazes in Whiting (Atomite) ...... 11.5% Frit 3185 (Ferro) ...... 30.1 the ideal state of slight compression. Zinc Oxide ...... 2.5 G-200 Feldspar...... 14.0 These are well-known propositions, Frit 3134 (Ferro)...... 18.7 Calcined Alumina...... 4.5 and Phoenix, Oregon, potter Jim Rob­ G-200 Feldspar...... 38.0 Edgar Plastic Kaolin ...... 14.6 inson has combined them in an infor­ Edgar Plastic Kaolin ...... 15.8 Flint...... 11.3 mative way to develop a procedure Flint...... 13.5 100.0% for body building at Cone 10. Using a 100.0% series of ten transparent glazes, which Glaze 7 are ranked by their expansion coeffi­ Glaze 2 Talc (Nytal 100HR) ...... 21.2% cients to help gauge progress, feld­ Whiting (Atomite) ...... 18.0% Whiting (Atomite) ...... 2.9 spar substitutions are made to a Frit 3134 (Ferro)...... 18.5 Zinc Oxide ...... 2.5 chosen clay blend to halt shivering. G-200 Feldspar...... 18.8 Frit 3185 (Ferro) ...... 30.7 After these substitutions, some of Calcined Alumina...... 4.2 G-200 Feldspar...... 14.2 the glazes that previously fit will craze, Edgar Plastic Kaolin ...... 13.6 Calcined Alumina...... 4.5 so the feldspar content is held con­ Flint...... 26.9 Edgar Plastic Kaolin ...... 14.9 stant and substitutions of quartz are 100.0% Flint...... 9.1 tried. Clearly, there are variations on 100.0% this theme; instead of maintaining a Glaze 3 given percentage of feldspar as quartz Whiting (Atomite) ...... 15.0% Glaze 8 substitutions are made, one may Zinc Oxide ...... 2.5 Talc (Nytal 100HR) ...... 25.1% choose to hold constant the feldspar- Frit 3134 (Ferro)...... 18.6 Zinc Oxide ...... 2.4 to-clay ratio. G-200 Feldspar...... 18.9 Frit 3185 (Ferro) ...... 36.0 For several years I have used Kevin Calcined Alumina...... 4.2 G-200 Feldspar...... 9.9 Byrne’s oxidation body [see “Majolica Edgar Plastic Kaolin ...... 13.8 Calcined Alumina...... 4.8 Techniques at Cone 4” in the April Flint...... 27.0 Edgar Plastic Kaolin ...... 16.0 1980 issue ofCeramics Monthly]: 100.0% Flint...... 5.8 100.0% Medium Temperature Clay Body Glaze 4 (Cone 4) Talc (Nytal 100HR) ...... 4.3% Glaze 9 Nepheline Syenite ...... 20% Whiting (Atomite) ...... 11.4 Talc (Nytal 100HR) ...... 22.8% Hawthorn Bond Clay ...... 40 Zinc Oxide ...... 2.6 Whiting (Atomite) ...... 2.8 Jackson Ball Clay ...... 40 % Frit 3134 (Ferro)...... 19.0 Zinc Oxide ...... 2.4 100 G-200 Feldspar...... 19.3 Frit 3185 (Ferro) ...... 35.6 When crazing is desired, or of small Calcined Alumina...... 4.2 Calcined Alumina...... 5.8 consequence, this recipe provides a Edgar Plastic Kaolin ...... 14.0 Edgar Plastic Kaolin ...... 18.8 workable, well-vitrified, Cone 4 body. Flint...... 25.2 Flint...... 11.8 Much of my work, however, is des­ 100.0% 100.0%

92 CERAMICS MONTHLY June/July/August 1991 93 Mid-Temperature Clays ticularly evident for the ball clay, where six of the glazes that craze at Cone 4 shiver at Cone 6. Time, temperature and atmosphere are potentially of Glaze 10 equal importance, but the tables’ re­ Talc...... 25.1% sults were obtained from firings of Whiting (Atomite) ...... 1.0 separate samples in a medium-size Zinc Oxide ...... 2.5 electric kiln, with an initial bisque at Frit 3185 (Ferro) ...... 36.0 Cone 06, and the Cone 4 and 6 firings Calcined Alumina...... 5.7 averaging 9-10 hours. The differences, Edgar Plastic Kaolin ...... 19.0 then, are primarily a matter of tem­ Flint...... 