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Shiro Otani a Ceramics Monthly Portfolio by Rob Barnard the Landscapes on Shigaraki Jarsperson’S View of Ceramic Art

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Shiro Otani a Ceramics Monthly Portfolio by Rob Barnard the Landscapes on Shigaraki Jarsperson’S View of Ceramic Art William C. Hunt.......................................Editor Ruth C. Buder..........................Associate Editor Robert L. Creager.............................Art Director Kim S. Nagorski................... Editorial Assistant Shawn R. Hiller...........................Staff Assistant Mary Rushley...................Circulation Manager Mary E. Beaver ................ Circulation Assistant Connie Belcher ................ Advertising Manager Spencer L. Davis ................................ Publisher Editorial, Advertising and Circulation Offices 1609 Northwest Boulevard Box 12448, Columbus, Ohio43212 (614) 488-8236 FAX (614) 488-4561 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
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