~ P

NOVEMBER 1979 $1.2S Often copied but never equaled.

!

The Shimpo-West ® R K-2

Over ten years ago Shimpo-West designed and They will tell you their wheels are running as introduced a superior potter's wheel. The first well as the day they brought them home. of its kind. Over the years the few changes The Shimpo-West concept of engineering we've made are only refinements, never changes and craftsmanship is backed by years of prac- for the sake of change.- I tice. We have the practical i The original Shimpo-West ® knowledge it takes to bring Shimpo-West practices the Ring Cone Drive System ~-~iiiiii i. iii~1~ policy of sustained excellence. [-13 you a truly fine, dependable Ask any potters who have wheel. If this is what you're bought Shimpo-West wheels looking for, look to Shimpo- during the last ten years. West. After all, you can't manufacture experience.

SHIMPO-WEST INC., 14400 LOMITAS AVE., DEPT. B111, CITY OF INDUSTRY, CA 91746 The Ultimate Extruding Systems

System III DoubleAction Air Drive w/Foot PedalControl (100 psi ...by Bailey Compressoroptional) Mountedon: OptionalFloor Stand w/ExternalExtruding Fixtures ExtrusionCapacity: Consider this: 8"L x 8"W x Any Length An extruder that is Power Driven and Foot Pedal Controlled to offer effortless extrud- ing, while leaving both hands free to manipulate the form. An extruder capable of extruding slabs 24"wide, boxes, tubes, and multisided forms up to 8"across, spheres, etc. Interchangeable Extrusion Barrels that clip on and off for easy cleaning or multiple body extruding System [ Rust Proof Barrels for clay bodies Manual "Ratchet Drive" Extruder/Wall Mount Vertical and Horizontal Extruding Extrusion Capacity: Ratchet Drive on manual extruders 8"L x 8"W x Any Length A power drive extruder that is light enough to be manually held while extruding into press molds or slab surfaces External Extruding Fixtures for cutting, 17 guiding, and separating finished forms

System II SingleAction Air Drivew/Foot PedalControl/60 psi CompressorMounted on: OptionalFloor Stand w/ExternalExtruding Fixtures The fact is, Bailey Extruding Systems are a Extrusion Capacity:4"& 6" breakthrough which makes all other diameterx Limited Length extruders inferior by comparison. To investi- I) gate more of the advantages of using Bailey Bailey Equipment, an innovator in slab Equipment, write or call us, or contact your machines, has designed a new standard in local dealer and ask them for a demonstration. clay extruders by which all others will be Find out why Bailey Pottery Equipment is measured. Up to now, extruders have been hailed as "the Professional's Choice". considered a useful tool for making handles and not much more. Bailey Extruders create For more information on Bailey Slab Rollers, new dimensions in forming clay that were refer to the September '79 issue of never before possible at a low cost. The Monthly. possibilities are endless! Bailey Pottery Equipment Corporation C.RO. 1577 Kingston, NY 12401 914 339-3721

November 1979 3 Almost ng on Yes. We have just about all our pottery equipment on our Free Freight program. We have almost all our glaze chemicals on free freight. We have all our Kemper tools on free freight, over 45 books and Ohaus scales. We are willing to ship any of our listed products anywhere within the con- tinental USA free of any shipping charge and at discounted prices. Use our toll-free phone number to ask for any price. It is 1-800-241-1895. Free Freight Equipment: Crusader electric , with or without optional kilntronics; Wrap gas kilns; Shimpo-West ~' Bantam, RK-2 Basic & RK-2 Super wheels; Brent models A, B,C & CXC wheels; Crusader 101 & 102 wheels; Brent SR-14, SR-20 & SR-36 slabrollers; Brent hand- extruders; Ohaus scales & books. All at discounted prices. KemperTools: All kemper tools listed in our catalog with a minimum tool order of $15.00. Glaze Chemicals: All chemicals listed below with a minimum order of $15.00 and a maximum weight of 40 pounds. All chemicals are of the highest quality available and suited to pottery uses.

I-,800-241-1895(Plastic Vitrox) Free Freight GhazeChemicals: Dolomite Lead-Chromate(Yellow) PV Clay Albany Flourspar Monosilicate Pyrophrolite Alumina Hydrate --3134 (P54) (H14) Oxide-Litharge Rutile-Powd Alumina Oxide 3819 (P25) (H25) Red Rutile-Gran. Antimony Oxide 3110 Lepidolite Silicon Carbide(FFF) Barium Carbonate 3124 (P311 ) (H90) Lithium Carbonate Sodium Carbonate-SodaAsh Barnard Blackbird Slip Gerstley Borate Macaloid Spodumene-ChemicalGrade -Western Grog-20 Mesh Magnesium Carbonate Superpax Bone Ash Gum Arabic ManganeseCarbonate Talc- Grade Borax Ilemenite-Granular Manganese Dioxide-Powd. Titanium Dioxide Boric Acid Iron-Chromate ManganeseDioxide-Gran. Tin Oxide Cobalt Carbonate Oxide (Black) Nepheline Syenite Ultrox Cobalt Oxide Oxide (Red) Nickel Carbonate Umber-Burnt Chrome Oxide Oxide (Spanish) Nickel Oxide-Black Umber-Raw Copper Black Oxide Jordon Clay Ochre (Yellow) Vanadium Pentoxide Copper Carbonate Wash-High Fire Petalite Wollastonite Cornwall Stone Lead-Bisilicate Potassium Carbonate-Pearl Ash Zinc Oxide (Calcined) Cryolite (Synthetic) Carbonate(White) Pumice-VolcanicAsh Zircopax

Throwing Apron: Please send the following: $ 8..~l plus [] New catalog--S1.50 $1.50 handling KICKWHEEL & shipping [] Throwing apron Duck C,anva~ []T-Shirt S, M, L, XL r-Shirt: POTTERYSUPPLY® $3.00 plus O (Orders outside continental USA: $1,50 handling $3.50 shippingand handling) & shipping 1428 Mayson St. N E S,M,L.XI. ~ Atlanta,Georgia 30324 Name 1 (404) 873-3366 Address ,EwP,0,E~/,Toll Free, out of state: 241-1895 (Please Print) 1-800.

4 CERAMICS MONTHLY IIIM O II~l 1" IHI II. W desigri PRE-COLUMBIAN DESIGNS FROM PANAMA: Volume 27, Number 9 November 1979 591 Illustrations of Cocl6 Pottery, Samuel Kirkland Lothrop. A collection of illustrations showing the imagination, power and charm of the ceramic artists of Cocl6. This book also covers Letters to the Editor ...... 7 the unique shapes of Cocl~ vessels, long praised Where to Show ...... 9 for imagination, technique and synthes~s with Answers to Questions exterior decoration...... 11 Soft cover $3.50 Suggestions ...... 13 Itinerary ...... 15 DESIGNER,NATURE Bertel AS II ~ Comment by Eudorah Moore ...... 23 Bager. A unique visual Animal Imagery ...... 32 pleasure - Bager's excit- ing collection of close-up Contemporary Salt-Glazed Ceramics ...... 34 photographs of plant life Exhibition at The University of Kansas illustrating the beauty by William Bracker ...... 36 and fascinating forms of organic objects. John Fassbinder by Elaine Levin ...... 38 Soft cover $7.95 North German Folk Pottery ...... 46 POTTERY Chris Unterseher: Porcelain ...... 51 DECORATION, James Lovera ...... Thomas Sharer. An 53 inspirational and in- Ceramics Southeast ...... 54 HOW TO WRAP 5 MORE formative book about EGGS: TRADITIONAL Laura decorative applica- Wilensky ...... 56 JAPANESE PACKAGING, Once tions with an May Not Be Enough by Charles Lakofsky ...... 57 Hideyuki Oka. This book s emphasis on how to Building and Firing an Alfred Wood Kiln 244 exquisite photographs do each process. by Larry Lubow ...... present the beauty in the The techniques 61 look and feel of ordinary Fundamentals of Fund Raising by Diane J. Duca ...... 64 covered are: decor- humble things. It is a visual ation in the forming News & Retrospect ...... 75 delight, revealing the rela- process; carved tionships between hand Index to Advertisers ...... 98 decoration; im- material, use and shape pressed decoration; made clear through the added decoration; Cover remarkable ingenuity of slips, and Japanese packaging majolica; Iowfire White porcelain bottle with underglaze blue decoration, Yi $17.50 dynasty (late 18th century A.D.), 14 inches in height. This glazes and lusters. $17.50 form was among 345 objects presented in "5000 Years of Korean Art," through September 30 at the Asian Art Mu- seum of . Organized by the National Museum of Korea, other works in the show are presented in an article beginning on page 91. COMPLETE SUMI-E TECHNIQUES, Sadamt Yamada. This book contains directions for paint- ing over 200 examples of sumi-e including flowers, trees, animals, fish and landscapes. It also offers concise background information on Publisher and Acting Editor: SPENCER L. DAVIS such topics as how to view sumi-e, its history, Managing Editor: WILLIAM C. HUNT sumi-e and Zen and sumi-e and white spaces. Art Director: ROBERT L. CREAGER Soft cover $9.95 Copy Editor: BARBARA HARMER TIPTON JAPANESE DESIGN MOTIFS, compiled by the Matsuya Piece-goods Store. A collection of over 4,000 individual designs representing the Assistant Editor: CAROL LEFEBVRE HAOELEE 900-year old tradition of Japanese family crests. This is an unabridged Circulation Manager: MARY RUSHLEV republication of the catalogue originally compiled around 1913 bY the Advertising Manager: CONNIE BELCHER Matsuya Piece-goods Store. Soft cover $5,00 DESIGNS ON PREHISTORIC HOPI POTTERY, Fewkes. A collection Editorial, Advertising, and Circulation O][ices: 1609 Northwest of illustrations taken from the pottery of the Hopi American Indians. Blvd., P.O. Box 12448, Columbus, Ohio 43212. (614) 488-8236 Soft cover $3.50

West Coast Advertising Representative: Joseph Mervish Asso- • mail orders under $10.00 • non-U.S, orders please ciates, 4721 Laurel Canyon, Suite 211, North Hollywood, include $1.00 postage, use international bank California 91607. (213) 877-7556 • free catalog on request, draft drawn in U.S. funds. Copyright © 1979 Professional Publications, Inc. All rights reserved. eagle ceramics main office and warehouse CERAMICS MONTHLY (ISSN 009-0328) is published monthly except July and August by Professional Publications, Inc.--S. L. Davis, Pres.; P. S. Emery, See.: 1609 Northwest Blvd., 12266 wilkins avenue Columbus, Ohio 43212. Correspondence concerning subscriptions, renewals and change of address should be mailed to the Circulation Department, CERAMICS MONTHLY, BOX 12448, p rockville, maryland 20852 Columbus, Ohio 43212. Second Class postage paid at Athens, Ohio, u.s.^. Subscriptions: One year $12; Two years $22; Three years $30. Add $2 per year outside u.s.A. (301) 881-2253 The articles in each issue of CERA,'4tCS MONTHLY are indexed in the Art Index. Microfische, other branch locations ft.-2 box 287 16ram and 35ram microfilm copies, and xerographic reprints are available to subscribers from UnivevJity Microfilms, 300 N. Zeeb Rd., Ann Arbor, Michigan 48106. 1300 west 9th street 8 colonial avenue wendell, Manuscripts, photographs, color separations, color transparencies, graphic illustrations'and news cleveland, ohio wilmington, north carolina releases dealing with are welcome and will be considered for publication. A booklet 44113 delaware 19805 27591 is available without cost to potential attthors, describing procedures for the preparation and submission of a manuscript. Send manuscripts and correspondence about them to The Editor, (216) 241-4767 (302) 654-2344 (919) 266-1348 CSRAMXCS MONThLy, Box 12448, Columbus, Ohio 43212.

October 1979 5 /1110(:t S 14. Rated excellent in all categories by Studio SR-14 (without legs) ..... $450 plus freight Potter. The Brent slab roller is built to last a SR-14 Leg Set .... .~.... $69.50 plus ffi~ght~- lifetime. Two larger models also available: SR-2O ...... $695 plus freight Makes flat slabs quickly and easily. Can do SR-36 "...... $875 plus freight all of today's popular layering techniques (nariage and millefiori). For more information, see your local Brent -~d, dealer or write 128 Mill Street, H¢aidsburg, Unlike competitive rollers, you can ~ t CA 95448. complete your stab work right on the machine. LETTERS

DON'T HAIL FADS be asked, "How does my work compare to some things I have said will help other Ceramics, like fine art, cannot always the work around me in all media?" An- struggling artlsts/craftsmen keep the bad remain static. Much experimentation must other question to consider is the orginality shows to a minimum and make the good be involved in the evolution of styles and of your work. Are you showing pieces that ones count. expressions. A large percentage of this, are definitely you, or are you just duplica- Doug Hively over centuries, has long been forgotten and ting the ideas and styles of other potters? Dallas, Ore. most should be. So, please do not hail Not that we can't all make casseroles, every fad as the greatest. It is likely only pitchers and mugs, but have you done Share your thoughts with other readers. a minute part of the growth of the craft. anything to make your work unique? All letters must be signed, but names Joe Clark The marketplace today is a challenging, will be withheld on request. Address: The Rochester, N.Y. complex arena that consumes as many Editor, CERAMmS MONTHLY, Box 12448, craftsmen as it honors, and I hope that Columbus, Ohio 43212. SEPTEMBER ISSUE The September issue has got to be the most balanced, refreshing and interesting in many months. Over the summer I sorely miss CM, but when a Back-to-Work issue comes such as this one, it is worth the wait. I am a novice potter but have a small downdraft kiln, and Eric Havill's trouble- shooting article will take its place with my Olsen and Rhodes books. Keep up the centering of your issues. Ron Wilson Garden Grove, Calif. Kiln Co. In regard to Joan Simpson Burns's "Comment"--she is a wordy one isn't she? I believe Miss, Mrs., or Whatever Burns could have said the whole thing in one paragraph--"Gimme." Frank Howell Clarendon, Texas

Bullets into clay is dumb. Bob Rent[ro Saspamco, Texas

In regard to the letter from Cher Haus- ing on fair sales--I am a full-time potter CONE 10 PRICE and do a lot of fairs here in the Northwest, jl li and until a year ago, in and around the greater Chicago area. I can sympathize 13.3 cu. ft. $845.00 with Cher concerning bad sales at a show, before degrading the buying public I (-. but think there needs to be some introspection: Did you check out the show, did you ask other craftsmen about it? Was it juried? These shows have a much better chance of being good. Was it held in a pleasant part of town, or in an area where • 0 there were no people that would be ap- preciative of quality products? Was it put on by a reputable promoter/art association, or by some local small town organization that perhaps had no experience in staging such a show? These questions (and I'm sure many more) could and should be asked by every artist/craftsman before taking part in any event. Focus should also be placed on the work that you present: !! There are probably two areas that im- Flame-Up mediately come to mind when an individ- ual's work is mentioned--quality and price. for 1979 If you are a beginner you will probably not be as good technically as someone who kiln has spent years in the medium, and conse- with our C-13.3gas quently your prices may have to be lower DEALERS NOW BEING ACCEPTED Phone (916) 927-1823 to generate sales. I have seen some very intricate and fascinating work in bread The Contemporary Kiln Co. dough, and on the other hand I have seen P.O. Box 13585, Sacramento, Ca. 95813 some trashy pottery, so the question must

November 1979 7 The Pro|re=eiue |(ep

MODEL DL-18 BRICK

Space age technology not only put man on the moon but provided the ceramic art field with the most efficient refractory insulation today-- CERAMIC FIBER.

h

MODEL DL-27-FS FIBER HOBBY MODEL 802 Portable Downdraft Fiber and Brick Kilns Take the progressive step--discover the essence of ceramic fiber Insulation. Atotally new concept in kiln design.

GEIL KILIII800. Phone (213) 532-2402 1601 W. Rosecrans Ave. Gardena, CA 90249 Patent Pending WHERE TO SHOW

Send announcements o/ juried exhibitions, artist and director of the Westwood Clay January 15, 1980. Write: Appalachiana, [airs, [estivals and sales at least [our National; and William Hunt, managing 10400 Old Georgetown Road, Bethesda months be/ore the entry deadline to The editor of CERAMmS MO:gTHLY magazine. 20014, or call: (301) 530-6770. Editor, CERAMICS MONTHLY, Box 12448, Cash and purchase awards. Entry dead- line: November 19. Write: Lukman Glas- Nebraska, Omaha February 1-27, 1980 Columbus, Ohio 43212; or phone (614) gow, Westwood Clay Nat'l., 14400 Lomitas "Sculptural Clay," a national invitational 488-8236. Avenue, City of Industry, Calif. 91746. exhibition. Juried by 3-5 slides. Entry deadline: December I. Write: Nancy Gru- EXHIBITIONS Colorado, Golden April 6-May 7, 1980 ver, Old Market Craftsmen Guild, 511 Arkansas, Little Rock November 30-Janu- "North American Sculpture Exhibition" is South llth, Omaha 68102. ary 6, 1980 "Toys Designed by Artists open to American, Canadian and Mexican Exhibition" is open to all artists. Juried by artists. Limited to hard sculpture in a New Jersey, Wayne ]anuary 27-February up to 3 entries; no color slides accepted. permanent medium; not to exceed 125 14, 1980 "Clay: New Jersey" is open to Fee: $5 for each entry. $1000 in purchase cubic feet or 500 pounds. Bas relief not to present and former New Jersey residents. awards. Entry deadline: November 9. exceed 24x36 inches or 100 pounds. Juried Juried by slides. Fee: $3 per entry, maxi- Contact: Townsend Wolfe, Arkansas Arts by 8x10 unmounted, glossy black-and- mum 2. Entry deadline: December 10. For Center, MacArthur Park, Box 2137, Little white photographs. Entry fee: $10 per further information write: Eve Schreier, Rock 72203, or call: (501) 372-4000. sculpture. $5000 in cash prizes. Entry William Patterson College, Ben Shahn deadline: February 12, 1980. Write: Hall, Art Department, 300 Pompton Road, California, Glendale July ll-August 5, North American Sculpture Exhibition, Wayne 07470, or call: (201) 599-2401. 1980 "The Western Edge: Designer and Foothills Art Center, 809 Fifteenth Street, Production Crafts" is open to craftsmen Golden 80401, or call: (303) 279-3922. Ohio, Youngstown January 6-February 24, from California, Oregon and Washington. 1980 "32nd Annual Ohio Ceramic Sculp- Juried by 35mm slides. Fee: $6 unlimited Maryland, Bethesda March 23-April 20, ture and Craft Show" is open to current entries for Southern California Designer 1980 "In the Hands of the Gods," an and former residents of Ohio. Juried by Craftsmen members, $I0 for up to 4 exhibition of kiln gods, is open to ceram- work. Juror: Arthur Sennett. Entry fee: entries for nonmembers. Entry deadline: ists. The gods may not exceed 12 inches in $3.50 per work. Commission: 10%. Cash March 21, 1980. Write: Sharon Jeniye height and breadth and must have pre- and purchase awards. Entry deadline: De- S.C.D.C., 2627 Medlow Avenue, Los An- sided over at least one firing. Exhibitors cember 9. Write: Cissy Cochran, Butler geles, Calif. 90065. will be requested to provide written mate- Institute of American Art, 524 Wick Ave- rial describing the source of inspiration for nue, Youngstown 44502. California, Los Angeles January 19-Febru- the god, any real or unreal characteristics ary 17, 1980 "Westwood Clay National of the god and any special occurrences Tennessee, Memphis February 24-March Exhibition" is open to American ceramists. during the god's reign over his kiln. Juried 27, 1980 "Works on or of Paper or Clay" Juried by slides. Jurors: Lukman Glasgow, by slides or photographs. Entry deadline: Please Turn to Page 67

A Must For Potters! ...... THE i~ ~i JAPANESEPOTTERY {~ HANDBOOK ,>i~.~,~ii:~i~,~? by Penny Simpson and Kanji Sodeoka ~i lxttering and drawings by Lucy Kitto

Arranged by subject and illustrated with 90 pages of line drawings, this compact and unusual reference Bennett (hand lettered) fully explains all the basic processes and techniques of pottery making in Japan. Explanations are given in English, Japanese Romaji Carri and kanji and kana; a separate section tells how to ask simple questions about ceramics in Japanese.

Please send me copy(ies) of THE JAPANESE Everything POTTERY HANDBOOK at $8.95 per copy. I enclose remittance in full of $. . Please make check or money order payable to "Ktxtansha Internatkmal" (please •.. everything a potter needs. Whether pottery is do not send cash). NewYork residents,add applicable sales tax. your life work or your avocation, Bennett can supply Price subject to change without notice• all your needs, from de-aired clay to kilns, and everything Distributed in Canada by Fitzhenry & Whiteside, Ltd. in between. And we ship large and small orders worldwide. Send Sl for our catalog (refundable with [] Please send me a copy of your catalog at no charge. first order), or call collect for free price list. Visa, g KODANSHA International Master Charge accepted. Prompt, efficient service. l0 East 53rd Street, New York, N.Y. 10022 Bennett Polrtery Supply InC. Name 707 Nlcolet Ave. * Winter Park, FL 32789 * 305/6440078 Address (in MIAMI, phone 687.4791;In JACKSONVILLE, phone 384-8071) City State Zip

November 1979 9 ii¸¸¸

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| .lll .ii

Do what major manufacturers do: Fire your ceramics on ELECTRO Kiln Furniture. LARGEST SELECTION, QUALITY PROTECTION. The biggest names in commercial and industrial a choice of refractories made from economical, ceramic ware manufacturing have always relied on time-tested Cordierite for average conditions or Electro kiln furniture to maintain the highest product superior Kellogg ® ,the industry standard for quality. For over 50 years they have looked to demanding, high-fire applications. Electro as the leader. No matter which you select, Electro kiln furniture Why not give your ceramic art and hobby ware this resists sag and warpage under hot loads, saves same quality assurance? energy by minimizing its own heat-absorbing bulk, As an amateur or professional potter, teacher, or and delivers longest service life without staining craft center instructor, you're bound to benefit from or lifting glazes. Electro's famed family of kiln furniture. It offers you the Contact the Electro kiln furniture dealer in your area widest selection of posts, shelves, setters, slabs, and or write ELECTRO DIVISION, Ferro Corporation, other specialized shapes available anywhere. You have 661 Willet Road, Buffalo, N.Y. 14218. (716) 825-7900. (~ FERRO Answers to QUESTIONS

Conducted by the CM Technical Stair

0 1 recently was given a selection o[ silicon carbide shelves by a potter who moved out o[ town and I am wondering i/ they can be used in my electric kiln? Previously I have fired with mullite shelves provided by the manufacturer.--T.C. Gift Subscriptions Silicon carbide shelves are not recommended for use in electric kilns because they can conduct electricity and thus could prove hazardous. (Silicon carbide is often used as the heating element Give something special in industrial electric kilns.) this year...a gift 0 Most [ormulas for casting slip call for dry sodium silicate as part of the recipe. The sodium silicate I use is a thick liquid. subscription to Is there a conversion formula for dry to wet so that I may use these recipes?--R.V. The ratio of sodium to silica in brands of sodium silicate varies as does the chemical formula--an exact conversion formula does not apply except where the exact brand of sodium silicate is known. Additionally the dynamics within a casting slip can change each time a batch is mixed, allowing for slight variations We'll announce your gift with a handsome greeting in the raw materials, the water, even the humidity on the day of card of our own special design, hand-signed in casting. These variations could not be reflected by an exact for- mula, and thus further complicate the issue. your name. Use the handy order forms below. The percentage of liquid sodium silicate can be determined by weighing out a measured portion, heating it to evaporate the water, and then recording the dry to wet weight ratio. The wet form, however, is more efficient to use because it dissolves and Please send a one-year gift disperses faster in the slip than would the powder form. You subscription @ $12 to: can determine the amount of sodium silicate needed in a recipe calling for this dry ingredient by experimenting with a small slip batch. A casting slip generally contains from 30 to 50 percent Gift to: water by weight of the dry clay materials, and deflocculant of xA percent. Sodium silicate and soda ash are often used together Address: in a fifty-fifty relationship. After determining what weight of dry materials you want to City State Zip use, calculate water and deflocculant needed, then combine both in measured lesser amounts. Add the dry ingredients, mix thor- Sign Gift Card oughly and add any additional water or deflocculant in small measured amounts until the optimum casting conditions are My Name achieved. Add or subtract from the starting amount of sodium silicate the additional or lesser amounts respectively; this total Address will reflect the amount of deflocculant needed in your slip. The full-sized batch could then be mixed accordingly. City State Zip [] Payment Enclosed [] Bill Me 0 Can you provide a simply [ormulated satin matt glaze in the Add $2 for subscriptions outside USA and possessions Cone 6 range [or oxidation [iring?---T.B. MAILTO: CERAMICSMONTHLY, P 0 Box 12448 Columbus,Ohio 43212 You might be interested in trying the following: SATIN MATt GLAZE (Cone 6) Cornwall Stone ...... 60% Dolomite ...... 20 Please send a one-year gift Kaolin ...... 20 subscription @ $12 to: 100% Another satin matt recipe is: Gift to: SATIN MATT GLAZE (Cone 6-8) Whiting ...... 10.7% Talc ...... 2.0 Address: Zinc Oxide ...... 6.3 (Kingman or Custer) ...... 63.4 City State Zip Kaolin (ASP 400) ...... 17.2 Flint ...... 0.4 Sign Gift Card 100.0% My Name I am interested in having some rare china pro[essionally repaired or in learning to do this kind o] work mysel[. Can Address you suggest some alternatives?--T.D. The Cumbow China Decorating Company, 436 East Main City State Zip Street, P.O. Drawer 757, Abingdon, Virginia 24210, restores [] Payment Enclosed [] Bill Me different types of broken china, and guarantees the restored areas Add $2 for subscriptions outside USA and possessions to he as strong and usable as before they were broken. Prices are MAILTO: CERAMICSMONTHLY, P 0 Box 12448 Columbus,Ohio 43212 Please Turn to Page 66

November 1979 11 i i!!i i

Ron Larson has eight strong reasons why you should choose a Skutt kiln.

That's right. Ron owns eight Skutt 280's. loading and firing to smooth his produc- They're the heart of his production tion flow. And, unlike a single large kiln, ceramics company, R. D.L. Enterprises, his 280's give him versatility and much in Walla Walla, Washington. Ron and his less risk in case of a glaze or firing error. crew keep all the 280's busy, firing bis- And how about firing techniques? que and final glazes for ceramic wood "We've had super luck with it. Our colors stove plaques and grilles. have not changed -- no problems at all." Why choose Skutt? Ron puts it this Even if you're not a production cerami- way. "We started with another brand kiln cist or potte~ these are important rea- from our glaze manufacturer. We were sons to choose Skutt. Because every looking for the additional size, so we Skutt 240V kiln is built with the same bought two 280's. We feel that we get quality as our Model 280. It means they more even heat distribu- - last. And it means they tion. Our color consis- have high resale value tency is so much better. when you are ready to We've had very few prob- move up to your 280. lems, other than occa- Before you buy, visit sional man-created ones." your Skutt dealer. For the What about productiv- name of the one nearest ity? "We can fire 60 of our you, write to Skutt larger 3-piece sets, 100 Ceramic Products, 2618 of our smaller sets in each S.E. Steele Street, 280. Equipped with Portland, blank rings, they've got • • Oregon 111/2 cubic feet capaci~." ,.~¢ 97202, It means that while Ron or call has 92 cubic feet total ca- (508) pacity, he can stagger 231-7726. 12 CERAMICS MONTHLY SUGGESTIONS from our readers

SLAB ROLLING FABRIC 0.13=0.87. Divide the shrinkage factor into the finished size Non-woven fabric (the type used for linings and interfacings) you wish to obtain: 12--0.87=13.79. This answer is the diam- makes a perfect surface for rolling clay, either by hand or slab eter which must be thrown to end up with a 12-inch plate when roller, leaving no texture or markings of any kind. It comes in using clay with thirteen percent shrinkage. The formula applies various widths and can be used repeatedly; the heaviest weight to any dimension. --W. F. Baker, Beverly, Mass. or thickness is best, as it will not stretch or wrinkle. It's available in discount fabric stores or can be acquired through clothing COMFOR'IABLE THROWING manufacturers in most areas. --Syh'ia Hyman, Nash~,ille I have found that if I'm using a bat on the wheel head my position is changed enough to make throwing unfamiliar and SAFE, SIMPLE GLAZE MIXER uncomfortable. But placing the same size bat on my chair raises The September Suggestions column mentions a "Simple Glaze my position to a more familiar and comfortable one. Mixer" by Mitch Lyons. Anyone who tries that will end up with --Laurie Berenato, West Point, N.Y. Potter's Rot--a lung condition caused by breathing clay dust. flint, talc and other harmful particles. The easy and safe way is STAMPING DEVICE to put dry ingredients in a plastic bag or other container and Carved linoleum blocks used in printmaking make excellent, roll or shake to mix them. Carefully pour the dry glaze into water durable stamps for leather-hard clay. and allow it to slake; an hour later it's dissolved without stirring. ---]enni[er deGrassi, Boise, Idaho --Mary Lou Stewart, Powell River, B.C. SCORING TOOL FOAM SPONGE An old toothbrush dipped in water makes an excellent scoring Foam rubber makes an excellent clean-up sponge. We obtain tool for slab building. The bristles not only score the clay quickly scrap upholstery foam and cut it into hand-size blocks--they are and easily, but hold the correct amount of slip for attaching the super absorbent and easily rinsed. edges neatly and firmly. There is also little chance of trapping --N. Gough, Gales Ferry, Conn. air in a too deep score. --]anina Nagle, Goshen, N.Y.