10.7 perature. Without the aid of added 100.0% catalysts, cristobalite develops around The glaze expansion coefficients in 2190°F (1200°C). The Cone 6 firings Table 1 are derived from formulas for encompass this temperature and the the glaze expressing the oxides in per- Cone 4 firings fall short of it. cent-by-weight form, along with the Combining the clays in equal associated oxide coefficients of ex­ amounts provides a plastic body that pansion provided by W. Lawrence and moderates the difficulties encoun­ R. West in Ceramic Science for the Potter tered with the ball clay; then a flux is (Chilton 1982). necessary to reduce porosity while pre­ When these glazes are applied to venting cristobalite formation at Cone clays contained in the preferred body, 6. Small amounts of nepheline sye­ results emerge that hint at the diffi­ nite or G-200 feldspar eliminate shiv­ culty of obtaining one that will per­ ering and extend crazing to extra form equally well at both Cone 4 and glazes, but to be sure, further addi­ Cone 6. This moderate difference in tions can be made. Holding either of “heat work” produces quite different these at 12% is a reasonable place to behavior, as Tables 2 and 3 illustrate. start; amounts in excess of this cause Little or no cristobalite forms at Cone no additional glazes to craze at Cone 4, while significant amounts develop 4 or 6 as substitutions are carried to at Cone 6. These differences are par­ 18%. Partial substitutions of 325-mesh

94 CERAMICS MONTHLY June/July/August 1991 95 Mid-Temperature Clays nepheline syenite allows room for ex­ tra quartz substitutions; however, even with quartz at 18%, four glazes craze and the absorption rises to 4.5%. flint for clay will control some of the Adequate bodies comprised of clay, crazing, and quench tests are of value feldspar and quartz are attainable at in assessing the adjustments. In the Cone 6. It may be possible to improve method adopted here, fired samples the fit of bodies at Cone 4 by length­ are heated to 266°F (130°C), held ening the firing cycle above 1830°F there for an hour, then quenched in (1000°C), by changing the propor­ 68°F (20°C) water. This procedure is tions of the clays, or by using different repeated at 356°F (180°C). These ex­ clays. Alternatively, why not use talc periments give an idea of the amount instead of nepheline syenite, in order of crazing found during normal use to obtain a cristobalite catalyst as well after two years and four months. as a flux? Because this is of question­ Quartz in the amount of 18% will able benefit—it may generate behav­ keep all but two glazes in compres­ ior that varies widely from one firing sion without shivering when G-200 to the next. feldspar is held at 12% and the firing The results of two experiments that is taken to Cone 6. But as seen in differ only by a small change in the Table 4, holding the feldspar constant length of the firing cycle are reported at other levels is sometimes fruitful. in Table 5. In the first case magne­ With G-200 feldspar at 8% and quartz sium is acting primarily as a flux, while at 12%, it is possible to obtain a body in the second its catalytic effect on that provides comparable perfor­ cristobalite formation dominates. To mance, and this one has a higher clay achieve the desired results, an alter­ content. Replacement of G-200 feld­ nate approach is sometimes war­ spar with nepheline syenite in either ranted. Cone 4 firings lie within the of these bodies offers a moderate re­ region of what can be roughly termed duction in porosity, but additional the boundary between earthenware glazes craze because of nepheline and stoneware, and this sometimes syenite’s lower molecular silica-to-alu- dictates firing lower, where the talc/ mina ratio. quartz method is more at home; or The consequences of firing these firing higher, where the feldspar/ bodies to Cone 4, using nepheline quartz system comes into its own. syenite, are presented in Table 5; those using G-200 feldspar instead generate The author Larry Clark is an associate virtually identical glaze performance professor at the University of Prince Ed- but raise porosity. The body with 8% ward Island in Charlottetown.