ANTICIPATING FINISHED SIZE DOLLARS FOR YOUR IDEAS To determine in advance the finished size of a ceramic object CERAMICS MONTHLY pays .~5 /or each suggestion used; submis- after fired shrinkage, (for instance, a 12-inch plate), first deter- sions are welcome individually or in quantity. Send ),our ideas to mine the percent of shrinkage for your clay--thirteen percent CM, Box 12448, Columbus, Ohio 43212. Sorry, but we can't (0.13) is typical for porcelain. Subtract this from unity: 1.00-- acknowledge or return unused items.

DARD CERAMIC SUPPLY CO. Division of Chem-Clsy Corporation O P.O. BOX 4435 PITTSBURGH, PA. 15205 (412) 923-1655

bodies are made from the finest "gL~...... materials nature has to offer. They're delivered to our warehouse only after a billion years of natural aging, and carefully mixed and pugged without the addition of any artificial ingredients or KNOWN FOR (~UALITY AND SERVICE preservatives.

Robbins Clay Company Call or write for your FREE 1021 West [.ill Street 79/80 Catalogue of Clay, Chicago, I11.60614 Glazes, Colors and Supplies 312-477-0701 Write for a free catalog.

November 1979 13 IF YOU'RE HAVING TROUBLE SEEING WHICH POTTERY EQUIPMENT TO BUY. LOOK AT IT THIS WAY. We have: one banding wheel ! two clay mixers three kick wheels turning four throwing heads spinning five splash pans splashing six speed controllers speeding seven electric wheels churning eight ware-racks a carting BUT, no partridge in a pear tree ~

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Send announcements o/ events, exhibitions, for panel and demonstration only. In con- seum of Art, 2300 East Ocean Boulevard. workshops, or juried fairs, festivals and junction with the conference, an exhibition sales at least seven weeks before the month focusing on technical innovation will be California, Los Angeles through December Gallery on February 28- 30 Glass sculpture by Los Angeles artist opening to The Editor, CERAMICS held in Bannister of March 23. Write: Art Department, Rhode De Wain Valentine; at Los Angeles MONTHLY, Box 12448, Columbus, Ohio Island College, 600 Mount Pleasant Ave- County Museum of Art, 5905 Wilshire 43212; or phone (614) 488-8236. nue, Providence 02908, or call: (401) Boulevard. 456-8054. California, San Francisco November 1-15 EVENTS SOLO EXHIBITIONS " and Salt-fired Ceramics" by Bonita Cohn. D.C., Washington November 5-December through November November 17-18 An exhibition of works in offers California, Long Beach 10 The Smithsonian Institution porcelain works by Carol porcelain by Janice Rowell. Art," a 5-week adult 11 Thixotropic "American Ceramic Jeanne Abraham; at the Long Beach Mu- Continued course with guest lecturers speaking on the tradition of ceramics in the United States. November 5, Garth Clark, "An Overview of A Century of Ceramics in the United States, 1878-1978"; November 19, Susan H. Myers, "American Ceramics, 17th Cen- tury through the Centennial"; November 26, Martin Eidelberg, "American Ceram- ics, Late 19th and Early 20th Century"; December 3, Margie Hughto, "Studio Pot- ters from 1925-50: Artists and Artist CERAMIC Teachers"; December 10, Elaine Levin, "Contemporary Clay: The Challenge of Diversity." This event is presented in con- junction with the Renwick Gallery exhibi- tion, "A Century of Ceramics in the United States, 1878-1978" (see group ex- TEACHING hibitions). Fee: $40; $20 for full-time ceramic art students with identification. Contact: Resident Associate Program s Smithsonian Institution, Washington, D.C. 20506.

Georgia, Atlanta March 28-April 2, 1980 The National Art Education Association's annual convention entitled "Atlanta: An Agenda for the '80s" will be held at the Hyatt Regency Hotel. For further informa- tion contact: National Art Education Asso- ciation, 1916 Association Drive, Reston, Virginia 22091. THE EXCITING WAY! Louisiana, New Orleans ]anuary 30-Feb- ruary 2, 1980 The annual meeting of the Classroom ceramics becomes a joy for College Art Association includes sessions on art history and studio art. A placement teacher and students with Mayco Colors, service is provided for those interested in producer of America's finest colors. That's college teaching, art administration and related fields; at the Hyatt Regency Hotel. because Mayco products take the drudgery For further information, write: The Col- lege Art Association of America, 16 East and frustration out of ceramic preparation 52 Street, New York City 10022, or call: (212) 755-3532. with thoroughly tested Glazes, , One Strokes, Accents, Crystal Clear Glazes Michigan, Ann. Arbor March 5-8, 1980 The annual conference of the National and Stains. There's a ready hue, shade or Council on Education for the Ceramic Arts (NCECA); at the University of texture for every imaginable concept, Michigan (Registration on the 5th, con- used singly or in combinations. All ference begins on the 6th). For further whether information write: University of Michigan, Mayco Colors are homogenized for easy Extension Service, Conference Department, 412 Maynard Street, Ann Arbor 48109, or application and fire at Cone 06. Send for call: (313) 764-5304. your free color chart and open new vistas Rhode Island, Providence March 20-23, in ceramic teaching. 1980 "Technical Innovations in Metal and Clay Conference" will focus on syn- thesizing the use of renewable resources and more efficient production methods within the clay and metal traditions. The MAYCO ®COLORS event includes workshops with Tim Mc- Calif. 91311 Creight and Gerry Williams, demonstra- 20800 Dearborn St., Chatsworth, tions with Curtis LaFollette and Harriet Brisson and panel discussions featuring craitspeople in clay and metal. Fee: $75 in advance; $85 at time of conference; $10

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16 CERAMICS MONTHLY ITINERARY An exhibition of wheel-thrown functional Connecticut, New Haven November 9- porcelain by Molly Cowgill of Richmond, December 23 "Eleventh Annual Celebra- November 19-30 "Coiled Forms" by Guy Virginia; at Designer/Craftsmen Shop, tion of American Crafts," a Christmas ex- Dawson; all at Ruby O'Burke's Artists' Columbus Museum of Art, 480 East Broad. hibit and sale; at the Creative Arts Work- Workshop Gallery, 552 A Noe Street. shop, Inc., 80 Audubon Street. Oklahoma, Norman November 4-21 An California, Ventura through November 9 exhibition of ceramics by Lee Allan Fer- D.C., Washington through December 30 A multimedia exhibition including birds ber; at Museum of Art, University of "The Afro-American Tradition in Decora- and beasts in stoneware and bronze by Oklahoma, 410 West Boyd Street. tive Arts," includes ceramics; at the Ruth Husted Johnson; at Ventura County Smithsonian Institution's National Mu- Historical Museum, E. H. Hoffman Gal- Pennsylvania, Pittsburgh November 5-29 seum of History and Technology. lery, 100 East Main Street. "Process, Ceramic Art" by Sande Deiteh; through January I, 1980 "Cycladic Art: at the Clay Place, 5600 Walnut Street. Ancient Sculpture and Ceramics of the Colorado, Denver November 1-30 An Aegean," includes ceramics dating from exhibition of wheel-thrown white stone- Texas, Houston November 24-December 3500-1500 B.C.; at National Gallery of ware by Nancy Jaequot of Casper, Wy- 14 An exhibition of ceramics by Mel Art, 6th Street at Constitution Ave. N.W. oming; at the Artisans' Center, 2445 East Clark; at Phoenix Gallery, 5218 S. Shep- November 8-January 27, 1980 "A Century Third Avenue. herd. of Ceramics in the United States, 1878- 1978." Organized by the Everson Museum D.C., Washington November 8-December GROUP EXHIBITIONS of Art in Syracuse, this exhibition traces 1 "Combinations," a mixed-media exhibi- the growth of American ceramics as an tion by Linda Thern Smith, includes ce- Arkansas, Little Rock through November art form; at Renwiek Gallery, Pennsyl- ramics; at Studio Gallery, 802 F Street 1l "22nd Annual Delta Art Exhibition." vania Avenue at 17th Street. Northwest. November 30-January 6, 1980 "Toys De- signed by Artists Exhibition," includes ce- Florida, Jacksonville through November 13 Illinois, Chicago through November 9 ramics; both at the Arkansas Arts Center, '"Turn, Turn, Turn," includes ceramics; A multimedia exhibition of works by Peter MacArthur Park. Voulkos, includes ceramics; at Exhibit A, at Crown Craftsmen Gallery, Contempo- rary Village, 2736 University Boulevard 233 East Ontario Street. California, Los Angeles through June 29, West. 1980 A selection of approximately 100 Illinois, Winnetka through November 24 through November 18 "The First 4000 mosaics from the 17th to early 20th cen- Years: The Ratner Collection of Judaean An exhibition of raku by John Natale; at turies, includes examples of Roman and Synopsis, 931 Linden Avenue. Antiquities"; at Cummer Gallery of Art, Florentine mosaics; at Los Angeles Mu- 829 Riverside Avenue. seum of Art, 5905 Wilshire Boulevard. November 16-January 8, 1980 "Joy of Indiana, Indianapolis through November November 27-January 13, 1980 An exhi- 17 Altered, wheel-thrown bowls; sculp- Giving," an exhibition by members of bition of work by 50 contemporary artists Crown Craftsmen, includes ceramics; at tured wall reliefs and slab-built arch forms and craftsmen of New Mexico; at Craft by Jim Cantrell; at Artifacts Gallery, 6418 Contemporary Village, 2736 University and Folk Art Museum, 5814 Wilshire Boulevard West. North Carrollton. Boulevard. November 29-February 24, 1980 Approxi- Massachusetts, Boston November IO-De- Florida, Miami December 1-2 "30th An- mately 150 objects illustrating ceramic art nual Fair and Pottery Sale" by members of cember 8 An exhibition of ceramics by from the Renaissance to the 20th century William Wyman; at Impressions Gallery, the Ceramic League of Miami; at Tropical in Western Europe and America; at Los Park, 7900 Southwest 40th Street. 275 Dartmouth Street. Angeles Museum of Art, 5905 Wilshire Boulevard. Massachusetts, Cambridge November 18- Florida, Orlando through November 9 December 31 "Recent Ceramics" by Gail "Recent Clayworks" by Barbara Joiner, Kendall. California, Palo Alto through December 31 An exhibition by Bay Area artists, Grady Kimsey and Roberta Marks. November 24-December 31 "E X P Pot- through December 12 "Contemporary tery" designed by Peter Shire; both at includes ceramics; at California Crafts Museum, 1313 Newell Road. Crafts," an exhibition of works by Pied- Mobilia, 348 Huron Avenue. mont Craftsmen members including ceram- Massachusetts, Westport November 4-17 California, San Francisco through Novem- ists Cynthia Bringle, Penland, North Caro- An exhibition of stoneware and porcelain ber 24 An exhibition of ceramics by Philip lina; Jamie Davis, Six Mile, South Caro- by Jack Blackburn; at the Wing Carriage Cornelius and Rick Dillingham; at Meyer lina; John Frantz, Fries, Virginia; Becky House, 1151 Main Road. Breier Weiss Gallery, 3044 Fillmore Street. Gray, Burnsville, North Carolina; Julie Larson, Bakersville, North Carolina; Sally Michigan, Birmingham through Novem- California, Tahoe City November 3-18 Bowen Prange, Chapel Hill, North Caro- ber 14 "Clay and Paper Works" by Margie An exhibition of pottery by members of lina; Ron Propst, Winston-Salem; Edward Hughto; at James Yaw Gallery, 550 North the Nevada Clay Arts Guild; at Potter's O'Reilly, Penland; Donna Polseno, Floyd, Woodward. Wheel, 560 North Lake Boulevard. Virginia; and Tom Suomalainen, Walnut Cove, North Carolina; both at Valencia Missouri, St. Louis November ll-Decem- Connecticut, Avon through November 3 Community College Art Gallery, Building bet 31 Vessel forms by Richard DeVore; "Collaborations," an exhibition of clay and 1, 1800 South Kirkman Road. at Barbara Okun Gallery, 744 Office Park- fiber works by Mary Barringer and Diane way. Brawarsky; at Farmington Valley Arts Georgia, Atlanta through November 25 New Mexico, Albuquerque November 25- Center Gallery, Avon Park North. "Avant-Garde 12 in Atlanta," a multi- December 30 An exhibition of ceramic media exhibition; at the High Museum of sculpture by Neal Townsend; at Jonson Connecticut, Greenwich through Novem- Art, 1280 Peachtree Street, Northeast. Gallery, University of New Mexico, 1909 ber 24 A multimedia exhibition which in- Las Lomas. cludes salt-glazed pottery by Steve Howell. Georgia, Savannah through November 14 November 27-January 5, 1980 "Eat, Drink "Annual Juried Exhibition" by Georgia New York, New York November 2-24 An and Be Merry," a Christmas show which Designer Craftsmen; at Exhibit A Gallery, exhibition of porcelain and stoneware by includes clay; both at the Elements, 14 The Savannah College of Art and Design, Kasumi Saiga; at Bizen Gallery, 171 Liberty Way. 342 Bull Street. Spring Street. November 13-December 1 Three exhibi- Connecticut, Middletown November 24- Illinois, Canton November 5-30 "Awiky," tions: Ceramics by Emmett Leader; "Han- December 16 "24th Annual Exhibit and functional ceramic works by Reed Bakken, dles with Care," functional stoneware by Sale," includes ceramics; at Wesleyan Pot- Robert Blue, Donald Johns and Sam Michael Boyer; "Clay Containers: Func- ters Craft Center, 350 South Main Street. Rosby; at Spoon River College. tional/Fanciful," wheel-thrown and hand- built salt-glazed pottery by Barbara Har- Connecticut, New Canaan November 18- ing; all at Greenwich House Pottery, 16 December 24 "Annual Christmas Exhibi- Illinois, De Kalb through November 3 Jones Street. tion and Sale," includes all media; at "Awiky," an exhibition of contemporary Silvermine Guild of Artists, 1037 Silver- functional pottery by Reed Bakken, Robert Ohio, Columbus November 5-December 2 mine Road. Continued

November 1979 17 We've made the BEST Crusader Wheel even BETTER

how:, Crusader's all new electronic speed ~ control now provides you with constant performance regardless of the drag placed on the clay or the weight of the clay. The b~. new electronic speed control combines the steady power of a cone drive wheel with the easily adjustable speeds of the conventional electric wheel. This unique ~ combination gives the potter an easier ~i and better throw because as weight and pressure are applied or reduced the speed and torque remain uniform. L In making the Crusader wheel better, we haven't forgotten what made it the best: • Hardened Steel Bushing to Prevent Head Wobble • Removable Aluminum Head • Removable Lock-Down Splash Pan • Completely Self-Enclosed Bottom Pan • Welded Steel Frame With Polyproplyene Covers for Easy Clean Up You deserve the best and there's nothing better than a Crusader. Write for the name of your dealer.

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18 CERAMmS MONTHLY ITINERARY Holcomb, Marilyn Levine, Warren Mac- Philip Van Voorst, Barbara Walter, Gene Kenzie, Karen Massaro, Timothy Mather, Weppner and Karen Wiken; at Craft Al- Blue, Donald Johns and Sam Rosby; at Bruce Morosko, Charles Olson, Don Pil- liance Gallery, 6640 Delmar Boulevard. Northern Illinois University. cher, Jacquelyn Rice, Tom Rippon, Kath- December 2-January 2, 1980 "15th Anni- erine Sharbaugh, and Kurt versary Holiday Exhibition" includes ce- Indiana, Indianapolis November 6-Decem- Weiser; at the Gallery, Southeastern Mas- ramics and features critic's choice selec- ber 23 "Richard and Eileen Burkett: Pot- sachusetts University, College of Visual tion of works; at Craft Alliance Gallery, tery and ," includes salt-glazed and Performing Arts. 6640 Delmar Boulevard. pottery by Richard Burkett; at Indianapo- lis Museum of Art, 1200 West 38th Street. Massachusetts, Worcester through Novem- Nebraska, Omaha through.November 16 ber 29 "Massachusetts Crafts Fellowships," "Clay Fantasies," an invitational exhibi- Massachusetts, Dartmouth November 4-12 an exhibition which includes ceramics by tion; at Old Market Craftsmen Guild, 511 "Invitational Clay, Fiber, Metal Exhibi- Ellen Schon; at Worcester Craft Center, South 1 lth. tion"; at Southeastern Massachusetts Uni- 25 Sagamore Road. versity, Gallery of the College of Visual New Jersey, Clinton November 3-Decem- and Performing Arts. Michigan, Alpena through November 30 ber 2 "Craft Show and Fare"; at Hunter- "Pottery, Puppetry and Other Objects," don Art Center, Old Stone Mill, Center Massachusetts, Framingham November l- includes ceramics by Ken Thompson; at Street. December 31 "Containers," an exhibition Jesse Besser Museum, 491 Johnson Street. which includes ceramics; at Danforth Mu- New Jersey, Englewood through Novem- seum, 123 Union Avenue. ber 30 "Crafts for Cooking and Dining," Michigan, East Lansing November 4-25 an invitational exhibition; at Craftworks Massachusetts, Lexington through Decem- A multimedia exhibition including ceram- Gallery and Studio, 12 North Van Brunt. ber 2 "Early Oriental Export Wares," an ics by Mary Chuang; at Freeman Gallery, exhibition of goods brought back from the Hagadorn Road at Lake Lansing Road. New Jersey, Layton November 17-Decem- Orient during the late 18th and 19th ber 24 "Sacred and Ceremonial," a muhi- centuries, includes porcelain; at Museum Missouri, St. Louis through November 25 media holiday exhibition; at the Gallery, of our National Heritage, 33 Marrett Rd. "Currents 4," a multimedia exhibition in- Peters Valley. cluding ceramics by . Massachusetts, North Dartmouth Novem- through January 31, 1980 "Oriental Ex- New Jersey, Newark through November ber 4-21 "National Clay/Fiber/Metal In- port Porcelain," a selection of Japanese 25 "Where a Child's Architecture Dreams vitational Exhibition" includes ceramics by and Chinese export ware; both at the St. Come True," a multimedia exhibition Chris Bertoni, Paul Berube, Them Boh- Louis Art Museum, Forest Park. which includes ceramics. nert, Harriet Cohen, Michael Cohen, Anne November 4-28 "The Art of Toys," a through December 31 Two exhibitions: Currier, , Harris Deller, multimedia exhibition which includes clay, "Made in New Jersey," art objects made Richard DeVore, , Robert by Billie Lawless, Esther Luttikhuizen, or used in the state, includes pottery; Forman, Andrea Gill, John Gill, Walter Larry Page, Tom Rauscke, Julie Sasse, "Collector's Choice: Chinese Export Per- Hail, , Richard Hirsch, Jan William Strickland, Robert Strobridge, Continued

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November 1979 19 PARAGON WON'T DISCRIMINATE AGAINST YOUR WARE BECAUSE OF SIZE, SHAPE OR TEM PERATU RE. w

We can handle all your big Form-fitted, heavy gauge, ideas, and you won't have to size stainless steel jackets offer a rust- them to fit. proof, snug fit. Hand lifts make With our giant capacity mod- them easy to move and operating els you can fire large pieces or instructions make routine jobs a large loads daily to 2300 ° F. And cinch. Safety hinged lid stays in that takes care of stoneware, place with lock-in lid support or porcelain, ceramics, china paints rests on the fall away, adjustable and gold. Prop-R-Vent. You can even add Rugged construction and de- a blank collar to increase your pendable, 4-way rotary switches firing depth. let you control heavy duty ele- If you're looking for a kiln to ments set in dropped, recessed handle all your big ideas, you'll grooves. There's a full inch of need to look at something yellow high temperature block insulation in the bottom, first. Your yellow pages. That's where you'll plus a reversible layer of refractory brick pro- find your local Paragon dealer, available to help tected by a full-formed steel base. Models A-99B in your selection. and A-100B feature a solid steel top that covers Or write us today, and we'll send you our an extra inch of block insulation in the lid, and latest catalog with information on more than 35 the A-28B has special 3 inch insulating firebrick models for ware of~any size, shape or tem- walls. perature. ~~Industries, Inc. ,.~

20 CERAMICS MONTHLY THEY STAND ITINERARY of contemporary glass; at the Toledo Mu- seum of Art, 2445 Monroe. celain from New Jersey Collections," an ALONE exhibition of works which date from the Oregon, Portland November 30-December Orton's 17th century through 1850; all at the 24 "Holiday Festival" includes handmade Newark Museum, 49 Washington Street. ornaments displayed on Christmas trees Self-Supporting Cones and a sale of gift items from 200 crafts- New Mexico, TaGs through November 24 men; at Contemporary Crafts Gallery, Ceramics by Paul Soldner; at Clay and 3934 Southwest Corbett Avenue. Fiber Gallery, North Pueblo Road. Pennsylvania, Philadelphia through No- vember 2 "Three Perspectives," an exhi- New York, New York through December bition including pit-fired vessels by Bennett 30 "The Harmonious Craft: American Bean; at Sign of the Swan crafts gallery, Musical Instruments," an exhibition of 8433 Germantown Avenue. contemporary handmade instruments, in- cludes clay; at American Craft Museum, South Carolina, Columbia through No- 44 West 53rd Street. vember 4 "National Sculpture 1979," in- cludes ceramics; at Columbia Museum of New York, Rochester through November Art/Science, Senate and Bull Streets. 18 "Teapot Exhibition," an invitational show of works by fifty artists; at Memorial Tennessee, Cookeville December 9-Janu- Art Gallery, University of Rochester, 490 ary 30, 1980 "Appalachian Crafts/Thir- University Avenue. teen States," an exhibition of crafts pro- duced in the Appalachian region; at Appa- New York, Scarsdale November 17-Decem- lachian Center for Crafts, Tennessee Tech- ber 30 "Craftworks Celebration 1979" fea- nological University. tures the work of 60 craftsmen; at the Craftsman's Gallery, 16 Chase Road. Texas, El Paso November 3-25 "Crafts- men l lth Biennial," an exhibition of • The easiest way yet to use the New York, Schenectady through Decem- crafts; at E1 Paso Museum of Art, 1211 3-cone system ber 30 "South American Folk Pottery," Montana Street. includes drawings and photographs of • Sim ply place cones on any flat Texas, Fort Worth November 17-Decem- South American potters at work. kiln-washed level refractory through January 6, 1980 "Seventh Re- ber 30 "Treasures from Chatsworth: The gional Craft Show" sponsored by Designer Devonshire Inheritance," an exhibition of surface no need for a cone Crafts Council; both at Schenectady Mu- objects from the dukes of Devonshire's plaque seum, Nott Terrace Heights. family home, includes ceramics; at KimbeU Art Museum, Will Rogers Road West. • They are the most accurate cones available North Carolina, Chapel Hill November Texas, Wichita Falls November 4-Decem- 4-30 "Potter's Choice," an exhibition by ber 5 "Works in Clay," an exhibition of • Setting angle and height is local potters; at Horace Williams House, ceramics; at North Texas Federal Savings 610 East Rosemary Street. and Loan Gallery, 2733 Midwestern Park- always correct way. North Carolina, Winston-Salem through November 25 "Annual Crafts Show," in- Washington, Seattle November l-January cludes ceramics; at Southeastern Center 13, 1980 "5000 Years of Korean Art," Available in ~q for Contemporary Art, 750 Marguerite comprised of 345 Korean works of art, in- Box of 25 or ""'~°""~¢~5 Drive. Blister pack ~"~ 06 cludes Koryo , stoneware of 5. and Buddhist sculptures; at Seattle Art Ohio, Canton through November 4 "All- Museum, 14th and East Prospect. i Ohio 1979," a multimedia exhibition; at Canton Art Institute, 1001 Market Avenue Wisconsin, Madison through January 6, North. 1980 "," an ex- hibition of 200 pieces of 18th century Ohio, Cleveland through November 2 porcelain which was manufactured in "Form and Fiber," a multimedia exhibition China for the Western Market; at Elveh- including ceramics by ; at jem Museum of Art, 800 University Ave. Cleveland Institute of Art, 11141 East Boulevard. Wisconsin, Sheboygan through November %I[|II,Y November 3-24 A multimedia exhibition 4 An exhibition of raku and sawdust-fired including raku by Harvey Sadow and glass vessels by Karl Borgeson, Christine LePage by Richard Ritter; at Sylvia Ullman's and John Natale; at John Michael Kohler American Crafts Gallery, 13010 Wood- Arts Center, 608 New York Avenue. land-Larchmere. FAIRS, FESTIVALS AND SALES Write for Orton's new 12-page booklet: "Cones for the Potter" Ohio, Columbus through November 4 or pick one up at your dealer. "Beaux Arts Designe~/Craftsmen 1979"; Alabama, Birmingham November 10-1l at Columbus Museum of Art, 480 East "Hands at Work," Alabama Designer/ Broad Street. Craftsmen's educational event, includes demonstrations; at Birmingham Botanical •¢•"• Garden Center, 2612 Lane Park Road...... Ohio, Lakewood November 17-December S~ar da,o S ~ce "896 16 Proscenium '79," a multimedia exhibi- Arizona, Mesa November 16-18 "Art in tion; at Beck Center for Cultural Arts, Action III"; at Mesa Activity Center, 155 17801 Detroit Avenue. North Center. The Edward Ohio, Marietta through November 25 California, San Diego November 23-25, ORTON "Marietta College Crafts National '79"; at December 14-16 "Thanksgiving and Christ- Grover M. Hermann Fine Arts Center, mas Folk Craft Festivals"; at Scottish Rite Jr. Ceramic Marietta College. Center. FOUNDATION 144.5 Summit Street • Cellmhis, Ohio 43201 Olalo, Toledo November 18-December 30 Connecticut, Greenwich November 10-11 "New Glass," an international exhibition Please Turn to Page 69 Phone (614) 299.4104

November 1979 21 FIF HEAT

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To Effective Electronic Control With Kiintronics Kilntronics instruments are reliable, cost efficient, "Solid State", automatic, electronic controls for programming kiln temperature "climb rate", "soak cycles" and "automatic shut off" of virtually any new or existing kiln. Kilntronics Model 09 instrument completely eliminates need for manually-set switches. It will accurately program temperature climb rate at 270 ° per hour. When programmed temperature is attained, Kilntronics electronically shuts off the kiln, or enters a preprogrammed temperature soak cycle. Soak cycles can be set in- to the firing schedule at any time. They can also be set at various temperature points during the cooling period. MODEL 09 MODEL 08 MODEL 07

Electronic Temperature Sensor Preprogrammed RateofTernperature Climb Electronic Temperature Read-Out with Automatic Shut-Off and Tem- -- Automatic Shut-Off -- SoakCycle Con- Gauge -- Automatic Shut-Off at preset perature Soak Cycle Control, trol -- Electronic Temperature Sensing with temperature -- Soak Cycle Control. Read-Out Gauge.