96 CERAMICS MONTHLY June/July /August 1991 97 Slip Casting, Part 6 Casting Glazes and Engobes! by Gerald Rowan

Editor’s note:This is the last in a con­ for use over slipcasting bodies. The Bright yellow. Great with other com­ secutive series of articles on slip cast­ fact that casting bodies usually con­ mercial stains; use about 10%-15%. ing that started with the January issue. tain less than 50% clay tends to cause some problems with glaze fit—i.e., the Engobe No. 270 MOST OF THE SURFACE TREATMENTS I large percentage of nonplastic mate­ (Cone 06) use on slip-cast work can be grouped rials in slipcasting bodies alter glaze Albany Slip...... 62.5% into two temperature ranges: Cone shrinkage rates when compared to Cullet...... 37.5 06-05 and Cone 5-6. A little over five plastic bodies (traditional throwing 100.0% years ago, I left the Cone 10 tempera­ bodies contain as much as 90% plas­ Add: Copper Carbonate...... 5.0% ture range and adjusted materials and tic clay); and the nonplastic content Yields reds and greens in reduction; working habits to Cone 6. I also of most casting bodies is usually made could try in raku. switched from gas reduction firing to up of silicates (flint, feldspar, etc.), electric oxidation firing. which affects the clay/glaze interface. Engobe No. 271 The change was made for two in­ (Cone 06) Engobe No. 225 terrelated reasons: First, in an era of Edgar Plastic Kaolin ...... 16.7% (Cone 06) escalating fuel costs, it allowed more Cullet...... 83.3 Wood Ash (unwashed) ...... 11.11% competitive production (energy cost 100.0% was about half of firing to Cone 10, Edgar Plastic Kaolin...... 22.22 and by building a well-insulated elec­ Cullet...... 66.67 Deep gray. tric kiln, I was able to save almost 100.00% Engobe No. 273 another third). Second, it made sense Engobe No. 226 (Cone 06) to become as energy efficient as pos­ Soda Ash ...... 2.0% sible for the environment. (Cone 06) Wood Ash (unwashed) ...... 20% Edgar Plastic Kaolin ...... 28.6 But while developing a palette of Cullet...... 69.4 suitable glazes,I felt I had not quite Edgar Plastic Kaolin ...... 20 100.0% found everything I needed for my slip Cullet...... 60 Add: Chrome Oxide ...... 1.0% cast forms. So I tried to describe in 100% writing what I thought the surfaces Light to medium gray stony matt. Gray to light olive. should look like. After reading what I had written, I was stumped. Engobe No. 227 Engobe No. 275 At an impasse, I tacked my descrip (Cone 06) (Cone 06) tions, and logical engobe and glaze Wood Ash (unwashed) ...... 27.3% Edgar Plastic Kaolin ...... 28.60% recipes up in my studio, then lived Edgar Plastic Kaolin ...... 18.2 Cullet...... 71.40 with them for several weeks. With loads Cullet...... 54.5 100.00% of slip-cast vessels piling up to be 100.0% Add: Tin Oxide ...... 1.50% Zinc Oxide ...... 10.00% glazed, it suddenly hit me that what I For tan, add 5.0% iron oxide; for a was looking for was not something to Copper Carbonate...... 3.00% grayed tan, add 5.0% iron oxide and Iron Oxide...... 0.75% be applied to bisqueware, but a single-3.0% rutile. fire option that could be poured or Great greens and reds in heavy reduc­ brushed into a mold, then backed with Engobe No. 230 tion; could try in raku. cast slip. Casting the surface with the (Cone 06) form fit my aesthetic needs. Albany Slip...... 76% Clear Tan Glaze From that point on things seemed Cullet...... 24 (Cone 06) to go fairly smoothly, and several hun­ 100% Gerstley Borate ...... 70% dred tests later I was in business. The Tan with gray overtones. Cedar Heights Redart...... 30 following are some of the engobes 100% and glazes I have been working with Engobe No. 256 over the last five years. (Cone 06) Birdsong Clear Glaze The engobes are rough, stony and Wollastonite...... 40% (Cone 06-03) earthy, and are terrible on functional Frit 14 (Hommel)...... 24 Gerstley Borate ...... 30% ware, but in combination with castable Kentucky Ball Clay (OM 4)...... 36 Frit 3134 (Ferro)...... 25 colored slips, they do exactly what I 100% Edgar Plastic Kaolin ...... 30 had in mind. Add: Yellow Stain...... 10% Flint...... 15 All the glazes have been fine tuned Bentonite...... 2% 100%