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385 West 15th Street Holland, Michigan 49423 U.S.A. Phone (616) 392-1890 22 CERAMICS MONTHLY COMMENT [ ,,'( "ILYmPIC KILflS The New Art by Eudorah Moore The

The following article is excerpted create from concept to execution Leader in from an address to the 1979 graduat- whatever the object his skill and ing class of the California College of training directed him to. Granted, in Arts and Crafts, Oakland.---Ed. many cases the patterns were pre- tradition. Large Kiln scribed by function or by IN A RECENT survey conducted by the Yet the special touch of the maker National Endowment for the Arts it could be detected in each work, was indicated that there are more whether basket or stone gargoyle on Design than 375,000 craftspeople in the the cathedral, it represented a per- United States who sell or show their sonal devotional--a special fulfill- work on an ongoing and continuing ment. With the coming of the indus- basis. This does not count those who trial revolution it was this group who work in crafts on a recreational or found themselves essentially disen- hobby basis or on a therapeutic basis. franchised •from their birthright of A Rockefeller study indicated that if individual, creative expression. They those people were included, it would were now relegated to factories to be be three out of four of the American the hands for only part of the process, population. Victor Hugo said, "There often never to see the beginning or the is one thing stronger than all the ending; in fact, themselves to be the armies in the world, and that is an extension of the machine. The total idea whose time has come." product of their hands and minds had The new crafts movement, I think, become outdated as the machines is such an idea. I'd like to go back spewed out those useful and decora- with you a bit to surmise how this tive objects in massive numbers. extraordinary activity came about and The challenge of new frontiers and to share my perceptions about where new opportunities brought many to it is now, and perhaps even voice some this country in the westward migra- concerns for its continuing vitality. tions. For these people the creative I know there is that glazed look need was largely filled by frontier See and use the OLYMPIC that comes over people's faces when activities--hewing, building, making, Model 2831. Over 28 inches they think they are going to look back d.o!ng, .plenty of activity--creative ac- wide and 311/2 inches deep. in'to history a bit, but let me ask your twlty m just survival. In England, This huge 11.67 cubic foot indulgence for a moment. There is a however, without the valve of the kiln requires only 47 amps. segment of the population whom l frontier, intellectuals observed and You can high fire on the same a 23 call "object" people. These people are were concerned at the dehumanizing power you would expect inch kiln to use. OLYMPIC really drawn to the three-dimensional effects of the machine. Thomas Car- KILNS are both UL and CSA form and they see the depth in space. lyle, in his treatises on labor, voiced listed. See OLYMPIC KILNS I think there really are differences be- back to the this concern and harkened or write for a free catalog. tween people's .ability to hear, their guild system of the Middle Ages. ability to see, and the ways in which John Ruskin, Carlyle's cultivated they see. These "object" people tend follower, poetically and romantically to be able to extract connections from enlarged on the view that the machine an object. In other words, the object was enslaving rather than freeing speaks to them of its source, of the man. The pre-Raphaelites made a ro- human condition, of the spirit's aspi- mantic, decorative response but it re- |l rations, of the energies expended in mained for the talented and prag- its making. They're often people who matic William Morris to give form, have a compelling need themselves to style and activity to Carlyle's aca- create objects. These are the people demic concerns. Forming with his who, in the past, chose to be stone friends a decorating company which Redmond, WA 98052 carvers, book binders, potters, sculp- undertook carving, metal work, wall- Phone (206) 883-7200 tors, silversmiths, basket makers and paper, chintz and carpet designs, even DISTRIBUTORSHIPS builders. In pre-industrial times each working with his own press in the AVAILABLE of these people had the opportunity to Continued

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24 CERAI~[ICS~{ONTHLY COMMENT tous. The charismatic Elbert Hub- to the East and to the European bard, in establishing the Roycroft values and artifacts of their past, there design of books; the group gave a Press and Workshop, said, "Art is not were those in certain enclaves such as stylistic attitude to the view of art as a thing, it is a way." This simple, Berkeley and Pasadena, intellectual part of life and nature as a source of complicated statement perhaps most mavericks possibly, who, sensing that art. As this company flourished the succinctly expresses the ethos of the they had found their Eden, opened ideas and the impulse which had gen- new crafts movement. their responses to the world around erated it spread broadly. As the nature of the soil determines them, built their shingle houses, rev- In 1888, in an expression of discon- the growth of the plant, it was inevi- eled in the beauties of the land, and tent against the Royal Academy for table that the ideas of the Arts and thought in terms of saving rather including only painting and sculpture Crafts movement would take different than defeating it. Thought of it in in its exhibitions instead of the arts expression on the West Coast than in terms of saving, rather than defeating of design, the members of the Arts England or even New York or the the culture of the native Americans. and Crafts Exhibition Society held Midwest. The somewhat tentative This permissive attitude extended their first exhibition at the New Gal- William Morris trademark of "si je to religious ideas as well, and Oriental lery in London. This was the Armory puis" was paraphrased to "Als ik kan" philosophies were heard and espoused. Show of the crafts movement. by Stickley. When George Wharton It's interesting to realize that at that Thus the name Arts and Crafts was James, who had been associate editor particular time the Theosophists es- given to the movement which had of The Cra[tsman magazine, came to tablished their great commune down been yeasting for twenty years. The Pasadena and determined to publish a at Pt. Loma to the slight discomfiture movement spread over the United new magazine, The Arroyo Cra[tsman of certain of the solid, middle class States with the establishment of art (of which, alas, only one issue ap- citizens of the area. But nevertheless it , from Rookwood to Sophie peared) the sense of the pervasive was the beginning of Oriental thought Newcomb, from Pewabic to Califor- and ebullient Western optimism of the coming into the United States. Solar nia . It was a new look of time was reflected in his choice of energy also was quite widely used at pottery--it was decorative, it was no motto, which was, "We can!" that time, interestingly enough. For longer purely functional, it had an When the westward movers consoli- instance at Cawston Ostrich Farm, entire new feeling. The simple, solid dated their gains and the captains of 300 acres of an orange grove were oak furniture of Stickley was ubiqui- industry built their villas looking back Continued

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26 CERAlVimSMONTHL'Z COMMENT in fiber and I can't but put Eva Hesse in here in her ultimate expressive use irrigated by power generated by a of plastic. I think she, in a sense, rep- solar generator. New ideas were em- resents the ultimate aspect of this braced with what Henry Dreyfus aesthetic exploration of materials. called that zestful sense of "why not?" Later the Institute of Contemporary The setting up of a broad public Printmaking led the early exploring educational system which did include in the expressive facets with paper the teaching of craft processes, the es- fiber. These adventures in the paper tablishment of schools such as [the medium have also spread like wildfire California College of Arts and Crafts], across the country. The vitality of this PLAINSMAN California School of Design; Throop, movement which now seeks to explore in Pasadena; Arts and Crafts, in Port- all of the traditional crafts materials land; all of those had the goal of an for their aesthetic potential is what I education for the total person and call the "New Art." this was a very important kind of a In the last couple of years I've re- concept in terms of the whole vitality viewed the slides of craftsmen and of the crafts that we are now talking artist fellowship applicants for the about. They were concerned with the National Endowment. If you remove synthesis of mind, body and spirit in the pots from the crafts section, and COMPLETE which the quality of the act, and the if you remove the paintings from the respect for the process were as much artists' section, you could not tell, in CERRMIC the aim as the monument, or the end an enormous middle area, one from result, and this concept had a great the other. The crafts view of art has influence on fostering the Movement. so infected the world of fine art. More 8UPPLV In the expanding West Coast econ- than this, the crafts ethos, which omy, those who graduated in the arts always has stressed the process over CENTRE and crafts could often go on, if they the monument, which has always put wished and find a teaching job. Thus importance on the basic quality of one of the important ingredients of the is increasingly prevailing. The living, QUALIFIED DEALER NETWORK new crafts movement was nurtured, vitality of the idea will simply not be for the new movement is notable put down by academic denial, or by • GREENBARN POTTERY SUPPLY LTD. for the educational level of its practi- what George Orwell describes as the SURREY. B.C. (604) 536-9198 tioners. This movement is peopled by "Geneva Conventions of the mind"- ]~ POTTERY WEST LTD. individuals who have made the choice the kind of protocol which concretes EDMONTON, ALTA (403) 464-6006 to pursue this kind of activity, not concepts, which refines to tedium. • CERAMICS CANADA who are there because they have to be I was reading Tom Wolfe's intro- CALGARY. ALTA (403) 255-1575 there, which makes a tremendous dif- duction to The New Journalism in • MOSTLY STONEWARE WINNIPEG. MAN. (204) 475-8088 ference in the final output. With the which he states: "When Henry Field- security of the teaching job, • TUCKER'S POTTERY SUPPLIES financial ing published his first novel, Joseph MARKHAM. ONT (416) 495-0545 of course, came the opportunity for a Andrews in 1742, he kept protesting kind of personal, adventurous, often that his book was not a novel. It was • STRATFORD CLAY SUPPLY STRATFORD. ONT. (519) 271-5371 humorous, sometimes outrageous ex- a new literary genre. He had invented processes so • TREE ploration of materials and the comic, epic poem in prose. What REGINA, SASK (306) 352-6880 characteristic of the new movement. he was doing of course was trying to • TREE In talking of today's crafts move- give his work the cachet of the reign- SASKATOON, SASK. (306) 244-6159 ment with my secretary, I was musing ing literary genre of his time so the • GEORGE LaBELLE that it was not a linear descendant of literary people would take it seri- COCAGNE, N,B (506) 576-6297 European art history, nor of the deco- ously." I continue to quote Wolfe- • SCHOLA INC. rative arts history, his quick retort, "... In this decade the novel will be MARIEVILLE. P.O. (514) 658-0661 "Is it a linear descendant of the GI celebrating the 100th anniversary of Bill?" may not be too far wrong. its canonization as the spiritual genre. We've read much of the movement Novelists today keep using words like when Voulkos pushed clay beyond the myth, fable and magic--that state of vessel form; when his vision, skill and mind is known as the sacred office of PLAINSMAN CLAYS LTD. knowledge of the material allowed the novelist." He goes on to talk of him to move it into energetic, abstract the writers giving up the unique BOX 1266 T1A 7M9 forms; when suddenly the whole idea power of reporting the human condi- MEDICINEHAT, ALBERTA of exploration of material towards tion in quest of a more sophisticated expressive, aesthetic ends moved into kind of fiction--more prescribed rules (403) 527.8535 frenetic activity. and of form. And then he says, "The simi- led the exploration Continued

November 1979 27 28 CERAIVIICS MoN'rHLV The most-wanted COMMENT larity between the early days of the novel and the early days of the new Christmas gift. journalism is not merely coincidental. In both cases we are watching the same process. We are watching a a Duncan Kiln! group of writers coming along, work- ing in a genre regarded as lower class --the novel before 1850, the slic]~ magazine journalism before the '60s, : C~_~ DK 1029 who discover the joys of detailing realism and its strange powers." Wow? Do you know the craftsmen who couldn't admit that they were crafts- men--they were "artists." Do you know the photographers who were art photographers, the musician who dis- acknowledged the feeding power of • . II " i.'i ,,ta..ILZ31 .i !mr, jazz or rock. Doesn't it all come to- gether? Art--all art~has to move, and its fountainhead has been and will be, expressions of people, place and time. Go too far from that root and you'll have a paper tiger. So now I come to my concerns for this wonderful new crafts movement. DK 629 Object making, when its roots lie in the vessel, the coverlet, the shelter, explored beyond that context to the possibilities inherent in the material, UL listed and CSA certified. or to an evocation of memory of the function, has an innate vitality, for For beginning hobbyists to it's a direct descendant of human ex- DK 1020 -- Pleases active advanced professionals, there's perience: social circumstances, quali- hobbyists! a Duncan kiln model that will ties and demands of regions, personal DK 1029 -- Perfect for studio make Christmas perfect for expressions, of love, nostalgia, pas- owners! your family and friends! sion. It has its humane roots still intact; however, if it becomes a purely Duncan kilns have all the And if you're the ceramics academic exploration or manipula- features that grew out of our hobbyist in your family, now is tion; if the memory of the last Park more than 30 years' experience the time to start dropping hints Bernet auction price supercedes the with kilns.., features that about the Duncan kiln model memory of human experience, the mean they're easy to operate you'd like to receive! crafts movement's fate will be like and easy to repair. that of the highly academic explora- Gift choice hints for the tions of painting or it will be like that We still fire about 45 kilns Christmas shopper: of the dinosaur. One of the really every day, testing Duncan DK 716 -- Ideal for the exciting things about the crafts move- colors and mold designs, so we beginner! ment has been that it has been an know what busy hobbyists DL 820X -- All-time favorite explorer's movement, not so much need in kilns.., quality and hobbyist size.., and a as is '70s art--a response movement, dependability. collar can be added for 9 unselfconscious, sometimes awkward. inches extra depth! The nature of materials, the concern See your local Authorized DK 829 -- Gives all the for process, the nature of nature, a Duncan Kilns & Equipment advantages of the most certain generous sense of "live and Dealer for gifts that are sure to popular size, plus the extra please ... Duncan Kilns! let live"--a cooperative effort and self height needed now! loss for the common good have been part of the exploration. It was interesting that when we were reviewing our guidelines for the Endowment we asked a couple of O DUNCANKILNS & EQUIPMENT Please Turn to Page 73 A Division of Duncan Enterprises, P.O. Box 7609, Fresno, California 93747

November 1979 29 ALABAMA St Petersburg Francoise Ceramics. Inc. New Orleans Doll's Ceramics. Inc. NEW JERSEY Birmingham The Pixie Polfery 113 4gtn SI S (813/321-1225) 8032 Townsend Place (504/241 4567) Clifton Dolly Ceramic Art Studio 2720 Fifth Ave S Irondaie West Palm Shreveport Shreveport Ceramic Supply 30 Montgomery St (201/772-3864) Industrial Park (205/956.4270) 4634 Hwy 71 North (318t42d-7460) Long Branch Midi's Ceramic Shoppe Beach Florida Ceramic Supply Corporation Glencoe Donna's Ceramic Crafts Sulphur Boehm Ceramic Supply 343 Broadway (201/229-2771) 1698 Donna Rd (305/684-0129} HWy 431. Glencoe Shopping Center 916 Post Oak Rd. (318/626.3511) Migville Brown's Ceramic Supplies ~205,492-3642~ 819 N Second St (609/825-7653) Hazel Green Hazelhursf Ceramics GEORGIA MAINE Mt. Laurel Creative Hobbies. Inc. P O Box 110 1205,828 46711 Augusla CSRA Ceramics Bangor Smith's Ceramics Rt 73 S. of Turnpike (609/235-2540) 510 Greene Mobile Jewel Box Ceramics St (4041722-7231) 268 Main Street (2071945-39691 Somerville Weldllch Ceramics, Inc. Allison Ceramic Supplies 600 Merwlna Ave (206,479.47631 Columbus Scarborough French's Pineview Ceramics & Crafts 2230 W Camplain Rd (201/726-8654) 931 McBride Dr (404/561-1349) Montgomery The Pixie Pottery of Montgomery Rt 114. Box 157. 475 Gotham Bd NEW MEXICO 1751 Upper Wetumpka Georgia Ceramic Supply. Inc. Rd Hepeville (207t839-6396) Albuquerque Anhowe Ceramic Supply. Inc. 528 S Central Ave (404/767.6589) Capital Parkway Shopping Center MARYLAND 3825 Commerical NE (505/346-8421) 1205'264 18001 Macon House of Hobbies & Gifts. Bel Air Naomi's Ceramic Supply. Inc. NEW YORK Sheffield Hazelhurst Ceramics of Sheffield Unlimited, Inc. 4036 San Carlos 501 Granary Rd 1301/879-17071 Albany The Ceramic Touch, Inc. 201 Anapolis St (205/383-0266) Dr, (912/781-1391) Savannah Galaxy Ceramics. Inc. Laurel Chesapeake Ceramic Supply, Inc. 345 New Karner Rd (518/456-9770t ALASKA 26 Eisenhower Dr (912/354-6208) 14301 Saltzmore Bird . Rt 1 Brentwood, (301/776.1222) Washington Anchorage Alaska Mud Puddle Valdosta Parrish Ceramics area Long Island Susie-Q Ceramics (301/792-2120) Balbmore 9034 HartzeH RO (907,'344-2026) 2426 S, Patterson St (912/242-4004) area 1083 Suffolk Ave 1516t273-6440) Brooklyn Col-Art Ceramics. Inc. ARIZONA HAWAII Mount Airy Oottie's Art Corner, Inc. 6750 Fifth Ave (212/833-8188} Phoenix Marion Ceramics. Inc. Honolulu Hawaii Modelcraft Distributors 508 S Main St (301/S29-1642/ Skeets Ceramic Supply. Inc. 3434 W Earn Dr (602f272-6585) 1220 Kaumaulii St (8081647-4234) MASSACHUSETTS 894 Coney Island Ave (212/438-16161 Tucson Marion Ceramics Terra-Ceramics. Inc. Chicopee , Terry's Ceramics Buffalo Buffalo Ceramic & Art Supply 426 W AIluras (602/624-2872) 3036-C Koapaka St. (808/841.1 t51) 833 Chicopee St (413f536-3182) Center. Inc. Quincy . Gloria's Ceramic Center ARKANSAS IDAHO 437 Franklin St (716/884-4442) Fort Smith 125 Montclair Ave, (6171328-9787) Fort Smith Ceramic Supply Co., Inc. lena Potpourri Intermounteln Bellman Ceramic Supplies. Inc. Westboro Diamond Ceremlcs. Inc. 7318 Rogers Ave (501/452 2340) 342 E. Bockwood (208/522-1689) 663 Walden Ave (716/894-0084) 255 Worcester Bd, Rt 9 Little Rock Ceramic Aft Center, Inc. Wilder Treasure Valley Ceramics Corona Jean Leonard (6171366-0576) Ceramics 1217 Bebsamen Park Rd Highway 95 N (208/482-7386) 96-24 Corona Ave (212t699-55701 Wobum Woburn Ceramic Supply (501,666 7447} ILLINOIS Cortland Red Barn Ceramics Texerkana Sea's Ceramics 23 Conn St (617/935-2860) ChicagO Metropolitan Ceramic Supply Rt 13 South (607/756.2039) 1602 E Nmth St (5011772.7~6) Chlcego MICHIGAN 5332 N Elston (312/283-5757) East Rochester Runion Ceramic Supply Dearborn , Joy Reid Ceramic Studio CALIFORNIA East Moline Hobby House Ceramics 236 W Commercial St 2016 N Telegraph Rd, (313/561-0t t91 Bakersfield Crest Ceramics 191! 158th St (309/792-9017) (716/686-2019) Grand Rapids , Tart Tan Ceramic Supply, 1808 N Chester Ave (805/399-2439F East Peoria Mid-Ill Ceramic Supply Inc. Liverpool Central New York Ceramic Supply 2260 291h St SE (616/458-9369) Calpella Petitf's Ceramics Sprmg Bay Rd,, RR #1 (3091566-8723) 213-215 Second St (315/457-21501 Marquette , Gil' s Ceramics. Inc, 6240 Moore St 1707~485-0290) Greyslake Town & Country Ceramic North Supply Co, 832 W Washington (9061226-2377) Escondido Conley's Ceramics t North U,S Bt, 83 & Center St Massapequa 1039 W Mission (714J745-2~8) (312/223,2668) MINNESOTA Long Island Marian's Ceramics, Inc, Eureka B.J, Ceramics Joliet Joliet Ceramic Arts & Crafts Duluth O & H Ceramics 946 N Broadway (516/799-1330) 2169 Broadway 64 N Desplaiees Street 6301 Grand Ave. (218/624-2483) Oneonta Seeley's Ceramic Service. Inc. (?07~443-13641 (815/723-8616) East 9 River St (6071432-38121 Rouses Fresno Duncan Hobby & Craft Center Springfield Mid-lg Ceramic Supply South Grand Forks Point Ceramics Point Jackie's Ceramic Studio 5649 E Shtelds Ave (2091291-44441 2404 E Cook (2t7/753.8055) 320 Demurs Ave (218/773-1746) 106 Lake St. (5181297-59611 Fairmont Paramount Saugerties Hawthorne S.L. Clutter Werrenvi0e Cl~ll Enterprises, Inc. Ceramic. Inc. Lezette Ceramics 13112 Inglewood 220 Rt 212, Saugerfies-Woodstock Ave (213/676-74541 29.W 555 Batavia Rd. (312/393.9468) N. State St (507/235-3461) Rd La Mirada Stewart's of California. Inc. INDIANA Richfield T.J.'s Ceramics, Inc, (914/246-7968) 6055 918 W 77'/2 St (612/861-3414) Scarsdale Glad-Well Ceramic S He on 7141523.26031 FortWayne Indiana Ceramic Supply Studio & Supply Norfhridge St. Cloud . Towne 868 Scarsdale Ave (914/725-0804) Mar-Le Ceramics 1815 S Harnson St. (2191744-4748) House Ceramics 8806 28th and D)vls~on (612/253-5850) Staten Island Staaten Yo~onda Ave {213/993-8275) Grltfith Northern Indiana Ceramic Supply, Inc. Ceramics Paradise St. Paul C & C Ceramic 6833 Amboy Rd (212/356-1t73) Cummings Ceramic Supply 208 E. Main St. (219/924-4180) Arts 962 Arcade St. (6121774-7007) Syracuse Slank's 1637 Wagstaff Rd (9161877-61481 IndlanlpOBl Edith's Ceramics, Inc. Ceramic Supply Paso 2704 Lodi St Robles Paso Robles Ceramic Shop 6511 Julian Ave (3171353-8141) Ceramics by Dee (315/471-0271) 3 miles Webster north ot Paso BoDies on Lafayette Ginny's Ceramic Supply Center 895 Front Ave (612/489-6404) Rochester Ceramics & Greenware Old 101 i8051238-2328) 102 Commercial 817 Woodmere (317/446-1212) MISSISSIPPI St (716/872-6190) Sacramento Avanty & Imco Ceramic Supplies O$ceole Neely's Ceremlcs Bay St. Louis Redglo-Murphy's Coastal Ceramics NORTH CAROLINA 1214 Howe Ave 19161929-91921 10106 McKinley (U S. 20) Route 3. Highway 90 (6011467-4076) Charlotte Graham Ceramics. Ltd. San Diego Ceramic Supply of San Diego (2191674-5996) Columbus .. Bill's Ceramic Supply 1319 Central Ave. (7041375-2539) 4100 Poplar St (714/281-6607~ Vlncennea Clifton Cerlmlc Art & Craft Rt 5. Box 242-B (601/327.7979) Durham Durham Ceramic Supplies Santa Clara Bay-Shore Ceramic Supply 1750 Willow $1, (812/882/9692) Jackson Double L Ceramic 1347 Avondale Dr (9191688-64211 590 Aide Ave 1408.~988.6252) Supply Hwy 80 West (601/922-8441) Fair Bluff Fair Bluff Ceramics Santa Rosa Sue's Ceramics IOWA Laurel Murphy's Ceremlcs, Inc. P O Box 96. Elm St (919/649-7443) 1433 Ohvet Rd (707'525-8335) Burlington Norma' s Ceramics 1003 Wdson Ave (601/425/138t) Feyetteville Creative Crafts Ceramics. Inc. Spring Valley Back Door Ceramics 1107 N Eighth St (319/752-3705) 6316 Yadkm Rd (919/667-7393) 1047 El Kedon Blvd (714,462-29801 Cedar Rapids Riverview Ceramics MISSOURI Waynesville Muse Ceramics South Gate 1660 W Post Rd SW 1319~396-55551 California Thomas Ceramic Supplies Betty's Ceramics 106 Frazter St (704/466-9107) 13333 S Paramount Bird OesMoines Parker Ceramic Supply Co. Hwy. 87 South (314/796-4484) Winston-Salem Ceramics by Omeda {213'634 9161~ 2204 W 23rd St (5151255-7166) Cassvile . Robinson Ceramics 2630 Peters Creek Parkway South San Mason City Lyle's Ceramic Center Rt 2, Hwy 248 East (4171847.4274) (919/722-72t 3) Francisco Oahm Ceramics 1615 S Federal (515/424-17121 Raytown Four Corners Ceramics. Inc. 924 El Cam,no Real (415'583-66901 McGregor Scotlin, Inc. 10008 E. 50 Hwy. (816/363-1956) NORTH DAKOTA Vallejo North-Shore Ceramic Supply 236 Mare St (3t91873-2289) Springfield Douglas Ceramic & Christmas Shop Fargo Northwest Ceramic Supply 1055 Sonoma Blvd ~707s642 89041 Sanborn Lyman's Ceramics Bt. 6 BOX 667-B. Melville Bd 221-223 Broadway (7011232,1794) 407 W First St (4171833-2611) Mandan Siouxland Ceramic Supply COLORADO (7121729-3020) St. Louis Genevieve's Ceramic Studio. Inc. 410 E Main (701/663-3682) Colorado KANSAS 6514 Weber Rd (3141638-9400) Minot Siouxlend Ceramic Supply Spnngs Van Howe Ceramics Kansas City Mid-America Ceramic Supply Co. MONTANA 18 Third St SE (701/852.5074) 2602 Ourango Dr (303'392 7465) 817 Central Ave (913t621-5262) Billings Montane Williston Arlene's Ceramics Denver Van Howe Ceramic Supply Company Norton Prairie Dog Ceramics Ceramic Supply 2016 Alderson Hwy 2 (701/572-75731 11975 E 40th Ave =303/371-4030) RFD # 1 (9131877-3022) Ave (4061656-6023) Great Falls Joanna's Ceramic OHIO CONNECTICUT Shadow-Box Ceramic Studio Supply Sa~ina 807 Second St S. (406/761-0827) Cincinnati Maxtield Ceramic Supply. Farmmglon 308 W Cloud St (9131825-41401 Inc Elmwood Ceramic Sludlo 4761 Creek Rd (5131793-5546) 62 Farmmgton Ave 1203/377-8477~ Evans Ceramic NEBRASKA Wichita Supply Village Ceramic Studio Green Jean's Ceramic Studio 1516 8 Wasmngton (316t262-255h Kearney SiPLon Ceramic Studio 22t5 Ave "G" (308/234-9621} 8112 Blue Ash Rd {513/791-5282) 1073 Budd,nqton Rd ;203'445 6055P KENTUCKY Columbus L~ncoln Bernice's Ceramics Karshner's Ceramics Hamden Whitney Ceramic Center Bowling Green Sandy's Ceramics 8S06 Hwy 6 NE (402/464,2949) 673 Wilson Rd i6141276 3267) 2335 A Wn,tney Ave t203'251 1955' BI 15. Lovers Lane (502/842-9171) Kent Norfolk Granada Ceramics Ohio Ceremic Supply. Inc. FLORIDA Tom's Ceramic Studio Covington 605 Norfolk Ave (4021371-1630) 2861 State Rt 69 (216/296.3815) Holly Hill Dolphin 15 W 341h 51 (606/291 8281) Arl Ceramics Ralston Peintin Place Ceramics New Knoxville G S H Ceramics 309 Slxlh St 1904 252 4616} Lois Ceramics Henderson 6700 S 781h (402/331-1744) BOX 287. SolkmS Angle Rd Jacksonwlle Dolphin Art Ceramics & Crafts II 1508 Washmgton St (5021827-2271) (419/753.2363) 1943 Blandmq Blvd 1904~389 0919~ Louisville Polly's Play House Ceramic Sludio NEVADA New Lebanon The Village Ceramic Studio Lea Vegas Largo JB Schilvi Enterprises 9806 Taytorsv,lle Rd (5021267-7742/ Ceramic Arts, Inc. Supply. Inc. 1906 6150 1261h Ave N (813/535.11771 Paducah West Kentucky Ceramics S Western St (702/384-2063) 278 E Main Sf (5131687 2'i111 Miami Miami Art-Crafts Supplies Cratts Center Sparks NIC NaC Shelf New Ruthe' Ceramics 630 670t NE Second Cog rf 1101 Jeflerson $1 1502/443.3434) Greenbrae Shopping Center Washington 4343 Carey Bd (419/966 2201) (702/358-6636) ~305'757 2685, LOUISIANA OKLAHOMA Panama CHy Callaway Craft Center 11 Ale*andrla Wilmars Ceramic Supply NEW HAMPSHIRE Oklahoma City Oollie's Ceramics & Porcelain 6925 E H,qnway 22 r904 785 36731 1121 Bodon Ave (318/442.6250) Manchester DOra's Ceramic Studio 3011 S Shields Bird (405t632.9317) Pensacola Callaway 87 Broadway Craft Center =12 Baton Rouge Wilmars Ceramic Supply Ave 16031622 7179) Tulsa Ceramic Cottage 3105 N T SI 1904,433 66681 9526 S Choclaw (5041923 1924) Westmoreland Superior View Ceramics 746 S Wheeling 19161584 1580) Satasota Poly Crafts Monroe Wilmars Ceramic Supply Rt 12 (603/399.4648) 1839 61S' S' ~813'3559755 ' 1210S Second .%1 (318138757561 OREGON UTAH MANITOBA Bend Bend Ceramtcs Salt Lake City Capital Ceramics, Inc Lid. 1050 NW B( nd (5031389.7755) 2174 S Mare St (801/466647~) Winnipeg The Ceramic Greenhouse, Junction City Clarke's Ceramics VERMONT 31 Trother Bay (204t474,0565) For your Ceramic Supply, Ltd. 1585 Jumper (50319982297) Rutland Vermont Ceramic Supply Center Jonasson Portland Dobe Depot. Inc. 451 West St. (802/775-4540) 267 Maryland St (2041786-6495) Christmas decorating! 2809 SE Stark St (503/2336207) VIRGINIA NEW BRUNSWICK Ltd. # 2 PENNSYLVANIA Norfolk Pottery Art Sludio, Inc. Fredericton Cobequid Ceramics, Avis Ceramics by Laforce, Inc, 4401 Klllam Ave (804/469 7417) RR # 1, Hanwell Rd. (5061455.7043) Rt #150 (717/753-3320) Richmond M-C Sludio. Inc, NOVA SCOTIA Dillsburg Bell's Ceramic Arts, Inc. 4115 Hopkins Rd (804/275-1821~ Truro Cobequid Ceramics, Lid, 725 Rt 15 (717/432-5714) Roanoke Dill-Hawk Ceramics, Inc. 43-47 Forrester St (902/895-5313) Du Boas Dun-Got, Inc. Rt 2. BOX 436, Hwy 117 ONTARIO Rt 322 (814/583-5178) (7031366-0701 ) Kers The Village Ceramics, Ltd. #2 Hegins Elsie's Ceramic Shoppe WASHINGTON PC. Box 350, R R # 1 (6131692-3924) BEAUTIFUL 669 E Main St (717/682-3138) Doming Ceramic Hut London The Village Ceramics, Ltd. # 3 Johnstown Koch's Ceramics 3996 Valley Hey #9 (206/592 5604] 148 Newbold Court (5191681-30111 624 Grove Ave. (8141535~5460) HOLIDAY COLORS Ceramic AdS, Inc. (Everett) ThunderBay Verchia's Place Ceramics Levittown The Art Shop Everett ...... 11016 Chennautt Beach Rd. 84 Oswald Street (807/345-6284) 2660 Trenton Rd. (215/946-4078) • Traditional whites, greens (2061353-5000) Toronto, The Villege Ceramics, Ltd. # 1 Mill Village Le Boeuf Ceramic Supply Lloyd's Ceramics & Pottery Court (416/252-5751) and reds, including Red- S Main St (814t796-2651) Seattle 26-10 Connell 318 Westlake Ave N (206/623-7350) Moscow Sunshine Ceramics QUEBEC Coats TM specialty Spokane Ceramic Arts, Inc. Rt 307. R[) #3 (717/842-4591) Boucherville, W 38 Third Ave (509/6240867} Nazareth Heater's Ceramics Montreal Unicorns, Inc. underglazes and brand-new Tacoma Miller' s Ceramics 15-19 Tatamy Rd. (2151759-1929) 1356 Newton St. (514/655.9911) Paclhc Ave {206/475-8166) Liquid Crystals! New Oxford Decker Ceramic Supply Co.. Inc. 4828 SASKATCHEWAN Yakima Ceramic Arts, Inc. 426 Lmcolnway W. (7171624-7311} Seskctoon Ceramic Supply Depot • Wonderful Crystaltone 404 S Second St (5091248-1526) Norristown Sneddon's Ceramic Studio 837-B 501h St E (306/652-9617) Glazes for quick and easy Appledale Rd. RD #1 (21~;539-8190) WEST VIRGINIA Regina Regina Ceramics, Lid. & Country Arts & Crafts Philadelphia Liberty Bell Ceramics, Inc. Clarksburg Town 1733 McAra St, (306/352-8380) decorating! Rd 1/2mdeoff Rt #19 Christmas 4511 N. Broad St (215/324-3434) Crooked Run COLOMBIA Pittsburgh Mitchelrs Ceramic Supply at Gore (304t622-5335) • Sparkling, shimmering Corporation Kenova Todd's Ceramic Supply, Inc. ModelDn Admitec 57 Noble Ave (412t922.2606) 2029 Poplar St (304t453-~0711 Calle 36#46.23 metallics and pearls, and Washington Cuslom Craft Ceramics Mullahs Mullens Ceramic Shop DOMINICAN REPUBLIC other fast-finishing Bisq- 70 South St (412f228,1351) 1011 Moran Ave (304/294.5807) Santiago Industria de Ceramics Orquidea, S. A. West Chester Ettore's Ceramics WISCONSIN Calle del So~ NO 148 Stain@ for decorations 175 E Boot Rd. (215/692-7258) Beloit Mercella's Ceramics, Inc, Apartado Postal 775 (582-5366i Williamsport Ameigh's Ceramic Studio 1150 In man Parkway (608/362-5056) and gifts! 1910 Roosevelt Ave, (717/322-1098) Brookfield Fireside Ceramic Market EL SALVADOR S. A. Selection -- over 500 RHODE ISLAND 2805 N Barker Rd, (4141782-2888) SenSalvedof . . . Ceramics Maggie de el Salvador, Sur 659. Colonia Flor Blanca Pawluckel Louis' Ceramic Supply Company Green Bay Rolene Ceramic Studio, Inc. 33 Av. glazes, underglazes and (316569) 114 Smithheld Ave. (401/72E-1634) 2522 W Mason St (414/497-11331 Bisq-Stains! ~ Portsmouth Ceres-Art Studio Milwaukee A, C. Ceramics FRANCE 3103 E Mare Rd (4011683-1466) 5219 W Vdlard Ave (414/463.8882) Paris .. Socor. S, A. Quality -- consistent SOUTH CAROLINA Sun Prairie Mercella's Ceramics, Inc, 130 Rue de Mont-Cenis. Cedex 18 Hwy 151 (6081241-2952) jar to jar! Anderson Anderson Ceramics Co., Inc. Rt. 1. (606-4199) from Studio, Inc. 1950 S. McDufhe St (8031226-0321) Tomah .... Waugh's Ceramic GUATEMALA Rt 3, 2 miles E o1 Tomah on Preferred by hobbyists Charleston Rourk's Ceramic Studio, Inc. Ceramics Maggie Hwy 12-16 (608/372-5211) GuatemalaCity 2475 Ashley River Rd. at Plerpont 5A Calle 5-34, Zona 9 (62569) for more than 30 years! (803/766-3842) WYOMING Columbia House of Ceramics Casper Ceramics and Supplies ICELAND Keramikhusid, Ltd, NEW CHRISTMAS MOLDS 3035 Broad R~ver Rd (803/772-1116) 146 S Elk (307/234-3877) HafnerfJordur SOUTH DAKOTA P,O, Box 275, Reyklavikurvegur 68 • Trend-setting designs!' OUTSIDE U.S.A. JAPAN Rapid City Ceramics Supply Center • Popular ornaments! 2923 W Rapid {605t342.0824) AUSTRALIA Tokyo .... Japan--Duncan Ceramic Products Inc. Sioux Falls Ceramic Hobby Supply, Inc. QUEENSLAND 76 24-8, 1 Chome Nuku -Machi. • Perfect for home and gifts! Nerima.Ku (63-999-2545) 1005 W 11th St. (605/334-5821) Mooloolabe . . Duncan Ceramic Products TENNESSEE Queensland NEW ZEALAND NEW STOCKING STUFFERS Bristol Twin City Ceramics, Inc, Mooloolaba Hobby Ceramics Napier . . Heather's Ceramic Studio. Lid, Rt 2. Box 214-A, Hwy 11-W 68 River Esplanade, 4557 Ford Road, Onekawa (55.892) 3 new Duncan Library of (615/323-4031) (071 441107) PANAMA Chattanooga Mountain View Ceramic Center, Inc, Ceramic DecoratingTM SOUTH AUSTRALIA Panama .... Productol Superiores, S. A. 4712 Dayton Bird (615/675-8796) Findon • Duncan Ceramic Products P.O. BOX 666 (25.9100) Books! Memphis House ct Ceramics, Inc. Technique (Australia) PHILIPPINES 1011 N Hollywood (9011324-3851) Avenue. 5023 (356-9156) 7 Wande Metro Manila • Translucent Underglaze Nashville Dorothy Lamer Ceramics VICTORIA 3302 Gallatm Rd. (6151262-2645) Makctl .... Sarongs Civ/amics Mfg. Corp. 8oronia. Duncan Ceramic Products Victoria Decorating Techniques Singer Ceramics 7441 M, Santigan Street (89-39-18) Jonah Ceramics 952 Maln St (615/227-0134) [DB 707] Place. 315 (03 7298640) PUERTO RICO Oak Ridge Ceramatique 2 MacQuarie WESTERN AUSTRALIA HstoRey .... Can del Barro, Inc. 66-112 Outer Dr (6151482-3858) • Bisq-Stain ® Decorating The Clay Kitchen Final CaDe Federico A, Costa#1047 Linda's Ceramic-Korner, Inc, Balcatta Balcatta Close Urb industrial Tree Monjdas Techniques [DB 708] 134-136 Randolph Rd (6151482.3055) 160 Balcatta Rd,, 6021 (09 3442646) (8691754-6585) • Cover-Coat ~ IRed.CoatsmM TEXAS SINGAPORE Abernathy The Ceramic Peoples BELGIUM .. Red Lucky S'Porepte. Ltd. Decorating Techniques 718 Ave. C (806/298-2412) Brussels ...... Oouyier & Company Singapore Abalone The Hobby Shop Rue de la Senne 76 G63 664 International Plaza [DB 712] 911 N Mockingbird Lane BruxeHes, 1000 Anson Rd. (9151673-4852) CANADA VENEZUELA AND THE MOST-WANTED Corpus Christi C, C. Ceramics ALBERTA Caracas .... Ceremica Zuea 4343 Kostoryz Ave. (5121852.4247) Calgary ..... Terra Ceramic Supplies, Ltd. Apartado 80387 (77-01.20) GIFT OF ALL -- A Bateman Ceramics Dallas 518 42nd Ave SE (403/243-8998) Dlstrlbuidota "Kenny" S.R.L. DUNCAN KILN! 716 Pierce St (214t946-4343) Edmonton . Alberta Ceramic Supplies. Ltd. Apartado Postal 30026 Caha Loma Ceramics, Inc, El Paso 11865-1491h St. (403/451-0410) (89-51-94) Loop (9151598.6089) Choose from 5 different 8048 N GrandCentre ZereK;ki Leisurecrafls, Ltd. LI Pinata. S. A, Fort Worth 8ateman Ceramics BOX 711,5218-56t h St. (4031594-4121) CalIe Real de Sabana. Grande 25 models! 6615 E Lancaster (817/451-2601) Lethbridge Carpenter Ceramics (71-95-31) Ceramic Arts Supply. Inc, of Texas • 240 or 208 voltage system. 1515 Jacksboro Hwy (817/625.5141) 2926 Eighth Ave. N (403/328-1410) Meracaibe ..... CerMrdca Alexendri Houston HOUSton Arts & Crafts, Inc. BRITISH COLUMBIA Carte 77 Con Av 16 • UL listed; CSA certified. Ceramics 1435 Westhelmer (7131523.2807) Burnaby Adanec Edificio Caiven Local #2 • All the features that grew San Antonio House of Ceramics Corporation 7289 Curragh St, (6041438-6196) (518502-22325) 218 E Rapsody {512/341 2303) Nanaimo Island Ceramic Supplies out of Duncan's more than Laurine Brock Studio Island Hey, 2 miles S. of Nana(mo 1651 W Woodlawn Ave (604/754.4921) 30 years' experience with (512/733-0861 ) Prince kilns! Waco Family Affair Ceramics & Crafts George . . Ceramic Wholesaierl--Prlnce Geofpe 3008 Franklin Ave (8171752 4321) 1552 Lyon St. (604/564-3650) AVAILABLE IN YOUR AREA FROM Wichita Fails Ceramic Art & Antique Shop AUTHORIZED DUNCAN DEALERS & Surrey ...... Ceramic Wholesalers 2004 Allen Or (817/692 1473} DISTRIBUTORS! 12138 86th Ave (6041596-2225) Animal Imagery

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,2 FORTY ARTISTS were featured in the national invitational multimedia exhibition, "Animal Imagery," recently held at the Elements gallery, Greenwich, Connecticut. Clay objects included teapots, cups, bowls, sculpture, wall and jewelry, which contributed to the theme in drawn or relief surface decoration and handbuilt or press-molded components. Among those exhibiting ceramics were Doug Baldwin, Mona Brooks, Henry Cavanagh, Ron Carlson, Christine Federighi, Beth Fein, Ken Goldstrom, Rebecca Gray, Lois Hennessey, Coille Hooven, Deborah Horrell, Anne Kingsbury, Art Morrison, Jenny Lind, Parrot r~ Pearls, Nancy Rawls, Eileen and Will Richardson, Rich- ard Schneider, Barbara Sexton and Laura Wilensky.

32 CERAMICS MONTHLY ..... ~-!!:~ i

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Far left "'Every King Must Have a Scepter," slab relief sculpture, 26 inches in height, of Cone 10 porcelain fired to Cone 6, wet and dry sanded, surface decoration of graphite and oil-base pencil, by Deborah Horrell, Seattle. The samurai's scepter is carved bird's-eye maple and a duck's skull.

Left "'Fish Couple," 12 inches square, white relief with oxide washes, by Ken Goldstrom, Cambridge, Massachusetts.

Far left "'Dog Pack," approximately 4 inches in height, handbuilt earthenware with terra sigillata, fired to Cone 08, by Christine Federighi, Coral Gables, .J Florida.

Left White earthenware tile with toucan, 6 inches square, by Ken Goldstrom.

November 1979 33 Contemporary Salt-Glazed Ceramics

As ANOTHER INDICATOR of the increasing importance of ceramics to collectors, the Craftsman's Gallery (Scarsdale, New York) recently presented its first all-ceramics exhibi- tion. Titled the "National Invitational Exhibition of Salt- Glazed Ceramics," 22 artists from across the country were represented in the show by approximately 200 works. Exhibiting were William Bracker, Regis Brodie, William Brouillard, Nancy Dudchenko, Ron Gallas, John Ground, David Halsey, Jim Hoffman, Steve Howell, John Jessi- man, , Robert Levine, Eileen B. Murphy, Mary Nyburg, , Peter Sohngen, Tom Suoma- lainen, Fred Tregaskis, Jack Troy, Sylvia Wallace, Robert Winokur and Mikhail Zakin.

Right "Toucan and Squash," 7 inches in height, thrown and handbuilt, by Tom Suomalainen.

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.ff Left Slab-built stoneware platter, 15 inches in diameter, Above Storage jar, 22 inches in height, wheel-thrown brushed oxides, saturated iron glaze, trailed [eldspar, stoneware with sprayed oxides, trailed [eldspar and by William Brouillard. barium carbonate, by William Brouillard.

November 1979 35 Exhibition at The University of Kansas by "~,'ILLIAM BRACKER

AN" EXHIBITION of salt-glazed ceramic works by Asante Off-White Base Slip (Cone 9) Adu-Darko, a Fulbright exchange student from Akropong, Kona F-4 Feldspar ...... 15 parts Ghana. was presented recently at the University of Kan- Lithium Carbonate ...... 3 sas's new visual arts gallery. The artist adapted traditional Whiting ...... 10 African techniques of hard-edged sgraffito patterns with Bentonite ...... 3 contrasting clay body colors; a number of monumental Edgar Plastic Kaolin ...... 50 works were presented in sizes ranging to four feet in Kentucky (OM4) ...... 10 height. Flint ...... 15 Asante uses drafting tools, as well as templates cut from 106 parts plastic or cardboard to suggest variable or repetitive de- Color variations from this slip may be created with the signs. Sgraffito tools were fashioned from nails or strips following additions : of metal, forged into the needed shape, then sharpened to 5 parts Red Iron Oxide ...... Brown provide the fine edge necessary for cutting crisp lines. 5 parts Red Iron Oxide, 2 parts Manganese To produce a harder, more durable slip, Asante dis- Dioxide, 0.5 parts Cobalt Carbonate ...... Black solves 10 grams of CMC gum in one cup of hot water, lets 2 parts Cobalt Carbonate ...... Blue it stand for twenty-four hours, then adds one tablespoon Asante Adu-Darko recently returned to Accra, Ghana, gum per cup of slip. His recipe follows: where he is posted to the office of rural development.

36 CERAMICS .~IONTH LY ~t"'l

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Above Salt-glazed plate, 11 inches in diameter, sgra[[ito decoration on blue-black slip over white stoneware, [ired to Cone 9.

Right Plate, 20 inches in diameter, sgra[[ito decoration through blue-black slip over a white stoneware body, with Cone 9 salt glaze.

Opposite page Thrown plate with sgra[[ito decoration through brown slip on a white stoneware body, 13 inches in diameter, salt glazed to Cone 9, by Asante Adu-Darko.

November 1979 37 t¢/, "~ /! John Fassbinder by ELAINE LEVIN

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THE HEADY PERFUME of blossoms is carried into the small, Coast, another third through several yearly one-man stone building that is John Fassbinder's studio in Clare- shows. The rest is purchased directly from the studio, or mont, California. Acres of orange and lemon trees lend each summer when he takes a truckload of pottery to a rural atmosphere to a town that is more sophisticated the Northwest Craft Center and Gallery for the Seattle than it appears; a large proportion of its residents are the Arts and Crafts Fair. faculty and students of four small colleges. Since John John says that your own studio demands that "you get attended graduate school here at Scripps College twenty in there and go to work," and adds that full-time teaching years ago, the groves have been retreating farther up the breaks the rhythm of production and does not allow foothills, as homes have appropriated the land. But the energy for creative development. community has remained closely knit and John still has His ware has experienced subtle changes over the past the feeling he knows almost everyone. fifteen years--toward less complexity. "I've looked for His studio has a sense of orderliness with a place for forms that function well, look good, yet offer the maxi- everything, allowing movement from throwing to drying mum amount of surface to decorate." Utilizing a dough to trimming and decorating with few extraneous steps. mixer, he prepares enough clay to fill four airtight but With two rooms, it was originally a pump house, shel- nonfunctioning refrigerators. Easier for him than storage tering the irrigation equipment for the surrounding citrus in cans, these vintage models keep clay in prime condition groves---John's long work table partially hides the unused for throwing. John's basic stoneware clay body follows: water pump. Lining the walls are ample shelves of his Stoneware Clay Body (Cone 10) production ware--mugs, covered casseroles, plates, goblets Potash Feldspar ...... 6 parts and wine decanters. Below them are garbage cans filled Kentucky Ball Clay (OM 4) ...... 50 with glaze, the heaviest on wheels. A small back room Lincoln Fireclay (or any stores dry clay and additional supplies. Looking at the shelves of ware ready for glazing, John fine-ground fireclay) ...... 100 recalled his undergraduate years at the University of Fine Grog (60 mesh) ...... 30 Fine Sand ...... 30 Washington, Seattle, and a teacher who emphasized European production methods. "He was doing the things 216 parts I'm doing now, but I was uninterested in it then." With Add: Red Iron Oxide ...... 2 parts a scholarship from Scripps College and the opportunity to He will vary the formula at times, or use porcelain for a do graduate work under Paul Soldner, John left Seattle change of pace. Wedging the clay into long rolls makes it for southern California. After graduate school, he taught easier to visually estimate the d-pound, tangerine-size at several colleges and art schools before deciding to con- chunks he needs to throw mugs and small pitchers. His centrate on studio work. and return to Claremont with his 10~-inch dinner plates are the most popular and require family. He still enjoys teaching, but limits himself to throwing a 3- to 4-pound ball of clay. workshops or summer sessions. During the first year as a production potter, John took boxes of ware to local shops and galleries, later selling just Right ]ohn prefers the surface and color provided by by taking orders. Now, one-third of his ware is sold on-glaze decoration; eight combinations o[ colorants through outlets in California, the Northwest, the East and [luxes supply a range o[ blues, browns, greens.

38 CERAMICS MONTHLY f

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fl Left A doughmixer provides 200-pound clay batches.

Left, center John bands a casserole.

Left, below Evidence of the studio's former use, a dormant irrigation pump remains under a worktable.

Below Tall shelves of ware line the studio.

Bottom John's painting approximates a watercolor style.

Right Stoneware casserole, 12, inches in diameter.

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40 CERAMICS ~IO~'TI-II.'~" Another Fassbinder specialty is a long-stemmed one- Off-White, Semi-Gloss Glaze (Cone 10, reduction) piece goblet which he throws off the hump in three to Dolomite ...... 5.00% four minutes. Quickly centering 25 pounds of clay, he Gerstley Borate ...... 6.95 measures the rotating top area against his hand to deter- Talc ...... 5.00 mine the size, then forms the bowl. With his hand under Whiting ...... 5.00 the cup to keep it steady, he forms the solid stem, cutting Nepheline Syenite ...... 18.75 the foot off the hump with a knife while the clay still Potash Feldspar ...... 18.75 rotates. In this manner, he makes two dozen goblets at a Kentucky Ball Clay (OM 4) ...... 6.25 time in three different sizes. Flint ...... 35.00 After bisque firing, the goblets or other forms are 1oo.oo% dipped in a feldspathic glaze: Add: Zircopax ...... 2.50%

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/ 1. John prepares to throw a one-piece goblet of[ the hump. 2. The amount o[ clay is measured against his hand.

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5. With a hand under the cup to keep it stead),, John 6. The finishing touches are put on the stem and the forms the solid stem. cut-off point incised with a finger.

The glaze kiln is reduced through the major part of the mixed to give his asymmetrical, floral designs a color range firing with strong flame at the peepholes but no visible of rich browns, blues and greens. Storing colorants in old smoke--in deference to air quality. ceramic mugs, he revives them for instant use by adding John has worked with textured surfaces, clay-on-clay a little water. The following on-glaze colors were obtained decoration, colored glazes and underglaze pencil, but now by varying colorants and fluxes: he prefers to decorate by on-glaze painting which provides 4% Red Iron Oxide, 1% Ruffle and the surface and color he finds most satisfying. Eight com- 1% Nepheline Syenite ...... Dark Brown binations of nepheline syenite, oxides and carbonates are 2'//2% Red Iron Oxide, 1% Ruffle and

42 CERAMICS MONTHLY 3. The goblet cup is thrown [irst. 4. The bowl is refined.

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7. The completed [orm is wire cut [rom the rotating 8. Cast-off refrigerators (in the background) are wheel; two dozen goblets are thrown at a time. convenient containers for aged throwing clay and scrap.

1% Nepheline Syenite ...... Orange-Brown 4% Cobalt Oxide and 1% Red Iron Oxide ...Dark Blue 2% Manganese Dioxide, 1% Cobalt Oxide, He has no precise formula for green since this color is ~% Rutile and ½% Talc ...... Blue-Brown produced by combining a commercial stain with chrome 1% Cobalt Carbonate and 1% Talc ...... Purple oxide and fluxes, judging amounts like a chef "cooking 2% Manganese Dioxide and soup on a stove." All these combinations of ingredients 1% Cobalt Oxide ...... Pale Blue prevent the color from "sitting on top," and instead give 1% Cobalt Oxide, 1% Rutile, ¼% Copper the appearance of being part of the glaze, an effect John Carbonate and ~% Whiting ...... Medium-Blue prefers. Leftover amounts go into a large jar, the contents

November 1979 43 Right ]ohn's lO0-cubic-[oot catenary arch, gas-[ired kiln was built twelve years ago; a glaze [iring takes twenty hours.

Far right Thrown stoneware dinner plate, 10~ inches in diameter. Mixing colorants with nepheline syenite, talc or whiting helps brush decoration become part o[ the glaze instead o[ sitting on top.

Below Thrown stoneware covered casserole, 12 inches in diameter, with banding and on-glaze brush decoration, by ]ohn Fassbinder.

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of which he screens when a quart is accumulated, and are burner on before the kiln is bisque fired in the morning. used as a surprise color--usually in the blue-green range. A glaze firing usually takes twenty hours and involves a John is partial to Japanese folk pottery and its simple three- to four-day cycle, including cooling. brush decoration, but he has avoided learning Oriental Proper packing for shipment is important to John since brush techniques since that is not his culture or tradition. he receives orders from stores nationally, and ships from He does prefer Japanese brushes, but uses them in his own fifty to sixty cartons of pots each year. Wine boxes with style--close to a watercolor technique. He begins on-glaze cardboard separations work well for packing pitchers, painting with a freshly glazed pot on a banding wheel; a mugs and wine decanters rolled in newspapers; stuffing circle in wax resist defines the area he will paint. The fills the corners• His shapes are designed with packaging design is begun in the center, working toward the wax and shipping in mind, forcing the elimination of forms circle. A variety of nature-derived subjects--flowers, that might be too fragile. clouds, mountains, animals and people--articulate the Twice a year, in April and December, John has a kiln- space, usually framed by a circle of color or a geometric opening party at the studio. Guests help unload the kiln pattern. and can purchase a warm pot, or one displayed in the Several steps outside John's studio sits his downdraft, studio-turned-gallery. The consistent response to his work lO0-cubic-foot gas kiln, built twelve years ago (he replaces supports this potter's conviction that quality, functional the floor every few years). Leather-hard ware is placed ware is appreciated by a public becoming better educated on the lower shelf and allowed to dry overnight with one and interested in living with well-crafted objects.

November 1979 45 North German Folk Pottery

surface from storing acidic substances such as vinegar. Gerhard Kaufman, ceramics scholar and director of the Altonaer Museum (Hamburg, Germany) curated the exhibition. Some of his comments follow: "Quite suddenly, about the middle of the 16th century, pottery ware with colored decoration appeared in Ger- many and there began to be a distinction between wares produced for urban and for rural markets. For hundreds of years ceramics for town and country appear to have differed in the quality of their craftsmanship but not in their form, type and decor. They were to be found in every household, mainly as cooking utensils and storage pots, and as they were not decorated, or were decorated only in the simplest fashion, there was no cause for social differentiation. Only when ceramics with ornamental relief or painted decorations began to appear did potters produce, alongside normal standard ware, expensive show- pieces which only the well-to-do could afford. "There are various speculations about the influences which led to the coloring of ceramics. Probably the proto- type was tin-glazed Italian faience. During the 16th cen- tury Italian in particular penetrated to the north and stimulated the local potters who, benefiting from their experience in the production of stove tiles, went on to also produce colored decorative ware to compete with the An engraving [rom the "Book o[ Classes" (1698) stoneware which, with its decorations in relief, had been bears the inscription "As belongs to the work o[ dominating the market for better-class ceramics since the potters they make vessels [or honorable as well 14th century. Stove tiles, however, were made of earthen- as dishonorable use." ware which was decorated by the application of green, yellow, brown or black lead glazes--a practice which had ()N A SIXTEEN-MONTH AMERICAN TOUR which began in been in use since the late 14th century. Thus potters were June, "North German Folk Pottery" showcases 118 ce- left with the choice of going over to painted tin glazes, ramic objects from the 17th to 20th centuries, and gives like the Italian faience prototypes, or achieving similar evidence of Pennsylvania Dutch pottery heritage, which effects by using lead-glazed earthenware, a material to derives from a German ceramic folk art tradition. The which they were accustomed. Both methods were used, show, organized by International Exhibitions Foundation but the second proved decisive in ceramic folk art. (Washington, D.C.), concentrates on works produced by "Whereas simple methods of decoration [sgraffito, slip major pottery centers of the North German plain--mostly marbling and feathering, sprigging, combing] were used earthenware such as plates, platters, cooking pots, baking only in certain regions, painting with the quill [slip trail- molds, colanders, storage vessels, ink stands and teapot ing] was generally widespread. Originally a cowhorn 'paint warmers. Since the use of lead-glazed items for kitchen pot' was used, into the point of which was fitted a goose- crockery was not forbidden in Germany until 1885, several feather quill. Later, little earthenware pots, varying in vessels in the exhibition show a deterioration of glaze appearance according to their region, were used, with a

46 CERAMICS MONTHLY ~ i~iiill

Top Plate, 13½ inches in diameter. Top Wedding plate, 21 inches in Top Fireplace tile, 8 inches in width, diameter, lead-glazed earthenware. slip-decorated earthenware. Center Baking mold [or pancakes, 13 inches in diameter. Center Pots [rom a shard pit. Center Fire cover, 13 inches in height, earthenware with slip-trailing. Above Teapot warmer, 5 inches in Above Slip-decorated dish, 14 inches height, with ember pot. in diameter. Above Rice mold, 8 inches in width.

November 1979 47 t"

~r quill pen fitted into the drainage hole. For each color a oxide would produce blue, it was rarely used because it different quill was used and thus one could 'paint' with was expensive and in short supply. various colors. "The potter himself was responsible for the preparation "A limited number of metal oxides were used to pro- of the oxides, which he would grind, mix with clay, and duce these colors, as only a few could withstand the then grind once more in the glaze mill. As glazes were required firing temperature. Pyrolusite (manganese diox- expensive, they were used sparingly. Thus, in contrast to ide) was used for liver-brown to dark-brown; rust for the more expensive faience, the areas of earthenware reddish-brown; verdigris (copper acetate), converted to pieces which were not directly visible, customarily were left copper oxide, for green; stibnite (antimonious sulfide), unglazed. In many cases the edges of dishes also were left converted to antimony oxide, for bright yellow; and unglazed; they could then be stacked in the kiln in pairs, either tin ash or a white clay for white. Although cobalt edge to edge or base to base, without sticking.

Left Gruel pot, 7 inches in height, lead-glazed Below Earthenware dish, 13 inches in diameter, with earthenware with piercing and slip decoration. Such slip decoration and sgra[fito. Typical of pottery [rom the double-walled vessels were used [or warming and period, the woman on this 18th century gruel dish serving soup to women in childbed. is depicted in fashionable upper-class clothing.