98 CERAMICS MONTHLY Clear Glaze “B” 2% copper carbonate and 2% chrome (Cone 06) oxide. Cornwall Stone...... 5.00 % Frit 25 (Pemco) ...... 95.00 Dense Waxy White Glaze 100.00% (Cone 6) Add: Bentonite...... 3.00% Whiting ...... 14.72% CMC Gum...... 0.25% Custer Feldspar...... 46.86 Georgia Kaolin ...... 8.33 An excellent clear glaze to spray over Flint...... 30.09 colored casting bodies. 100.00% Add: Tin Oxide ...... 4.33% Clear Matt Glaze “B” Titanium Dioxide...... 4.33% (Cone 06) Zinc Oxide...... 8.23% Lithium Carbonate...... 8.00 % Bentonite...... 3.25% Frit 25 (Pemco)...... 84.50 Georgia Kaolin ...... 7.50 Opalescent Blue Glaze 100.00% (Cone 06) Add: Bentonite...... 3.00% Gersdey Borate ...... 65.00% CMC Gum...... 0.25% Spodumene...... 18.00 Georgia Kaolin...... 11.00 Translucent Glaze Flint...... 6.00 (Cone 5) 100.00% Gerstley Borate ...... 22.22 % Add: Cobalt Carbonate...... 0.25% Zinc Oxide...... 2.22 Rutile...... 3.00% Frit 3110 (Ferro)...... 11.11 Nepheline Syenite ...... 53.34 Lithium Blue Glaze Tile 6 Clay ...... 11.11 (Cone 05-03) 100.00% Lithium Carbonate...... 29.0 % Color variations of this translucent Georgia China Clay ...... 14.4 recipe are possible with the following Flint...... 56.6 additions: 100.0% Blue Add: Copper Carbonate...... 3.7 % Copper Carbonate...... 0.83 % Bentonite...... 2.8% Green Copper Oxide ...... 4.44% Deep Blue Dark Opaque Glaze Cobalt Carbonate...... 1.11% (Cone 06) Tan/Brown Frit 3134 (Ferro)...... 88.8% Iron Oxide ...... 11.11% Georgia Kaolin...... 11.2 Rutile...... 6.67 % 100.0% Dark and Runny Brown Add: Cobalt Oxide ...... 3.0% Iron Oxide ...... 55.56% Copper Carbonate...... 6.0% Zircopax ...... 10.0% Milky White Glaze (Cone 06) Slate Black Glaze Frit 3134 (Ferro)...... 88.80% (Cone 06) Georgia Kaolin ...... 11.20 Magnesium Carbonate...... 13.0% 100.00% Frit 14 (Hommel) ...... 74.0 Add: Zircopax...... 5.00% Georgia Kaolin ...... 13.0 CMC Gum...... 0.25% 100.0% Add: Chrome Oxide ...... 5.0% Glaze 101 “M” Cobalt Oxide ...... 1.0% (Cone 6) Copper Oxide ...... 3.0 % Lithium Carbonate...... 5 % Iron Oxide ...... 4.0% Whiting...... 15 Frit 3110 (Ferro)...... 45 Runny Wood Ash Glaze Kentucky Ball Clay (OM 4)...... 10 (Cone 5-6) Flint...... 25 Wood Ash (unwashed) ...... 38.10% 100% Frit 3110 (Ferro)...... 38.10 Add: Titanium Dioxide...... 5 % Barnard Slip Clay ...... 4.76 Bentonite...... 3 % Kentucky Ball Clay (OM 4) .. 19.04 For turquoise, add 3% copper car­ 100.00% bonate; for turquoise to green, add Add: Iron Oxide...... 4.76%

June/July/August 1991 99 100 Ceramics Monthly June/July/August 1991 101 and the Bellevue Art Museum in Garth Clark; and The History of Ameri­ Comment Bellevue, Washington, near Seattle. The can Ceramics, an omnibus study of three former is organizing, touring and host­ centuries by California writer Elaine Opinion versus Promotioning important surveys of art deco, arts Levin. Each book has its strengths and and crafts, and recent work such as that weaknesses, but both are indispensable seen in its epoch-making survey of 1987, in a field that only recently has attracted by Matthew Kangas “The Eloquent Object.” The latter, lit­ scholars. erally built with the profits from one of As Clark’s book makes clear, it is not the nation’s oldest and largest annual automatically true that the writing of crafts fairs, “The Pacific Northwest Arts history avoids the charge of promotion. Was it Lenin who defined progress as 8c Crafts Fair,” is taking a regional focus Updating his original study to show­ “one step forward, two steps backward?” and will open an important exhibition, case artists in his gallery in New York, His cynical recipe seems more prescient “Masterworks: Pacific Northwest Arts Clark runs the risk of his very real con­ than ever, given recent events in the 8c Crafts Show,” this summer. tribution to the field being discounted Soviet Union. Could it also be analo­ Two other regional museums worth because of such blatantly self-serving gous to the situation of the decorative mentioning—both of which have na­ boosterism. Still the don, rather than arts, or American crafts? Has recent tional scopes—are the Art Museum at the dean, of American ceramics, his progress been tied to disappointing set­ Arizona State University at Tempe, power has shifted to a growing but un­ backs? which has one of the largest collections certain market, and away from inde­ On the side of progress, a number of American ceramics and