November 1979 49 "One frequently refers to earthenware as 'peasant cheap industrial wares in enamel, stoneware and porce- pottery,' but this term is completely misleading and should lain, and the taking over of milk processing by creameries be avoided. Only in rare instances, such as the case of the had all robbed the potter of his means of existence. The Jute pots [unglazed, smoked ware], were the producers few pottery workshops which survived adapted their peasants; the majority, since the Middle Ages at any rate, wares to meet changing production and marketing con- were trained craftsmen with a seven-year apprenticeship ditions of artistic ceramics. Traditional earthenware sur- behind them who had, in accordance with the regulation, vived only in a few southern regions of Germany, where completed their years of travel. They lived in larger, cen- it is now flourishing once more due to the tourist trade. trally situated villages and towns and supplied urban "It was immigrants from Germany, especially from dwellers and peasants alike with everyday domestic pot- rural districts, who brought with them [to America] many tery. Of course, they frequently did a little farming on the of the habits, customs and practices with which we are side to assure their livelihood, for pottery making was concerned in this exhibition. Even if the most conspicuous often poorly paid. reflection of the German ceramic folk art tradition in the "In order to increase sales, many wares were not only U.S.A., namely the pottery ware of the 'Pennsylvania traded on the nearby markets but were also peddled over Dutch,' is mainly based on South German earthenware of long distances--sometimes by the potter himself, but more the 18th century, it also certainly has affinities with the often by special traders. Altogether, there was a tremen- ceramics exhibited here, for they have their origin in dous demand for ceramics--particularly for standard common pottery traditions, spread by wandering crafts- crockery, which, to the delight of the potter, was con- men and the passing on of patterns all over Germany." tinually being broken. Standard crockery was used by the urban upper classes as well as by the country laborers; An etching [rom "'Street Cries in Cologne" (1584) the only differences were in the quantity and variety, translates "'They call me a pottery seller; I like depending upon the type of household. But this was not to see lots o[ pots being broken." the case with decorative crockery. This was purchased mainly by rich farmers and the well-to-do petite bour- geoisie of the little country towns; the urban upper classes preferred metal utensils, faience, and sometimes also glass as status symbols. In contrast to standard everyday crock- ery, decorative ware was always carefully treated, seldom or never used, and handed down through generations. "The mass of surviving crockery, whether standard or decorative, includes dishes of every size and shape. In addition to the many plates, there are cooking pots, pots with handles, tureens, baking molds and colanders. In contrast, jugs and flasks of earthenware are definitely rare. They too were produced by local potters, in large and small sizes, but they were so obviously inferior to the imported stoneware which came to North Germany from the Rhineland, Siegerland, Westerwald [and] were only suitable for storage or for the transport of water. Further- more, earthenware jugs were much more fragile and their production---even using normal clays--was often difficult and hardly profitable. "Inscriptions, whether of a secular or religious nature, nearly always appear in the scholarly High German rather than the Low German which was spoken everywhere. They were usually taken from the Bible, hymnbooks and prayer books, folk songs, or well-known expressions and rhymes. As potters and potters' journeymen in the 18th century were often unable to read, inscriptions were easily misunderstood, either through being wrongly copied or because mistakes had gone undetected. "The pictorial representations are almost exclusively taken from designs transmitted by itinerant potters and based upon drawings and other graphic art. The primary inspiration was those much admired pictures of fashion- ably dressed persons of rank which could be obtained cheaply as prints, on the pages of calendars, and even on local maps and atlases. "With a few exceptions, the end of the 19th century saw the death in North Germany of the traditional craft of pottery. Changes in the household, the availability of 3 t"

50 CERAMICS MONTHLY Chris Unterseher: Porcelain

SMALL-SCALE PORCELAIN SCULPTURE by Chris Unterseher was presented in a solo exhibition at Quay Gallery, San Francisco, through May 5. The simplified vignettes were isolated on tiles slightly larger than postcards; shadow-like projections on the flat surfaces augmented the landscape imagery. According to gallery director Rena Bransten, Chris feels "the smallness of scale forces an intimacy and intensifies the color and spatial relationships of the forms."

Right "'Webb Pierce's Swimming Pool," porcelain sculpture, 8 inches in length.

Below "Fort Clatsop's Replica of the Lewis and Clark Dugout Canoe," 8 inches in length, handbuilt porcelain.

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November 1979 51 Above "Tents and Drill Ground, Camp Hancock, Below "'Polar Bear, Portland, Oregon," handbuilt Georgia," porcelain, approximately 8 inches in length. sculpture, 8 inches in length, by Chris Unterseher.

.... k i_ ~ James Lovera

A RECENT SOLO EXHIBITION" by James Lovera at Sun Below Lava bowl, wheel-thrown stoneware, Gallery, Hayward, California, featured wheel-thrown approximately 10 inches in diameter. forms with crater glazes resembling lichens and barnacle- encrusted material from the sea. The artist is on the Bottom Lava bowl, approximately 14 inches faculty at San Jose State University. in diameter, by ]ames Lovera. Ceramics Southeast

"CERAMICS SOUTHEAST," held earlier this year at the University of Georgia, Athens, was the first in a series of annual exhibitions designed to showcase objects by re- gional clay and glass artists. According to exhibit coordi- nator Andy Nasisse, the show "represented a spectrum of contemporary attitudes in clay with work ranging from process-oriented, unfired clay sculpture, to installation pieces, to functional pottery." Juror selected 60 objects from approxi- mately 150 entries.

,~ ~ .*~'~,-~: ~C ~c.~ ~

iI Opposite page, above Thrown covered jar, 16 inches in height, by George McCauley.

Far left "Swatters," 19 inches in height, ceramic sculpture, by Pete Kuentzel.

Above Stoneware teapot, 8 inches in height, thrown, with celadon glaze, by Rick Berman.

Left Glazed porcelain bowl with slip decoration, 12 inches in diameter, by Silvie Granatelli.

November 1979 55 with commercial stains and glazed with either of the Laura Wilensky following : White Matt Glaze (Cone 9-10) Colemanite ...... 2.4% Dolomite ...... 21.9 Whiting ...... 3.4 Potash Feldspar ...... 47.8 SCULPTURAL PORCELAIN by Laura Wilensky (Kingston, Edgar Plastic Kaolin ...... 24.5 New York) was shown earlier this year in a group exhibit 100.0% at the Elements Gallery, New York City. Presented Rolner's Clear Gloss Glaze (Cone 9-10) as "snapshots of middle-class rites of passage," the semi- Dolomite ...... 3.0% autobiographical works depicted such subjects as a family Whiting ...... 17.8 at a fast-food restaurant, school girls sharing confidences Zinc Oxide ...... 2.0 and Oreo cookies, and a couple at a prom dinner. Potash Feldspar ...... 16.3 Additional works included slab-constructed vases and Soda Feldspar ...... 15.3 covered jars with low-relief figurative elements, all hand- Edgar Plastic Kaolin ...... 14.4 built from the following recipe: Flint ...... 31.2 Porcelain Body (Cone 10) 100.0% Kingman Feldspar ...... 50 parts Add: Bentonite ...... 2.0% Edgar Plastic Kaolin ...... 50 After stoneware firing to Cone 10 oxidation, each form Tennessee Ball Clay (1) ...... 50 was embellished with commercial china paints, metallic Flint ...... 36 lusters and/or ceramic decals, then fired to Cone 019. 186' parts Laura glazed smaller sculptural segments together; larger Add: Bentonite ...... 7 parts sections were glued with epoxy or auto body filler after Bisque-fired to Cone 06, Laura's ware was then colored the final firing.

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Above "'Dee and Bob at the Prom," approximately 14 inches in height, Cone 10 porcelain with stains, White Matt Glaze, Cone 019 china paints and metallic lusters.

Left, above "Marsha: 7:30 A.M.," 13 inches in height.

Left "The Coral Diner," 11 inches in height, handbuilt porcelain with stains, glaze, lusters and china paint.

56 CERAMICS MONTHLY Once May Not Be Enough Comments on Retiring as Art and Salvage by CHARLES LAKOFSKY

THE V~'ORLD OF THE POTTER would be dull indeed if the glazes, firing effects or temperatures. Over a period of opening of kilns disclosed only what had been planned or years I have salvaged many pieces, often with more than expected. Whether it involves the immediacy of raku or a second retiring, and more than a few of these works the long, drawn-out cooling cycle of a large stoneware have become far more interesting than they would have kiln, the culmination of a firing marks the most intense been had initial firing been acceptable. Of great fascina- point in the rhythm of making. tion have been methods developed as remedies which have But also known to potters are those disheartening times been deliberately applied to ware in order to repeat effects when a kiln's yield simply does not measure up to expec- developed somewhat empirically through work on unsatis- tations. Bisque pieces have cracked or shattered; a copper factory pots. The following discussion approaches multiple red emerges the palest of greens, perhaps blushing just a firings as integral techniques, along with remedies for bit; a hopefully velvet matt glaze has a blatantly shiny disappointing results. surface; a salt firing produces surfaces more like sand- The most direct of all therapy is simple retiring. This paper than orange peel; a decoration so fresh and ener- can correct underfiring and, in some instances, overfiring, getic when applied appears only a vague shadow of its as well as evoke effects not possible in a single glaze firing. former self; a glaze has pulled into globs or peeled away in Most practical, of course, is to hold wares to be so treated sheets; blisters or craters within a pot's wall suggest some until another kiln is to be fired to the desired cone. But moon-like eruption or excrescence rather than a surface such pots are apt to pile up, taking a back place on the to be caressed. shelf to fresh wares; most expedient is an electric kiln Such pots are not completely beyond redemption, and with a volume suited to the individual potter's scale of the possibilities inherent in subsequent firing may, in work that can be fired economically to a seldom-used cone certain instances, remedy defects or even lead to effects with a lone piece in it. The atmosphere of electric kilns is not possible in one glaze firing alone. Such procedures are neutral or oxidizing, and thus might affect the ultimate not applicable or worth the effort when pieces have color of glazes or exposed body areas if original firing was obvious structural flaws such as cracking or objectionable under reduction. Conversely, I have found that the refir- slumping, and are generally limited to unsatisfactory ing of ware first fired in the neutrality of the electric kiln,

White stoneware bowls, approximately 4 inches in diameter, all fired in reduction to Cone 9 u'ith Metamorplzosis Glaze IV (recipe in text): center bowl was retired in oxidation to Cone 1 ; the bowl on the right retired in oxidation to Cone 5. When second firings are lower, br@ht glazes may become matt, transparent glazes opaque, and colors shift sometimes quite magically.

November 1979 57 and subsequently in a reducing fire, will seldom assume different rates--to varying degrees of temperature, with the tonality which they would have had if originally fired the only limitations being those posed by the maximum in a reduction atmosphere. This is perhaps because the point to which a body can be carried without objection- already glassy melt is not as subject to penetration of kiln able slumping, bloating, boiling or flowing. gases as are the unfused or sintered particles of glazes not A number of years ago I was working with rare earth yet fluid, or the porosity of bodies not yet approaching compounds as coloring agents in Cone 8-10 glazes--and vitrification. if you think cobalt is getting expensive, try pricing these! Glazes fired too low and thus unfused may simply be After its first firing, a porcelain chalice had a glaze of the fired higher, and under such obvious treatment, an un- pale violet-pink typical of certain rare earth effects, but of fused dry or matt surface may mature and become glossy. a shiny surface and an even color tonality which made But paradoxically, some too shiny glazes may be dulled by the whole piece quite dreary. Rather than trying to reglaze refiring either to a significantly lower range or to one it, I began placing it in any kiln being stacked. It went higher, depending upon glaze composition and particu- through many a fire, low to high, through kilns large and larly upon heating and cooling cycles. It seems logical that small, electric and gas, oxidizing and reducing. It vacil- the higher the firing, the greater the degree of melting lated between mirror-like and sandpapery surfaces, always and thus the glossier the glaze. Certain magnesia matt remaining unpleasantly lavender. But after one high-fire recipes, however, are often disappointingly glossy when ordeal which really should have slumped the piece and boiled its glaze away, but which merely returned it giassier than ever, it went yet again into a large, slowly fired gas It can be intriguing indeed to retire bisque kiln which just happened to be in the process of a piece time and time again... being stacked. A surprise was forthcoming--the chalice was striated in soft gray pinks and violets, slightly matted undertired, and a higher firing may evoke the velvety yet accenting every nuance in the underlying porcelain's surface peculiar to such glazes. The most simple explana- texture, and glowing overall with a subtle nacreous luster. tion seems to be that the higher temperatures produce a I have a record of the glaze composition, but hardly kept more fluid magma in which crystallization can occur at a log of the chalice's odyssey. Its final port of call was the stage of ultimate melting or during the period while New York City where it is now berthed in the American the glazes are still molten after the heat source has been Craft Museum's permanent collection. turned off. Rapid cooling can inhibit the development of Such effects need not always be merely remedial or matt qualities. unpredicted, and glaze may be applied and fired with On occasions when pieces have come out of a salt firing subsequent retiring actually planned. I have used the with undertired or undersalted surfaces, when refired to following glaze to good effect many times, with initial Cone 8 or 9 in a non-salt kiln (gas or electric) a most firing to Cone 9 under reducing conditions over stoneware peculiar quality has developed, quite unlike the typical and porcelain bodies, followed by refiring in an electric salt glaze and a far cry from Cone 9 feldspathic glazes. kiln: Perhaps enough latent alkali was present on the original Metamorphosis Glaze I (Cone 9, reduction) barely salted surfaces that subsequent firing and higher Refire in ox;detion between Cones 010 and I temperatures induced fusion not achieved initially. Even Magnesium Carbonate ...... 4.7% on low-iron bodies, results have been dark brown and Whiting ...... 28.1 glossy, somewhat like salt-glazed sewer tile. Zinc Oxide ...... 2.3 More fascinating than refiring to higher cones are the Cornwall Stone ...... 55.5 dramatic changes which often occur when second firings Ball Clay ...... 7.8 are lower, for thus, bright glazes may become matt, trans- Flint ...... 1.6 parent glazes opaque, and colors shift quite magically. The cones to which wares are retired are as critical as 100.0% those of the prime fire. I have found this true with feld- On bodies over which no crazing has developed, the spathic glazes of the Cone 8-10 range, particularly those second firing to as high as Cone 1 broadens the potential low in silica and high in lime, those containing titanium for change, but crazed sections may pull or bead together in any of its several compounds, or those with iron in small into somewhat unpleasant alligator hide texture as fusion amounts. Many such glazes, glossy and transparent after is approached. Final results can best be described as trans- initial firing, approach varying degrees of mattness and parent matt glazes, although glaze theorists insist that opacity when retired to lower temperatures in an electric such a combination is impossible. Surfaces may be com- kiln. Cone 010 has proved the most conducive to change: pletely without gloss, yet the underlying body is quite effects of retiring below this have been insignificant. I visible, even through very thick layers of glaze. Color, if once saw, however, a drab dark brown shiny glaze con- present in the glaze, lightens to a frosty quality, often taining iron and rutile become excitingly alive in color accenting variations in glaze thickness or textural varia- and crystalline texture after being retired in an electric tions of the underlying body. Small amounts of titanium, kiln which proved to have a burned-out element, refusing particularly in the form of the pure oxide, TiO2, increase to advance beyond the dullest red heat (if it made even the chance of changes, although amounts exceeding 2 or that). 3% may result in dry, paint-like surfaces completely It can be intriguing indeed to refire a piece time and opaque and somewhat dead. Iron oxide in amounts of time again in kilns of various capacities--and thus at 0.5 to 2% may yield soft .

58 CERAMICS MONTHLY In Metamorphosis Glaze I it is important that the mag- coated during the plastic or leatherhard stage with this nesium carbonate be the light fluffy precipitated form. material, to its conventional fusion range, Cone 9-10, and The heavier mineral form, magnesite, will not suffice even to follow this with a second firing between as low as Cone though it too is MgCOa. 010 and as high as Cone 5. Changes can be quite dra- Glazes which are heavily pigmented broaden the spec- matic, with the typical deep shiny brown altering to pecu- trum of retired colors, and of the agents which can be liar yellow greens or sealing wax reds, often with marked used within the stoneware range, the old standbys cobalt intermingling of such colors. Effects are dependent upon and iron have been the most exciting. The following iron- the degree of the retire and particularly on the thickness bearing glazes have yielded varying but consistently good of application. The inclusion of tin oxide seems to enhance results under the previously mentioned tiring cycles. After the development of reds. In Albany slip-based glazes as initial firing, they are little different from a host of high- well as the high-iron glazes already described, however, iron glazes, shiny brown or black in color, breaking into peculiar opaque, sour green colors may result from refir- matt browns where thin. And it is probable that most iron ing, so leathery and crinkled in surface that they are glazes of the type loosely labeled temmoku would prove unpleasant to the touch as well as to the eye. But yet apt subjects for retiring experiments. The glazes which another firing, this time to Cone 9, may iron these out. follow include significant quantities of flint, raising silica A broad and variegated color potential is posed by the content well above that afforded by feldspathic materials following Albany slip-based glaze: alone as in the preceding glaze. Metamorphosis Glaze IV (Cone 9, reduction) Metamorphosis Glaze II (Cone 9, reduction) Retire in oxidation be+ween Cones 04 and 6 Retire in oxida+ion be+ween Cones 04 and 5 Whiting ...... 10% Dolomite ...... 9.8% Nepheline Syenite ...... 30 Whiting ...... 4.4 Albany Slip, calcined ...... 10 Kona Feldspar (F-4) ...... 29.4 Albany Slip, raw ...... 50 Nepheline Syenite ...... 12.1 100% Kaolin ...... 12.3 Add: Red Iron Oxide ...... 5% Flint ...... 32.0 Tin Oxide ...... 1% 100.05+ A portion of the slip clay is calcined to eliminate the Add: Red Iron Oxide ...... 5.0% cracking and subsequent crawling which may occur when glazes high in clay content are applied to bisqueware; the Metamorphosis Glaze Ili (Cone 9, reduction) raw portion serves to keep the glaze in suspension and acts Refire in oxidation be+ween Cones 04 and 5 as a binder for the dried coating. Other iron-bearing clays Dolomite ...... 6.6c~ such as Cedar Heights Redart may be calcined and substi- Whiting ...... 4.3 tuted for the Albany slip clay, the nepheline syenite re- Cornwall Stone ...... 28.8 placed by various , and the red iron oxide and Kingman Feldspar ...... 12.9 tin oxide additions be varied or eliminated. Retiring to Kaolin ...... 13.0 Cone 1 has developed an opaque golden yellow, with thin Flint ...... 34.4 areas or sections over surface variations breaking into 100.05+ Add: Red Iron Oxide ...... 12.0% The peculiar smell o[ burning gingerbread Tin Oxide (Optional but interesting) .. 8.0% permeated the kiln room... Fired to Cone 9 and subsequently between 04 and 5, rusty red-browns; higher retiring to Cone 5 results in rich these glazes modulate to deep opaque reds or peculiar matt areas of mossy green where heavy, and a deep glossy greens during the second part of the cycle, with III be- red where thinner. coming quite crystalline and matt. Unfortunately, surfaces Although glazes may be thus changed through retiring, may become so even in color and so opaque that the it is sometimes desired or necessary to apply additional effect is monotonous. This may be relieved by combina- glaze over one already fired. The reasons, usually cosmetic, tions with other glazes employing techniques such as wax are several: to compensate for a too thin or uneven origi- resist or double dipping. nal application, to cover crawled areas, to remedy pin- As in all glazes high in red iron oxide, ultimate color holing or bubbled surfaces, or to mask undesirable color and texture may be as dependent upon the particular or texture on an otherwise satisfying piece. brand of the coloring agent as upon glaze recipe or firing. The physical problem of applying glaze over fired glaze Indeed, it is perhaps too often assumed that materials becomes more challenging than over soft, porous bisque. ordered under generic names from one supplier or an- A hair dryer may speed things up. Glazes are apt to run, other, or received in shipments from one order to the next, leaving only a thin, sometimes "worm-tracked" watery will always be the same. Red iron oxide, despite the coating rather than one of any substance, and once dry, security blanket of its Fe_~Oa generalized formula, seems may dust off, leaving a telltale mark if touched, unless a one of the most errant of materials. binding agent is used. Such problems are not unique, Another which may vary considerably but which has however, to reglazing for retiring, for they are involved held its place as hallowed ground for generations of integrally in the manufacture of fine china in which lower potters, is Albany slip clay. It is interesting to fire wares, firing glazes are applied to vitreous bisque, with overglaze

November 1979 59 enamels, and in the recent wave of low-firing glazes on more glaze than it puts on, and that the coating be as higher-fired wares. even as possible unless a pattern of brush marks is desired. My method of application is one suggested by that In reglazing by pouring and dipping, I warm the piece, source of so many practical bits of ceramic wisdom, the pour the inside with a rather thick glaze mix, and allow late Charles M. Harder at Alfred University. I had taken drying with the piece in an inverted position over a cake a pot from the kiln, satisfactory in form but quite pedes- rack or two sticks to allow at least a little dehydrating air trian in its overall shiny dark brown glaze. Mr. Harder circulation in the interior. Any flow accumulating around suggested an overspray of MG 3 white matt (which was the rim may be wiped away, whereas if drying were originated at Alfred about 1945 by Alexander Giampietro accomplished upright, glaze might form an objectionable and which has been subject to many mutations and appel- pool in the bottom. After another slight heating, the piece lations). This I tried, but the glaze flowed from the pot is grasped by its foot and dipped into the glaze, which in waves beneath the spray gun's blast. "Try heating the has been thoroughly stirred immediately before immer- pot first in an electric kiln," was the master's next thought. sion. Any thin film of water on the bulk glaze surface The glaze steamed a bit when applied, set up and dried may wet the pot in advance of the actual glaze substance in place almost immediately, but when I picked the pot and prevent the deposit of a layer. The pot is then hung up, the glaze dusted off. Mr. Harder's next advice was to over an inverted form and any superfluous drips flattened add a binder such as sugar, corn syrup or molasses, and with a finger or sponged away. Glaze so removed can be in answer to my immediate question, "How much?" he replaced evenly by another dunking of the rim only after just shrugged. Not wishing to be lax in following a sug- the initial coat has dried, either into the same glaze or gestion, I added about a quarter of a cup of Brer Rabbit another if a contrasting rim accent is desired. I have, however, a great aversion to contrived glaze drooling around the rims of pots. Ground laying is one o[ the best means The overglaze technique of ground laying may be used o[ patching crawled glazes... to add glaze to restricted or overall areas, and works especially well over broad flat plates. As described by F. H. Norton in Ceramics for the Artist Potter, the con- dark to a pint of glaze rather than the tablespoon or two ventional technique consists of painting the area to be which I have since learned to be sufficient. It took the glazed with drying oil (linseed oil and turpentine), patting sticky mess quite a while to dry, but when it did, it was the surface with a cotton pad to remove brush marks, like a sheet of petrified sandpaper, quite immune to allowing the oil to become tacky, then dusting on the color removal by fingers. The peculiar smell of burning ginger- with a cheese cloth bag and shaking or blowing off the bread permeated the kiln room during the initial stages excess. I have used other materials to good effect for their of the Cone 10 firing, but the pot which emerged brought sticky properties which dry somewhat faster than oil and the comment from Mr. Harder who seldom missed the are thus more expedient. Gum tragacanth (used in a drawing of that huge kiln, "I'll be darned--how similar way by enamelists), a thin coating of shellac, my did we do that?" It was my turn to shrug. old standby corn syrup, or a spray of milady's hair set Apparently the molasses had violently boiled, carrying are all satisfactory, although it is important to apply the the white glaze into a foam which then settled down and glaze powder before the adhesive dries. Thick applications fused into a rich snakeskin pattern, with each white area may be somewhat difficult as the binding properties of the on its black background surrounded by a gold halo. The ground may not be extended any great depth into a thick jar was purchased by the Cleveland Museum of Art from dusty layer of glaze. But a quick whisp with hair spray its 1946 May Show after having received an award, and will blow glaze away and also fix dusty particles in place. a newspaper critic, reviewing the exhibition, wrote: "Spe- Ground laying is one of the best means of patching cial attention must be called to the Lakofsky covered jar. crawled glazes, if they must be patched, for the adhesive The artist's control over his glazes is incredible." Charles applied only to bared areas restricts new glaze to these, Harder chuckled when I told him, but I never told that and prevents piling additional glaze on adjacent areas most discerning of critics that despite many attempts, I often already too thick where the itinerant glaze has have never been able to repeat my incredible control. usually massed itself. The spray gun is undoubtedly the most expedient means This discussion is merely an attempt to offer a few of such glaze application, and a few general suggestions practical suggestions, and it ultimately remains the ac- concerning its use are offered. A glaze mixture as viscous cumulating experience of the potter which alone can as possible will prevent objectionable flowing; pieces may minimize disappointments with fired results. To many be heated in a kitchen oven before spraying, under a heat (particularly those in the enthralling beginning stage), to lamp or with the same device suspended within it. Even relegate any piece to the shard pile may be almost trau- heating is important, for a piece hot on one side, cool on matic, for there is often a sentimental attachment to a the other may make application difficult when glaze over particular pot which masks seeing it for what it actually the hot area dries immediately while over the cooler it is. But as skills and insights develop which forestall faulty flows. results and which make the aspiring potter more prolific Equipment for spraying is not always available, and and thus each piece less precious, it is better and certainly other techniques include the regular methods of glaze easier to start with fresh clay and fresh ideas rather than application--brushing, pouring, dipping and dusting. In to be overly concerned about one forlorn piece. brushing, it is important that this tool does not remove But remember Liza Doolittle?

60 CERAMICS MONTHLY Building and Firing an Alfred Wood Kiln by LARRY Lunow

IN MY YEARS OF WORK IN CERAMICS, I have experienced In the summer of 1977, after three years at Alfred many levels of satisfaction, but few have approached the University, I was sufficiently interested in wood firing to thrill of opening a wood kiln. Nursing the wood fire submit to the ceramics college a proposal for building a through thirty hours of stoking, building temperature and three-chambered, climbing wood kiln, and firing it enough checking cones provides a unique sense of accomplish- to ensure its successful performance. The proposal empha- ment. This experience takes on a dimension far beyond sized fuel conservation in the 1970s; wood appeared to be the shapes of the pots or color or texture of the glazes. a viable solution to this concern--readily available, a re- Though I never forget the individual pieces, I am some- newable resource, and inexpensive around Alfred. The how more aware of the total experience of clay, being university accepted my proposal and agreed to finance the actively involved in the cycles of both production and project. firing. That June, with the help of a fellow student, Dan

1. Slotted plywood [orms were used to produce brick [or 2. Five sets of [orms enabled simultaneous production the three-chambered, climbing, wood-[ired kiln. o[ 190 brick. The [ront [orm is [or arch brick.

3. Clay was tamped into the [orms with a 4x4. 4. FiriT~ and tholing the brick~ tool: follr da?'~.

,rill

t

L .... ' i"3 'l

/ , Packard, and summer school students, construction began. By August we were ready to start actual kiln construc- For a combination of aesthetic and economic reasons, we tion. I decided to build the chambers with barrel arches decided to build with handmade bricks from the following for less heat resistance, and to build the chimney and flues recipe : as high and large as possible; the tall chimney would Briek Clay (Cone 7) create a good draft and the large flues would accommo- Pine Lake Fireclay ...... 90 pounds date the long wood flames. Silica Sand ...... 100 pounds Building with handmade bricks proved an experience in Crushed Insulation Brick ...... 9 gallons itself. The rarity of exact right angles and lots of mortar resulted in a sculptural-looking kiln. We mixed mortar We hand tamped the mix with 4x4's into plywood forms, from the following recipe: which had been cut with slotted half-joints, then shel- lacked to prevent the clay from sticking. We made over Kiln Mortar Mix 1200 bricks; each was at least 9x9x6 inches and weighed Pine Lake Fireclay ...... 2-3 parts over fifty pounds. Silica Sand ...... 2 The next step was to build a foundation. In this part of High Alumina Portland Cement ...... 1 New York winters are long and cold, and the ground can Crushed Insulation Brick ...... 2 freeze up to 36 inches in depth, causing shifts in surface For bagwall mortar we mixed sodium silicate with kaolin buildings. We had to construct a platform that would to a sour cream consistency. In spite of the availability of shift as a unit, if at all, so we poured a steel-reinforced industrial mortars, I felt we could make mixtures that concrete slab as a footing. The four-platform slab was were less expensive and just as durable. cast in one piece, 8 inches thick. With the awareness of the need to finish the kiln before

5. A slope was built on the level ground and a four-step 6. Tke /loor was laid with 9 inches o/firebrick. reinforced concrete foundation poured. 10. A [erro cement dome was constructed for weather O. t~a~! arch,', topped tkc ,ecor~d and third ckamb~'r,, pr,)t~ c ti.zl. the season changed, work took on a feverish pace of long; when stoked with thick pieces, they burned short. twelve-hour days. We finished the kiln in three weeks. Thus we could control the temperature in virtually ever3 , During the last week in August, we also started gather- part of the kiln. We also found it feasible to fire one or ing several different types of wood to produce various two chambers separately depending on the amount of pots effects in the kiln. Hardwood gives a tan to brown glaze that were ready. With three chambers, we also had the from deposited ash; softwoods give a green glaze; and option of firing each one to a different temperature. It fruit trees an orange to red glaze. was amazing to see ware fired at Cones 04, 5 and I1 We fired the kiln nine times from its completion ~n coming out of the same kiln. August to the end of the school year in May. Each time In terms of dollars, the kiln paid for itself by the gas it we learned something new about the process, and each saved in one year. It also generated a lot of personal firing was an improvement. The total firing time to Cone energy and inspired new projects, such as a 30-foot-wide 11 decreased from forty-eight hours to twenty-three hours, ferro cement dome to house it. and the efficiency of the three-chambered design was its The spirit of wood firing permeated Alfred. In fact, the own success. summer program never had the problem with a rush for The kiln used approximately two cords of wood for gas kilns in the last week of the session--students were too three Cone 11 chambers. Once the first chamber attained involved with the wood kiln. temperature, the second two chambers could be fired This project suggests that technology and industrial within an hour, but we tried to fire them as long as products are not the only way modern ceramists can possible for better ash deposits on the ware. experience clay. Additionally, through the kiln we were The problem of cold spots was solved by varying wood able to work together for the same goal, then opening the sizes. When stoked with thin pieces, the flames burned kiln to see the trail left by the flame.