is still ac­ pendent analysis and criticism. of positive signs have appeared. Janet quiring; and the Nora Eccles Harrison Has any headway been made at infil­ Kardon, new director of the American Museum at Utah State University in trating the art world or art magazines Craft Museum in New York, has vowed Logan, which contains over 3000 works, traditionally hostile to American craft? that a history of American craft in the all traditional functional pottery by Sticking only to clay, there are a num­ 20th century will be completed by the American artists. ber of good signs. The appointment of end of the present decade. For this Cen­ Taking an international view, the Janet Koplos as a senior editor at Art in tennial Project, numerous historians, Minneapolis Institute of Arts, under America to replace the late Craig Owens critics and curators will join forces in chief curator Michael Conforti, is plac­ places a friend of ceramics in a very five period-survey exhibitions, begin­ ing American crafts in relation to En­ high position indeed. Her recent ar­ ning in 1992. Kardon also has sepa­ glish and European influences in a ticle on Betty Woodman was given ex­ rated the museum from its parent series of exhibitions, along with actively tensive space and is, one hopes, the group, the American Craft Council; has acquiring relevant objects. first of more to come. Her role as an hired critic John Perreault as chief cu­ Once again active, Everson Museum advocate for other writers wishing to rator; and is rounding up her own board of Art in Syracuse, New York, recently address the crafts sympathetically in an of trustees to better fund and supportaddressed the Japanese influence on art-world context should also be clear. these activities, including acquisitions. American ceramics, and has published Time will tell. In Washington, D.C., participants an important book on its permanent Among established writers, most from nearly 40 states met at the Na­ collection of American ceramics, the have a few pet craft artists to relieve the tional Museum of American History in oldest in the nation. tedium of their tasks: Hilton Kramer November 1989 to begin plans for 1993, That still leaves several hundred must think Mary Frank is the only the Year of American Craft. This project, other museums and art centers that American clay sculptor alive. Donald now fully underway with 50 separate could be doing more. The National Kuspit addresses Robert Arneson and state committees and a full-time devel­ Museum of American History, for ex­ Stephen DeStaebler with requisite psy­ opment director, will encourage and ample, is supposed to have 30,000 ce­ chological depth and seriousness; he promote special exhibitions, publica­ ramic objects in its holdings, but only also is one of the few big-time critics tions and events—all to raise the level 50 to 100 are ever on view, including willing to discuss the theory of craft. of recognition for all aspects of Ameri­ Nancy Reagan’s famous set of Lenox Patterson Sims, now chief curator at can craft. dinner ware. Seattle Art Museum, has written about Over at the Renwick Gallery, cura- Turning to scholarship and criticism, Viola Frey. tor-in-charge Michael Monroe and par- apart from the centennial project at Sliding down from the heights of ent-museum director Elizabeth Brounthe American Craft Museum, a num­Parnassus to the knee-deep mud of spe­ (National Museum of American Art) ber of smaller projects are well under­ cialist trade magazines, a study of three have stated that their goal is to create way, such as Winifred Owens-Hart’s ceramics journals suggests how far the the nation’s biggest and best collection upcoming survey of African-American field still has to go to guarantee cred­ of American craft in any museum by ceramics for the Everson Museum of ibility and respect from those who do the end of the century. For a five-year Art, and my own anthology-in-progress not have a bond of affection for crafts. period ending in 1995, $250,000 was of critical writing on American ceram­ American Ceramics, a glossy quarterly allocated for acquisitions. ics since 1945. designed by Massimo Vignelli, which Two smaller museums have redi­ Two major histories of American ce­ celebrates its tenth anniversary early rected their mission statements to con­ ramics have already appeared: Ameri­ next year, is an erratic forum for seri­ centrate solely on crafts—the Philbrook can Ceramics 1876 to the Present, a revision ous writers—when they can be found. Museum of Art in Tulsa, Oklahoma; of his 1976 study by critic-turned-dealer Revisionist historical monographs on