7. Ample [lue space was le[t in the chamber walls. 8. The [irst arch was hal/catenary, hal/barrel.

I I. The back o[ the kiln shows iron work and hinged 12. Completed kiln and shelter. A Cone 11 [iring takes ,tokin.~ hol+'~ for ca~h chamber. two cord+ o/~c~od and last+ t~ +nt~'-three hours.

+ + •

i L t4 >7 -~i /i + 7 Fundamentals of Fund Raising by DIANE J. DUCA

THE MOST DIFFICULT HURDLE to over- donations primarily to the performing Take advantage of every opportu- come in successful fund raising is the arts, or to the visual arts? Find nity to educate your prospect(s) fear of asking. Many people feel that grounds of commonality between about your work. Invite them to your raising money is for someone else--the these prospects and mutual friends. shows, put them on your mailing list, professional. People are reluctant to Also determine in advance your send them newsclippings about a show ask others for money, mainly because prospect's contribution potential. It is in which you've recently exhibited. they fear the inevitable "no." ineffective to ask a prospect for a The more a prospect is directly and Perhaps the best way to overcome $10,000 gift when there is only the actively involved with your work, the this fear of asking is to understand the capability to give in the range of $100 more likely they are to give to their principles behind successful solicita- to $500. Likewise, it is equally inef- maximum potential. Contributions tion. This is the first step, the second fective to ask for $25 when a prospect from a prospect who appreciates and is to practice them. is capable of giving a $500 to $1000 knows your work are usually larger. There are six fundamental concepts donation. This, too, is part of the The fifth fundamental concept in to developing a successful fund-raising identification process. fund raising is salesmanship. It is said program within any nonprofit organi- The third concept is cultivation. It that a potential donor can be identi- zation, or for the individual. Whether takes time to cultivate prospective fied, cultivated and involved but that one is attempting to raise money to funding sources, whoever they are. It a contribution won't happen by itself. build a new hospital wing or finance is unrealistic to expect immediate re- When the timing seems right, you an artistic endeavor, these basic con- sults in fund raising. It can take still must ask for it. Successful sales- men and successful fund raisers have cepts apply : months, even years, to obtain a de- The first is motivation. If you have sired gift or contribution from a pros- several characteristics in common, but a commitment to your artistic pur- pect. This is why patience is essential the most important one is their ability pose, the ability to work hard and in fund raising. to "close." accept a challenge, and the patience For example, if your request for Robertson and Chase's article, to endure, you are a potential fund support from a funding source is de- "The Sales Process: An Open Sys- tems Approach," which appeared in raiser. The specific skills and tech- nied or the amount of the gift is far "MSU Business Topics," 1968, de- niques can be learned. less than what you would expect, rived the following five observations Apart from desire, several other don't hesitate to ask why. If you only relative to the sales process: 1. The factors can contribute to motivation. ask once, your chance of obtaining a more closely matched the physical, A well-thought-out plan of action that stable financial base for your work is social and personality characteristics clearly defines why you are soliciting minimized. Sometimes a prospect or of the prospect and salesperson are, funds (and defines the purposes and funding source simply has too many the more likely a sale is to result. 2. roles of those involved) can do won- requests to consider in one funding The more believable and trustworthy ders in pushing your efforts forward. cycle. Sometimes the first request from the prospect perceives a salesperson to Anyone you can enlist to help raise any individual or organization is de- be, the more likely a sale is to result. funds needs to feel the value or im- nied ; the source may want to see more 3. The more persuadable a prospect is, portance of their efforts. A feeling of evidence of the individual's or organi- the more likely it is that a sale will self-worth is a strong motivator. zation's ability to sustain themselves result. 4. The more a salesperson can The second and perhaps most im- over a period of time. Whatever the make prospects view themselves favor- portant concept is identi/ication. Even reasons, find out what they are and ably, the more likely it is that a sale the most highly motivated fund raiser then work to satisfy the prospect's will result. 5. The second salesperson cannot raise a dime if the wrong concern(s). This is cultivation. to call on a prospect will generally person is asked. It is important to The fourth concept is involvement. have an advantage over the first one. learn in advance all there is to know As the word implies, the objective All of these points hold true for the about a prospective donor before ap- here is to involve the identified pros- successful fund raiser. In fact these proaching him for a donation. pect with your work, craft. The form criteria are more directly related to Your task is one of careful research. of involvement will vary according to the artist/fund raiser than one who, Determine in advance which organi- the prospect and what you have deter- for example, is raising funds for edu- zations, individuals, foundations or mined the potential contribution to cational services. The artist deals in companies have a history of support be. For example, you would spend products, tangibles that can be seen, to the arts, and of these, which have more time and go to greater lengths heard or felt, rather than ideas or expressed an interest in your particu- to involve a prospect who has the concepts. A donor gives money for a lar art form. Do these prospects give capability of giving a larger gift.

64 CERAMICS MONTHLY Ceramics Monthly's QUALITY HANDBOOKS for Schools • Libraries • Craft Centers variety of reasons but ultimately to satisfy or fulfill certain expectations. THROWING GLAZEMAKING PROJECTS i ONTHE The sixth and final fundamental in POTTER'S fund raising is [ollow-through. An ef- Richard Behrens Richard Behre~s THROWING WHEEL ON THE fective selling job does not end when POTTER'S Thomas Sellers an order is written. A successful sales 64 pages 64 pages NHEEL 80 pages program depends on repeat business $3.95 $3.95 $4.95 from satisfied customers who provide This text will prove valuable to all This unique book covers the formu- A complete manual on how to use leads to other prospects. Conse- those who want practical informa- lation and application of a variety of the potler's wheel. Covers all basic quently, the final stage in the selling lion on formulating and using LEAD-FREE glazes in all firing steps from wedging day to making glazes Batch recipes in all firing ranges. An invaluable too] for those specific shapes. Clearly describes process is a series of "post-sale ser- ranges are included, and man~., who like to experiment with every detail using step-by-step vices" which are intended to build special glazemaking techniques are glazemaking. Includes a special photo technique covered, glossary of materials which is an goodwill and lay the groundwork for exceller't reference source future relationships. POTTER'SWHEEL ~ DECORATING ~ CERAMIC Fund raising too, is a process that PROJECTS POTTERY PROJECTS lays the groundwork for the future edited by F Carlton Ball edited by while providing for the present. The Thomas Sellers Thomas Sellers activity of raising money ceases once 64 pages 64 pages 64 pages a contribution is obtained, but the $2.95 $3.95 $2.95 process of fund development does not. The projects m this handbook Thism book explores easy methods An outstandingselection of projects The next logical step in post-sale ser- provide step-by-step instructions of decorating potlery with clay, slip for the classroom, home and vices is some expression of apprecia- on a variety of special throwing and glaze. Those who lack skilland studio. Each project introduces a techniques. Windbells, lamps,bird confidencein drawingand painting differentmethod of workingin clay. tion and thanks. Thanking a donor houses and feeders, musical in- will find special pleasure in discov- Fountains,planters, jewelry, bottles may take many different forms and srruments and teapots are a few eringthese decorating techniques. and several other uniqueitems are items you'll find presenled. presented each artist should develop his own COPPER UNDERGLAZE ~ BRUSH particular style. The simplest form of ENAMELING DECORATION DECORATION expressing gratitude is a personal let- FORCERAMICS ter, others may be a plaque, recogni- Jo Rebert Marc Bellaire arid Jean OHara Marc Bellaire tion at a public event, a press release. If an individual can create a special 64 pages 64 pages 64 pages, way of saying thanks that is unique $2.95 $3.95 $3.95 and highly personalized, it will be Recognized as the best in basic in- Thiscomplete handbook has allthe A fascinating book on the use and remembered long after those who mail struction, this elaborate handbook answers on materials, tools and care of brushes. Shows how to a has over 200 photocjraphs. Rec- technique. Step-by-step projects make designs for decorating thank-you form letter. ommended by leading enamelists are profusely illustrated.A practical ceramics using just three basic Follow-through with a donor con- and teachers, guide for the beginner brushes -- the watercolor, liner and square shader. Excellent manual tinues after all expressions of appre- for beginners. ciation have been made. The door should be kept open through regular communications. Keep all your past and present donors informed about BOOK DEPARTMENT I enclose [] Check [] Money Order (Ohioresidents add 4% sales tax) your new shows, works, achievements. Box 12448 Columbus. OH 43212 Continue to cultivate your donor. Six WE PAY POSTAGE months after a contribution has been Please send me the following: Name received, take the time to send out [] Ceramic Glazemaking $3.95 another personalized thank you note [] Glaze Projects $3.95 Address telling the donor how his contribution [] Throwing on the Wheel $4.95 continues to work. Polter's Wheel Projects $2.95 City Fund raising is friend raising. Treat [] Decorating Potlery $3.95 your donor(s) as you would a good [] Ceramic Projects $2.95 friend. The donor will be happy to [] Copper Enameling $2.95 State Zip .... make another contribution in the fu- [] Underglaze Decoration $3.95 [] Brush Decoration $3.95 ture if you have proven yourself a DEALER INQUIRIES INVITED deserving and considerate recipient.

November 1979 65 © QUESTIONS THE CLASSIC Continued #om Page 11 Olsen 24 Kiln Kit updraft based on examination of the actual piece, which should be care- fully wrapped in plenty of packing and sent to them insured. AND THE NEW Include instructions and your full address with telephone number. For those interested in restoring works themseh,es, The Re- Olsen 36 Kiln Kit storer's Handbook o[ Ceramics and Glass offers practical advice AND and illustrations; the text is available through the CM book Olsen 16 Kiln Kit department. Pat. 251248

These 3 kilns offer you the utmost in quality and flexibility -- [~ I have been searching [or in/ormation about constructing a Compare and see. plaster mold to use in a hydraulic press [or production o[ a Natural gas or propane (L.P. gas). stoneware casseroles. Would you know how the compressed air • Fires evenly to cone, I0, oxidation or reduction is [ed into the mold to release clay [rom the male and [emale KIT INCLUDES: parts? What type o[ plaster is used? Is there any special prepara- a Angle iron frame • Flexboard cut to fit • K26 or K23 and tion necessary?--D.V. K20 insulatlon bricks • Air set mortar • Burner manifold • Gas Production molds for RAM-type pressing are fitted with flame retention burners • Damper guide • Pilot Assembly porous cloth tubing cast into the plaster below the surface. Re- PRICES lease of the clay piece occurs when air is forced into the tube 16 cu. ft. stacking: from S1527 and through the porous plaster. A variety of plaster types are 24 cu. ft. stacking: from S1750 used with the only factors being sufficient porosity and intended 36 cu. ft. stocking: from $2175 life (number of impressions) expected. Hydrocal is common as F.O.B. Pinyon Crest, CA are a number of even harder plasters. Clay for press molding is Please send for our free brochure to fudther acquaint you with generally a bit stiffer than that used for throwing, more of a these 3 kits. typical handbuilding consistency or even slightly drier. Clay with 50 & 72 & 120 cu. ft. Kit Kilns available. less plasticity may be employed in press molding thus reducing Pinyon Crest, Box 205 losses through excessive shrinkage and the accompanying cracking. Mountain Center, Calif. 92361

Subscribers" inquiries are welcome and those o/ general interest will be answered in this column. Send questions to: Technical Sta[f, CERAMmS MONTHLY, Box 12448, Columbus, Ohio 43212.

AMACO ® Presents Rehabilitation Potters Wheel No. 16

• It's TOTALLY ADAPTABLE for therapy, exercise, recreation and rehabilitation. • It has more features than any other wheel.

AMACO®has the most complete selection of Pottery, Ceramic & Metal Enameling Supplies flutes, etc. Complete set of 12 dies, inserts & Equipment available anywhere. Write for a free i *-' t ...... and bracket r ...... $40.00 F.O.B. "...... Scott Creek. Im copy of our new Catalog No.80 and the name & U.S. Patent 41253,49 Add 6% sales tax ,n Calif. Send check or money orderto: address of the distributor in your area. ~1C0"£'"£" ClqL'Im-EI.~ 1~0"£'"£"~-1=1LY AMERICAN ART CLAY CO., INC. 4 82 Swa nton Rd. Davenport, Ca. 4717 W. SIXTEENTH STREET 95017 , INDIANAPOLIS, INDIANA 46222 (408) 426-5091 1 66 CERAMICS MONTHLY Box 20317, Indianapolis, Indiana 46220 WHERE TO SHOW Continued [rom Page 9 FREE is open to artists and craftsmen. Juried by slides. Juror: Robert Smith, director of the Institute of Contemporary Art of Los Angeles. Entry fee: $5. Entry deadline: November 13. Contact: Nancy Sharpe, Art Department, Memphis State University, FROM Memphis 38152.

Virginia, Alexandria March 7-30, 1980 "The 14th Biennial," sponsored by the Creative Crafts Council of Washington, D.C., is open to all craftsmen residing in DO Washington, D.C., Maryland, Virginia and Creative Crafts Conncil members who re- side in adjoining states. Juried by work. Jurors: Helen Drutt, Glen Kaufman and Robert Turner. Cash prizes. Entry dead- line: February 1, 1980. For application and C.C.C. membership information write: Mary Ann Charette, 10245 Farnham Drive, Bethesda, Maryland 20014.

FAIRS, FESTIVALS AND SALES Arkansas, Bella Vista Village October 17- The "Whizzz". .... $79.95 19, 1980 "Bella Vista Arts and Crafts WE PAY POSTAGE Festival" is open to all media. Juried by photos. Fee: $15. Commission: 10%. The "Whizzz" -- Our solution to settled Entry deadline: May 1, 1980. Write: Pare glazes. Due to its original design the Collins, Kingsdale Recreation Center, "Whizzz" will mix studio glaze batches, Bella Vista Village 72712, or call: (501) slips or seHled glazes in no time at all. 855-3061. Send for our free brochure describing our other fine products. Indiana residents add 4% Florida, Miami Beach February 9-10, 1980 sales fax please. "Miami Beach Festival of the Arts," is open to artists and craftsmen. Juried by up to 3 slides or photographs. Exhibition fee: $50. Cash and purchase awards. Entry deadline: December I. For application write: City of Miami Beach Fine Arts Board, Box 0, Miami Beach 33139.

Illinois, Winnetka April 19-20, 1980 "Mid- ESTBY west Craft Festival," is open to all artists residing in Illinois, Indiana, Iowa, Ken- tucky, Michigan, Missouri and Wisconsin. KILNS Juried by slides. $1800 in awards. Entry A New deadline: January 19, 1980. For prospec- All New 3-inch Brick tus write: North Shore Art League, 620 Lincoln Avenue, Winnetka 60093, or call: Catalog ELECTRIC (312) 446-2870. CONE 10 KILN KITS Thicker Insulation Means i North Carolina, Asheville November 23-25 Specifically • Lower firing cost "The High Country Christmas Art and Craft Show" is open to all media. Juried • Higher firing temperatures by slides and photographs. Entry fee: $55. • Stronger construction Entry deadline: November 15. Write: For Schools • Safer operation Betty Kdan, 40 Hyannis Drive, Asheville • Cools slower--but can still 28804, or call: (704) 253-6893. & Institutions be fired daily. Texas, Houston March 22-30, 1980 "9th Save up to 40% using a few pleasant Annual Crafts Exposition," is a juried hours to fit together one of our easy- event. Entry deadline: January 4, 1980. We are leaders in the ceramic to-assemble kiln kits. Fun to do For prospectus and application write: industry. Our catalog is full of efficient to use. Step by step instruc- Houston Festival Crafts Exposition, Craft tions for assembly and easy beautiful and Folk Arts Advisory Committee, 3815 exciting and challenging prod- firing. Montrose, Suite 211, Houston 77006, or ucts. Order your copy today! Super 28 -- l0 cu. ft. call: Barbara Metyko (713) 529-7126 or 28"x28"x27" deep ...... $39S.00 529-9096. Commercial Kiln Kit 24"x24"x27" deep ...... $299.95 Wisconsin, Milwaukee March 8-9, 1980 WRITE OR CALL: Studio Kiln KIt "4th Craft Fair U.S.A. Indoor Spring 18"x[ 8"x 18" deep ...... $165.95 Show" is open to artists 18 years or older. OHIO CERAMIC SUPPLY Send for free brochure. Juried by 5 slides accompanied by current P.O. BOX 630 r~sum~ and self-addressed, stamped enve- WESTBY INDUSTRIES, INC. lope. Entry fee: $40 for 10xl0-foot space. KENT, OHIO 44240 P.0. Box 422 No commission. Entry deadline: March I. 216/296-3815 Clinton, WA 98236 Write: Dennis R. Hill, 1655 South 68 (206l 783-9333 Street, West Allis, Wis. 53214, or call: (414) 774-1639.

November 1979 67 VENCO PRODUCTS AUSTRALIA

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68 CERAMICS MONTHLY ITINERARY New Jersey, Westfieid November 4-7 "The High Country Christmas Art and Fourteenth annual invitational exhibition Craft Show"; at AsheviUe Civic Center, Continued [rom Page 21 and sale of crafts; at Sisterhood Temple Haywood Street. "Eighth Annual Handcraft Show and Emanu-E1, 756 East Broad Street. Sale"; at Central Junior High School, Exit North Carollna, Winston-Salem November 4, Connecticut Turnpike. New York, Herkimer November 10-I1 2-4 "16th Annual Piedmont Crafts Fair"; "Fourth Annual Art and Craft Fair"; at at Memorial Coliseum, North Cherry St. Florida, Sarasota November 17-18 "Eighth Herkimer County Community College, Reservoir Road. Ohio, Mansfield November 12-18 "1979 Annual Crafts Festival"; at Ringling Mu- Holiday Fair; at Mansfield Art Center, seum of Art, 5401 Bayshore Road. 700 Marion Avenue. New York, New York November 30-De- Florida, Sebring November 17 "Annual cember 2 "Contemporary Craft Exposi- Pennsylvania, Erie November 24 "The Sidewalk Fall Art Festival"; at downtown. tion"; at Park Avenue Armory, 67th Street First Annual Erie Holiday Craft Show," and Park Avenue. includes ceramics; at Erie County Field Kentucky, Lexington November 23-25 House, 5750 Wattsburg Road. "Holiday Market" sponsored by the Ken- New York, Rochester November 23-25 tucky Guild of Artists and Craftsmen; at "10th Annual Thanksgiving Weekend Pennsylvania, Philadelphia November 15- Lexington Center. Christmas Arts and Crafts Show and 18 "The Third Annual Philadelphia Craft Sale"; at Monroe County Fairgrounds Show"; at Memorial Hall, Fairmount Massachusetts, Lexington November 2-3 Dome Area, Calkins and East Henrietta Park. "Annual Fall Fair" sponsored by the Lex- Roads. ington Arts and Crafts Society; at 130 Tennessee, Oak Ridge November 2-4 Waltham Street. New York, Spring Valley November 18 "Thirteenth Annual Foothills Craft Guild "Annual Fall Show and Sale"; at Spring Show and Sale"; at the Civic Center, Oak New Jersey, East Rutherford November 25 Valley High School, Route 59. Ridge Turnpike. "Super Crafts Sunday 3"; at Meadowlands Complex. Virginia, Blacksburg November 9-11 New York, Syracuse November 24-25 "YMCA Arts and Crafts Fair"; at the New Jersey, Madison November 17-18 "First Annual Holiday Art and Craft YMCA. "First Mountain Crafters of New Jersey Fair" is sponsored by Village Artists and 21st Annual Show and Sale," includes con- Craftsmen; at Syracuse War Memorial, 515 Montgomery Street. Virginia, Richmond November 16-18 tinuous demonstrations; at Fairleigh Dick- "Richmond Craft Fair 4"; at Richmond inson University, The Mansion. Arena, 2911 North Boulevard. New York, Uniondale November 16-18 New Jersey, Morristown November 29- "5th Annual Harvest Crafts Festival"; at Wisconsin, Milwaukee November 3-4 December 2 "Crafts '79"; at Morristown Nassau Coliseum. "16th Wisconsin Festival of Arts"; at Wis- Unitarian Fellowship, 812 Normandy consin State Fair Park, South-Wing Ex- Heights Road. North Carolina, Asheville November 23-25 Continued

CORKS - CORKS - CORKS IMPORTED ROUGH CORK STOPPERS These Stoppers are of the highest quality and are available for ira- mediate delivery at the present time. Please enclose check with order. We invite you to compare our prices and quality. DIAMETER DIAMETER TOP BOTTOM PRICE TOP BOTTOM PRICE 1" I/2" S .12 4" 3112" S .70 1112" 11/4" $ .1S 4V2" 4" $ .80 2" 1¥4" $ .20 3" 41/4'' $1.03 21/2" 2" $ .30 SI/2 '' 43/4" $1.30 3" 2V2" S .40 6" SI/4'' S1.63 31/=" 3" $ .s0 Height at corks varies from 1Vz" to 1¥4". SMOOTH CORKS WITH OR AMACO ® Presents WITHOUT LEATHER THOHGS 4 Portable Gold Kilns Phoenix is proud to introduce an ex- citing new product for the professional potter. Phoenix is offering a finished 1. CP-1024 Kiln cork stopper that has a genuine leather thong attached to it enabling He 2. FC-766 Fibre Chamber Kiln customer to remove the cork easily from any canister or spice jar the poffer creates. The corks are all 3. TK-566 Cone 10 Test Kiln handmade and we guarantee the leather thong will nat come out when pulled, or your money will be promptly refunded. These corks 4. RK-4 Raku Kiln will enhance your pottery line and contribute to increased sales. PRICE PRICE DIAMETER with without DIAMETER with without AMACO~has the most complete selection Top Bottom Hgt. Thongs Thongs Top Bottom Hgt. Thongs Thcngs of Pottery, Ceramic & Metal Enameling 1" 1/2" 1" $.__ $.15 4" 31/2 '' 1" .80 .OS 11/2 '' 1" 1" .20 .18 41/2 '* 4" 1" .9S .8S Supplies & Equipment available anywhere. 2" 11/2 '' 1" .30 .28 S" 41/2 '' 1" 1.4S 1.30 21/2 '' 2" 1" .40 .33 $1/2 '* S" 1" 1.63 1.45 Write for a free copy of our new Catalog No. 3" 21/2'' 1" .SS .45 6" 51/2 '' 1" 1.9'$ 1.85 80 and the name & address of the distri- 31/2'' 3" 1" .70 .SS Please enclose check with order. All orders shipped F.O.B. Chicago butor in your area. (Customer pays freight). Minimum order $23. Canadian customers remit In U.S. funds. We ship anywhere in the world. AMERICAN ART CLAY CO., INC. Phoenix Design Ltd. 4717 W. SIXTEENTH STREET Box 29048. Chicago, III. 60629 (312) 436-1977 INDIANAPOLIS, INDIANA 46222

November 1979 69 If you've been putting off the purchase of a new kiln because of the expense, we have the solution. BUILD ONE With our kiln frames, instructions and a few accessories; and your bricks and a few days' time, you can have a brand new, efficient kiln for about YOU RS EL F ! half the cost of a completed one. It's easy to do because we've taken care of the design and calculations. We also show you step by step how to install a brick lining within the kiln frame. Or, you can choose to line the kiln with fiber. i All of the facts are in your favor, so why wait?

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8 CERAMIC ART FILMS tj lazes" for Junior High, Senior High, College, and Adult Audiences The eight color films in this series are a wonderful opportunity to supplement your art program. Pro- ducers of all eight films are Richard and Mar i Peeler, both production potters and former teachers translucent specialty underglazes with many years' experience. Four Instructive Films Just in time for Christmas! 1. CERAMICS: WHAT? WHY? HOW? 6 brilliant colors for use on cone 04-03 2. THE COIL METHOD bisque! Plus Red-Stroke Clear Gloss Glaze! 3. HANDBUILDING METHODS Dinnerware safe! DO NOT SUBSTITUTE! 4. CREATING MOSAICS AND TILES Over 250 glazes!

Four Films for Ceramic Art Appreciation H Consistent S. POll"ERS OF JAPAN, part I quality from jar Filmed on location in Japan in the workshops of outstanding to jar! potters. 6. POTTERS OF JAPAN, part II • Hobbyist- 7. POTTERS OF THE U.S.A., part I approved for Includes: Charles Lakofsky, William Wyman, Vivika and more than 30 OHo Heino. years ! 8. POTTERS OF THE U.S.A., part II Includes: Warren MacKenzie, Paul Bogatay, Toshlko Takaezu, • New colors Frans Wildenhaln. added regularly All films in this series are color, sound, 16mm. to meet decorator trends! For brochure, rental, and sales information, write to: • Competitively CERAMIC ART FILMS priced ! Box 320, Reelsville, Indiana 46171 ~ ee your local Authorized Duncan Dealer or Distributor!

70 CERAMICS MONTHLY POTTERS' SUPPLIES ITINERARY hibit Center, 8100 West Greenfield Ave- nue. in the Delaware Valley November 23-25 "Holiday Craft and Gift Show"; at Wisconsin State Fair Park, A OHAUSscales North-Wing Exhibit Center, 8100 West R DINACKwheels Greenfield Avenue.

C 8RENT wheels WORKSHOPS LET ME H $HIMPOwheels D.C., Washington November 16 "Clay Form," a one-day demonstration, discus- STOKER~ reduction kiln sion and slide presentation with Toshiko Takaezu. Fee: $18 for American Craft . L & L kilns Council members, $21 nonmembers; at T Greenwood Gallery, 1025 Corm Avenue KEMPER tools Northwest, Suite 905. November 30 "Clay Sculpture," a slide BYRNE'S CLAYS KINGSPIN turntables lecture by Marilyn Levine. Free; at Ren- F wick Gallery, 17th Street and Pennsylvania NORMAN kilns & equipment Avenue, Northwest. For information call: L (202) 381-5811. ARE SUPER! STANDARDCERAMIC moist clays December 1-2 "Clay Sculpture," a lec- O ture/demonstration and slide presentation ORTON cones by Marilyn Levine. Fee: $42 for American For Magic at the Wheel B W Craft Council members, $50 nonmembers; WALKER JAMAR pug mills at Greenwood Gallery, 1025 Conn Avenue For Sculpture or Modeling Northwest, Suite 905. E Corks, Sponges For Successful High Firing Prepared Lead-Free Glazes Massachusetts, Worcester November 10-11 R "Whiteware Decorative Techniques," a 2- Glaze Chemicals & Colorants day workshop with Paul Berube. Contact: Worcester Craft Center, 25 Sagamore YOU CANNOT BEAT THEM! C Queen St. & Ivy Hill Rd. Road, Worcester 01605, or call: (617) O Philadelphia, Pa. 19118 753-8183. • (21S) 233-O6S3 Stoneware Raw Materials New Hampshire, Plymouth ]anuary 20-26, 1980 "Seminar Eighty" offers workshops Earthenware Minerals for the advanced studio craftsman, includes "Form Design and Surface Treatment for Porcelain Color Chemicals Potters" with Robert Turner. Write: Eve- lyn Zimmerman, League of New Hamp- Glazes shire Craftsmen, 205 North Main Street, Raku Concord, N.H. 03301, or call: (603) 224- Low & High 3375. Reduction Firing SLIPS

New Jersey, Layton November 17-18 A Black Clay Wheels & Kilns ceramic service workshop on ana-gama kilns with Kat- suyuki Sakazume; at Peters Valley Craft Grogged Clays Tools etc. Center. The complete ceramic supply source for 33 years - huge stock of: Vermont, Middlebury November 9-10 "Sculptural Handbuilding," a participatory Kilns session for professionals or advanced stu- CUSTOM BLENDING Potters' Wheels dents in functional and nonfunctional clay, Clays with ceramist Sabra Segal. Free catalog with quantity prlcesl Glazes and Stains February 21-23, 1980 "Throwing on the Molds Wheel for Advanced Studio Potters," a workshop with Karen Karnes. Fee: $50. Brushes and Tools March 21-22, 1980 Coil building and Equipment and Supplies wheel-throwing demonstration for profes- Manufacturers of Seeley'sfamous sional or advanced students with ceramist AS WE HAVESAID FOR YEARS: White Velvet casting slip and Bruno LaVerdiere. porcelain slips. For all workshops contact: Vermont State Craft Center at Frog Hollow, Mid- Send for our General and Mold dlebury 05753, or call: (802) 388-4871. Catalogs - free to schools and EVERYTHING A institutions - $2.00 to others. INTERNATIONAL Canada, Ontario, Dundas November 17 POTTER NEEDS Annual fall sale of the Potters' Guild of ~ SEELEY'S Hamilton and Region; at Dundas Town IS AT CERAMIC Hall. SERVICE, INC. England, London November 14-January 12, 1980 Ceramics by Alison Britton; at 9 RIVER STREET Crafts Council Gallery, 12 Waterloo Place. ONEONTA, NY 13820 Phone: (607) 432-3812 West Germany, Dusseldorf through De- CERAMIC SUPPLY CO. INC. Out of N.Y. State:(800)-847-2547 cember 30 Ceramic works by English artist 95 Bartley Road, Flanders, N.J. 07836 Lucie Rie; at Hetjens Museum, Schul- (201) 584-7492 strasse 4.