102 CERAMICS MONTHLY June/July /August 1991 103 Comment artist of an onerous task, Estelle Levy, was allowed in to discuss if “ceramics who attended his workshop at Hum­ can be both useful and worthy of criti­ boldt State University in 1989, pitched cism,” a shrewd and highly relevant ques­ significant and minor figures alternate New York artist Michael Lucero. An ar­ tion today. She cited philosopher with longer pieces that may only be ticle on Michigan potters John and Nelson Goodman and critic Kuspit, described as promotional, such as a re­ Susanne Stephenson by Dolores Slo- among many others, but, as usual, failed cent ten-page essay by editor Michael winski went into lavish detail about their to take a stand of her own. McTwigan on New York artist Michele two-car garage. Not far off, Patterson I hope this brief rundown on muse­ Oka Donner. At its best, American Ce­ Sims, so flexible when it comes to bridg­ ums and magazines makes it clear that ramics has raised the level of discourse ing gaps between art and craft, de­ functional crafts have made substantial and respect for ceramic sculpture fended his choices for a Philadelphia inroads at the museums, but that non­ through strong graphic design and bet­ juried show and devolved to the hack­ functional crafts are more welcome in ter fees for writers. At its worst, a num­ neyed notion of “quality” once again the magazines. From now on, the task ber of the pieces published over the when validating nonfunctional clay and of writers, curators, critics and histori­ years are indistinguishable from its chief its place in the art world. ans is to make sure that the museums competitor, Ceramics Monthly. Most obscure of all, but widely loved do not neglect sculptors working in clay, A difference one soon notes in crafts for its back-patting promotional style, is glass, wood, cloth and metal, and that publications is that the artists do most Studio Potter. Not only preaching to the magazines devote space to seriously dis­ of the writing, either about themselves, converted but actively canonizing them, cussing the theory and evaluation of friends or faculty colleagues. Not since this semiannual journal featured an ar­ functional crafts. the early days of Artforum when the ticle on Ohio artist Jack Earl in the This latter issue, the judgment and minimalists reviewed their own shows form of a letter from his biographer critique of functional objects, is in my in nine-page disquisitions has Ameri­ Lee Nordness accompanied by a one- opinion the most pressing and interest­ can art stooped so low. This approach line postcard reply from the succinct ing theoretical question for American is standard in the crafts, especially at artist. Another issue exposed Andy Wat­ crafts at this time. Despite strong pres­ Ceramics Monthly and, even better, the son of Provo, Utah, throwing pots with sures for solid promotion, it is incum­ author in question is usually picturedhis feet. Anglo-Canadian poet Robin bent upon us all to maintain critical on the cover surrounded by dusty equipSkelton railed against critics “who write and independent approaches when ment and bisqueware. so you need to consult the Oxford En­ encountering the handmade heritage Lately, however, Ceramics Monthly has glish Dictionary...all these airy-fairy of our time. also resembled or been influenced by words.” American Ceramics. Thus, critic Hunter With each issue devoted to a differ­ The author Seattle critic Matthew Kangas Drohojowska wrote a cheery profile on ent theme or region, Studio Potter does has written for American Ceramics, Amer­ L.A. artist Peter Shire, entirely appro­ more than fill a need; it dampens and ican Craft, Art in America, Artweek, priate for an author who also contrib­ discourages more hard-hitting but nec­ Glass and New Art Examiner, as well as utes to House & Garden. Relieving the essary analysis. Critic Patricia Malarcher Ceramics Monthly.

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104 Ceramics Monthly