November 1979 71 Ceramic art buried here.

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72 CERAMICS MONTHLY Can You Afford NOT to Do Raku? COMMENT Continued [rom Page 29 This 2-ft. tall pot hundred people in the field for their cost 24c to fire. suggestions about any of the elements cups cost 2V2c in the guidelines, and one of the 20 tea to fire. things that really intrigued me was, each that, by far the largest majority of A 100-Lb. bottle of propane the craftspeople suggested that the fires approximately 50 fellowship award of $10,000 be halved loads of pots in our vacuum formed fiber so that it could go twice as far. I Raku kiln. think that is really an indicator of the spirit of the movement. The behavior- 100 Lbs. of propane costs: Mo., $12.00 that the com- Carthage, ist Farson commented Aspen, Colo., $14.40 ing period will be one in which there Long Beach, Calif., $13.44 will be less control by the individual Greenfield, Mass., $18.00 on what happens to him in relation to Helena, Mont., $13.25 the body politic but that he will have more control over his personal destiny. The crafts ethos has adventured Can You Afford NOT to Do Raku in hereto in the development of indi- vidual value judgments counter to the Our Vacuum Formed Kiln? mainstream in choosing lifestyles Write for Our Free judgments rather based on those value Brochure all about Peach Valley Pottery than on prescribed patterns of the the fun, the process, way we ought to live. our vacuum formed 311 WEST 7th Because the movement's roots are fiber kilns and CARTHAGE, MO. 64836 Raku itself--it's hotl so deeply humane, and its continuing (417) 358 "4898 nurturing so dependent on real hu- man experience, I dread the demand of the expected, the academisizing, rule-forming, arterial sclerosis-produc- ing pattern making which often seems so inevitable. Hayakawa said, "If you see in any given situation only that which every- body else can see, you can be said to .in_ x be so much a representative of your For years, he's been a favorite culture that you are a victim to it." of serious potters around the world because of his malleable personality. [] It's his "'bag," so to hope beyond hope that the crafts I speak. He's "in" with serious potters. They like his rugged out- movement will continue to reach looks, his tough steel and aluminum construction: That 10014 of ward and to continue the tapping of dependability, the way he responds silently, confidently, on his that great artesian well of the creative industrial SCR drive.., delivering reliable, constant power, at even spirit of every man, of every class, of the lowest speeds. And there are those who rave about his worm- has all that re- every station, and of every culture, for gear sealed drive and roller bearings. [] Max / waiting to be used, packed into a compact, this is our ever-freshening source. I sponsive power utilitarian, no-nonsense body. He knows what he's built for: J beg that we not become so narrow To respond with pleasurable obedience to the artisan's and academic that in our view of touch! [] He just loves to make a good impression <,o<" quality or the next expected step, we • .. Two models: the 1500, flat top table; and ~ ~ not recognize renewing, unfamiliar the 2000, with cast aluminum pan. Size: ~cd waters of the well. Can we continue 24 x 24 x 19 in. Weight: 115 Ibs. ~@~+~ to search out that energy which in x,~ ° , "%-- t/ ~q 0"~,3' Klee's words, "... does not reproduce the visible but renders visible." I hope so, for it is the secret of the continuing vitality of the movement. It is the brotherhood of the crafts and it is the New Art.

About the author Eudorah Moore is cra[ts coordinator [or the Visual Arts free catalogue. / / Program of the National Endowment for the Arts. / _ J November 1979 73 Cone 10 Moist Clays - Kenji Porcelain - Kai Porcelain - Danish White Stoneware o Danish White Stoneware /w Sand - WC 33-10 - WC 33-10/w Grog - JSRH - Soldate 30 - Soldate 60 - Rod's Bod - WC 70/w Grog Red Wing - Venice Beach - Death Valley Red - JS Clay - Cone 5 Moist Clays -WC 52 - WC 52/w Sand - WC 40 - WC 40/w Sand - WC 5 - WC 5/w Sand - Weststone I I/Grog - Mundo Barro II - Hagi Porcelain - Electric Brown - Electric Red - Electric Orange - Stoneware Casting Body - Toshi Porcelain - Speckstone - Miracle White - Special Clay and Glaze Formulas - High Fire Glazes - Cone 10 - Chun - No. 16 Transparent - White Waxie - MG - 2 - Tan Matt - PM Eggshell - Turquoise Matt - Tenmoku No. 1 - Tenmoku No. o -#~Ley Matt Caledon- K-9- Iron Red-Cone5 - LidoSatin- Italian Straw- Semi-Clear,,~~i~tt ,, -'-4~~qla~l~/hite.~.~ Birch White-No. 16Transparent-Raku- Raku Clay-Raku Glazes-Aw~~u~il~r~gale- Dynasty Blue - Black Lacquer - Kingin Gold Silver-Shinju - RaI.:u -[ i~qgll- R~,~l~/,~/Calcined Kao lin- True Albany Slip Clay- Bandy Black Ball Clay-Ba~A'~Nk CherrY, 9nil Clay-C-1 Clay-CP No. 7 Clay - Champion and Challenger/Ball'~' ~ ' iy~ll E~'.'/K~liin -~mli-~ipe Fire Clay Jordon Clay/Ball Clay Type - Kentuck'. 200 Clay- ~'~n l~Y" Kentuck Special - Missouri/Fire Clay - Mo~i;~l l~J !o. I ~l~lind ~'~a~_ "W-ennessee No. Ball Clay- New~jli~ ~___/_.Kings~l~l~ ,~5~- Ear 200 _ [(]~L~lay~- P,~d Mesa- F.C. 200-W: Glazes ~E~ IIXe Stain~--"~560 ~l'~',e - H 475 ~1M~3 /~fllow - 9105 Yellow - E 437 Yel tow ~l~0~~n -j~l~i~z Brown- ~ 8~l~Iia~o,~i~l~ C~,.~- E 421 Red-AY 157 Purple-AZ 58~ Blue-M2~u'~'S %B!ue-,~iS l~e-(~ n11 S-blk : Turquoise j#~t 2 Powder Blue- B 2611 Green AM 223~ ~e~,- Z 5~ac~[rGS 8~,~la~L~, - GS 815 B~,. ~rnt Orange-E 99 Coral-D 300 Yellow .C 4?_3£ Ye!l~'w~n£~i~ C 440 Yellow - F 3~ _~13kll, ~.aded ,Frits & 9 Unleaded Frits Equipm~le~tne~W/~.~"xer - Walker ~ _.,1"~:}~ ~'31~'" ~ 'otter s Wheels-Shimpo-West RK-2 Bas,~l~l~r s Wheel- Shim~ -- ,~ ~r~I~''" oo-west Pug Mills- Locker bie Potter's~,"Theels - WC~~,.~e~[ ~ ~" Table-WCS Clay Extruder WCS Spray Boot~~,~11 ~ 'I#Jp- Table - Large Portable Air Compresso~~_ o11~_~ ~lC;~l~<~S ~s- Spray Guns-Air Brush qafe Tin¢l Ii~Jl~lk'l~] - .. li~lll~ _ .,~_ A Lite Mask - Air Filters .... "-'~'" • II~ ~'~'- ,,,l~_1[ 1"" _ll~.l # WCS Bandin~i ~,_~O I~" - _ _,,~[O~g~".o et e-,.~f.~ iScales- Ohaus Scoops & Counter We~~ ~I1~'~~ _~ C#O~31"Lv ,~f11~l~l~ ~[~ ~,ven Arm Balance Scales Lab and StuA ~'#" 'O~'~'a- ~~ ~'~-- @. ~j~ ~[II'~'- ~/ Mixers- Hydrometers Alumina Grin& 1~'-_I~[S I~-- ~inun Scoops-Plastic a gO - .4 ~[id ddle Screens - Sloyci JarS-KnifePlaster_ Putty BK ~ I~e~ _~ ~,~) o .I1~8~ ~ #.~~_~l ~'~1~J ~wing Ribs-Cerama Roll-Rock Islan ,--__~'e~e.~e _KIt ' nO e e ~" ~li~ Sponges Silk Type ~oo Handles - Whit~ Corks- Square, F --~ll~,~b--~' n i I ~.~I.~ ~v ~ake White Bristle, Sable, Red Sable, ~ ~ rd Liners - Kilns WCS Fiberkiln - Cre~ ~ c Electric Kilns Water Column Pressu 0 81. Pyrometer With Thermocouple - In Sitters - Py- ~1~'~ ~O ~ "hrome Wire- rometers- Refractory - "4"~I~'~ " &~ -Asbestos Fluted Rubbing Bricks Gloves-Leather Therm, ~ ~e . __w,~ . $0~1 Furniture ~,~U'~ _~qf~" . opera-Bar Stilts- Atlas Steel Point- ~ . ol ~'.~'~-,Oe~l~e~,~~i6 e~" . • ~6~'1"~" Stilts - Double Pointed Sti . ~,6~e~ ,ida Shelves Gas Shut-Off Valves - HigL~:~ ~ 1'~'~1~,~- ~, ~e%~ ~6~ .... .o, ,~',99'~- Air Mixer Burners Burner Orifice Replacemenl o°'~~l~l~' C,~ ^~ ~o :tory Brick - Carnegie- High Duty Hard Refractory Fireb~ -Cerawool- tndo-Form - blanket _ Ceramic Studs - Kil~q~ ' oO~e~~~'~~ rners - Refractory and Firing Supplies - Asbestos Equipment - Soldner Clay~Mi £.~ ~-~.. ~)tter's Wheels - Pug Mills - Lockerbie Potter's Wheels \~asonite Bats - WCS Plaster B. Work Table - WCS Ware Rack - WCS Clay Cart - WCS Wedginc Table - WCS Clay Extruder - W( Spray Booth & Stand - Air Compressors - Air Hoses - Spray Guns - Air ~rush Sets - Tips - Banding Wheels - Kingspin Banding Wheels - Shimpo-West Banding Wheels - Ohaus Scale,. Attatchment Weights - Even Arm Balance Scales - Pottery Sieves - Jiffy Mixers - Hydrometers - Alumina Grinding Balls- Ball Mill Jars- Aluminum Scoops-Cerama-Roll -Throwing Ribs- Rock Island Sponges Silk Sponge - Corks-Square, Flat Key, Allen & Miniature Faucets- Bamboo Handles- Black Fitch Brushes

74 CERAMICSMONTHLY NEWS & RETROSPECT

LURIE/THOMPSON altered, with red iron brush decoration and GRE-1A Yellow Matt Glaze Michigan State University's Pewabic matt glaze. (Cone 7-10, reduction) Pottery, Detroit, featured former students Ken offers the following comments about Barium Carbonate ...... 21% in a joint exhibition this spring. his work methods: "I mix my clay in a Dolomite ...... 21 Elizabeth Lurie, Detroit, displayed por- bathtub, then dry it on plaster bats in Custer Feldspar ...... 31 celain ~ozk~ with applied clay such as which coil heating elements are cast [see Edgar Plastic Kaolin ...... 17 The Conover Warm Clay Dryer, October Flint ...... 10 CM]. My 24x24x3-inch bat with three 100% approximately inches of slurry on top yields Add: Bentonite ...... 2% of clay; one bathtub of slaked 50 pounds When fired to Cone 7, this glaze results in about 200 pounds." Ken uses clay yields a dry and slightly rough matt yellow; at the following clay body: Cone I0 it is smooth. Stoneware Clay Body (Cone 10, reduction) Marie Woo's "P" Custer Feldspar ...... 6.0 parts (Cone 10, reduction) A.P. Green Fireclay ...... 40•0 Albany Slip Clay ...... 1.0 part Cedar Heights Goldart ...... 100.0 (by volume) Kentucky Ball Clay (OM 4) .. 12.5 Whiting ...... 2.0 Flint ...... 3.0 Wood Ash ...... 2.0 Grog, 20 mesh ...... 13.0 Ball Clay ...... 3.0 Elizabeth L ~, ~, Flint ...... 1.0 174•5 parts 9 the lidded container shown, above, Add: Bentonite ...... 3.5 parts 9.0 parts are pri- inches in diameter. Her glazes Red Iron Oxide ...... 0.5 parts Add: Red Iron Oxide ...... 0.5 parts marily transparent or celadon with color add left, from the exhibition is accents of amber and bronze. "Dry mix the smaller amounts, then Shown, After thoroughly Ken's stoneware vegetable server with ex- Elizabeth says of her work, "Each time the fireclay and Goldart. approximately cised notch for serving-spoon handle, tem- I complete a piece in a series, I am raking all dry ingredients, water are added, de- moku and ash glaze decoration, 6~ inches attempting to realize an ideal in my mind• 12 to 14 gallons of scrap in diameter. Each is recognizable as being an attempt pending on the amount of slaked clay on hand• at that ideal, yet each is notable, too, for arch, subtle variations from it. Sometimes the "I fire in an 80-cubic-foot sprung CLAY AND CREATION downdraft natural gas kiln equipped with variations can lead me in an entirely new was nonlife. Only four Pyronies 12 T burners; the burner In the beginning there direction which I had no way of antici- rocks, water and air, which contained the pating. When this happens, I have learned chemicals that are also basic to life, ex- to allow this new ideal to play itself out. isted. The ozone layer had not yet been Much later, I may find myself returning formed so gases such as ammonia were to the original concept." present in the atmosphere. These chemi- Ken Thompson, Grosse Pointe Farms, cals, some in the form of ions, began com- works mostly in stoneware. His containers bining; the atoms were attracted to other display an array of handles, knobs, coils, ions because they have different numbers of electrons and carry electrical charges. Eventually the right combination of chemi- cals, along with the energy found in light- ning and ultraviolet rays, formed amino acids. Life still did not exist at this point since the molecules could not reproduce which is Vegetable server themselves. The smallest entity capable of reproduction is the nucleopro- ;i '~ :,C] ports are made of Mizzou Castable accord- tein, a giant molecule built up of amino ~ ing to Pyronics's specifications. A glaze acids• (A gene is a nucleoprotein and so is firing takes from 16 to 20 hours (the kiln the simplest virus.) These large and com- fires faster when it's raining)." plicated protein molecules are able to ex- Some of Ken's glaze recipes follow: tract simple substances from surrounding GW-28 Glaze (Cone 10, reduction) fluid and line them up into replicas of Whiting ...... 16% themselves--a transformation which is the Custer Feldspar ...... 56 basis of life. Kaolin ...... 7 How did the metamorphosis of amino Flint ...... 21 acids into proteins actually happen? This 100% is where clay comes into the picture as an Add: Bentonite ...... 2% integral part of the process in the trans- Color variations are possible with the formation of nonlife into life. Organic and addition of the following: inorganic compounds can have the same 8% Red Iron Oxide ...... Saturated Iron chemical formula and still have different 1% Black Iron Oxide ...... Blue Celadon properties due to variations in the struc- tural arrangement of the atoms. Since clay Send news and photos about people, platelets are thin and flat with plenty of free ions on the surface (especially the Ken Thompson places or events o[ interest. We will be perfect pleased to consider them [or publication montmorillonites) they formed incised and paddled textures. Shown, amino acids to in this column. Send items to: News & templates and catalysts for above, from the exhibition is a stoneware Retrospect, CERAMmS MONTHLY, P.O. combine. They arranged themselves upon vessel, 9 inches in height, with added Columbus, Ohio 43212. the clay particles according to the charges and coils, wheel-thrown then Box 12448, appendages Continued

November 1979 75 Professional programs in NEWS & RETROSPECT

textiles, ceramics, metals of the ions and formed peptide chains. Carbon atoms form the longest chains and and wood. function well in the presence of magne- sium. (The montmorillonites, which in- clude bentonite, were formed under alka- line conditions and contain magnesium.) Alternating wet and dry conditions, com- bined with fluctuating temperatures, re- sulted in condensation which triggered the union of small molecules into peptide chains and ultimately into the large pro- tein molecules that spell life. Since the beginning of this century, sci- entists have Now accepting a limited number of applicants for been struggling to make syn- thetic proteins. Finally in 1958, Frederick Certificate of Mastery and undergraduate programs. Sanger won the Nobel Prize in chemistry Our faculty includes: for the synthesis of the protein insulin. Textiles (Weaving): Barbara Shawcroft Ceramics: Rick Hirsch Today scientists are able to reconstruct Textiles (Weaving): Barbara Wallace Ceramics: Bill Sax Textiles (Printing): Sung-Ja Cho Craft Historian: John Kirk the genes which form DNA and have dem- Metals: Vince Ferrini Wood: Alphonse Mattia onstrated by experiment the important role Metals: Fred Woell Wood: played by clay in the enactment of this Metals: James Bennett Wood: Don Warnock miracle. Write to Boston University, Office of Admissions, It appears that common clay, which is Program in Artisanry, Dept.CM, 121 Bay State Road, often symbolic of all that is humble and Boston, Massachusetts 02215. Or call (617) 353-2022. valueless, is more important to our history as living beings than all the precious stones Boston ~ University and metals. Boston University is an equal opportunity institution. "The fabric of human history is picked out with gay, brilliant weft threads of gold, silver and copper, strengthened with the somber hue of iron and embellished with diamond, ruby and emerald; but through it all runs the dull, unspectacular warp threads of clay," commented Cornelius S. Hurlbut, Jr., professor of mineralogy at Harvard, in his book "Minerals and Man." Those of us who work with this simple, honest material should be proud. It has a noble history. Mud indeed! Text: Glenna % OFF Will. BENNETT BEAN Potter and sculptor Bennett Bean, Blairs- town, New Jersey, was among four artists exhibiting in a group show last spring at the Elements Gallery in Greenwich, Con- aoul$ dcc. $1,

on all in-stock pre-mixed clay ordered for immediate delivery Pit-fired ]orm necticut. An interest in Southwest Indian applies to cash & net 30 purchases only ware led to exploration and then to the de- velopment of a series of vases influenced by that genre. Bennett, who currently works in white earthenware clay, burnishes the pots to a satin smooth surface, masks areas . MINNESOTA CLAY in geometric styles and symbols, washes the surfaces with stains and oxides, then 8001 Grand Ave. So, Bloomington, MN. 55420 pit fires in the traditional Indian manner.

76 CERAMICS MONTHLY CREEK-TURN'S He is concerned with the contrasting hard Enid Sharon LeGros, who operates a edge of the masked area and the soft studio in Paspebiac, Quebec, demonstrated smoky shape which results from the firing. techniques in forming and decorating small Shown from the exhibition is a burnished, porcelain objects, and discussed her philo- pit-fired form, 8 inches in height. Photo: sophical approach to, and the aesthetics of, D. James Dee. ceramics. Potter Walter Ostrom from Indian Har- CERAMICS SEMINAR '79 bour, Nova Scotia, gave a slide presen- SYNTHETIC The 6th annual Ceramics Seminar held tation and lecture on "Contemporary in Calgary, Alberta, Canada, in May, fea- Chinese Folk Pottery." A two-time visitor tured nine guest lecturers who spoke to 250 to the People's Republic of China, Walter participants on subjects related to "The found a culture where "clay is a vital part of living--it is used for everything .... ASH Potter in His World." Robert W. Archambeau, head of ceram- although the folk pottery of China is an ics at the University of Manitoba, demon- element of the environment, not easily strated making functional ware, much of swayed by years, change is coming and which includes stoneware jars with individ- traditional methods of forming techniques ually crafted bronze lids. and firing procedures are disappearing." 2 Part-time teacher and professional potter In addition to his views on China, Walter's Walter Dexter of Victoria, British Colum- lecture covered materials, construction FORMULATIONS bia, demonstrated the raku process includ- methods, kilns and kiln firing procedures ing fabrication, decoration and firing used in that country. 2. pounds each Calgary clay artist Annemarie Schmid- Esler discussed ceramic sculpture and gave Total 4 Pounds technical advice during a demonstration of her work process. DELIVERED IN USA David Settles, a Calgary potter who op- erates a ceramic supply and equipment out- $5.00 No C.O.D's let, lectured on locating, extracting and preparing native clay materials as well as . ~ ~ ~dmb~ .dmb~ ~ A ~mm techniques to facilitate glazing and single firing. Several of the lecturers used slides to illustrate elements that influenced their work--environment, people and places. Participants were encouraged to bring their own work for critique by the group and a panel chaired by John Porter, David Haight, Harlan House, Walter Ostrom and Raw Materials Annemarie Schmid-Esler. The session of- fered "further insight into the aesthetics of our craft .... and involved those basic reasons a piece is good, bad or indifferent, Clays & Glazes as well as those nebulous reasons that are bound to affect any decision in the process of critique." "special" A session on marketing dealt with the physical, social and economic conditions Frits & Glaze Stains that contribute to survival or non-survival for artists/craftsmen, and how to recognize these conditions in advance and effectively CUSTOM BLENDING deal with them. of CLAYS and GLAZES Ceramics Seminar was the brainchild of Elizabeth Mould, ceramics co-ordinator for Wet or Dry i adult education (now Leisure Learning viewed the seminars as an Raku kiln with underground firebox Services), who opportunity to expose participants to the KILl'IS propane-fired (shown), using a modified technical and historical aspects of ceramics. kiln with a below- 44-gallon gas-fired drum Most of the participants are recreationally POTTER'S WHEELS firebox. ground-level involved potters and teachers. Priority is spoke about the Robin Hopper, Victoria, given to evaluating participants' needs, and related to making a Kemper Tools • OHaus Scales problems and solutions finding resource people to satisfy those potter. living as a production needs as well as exposing students to more Sponges • Brushes of Lonsdale, Studio potter Harlan House advanced concepts. Workshops are often the technical aspects of Ontario, discussed held immediately before and after seminars • Slip Mixers gave a handbuilding working in porcelain, so that the participants can become physi- closed his lecture with information write: demonstration and cally involved with clay during the seminar for detailed question a challenge to the audience to weekend. Photo: Noboru Kubo. themselves about what they do as potters and why they do it. Noboru Kubo, potter and teacher from CREEK-TURN Edmonton, Alberta, constructed a variety THE MAY SHOW CERAMIC SUPPLY of tools from bits of maple wood, bamboo, Ceramist George A. Roby of Chagrin wire, metal strapping and chopsticks, then Falls, Ohio, received the $1000 crafts Rt. 38, Ha;nesport, N.J. 08036 showed how they could be used in wheel award at the Cleveland Museum of Art's Dept. CM Phone: (609) 267-1170 throwing and trimming. Continued

November 1979 77 Our customers are averaging a

40% FUEL SAVINGS NEWS & RETROSPECT with ceramic fiber kiln insulation! annual "May Show" for his slab-built stoneware forms, "78-4" and "78-5," fired Letters are coming in from everywhere, attesting to energy with muted earth tones and incised linear savings from our new space age insulating material, from patterns. The show, limited to residents of 25% to over 48% with most people claiming a 40% reduc- the Western Reserve area of northeastern tion in their energy bill. Don't let another day of heat loss Ohio, received 2219 objects; 224 works drive up YOUR costs. created by 190 artists were selected for the exhibition. ~,, Inexpensive ~, Low thermal conductivity Jurors were members of the museum's ,,, Easily installed ,,, Thermal shock resistance professional staff plus Stephen Prokopoff, ~, Lightweight ~, High temperature stability director of the Institute of Contemporary Art, Boston; and Robert Ebendor[, metal- ,t Fits any profile ~, Low heat absorption smith and professor of art at the State ~, Eliminates spalling ~, Large or small orders University College of New Pahz, New And... most orders are shipped the same day they're received. York. Shown from the exhibition are Susan Free Brochure & Informat/on Sipos's untitled boxes, handbuilt of stone- Write us today for full descriptions of our products and prices. Please pro- vide us with the type and dimensions of your kiln, as well as the temperature at which you fire. This will enable us to provide the specific in- formation and personal service that has made us the largest supplier (and therefore the least expensive) of our type in this field.

Gene and Dolly Muchow SUPERAMICS 1613 Dixie Highway • S.R. 595 * Holiday, Florida 33590 • Phone (813) 937-2776 * Susan Sipos ware with incising, slip decoration and crawling, 17 inches square. Susan is cur- rently on the faculty at Cleveland Insti- • POTTERY tute of Art. • SCULPTURE CLAY COLLABORATION The transformation of clay when it inter- acts with moisture, heat and time was the • ENAMELING focus of an exhibition this summer by Diana Bohn, Valerie Otani, Elizabeth Stanek and Andrde Thompson at Southern 1025 N. MAIN ST. Exposure .Gallery, San Francisco. DAYTON, OHIO Elizabeth Stanek submerged greenware io 45405 masks in water to evolve through stages pply (513) 228-6777 of disintegration. Shown, below, is a detail from "Dissolve Series," 12 inches in

Dissolve series detail A Professional Wheel at a Price You Can Afford! height. The artist also displayed masks Model E-6 with 2 Side Pans (as shown).... $255.50 arrested and fired at various points in the process of decomposition. A series of photo- graphs and slides documented the deterior- GILMOUR CAMPBELL ation of figurative clay objects that had M=~de., De~., MI 4~13 (3133s~auo~l been placed outdoors.

78 CERAMICS MONTHLY In an opening performance, Andr~e Thompson presented "Skins" in which David Edwards (below) was covered with A message to all CERAMIC SUPPLIERS

You may not know us but ....

WE OFFER 20 of the finest clay bodies available. Each batch is mulled, deaired during pugging, and boxed. We deliver in truckload lots any- where in the United States and Canada at low- er cost to you.

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WE OFFER the lowest priced quality cone drive potters' wheel .... again with a larger dealer discount. "Skins" slip. Works exhibited by the artist included WE OFFER the most popular real slab roller in slides and photographs of skin-like clay the United States under $250. coverings on fired pots, performances o£ slip-covered dancers and a life-size wet clay figure wrapped in plastic. WE HAVE AVAILABLE the complete RATCLIFFE A group collaboration between the four artists involved pouring colored clays over line, including jigger wheels, combination grid-marked transparent plastic and hang- (throwing/jiggering) wheels, and vertical and ing the sheet from the ceiling. Clay grad- horizontal pug mills in both deairing and non- ually flaked and fell to the floor through- out the exhibition. Photos: Don Briggs. deairing models. In fact, the Ratcliffe Model R-100 is the only true deairing mill priced with- JAMES McMURRY in the reach of artist potters and schools. Sill Gallery at Eastern Michigan Uni- versity, Ypsilanti, recently displayed mixed- media constructions by M.F.A. candidate WE HAVE casting slip, ware trucks, glazes and ]ames McMurry. Shown, below, from the more.

WE'VE BROKEN every record in the book during our first 18 months, and now we're looking for J more new dealers. IF YOU are growing too, and if you are looking for products that work for you instead of the other guy, we'd like to talk to you. George VanBuskirk, Sales Manager

4 SPENCER SUPPLY, INC. "'Homage to the Duke" June exhibition is "Homage to the Duke," clay, bronze and steel rods. 5021 S. 144th, Seattle, Washington 78168 Commented the artist: "My concepts are derived from a deep interest in the Phone: (206) 242-2372 Continued

November 1979 79 THE IMCO VARIETY OF COLORS IN FORMULATED CLAYS ARE UNSURPASSED BY ANYTHING AVAILABLE

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POTTER'S WHEEL ENERGY. MONEY Throw in with a first class wheel savsngs'savJngs In our opinion, Crusader cone 10 kilns are the most energy saving kilns on the market. Crusader's testing and our actual use con- firms that the insulation factor provides about a 30% savings in energy consumption when compared with a sectional, non-insulated kiln.They are made with the consumer in mind. Crusader is the only kiln that we carry because we feel it is the best kiln around and we respect its performance. We have the best price on the best kiln. As seen at NCECA/SUPERMUD 1979 We will ship any model Crusader kiln any- where within the continental USA free of any ARC. co. shipping charge, at discounted prices! We - c .~~ Dealer also give a substantial discount and free pH,C~,~ ~-~_:,~,,, inquiries freight on Crusader wheels. Give us a free ,~, -~y~ invited call on our toll-free number at 1-800-241-1895 for a great price. Energy savings plus freight (=is) z3z-ot,s3 savings plus discount price. You can't go wrong. Please send more information on the versatile DINACK wheel. KICKWHEEL Name

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80 CERAMICS MONTHLY If DUNCAN VOLKSWHEEL manufactures or NEWS & RETROSPECT !~! l~l'~Ti~lf "~ processes and philosophy involved in the publishes it... study of anthropology. To me clay is an ideal sculptural medium. I no longer use WE stock it/. any surface glazing in a conventional ce-

E-Z FLOW ...... Glazes TM & HM ...... Molds COVER COAT ..... Underglaze E-Z STROKE ...... Transparent Underglaze ]ames McMurry BISO-STAINS... Unfired Stains ramic sense. All colors and textures are Looking for a potters wheel BRUSHES derived from a process I have developed you can afford? Consider KILNS using an acetylene torch. I use as many our VOLKS WHEEL! We designed as 50 clay parts in one piece." Joy Re;d Catalog ...... $2.00 it for people like you. It's is "Neo-Nasty," 3 feet Duncan Catalog ...... $f .?5 Shown, above, fully guaranteed, sells for by James Ceram|Corner Decal Catalog ...... $2.50 in height, clay and bronze rods, $219.50 and features: Glass Decal Cafalocj ...... $ .50 MeMurry. Photos: Dick Schwarze.. nlllulllUlllnlllllllllmlnlllnllllnlnlllllllllllnlnll! plus 25c ea. Postage UN-POTS Smooth variable speed Foot and hand speed control Indiana University of Pennsylvania held Mechanical cone drive show of nonfunctional clay entitled a spring ball bearings- AND HORE "Un-Pots." Invited artists included Jerry All Caplan, , Ed Eberle, llllllllulllllulllnllllUlllllUlUllHlll|llllllllllnllllll4 Dorothy Wilder Fornof[ and Ron GaIlas. WRITE NOW - FREE BROCHURE CeramicStudio The latter's "Flat Mount" is shown, 16 OAK TREE POTTERY P.O. Box 5367 inches in length. 2016 N. Telegraph (US-24) Ron's work was assembled by drilling BOX 635 Dearborn, Idich 48128 • Phone LO 1-0119 bisqued parts with a masonry bit, inserting LOS GATOS, CA. 95030 ( LAY o MIAMI DI PIL CLAY RUGGED & QUIET COfNPANY, IN(. Ron Gallas Portable metal pins and epoxying them into place. Ron offered the following comments about EIIPORT$ his work and evolution as an artist: A FULL LINE OF POTTERY "The work I am doing now has evolved SUPPLIES ~ EOUIPMENT from soft, rounded forms with airbrushing to hard, textural shapes with sharp edges. CLAY. CHEMICALS.GLAZES, "I try to stay away from traditional ce- KEMPERTOOLS. BRUSHES, ramic concepts. I like overfiring the glaze, BOOKS. using textural glazes or paint. If I were to OHAUSSCALES. try to make one of those pieces by scoring, CORKS.ORTON CONES. applying slip, putting it together and cover- TEAPOT HANDLES ing with a plastic bag, it would never work out. AIM. A-I GAS, CRESS, L ~r L, "At Penn State, graduate student Don Lodgenes and I wedge the clay, work it, NORMAN. PARAGON. SKUTT INVITED lay it out, cut the pieces and stack them up on the shelves without covering them; BRENT, PA~. SHIMPO. OPTIONAL when they're dry we bisque them and then SKUTT CENTERING-TOOL & LEGS I have this big cache of parts. Each time RANDALL, SOLDNER, I sit down to work there are some new write for free catalo~l shapes--it's exciting to work that way. I use a brick saw on some of the pieces, tak- 18954 N.E. 4 Ct. 4446 S.W.74 Ave. ing ceramics out of that traditional barrier. Miami,Fla. 33179 Miami,Fla. 33155 If I stay too safe with my work, the pieces 305 651-4695 305 266-8824 803208 Continued TELEX-

November 1979 81 r,_...... V " C Industries •

Here, at Creative Industries, we have been producing a professional quality potter's wheel for over seven years. During this time, our wheel has evolved into one with a level of quality and ruggedness unequalled in the field today. The quality of the components and craftsmanship is consistently superior. Our extraordinarily low prices prove what dealing direct with the manufacturer can mean. Our wheels offer performance superior to all others on the market, regardless of price. But, when you do consider price, you begin to understand the total value of our machine. The ~i, Medium Power Wheel is powerful enough for centering at least 35 pounds of clay. It's an excellent choice for 90% of all potters. Price: $320.00 plus shipping If you're one of the 10% who needs more power, the High Power Wheel is for you. Producing 1 1/3 horsepower, this wheel is stronger than you are/ Price: $420.00 plus shipping Both wheels offer welded steel construction and smooth variable speed control.

~a

For detailed information write: ~l) This 125 pound pot was thrown by David Ferrin .~ at Stoneware 'n Stuff in La Mesa, Calif. Creative Industries, P.O. Box 343, La Mesa, Ca. 92041

THOMPSON Offers All Of Thts For Only $81.95 announcln A NEW FILM"

Thompson's catalog introduces a new package consisting of an electric kiln ('ns'de dlmenstons -- 5' wide, 7" deep, 4" hi~h) and including a CAREFULLY SELECTED group of suppfies that wi get you staffed enameling immediately . . . for only $81.95, plus shipping charge. Send your order today with payment for prompt shipment. The new Thompson cafa o 9, along with its famous Color Guide, is waitln9 for you . . . iusf mall the coupon and it will be on its way . . . absolutely FREE...... Thomas C. Thompson Co. Dept. CM-11 ~ 1S39 Old DeerlField Road Highland Park. Illinois 60035 [] Enclosed is payment for new kiln package (Illinois residents add 5°/0 sales tax.) [] Please rush FREE Thompson Cataloq

Name.

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82 CERAMICS MONTHLY BALDWIN NEWS & RETROSPECT i=EsL'E CERAM,CS become tiresome and I become tiresome. It's a pleasure to investigate and try new SUPPLY CO. POTTERY things--they don't all succeed, but that's Since 1946 540 LA GUAROIA PLACE the education you get out of working with NEWYORK, N.Y. 10012 clay." 212 475 7236 POTTERS-IN-RESIDENCE The Baldwin Pottery Contemporary Crafts Association cele- brated the tenth year of its Potters-in- Handbook & Catalog Residence Program with an exhibition through June 24 of works by twelve crafts- for the ceramist and potter men who had been awarded the residency. Included in the show were Ginny Adel- • 12 color pages of glaze color charts sheim, Dennis Cunningham, loan Cham- • Chemical and raw material glossary bers DeVault, Walt Gordinier, Charles Hannegan, Chris Kroupa, Richard Lol- • and feldspar comparatives cama, Janet Lowe, Geo[[rey Pagen, John analysis sheet Rogers, Gary Smith and Judy Teu[el. a Books, tiles, supplies and product Contemporary Crafts Association and descriptions Gallery has been a center for the promotion Complete Chemicals of crafts for the last 40 years. Begun as • Machine and tool specifications the Oregon Ceramic Studio in 1936 by Raw Materials & Equipment a Fully illustrated a Opinion and advice Catalog . $I.00 a 92 pages Free to Schools & Institutions

$2 per copy -- refundable with your 1212 San Pablo Ave. order of $S0 or more. BERKELEY, CA. 94706 Free to schools and institutions. (415) 524-7363

Please Mention CM when writing our advertisers Ginny Adelsheim ~~ former University of Oregon student Lydia ~\5~" Herrick Hodge, this organization received NEW -- CORK CIRCLES develop from Ellis Lawrence, dean of the s NEW S/8" diameter pressure-sensi. School of Architecture and Allied Arts at Arlz0na live CORK CIRCLES with adhesive the university; University of Oregon Alum- backing to protect tabletops. $18.7S ni Art League; Portland Arts and Crafts and the Largest pur- Society; Portland Art Museum per thousand. 10% discount on Portland Public Schools. Land was donated chases of 5,000 or more. Minimum by the school district, the building was order 1,000. We ship anywhere in designed by Ellis Lawrence and labor was Ceramic Supplier the world. provided by the Work Progress Adminis- OHAUS tration (WPA). Within a short time, the KEMPER Ltd. association's $20,000 building was in op- ROBERT BRENT RAW MATERIALS Phoenix Design eration with an exhibition program, craft AMACO PARAGON Box 29G18, Chicago, IlL 60629 (312) 436-1977 shop and studio where clay was fired for LOCKERBIE local schools and craftsmen as well as for WESTWOOD association students. CLAYS BLUEBIRD Within ten years, other kilns had been DUNCAN RANDALL KRAFT KORNER built throughout Portland and the kiln SHIMPO MIXERS NK-~--N"AristocratK of Crafts" room at the studio was converted into a ew Catalogue $2.00 ceramic studio for the first artist-in-resi- WALKER PUG MILL • charge for schools & insflh~ksns dence, Kenneth Shores, who held that po- 10% discount wlfh first $10 order or more sition for almost ten years. Spedalists in Supplies for Later a ceramic studio was completed which became the focus of a new potter- Enameling,Leaded Glass, in-residence program, similar to the artist- MARJON in-resldence position. A promising ceramist Decoupage, Tole Painting, is awarded the studio and a grant for a Silver Smithing. year of study and research. Ceramics,Inc. this year's exhibition 10% Sale Nov. I-IS Shown, above, from 3434 West Eerll Dr., Phoenix, AZ 8S0[7 Ex-Gold-Silver is "Map Box," handbuih of low-fire white- (602) 272-658S ware with colored clay inlay and appliqu6 6644 Mayfleld Rd., Cleveland. OH 44124 426 West Alturas, Tucson, AZ 8S705 12161 442-1020 Continued (602) 624-2872

November 1979 83 (

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ceramics 6912 ,~N/kEFERRD I:~ARI~ORN, MI ~&tZ6 ¢imlT~L~OeO~~1 °° 313-5~1- 4 VrO0

WITH ODDS LIKE I000 TO I YOU'D PROBABLY BET YOUR LAST CENT- ESPECIALLY ON A SURE THING! IO4 CAN GET YOU OVER $1OO IN SAVINGS IF YOU'RE ABOUT TO BUY A QUALITY KILN, CKC has provided the user with a choice of rugged, AUTOMATIC FIRING CONTROL, high quality gas kilns. All models have been OR POTTERS' WHEEL. engineered to meet the requirements of those who demand the highest standards of quality in construction, excellence in performance, and WANT TO BET? high efficiency. SEND US A POSTCARD Write for your free copy of our complete catalog. THE CLAYPEOPLE 3345 North Halsted Chicago, Illinois 60657

84 CERAMICS MONTHLY True Venturl Burners NEWS & RETROSPECT B L U E B I R D These efficiect cast iron burn. era are guaranteed not to back decoration, 12 inches in width, by Ginny CLAY MIXER burn even when using propane. Adelsheim. They are rated at over 85,000 BTU/hr., and can be turned According to Larry Kirkland and Mar- down to a very small candle Crafts, the flame. lene Gabel of Contemporary show was not a retrospective of each "Write /or literature" artist. Rather it was "an attempt to show a variety of examples of each individual's CALIFORNIA KILN CO., INC. work, attesting to the success of the pro- 8320 El Camino Real, Atascadero, CA 93422 gram by the quality of the pieces. It is (805) 466.5870 I hoped that this event will further an apo i

..~r~ncoL4e Cerarn~cj~ Inc. DISTRIBUTOR FOR: Hanovla Lusters & precious metals Paragon Kilns Duncan Ceramic Products IN STOCK: Large selection of Alberta a Amel • Atlantic • Fres-O-Lane • Holland • Jamar-Mallory • FOR FREE INFORMATION Kentucky • K/mple • Ludwig.Schmid • Weaver & Whi~e Horse Molds WRITE OR CALL COLLECT: Slip-O.Mcrtlc representative Complete ceramic supplies. John t~og~ ~s RETAIL BLUEBIRD MANUFACTURING CO WHOLESALE AND preciation for the quality and accessibility PO BOX 2307 113 49th St. South, St. Petersburg, Fla. 33707 of individual artists' achievements in the FORT COLLINS, CO 80522 Northwest .... and that the continuation 303 484-3243 of the program will encourage further craftsmen." Also shown from the exhibition is a porcelain gridded bowl, 18½ inches in diameter, by John Rogers. Photos: Ken Butler.

PIEDMONT CRAFTSMEN APPRENTICESHIPS IMMEDIATE OPENINGS new exhibiting members, chosen Twenty for competent production potters (or aspirants into Pied- from 151 applicants, were juried thereto). Small year-round studio petfery in mont Craftsmen, Inc. (a regional craft North Wisconsin. For details write: Eckels' Pot service organization) late this spring. Six Shop, Route 1, Box 254, Bayfield. WI 54014 of the new members were ceramists: Jose (715) 779-5617.

Ce ram ics M on thly °° 20-Year Index EVERYTHING 1953-1972 m TNHEch;nmOc~esTTr, .Esk;~, GGic~, es This special subject index will prove invalu- FOc~I~I able for those wishing to refer to material WHE_Paragoo & Contempo published in back issues of CM during this ELS -- Brent, Randall. SkulL, are care- LockerbIe. Crusader & Shimpo 20-year period. All feature articles mills - Mixers - Kemper Tools fully indexed, as well as items from the Corks . Books hmus Scales - "Suggestions" and "Questions" columns. • • • Much, Much More The large 8V2" x II" format helps make to Institutions the index easy to read and use. Order your C)'tolog $1, Free O copy today for only $1.50, postpaid. L & R specialties CERAMICSMONTHLY 202 E. Mr. Vernon, P.O. Box 309 Nixa, Mo. 65714 (417) 725-2606 Christine Ehmann Box 12448 • Columbus. Ohio 43212 Doris, Christine Ehmann, Kathleen D. Please send me a copy of the 20-Year Index at Gibbs, Susan Lo[tin, George McCauley and 31.50. postpaid. Norman Schulman. A "New Members Ex- ~!! DRY CLAY SALE hibit" was held at the organization's head- Name Floated Air quarters in Winston-Salem to introduce the Kentucky Ball Clay Addre~ S0 Ibs bag ...... $.3.00 Southeast area artists. 10 bags or more ...... $2.50 • oag is an Talc SO Ibs bag ...... $3.00 Shown, above, from that event C~ty Stnte _ Zip I0 begs or more ...... $2.50 a bag earthenware placesetting, with applications I enclose [] Check [] Money Order YSERN TILE SHOP slip and underglaze pencil dec- 4650 Old Winter Garden Rood of white {Ohio residents pleaseadd 6¢ per copy (or Sales Tax) Orlando, Fla. 32811 Phone (305) 295-3773 Continued

November 1979 85 f .~0~.. t !

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86 CERAMICS MONTHLY The WRAP-ette Raku Kiln Cane In ten minutes it fires Standard Little gas it requires.. NEWS & RETROSPECT Handles oration, by Christine Ehmann of Floyd, Teapot Virginia. Also shown from the exhibition are earthenware slab boxes, 5~ and 4 inches

Phoenix is proud to announce the arrival of our newest product for the professional potter. We are offering the following sized 9 ? ? teapot handles (outside diameters) 3", 4", 5", 6", 7". Diameters may vary slightly QUESTIONS ABOUT BATS because of natural material. These handles WHEN YOU SEND FOR ANY BAT ADVERTISED IN r~l,, have been selected from white skin palasan 00 YOU KNOW WHAT YOU'LLBE GETTING? I best variety of rattan) and steam bended. • WHAT MATERIAL ARE THEY MADE OF? Susan Loltin All sizes are $1.50 per handle. 25% dis- -- WHAT IS THE ADVANTAGEOF ONE MATERIAL OVER ANOTHER? count on orders over 1,000. We allow cus- in height, with airbrushed decoration in OF THE BAT? tomer to mix corl~ and handles to total • WHAT IS THE FINAL COST pastel colors, by Susan Loftin, Atlanta. -- HOW MUCH DO YOU END UP PAYINGFOR "FREIGHT COLLECT"? soft 1,000. Minimum order $25.00. All orders Photos: Tim Smith. shipped F.O.B. Chicago. (Customer pays with order. IF YOUWOULD LIKEANSWERS TOTHESE AND MANY freight) Please enclose check OTHERQUESTIONS -- WRITEUSFORAPROMPT Canadian customers please remit in U.S. NEPLT,GIVIN6 YOU THE NECESSARYINFORMATION ROBERT LYON funds. BUY. TO MAKE A CORRECTDECISION ON WHAT TO Ceramic sculptures by Robert Lyon were We now have new styles of handles @ BAT MANUFACTURING displayed during a one-man show this |I.S0 each -- square, horseshoe, concave, g0x 7275 $1.75 each. CALIFORNIA92107 spring at the University of Southwestern and standard. With wraps, RAN DIEGO, order. We ship Louisiana, Lafayette. Shown from the ex- Please send check with the world. hibition is "Split," a slab-built cylinder, anywhere in Handcrafted Hardwood terra cotta and wire, 48 inehes in height. about the show by Michel Design Ltd. HONEYWAND TM servers Comments Phoenix III. 60629 (312) 436-1977 S1.s0 each $1.2S 4 doz. up Conroy follow : Ilox 29048, Chicago. These dippers are very preffy. "Robert Lyon's ceramic sculptures are card to For sample send SI.0O and business statements about ceramics as an art form. ELWOOD TURNER is particularly vivid in a piece en- 271 Western Ave., Lynn, MA 01904 This 617-$99-7470 titled 'Split,' which comments metaphor- ically on the basic form of ceramics--the Choose 9o. R.. t om Wheel Sale: CRUSADER Model 101 and 102 ~ 1S% dis- best. ship. the count & SOLDNER All models 10% discount & ship. BRENT All models 10% discount & ship. Amaco Max RANDALL All models 10% discount & ship. Brent Pacifica *we now represent Alpine |quipmenf for Soutkwes~ Ohio. Conway Randall 731 Troy St., Dayton, Ohio 45404 Crusader Skutt Shimpo West The right wheel to fit your need.

11416 Shelbyville Road Louisville. Kentucky 40243 "Split," lrail and llexible 502-245-1282 cylinder. The irony and humor of a large, opened cylinder which is rigid and petrous, yet frail and flexible enough to wobble when touched, will be especially evident to viewers who bring to the work experiences Creek of having worked with clay and the funda- mental concept of container. Pottery "The artist executes his work in coarse, low-temperature red clay used in combi- Portfolio $1.00. Free to institutions. Continued

November 1979 87 biD CflblPI~KS ENCLOSE THESE EASY TO U~-, THESE 78 ~IAMETfit d,O. FOR • II 12 OR IB INCH LONG AD.TUSTAB IF ~ALIP~t~, CHANG EA ~-E , RA I SED Rt/L ES WILL ~IVE- YOU A /:~_-~F~ PATI-/~/V ~TAMP~, II $6 °° ~ $6 ~° FITTING LID EVERY TII ARE FOR YOUR , II II II II II II ~1 I 2 ,~,~.!,l,hl,,,l,ld,~l,

PATS. PEND.

;~~ "z DI'~CO"RObb C/./AN~EAT,,E~~",,,,,D,~, ~/-~ ~ RAISED PA77"E~N ,~LT8 GO OH A . I"ROLLE.R FOR YOU~ I ~ x2 IN£H

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Ci~NTi~RIN6 T00b R_ECENTER POTS FOR TRIMM- ~Es£ F_,,tsr ro CHA~6E ING OR DECORATING WHILE TR£ PATTERN BELTS WITH Wt/EELJtF-dD 18 MOYINO./ RO.E~ j~JVDZf- G/VE~ YOU A VARILrl'Y OF~ SURFACE ,~'//~/./ ~f PATTERNS~

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POTTER'S PRIDE ~, ~.-~ ...~ , ~,~ OakSlab Pottery / Supply, Inc. ~~2o., 325 Adcock Road ~'~'~'~"",~. "~~,~;- :. ~ Hot Springs, Arkansas 71901 i Kiln Kits ~- illi III J Kilns t" Distributor For I [] Eagle Ceramics GAS [~Paul Minnis Clay CONE 10 []Robert Brent Equip. [~Crusader Kilns and Wheels Nat. or L.P. Gas []Westwood Ceramic Supply []Kemper Tools []Orton Cones Kiln Kits [] Giffin Grip DGlazes 4 cubic ff ...... $330. [] Dry Chemicals 8 cubic fl ...... $410. 12 cubic ff ...... SS7S.

PHONE: 501-767-9300 WRITE FOR LITERATURE A-I KILN MANUFACTURERS 369 MAIN STREET RAMONA, CALIFORNIA 92065 PHONE (714) 789 - 3310

88 CERAMICS MONTHLY Honey Twirlers for honey pots! Oil Lamp B.rners

NEWS & RETROSPECT & ('himnegs cloth) nation with wire mesh (hardware SOLID BRASS BURNERS - FINEST QUALITY of various gauges. Structurally, the two function interdependently. The wire serves 11 - takes 2 I/2" or 2 5/8" chimney as an armature to hold up the clay, and $2.35 ca. 12 or more, $2.25 ca. the clay gives body to the wire outline. The grid results $2.25 each wholesale clay pushed into the screen's (A11 burner prices include glue-on collar, (plus 5% shipping, $ .00 minimum) in a soft, sensual surface (usually turned ck and burner.) WONDER WOODS to the inside of the object), and on the 319 North St. reverse side, a gritty, scraped surface frag- CHIMNEYS 32014 2 5/8" bas~ - Daytona Beach, FL mented by the cracking caused as the ea. 12 or more 7 1/2" high ~ .86 shrinking clay pulls away from the wire 8 I/2" high .8g i8~ in drying. 10" high .g3 .gO "The objects owe their modulated color- base:3" 12" ALUMINUMWHEELHEAD ea. 12 or more with one-incb bore ation and surfaces, which range from desert S I/2" high ~ .84 J 10" high .g3 .gO $23.00 dry to shiny wet, to the firing process, 12" high ~.32 1.29 where at the target temperature of about ~vV'o"ed¢r~'~'l'~bt, so z~~i~ottery Cone 012, scrap wood and a borax/salt mixture are introduced into the kiln." Rt. 1, Box 62, Sperryville, Va. 22740 / (703) 987-8625 Robert Lyon teaches at Louisiana State University, Baton Rouge. Photo: courtesy of the artist. BAT MOLD S12.95 plus S2 shipping & hon~ing. This Bat Mold makes excellent plaster ~ //¢ \\ bats 12"xl V4". /'~ ~/,/ \ \ SUN VALLEY SUMMER EXHBITIONS Fits Walsh, k~ ~'~ 11 Seven-foot palm trees filled a corner of Brent or other ~ J)\ // 10" hale span heads. ~~ ~/]/ the gallery at Sun Valley Center for the Easily adapted to any wheel head. Arts and Humanities, Idaho, during the Walsh Mfg. St. Paul, MN 55113 May exhibition of ceramic artists Dan 1984 Cty. Rd. C-2 612-636-5E57 Doak, Kevin Helvey and Kathleen Lowry. The palms, assembled modules of clay, PLASTI.BAT helped create a tropical scene complete Tough, rigid 100% plastic bats. No warpage, with sand and surf sounds and a star- lasts for years. PERFECT FOR SCHOOLS. studded stoneware rainbow. Shown, below, 8" S1.30 10" $1.60 12" $2.00 14" $2.75 Shipped freight collect. Special sizes and squares available. Send for brochure. PLASTI-BAT IS20 Atlanla, Irving, TX 75062 (214) 252-7035

L L KILNS • . . the most complete line! NOW AVAILABLE The only kilns with patented DYNA-GLOW 1980 CATALOG #10 element holders. Write for information. NEW L and L MANUFACTURING CO., Box 348 • RAW MATERIALS 144 Conchester Rd., Twin Oaks, Pa. 19104 • BLENDED & BASIC CLAYS • FRITS AND GLAZE STAINS Quality Kemper Tools • LEAD FREE CERAMIC GLAZES complete stock Send 50¢ for catalog ° SPONGES, HANDLES & BRUSHES CERAMICS & CRAFTS SUPPLY CO. ° MOROCCAN SAND GLAZES St. San Francisco 94107 490 5th ° KEMPER TOOLS " OHAUS SCALES

Kathleen l+.:~ ~ y • CORKS 11/2 ''- 6" Electric Kiln Elements are the slab/wheel-thrown assemblages, e KILN ACCESSORIES glazed, with stains, oxides and type wire. Fast, fast low-fire salt Highest quality Kanthal by Kathleen Lowry. • OSCAR PAUL & SKUTT WHEELS delivery, below market prices, for all brands acrylic paint, of kilns. THE BURNS CO., 149 N. Pitt Street, Kevin Helvey showed large-scale assem- " LOCKERBIE KICK WHEELS Mercer, FA 16137. (412) 662.2333. blages constructed from slip-cast realistic objects epoxied together after firing, which ° SHIMPO WHEELS according to Sun Valley Center ceramics Complete 60 Page Catalog "seemed to resem- director Jim Romberg, "Try us 4or those + a surrealist's sitting room. Bent and ble hard-to-find items." : GI, A¥ GO. ,,,4, ...2, altered, Kevin's chairs and other works were gestural, humorous and each seemed CATALOG S2.00 :specialists in ¢lay 13odyl to hold the potential for personality bor- (Free To Sckools& Institutions) dering on the human. Executed with stains idevelopment&fibers ! and glazes fired below and beyond their Diego, CA 92126 t 9323 Activity Rd., San Continued

November 1979 89 Recommended books on ceramics Order Any of These Select Titles on Our Money-Back Guarantee.

THE RESTORER'S HANDBOOK OF POTTERY WORKSHOP HAMADA, POTTER KILNS: DESIGN. CONSTRUCTION & CERAMICS AND GLASS OPERATION by Charles Counts. A sludy in the making of by Bernard Leach This well-crafted volume by Jean-Michel Andre An excellent guide for pottery from idea to finished form. Detailed contains 80 biographical photos and an by Everything you need to those wishing to repair broken pots. Cleaning instruction in all arees, along with diagrams for impressive section of 40 full-page color photos know about kilns -- setting up. firing, types -- fractures, gluing pieces together, retouching. building your own kiln and wheel. $595 of ware, a selection of ware in black and white. is described and demonstrated $12 95

and reconstructing missing pieces are de- and six pages of sketches $5500 scribed in detail $20.00 DESIGN MOTIFS OF ANCIENT MEXICO STONEWARE AND PORCELAIN by Jorge Enciso. A compilation of 766 exam- THE POTTER'S CHALLENGE by Daniel Rhodes Describes techniques and MAKING POTTERY WITHOUT A WHEEL pies divided into geometric, natural and artifi- by' Bernard Leach This text contains an materials used in high-fire pollen, hldudes by F Carlton Ball and Janice Lovoos This cial forms Indudes designs based on flowers. analysis of a pot and the hallmarks of sound seclions on day bodies, glazes, colors, textures richly illuslrared book covers every phase of birds, fish, etc 170 pages $2 50 design There is also an evaluative essay on and decoration. $12 50 handbuilding and decorating day pieces No ware by historical and contemporary polrers book covers the subject of texture and form so ELECTRIC KILN CONSTRUCTION FOR induding Leach's own work $10 OK) RAKU: ART & TECHNIQUE effectively. It ks a book every POTTERS teacher should by Hal Riegger The first complete book on have $16 95 b~, Robert Fournier. If you felt that the job of PRE-COLUMBIAN DESIGNS FROM Raku Covers clay and glaze preparalion, kiln designing and building an electric kiln was too PANAMA building and firing Iechniques $7 95 FINDING ONE'S WAY WITH CLAY difficult, then you will appreciate these dear, by Samuel K Lothrop A compilation of de- by Paulus Berensohn This unique book offers concise directions $11.95 signs and motifs represented on pottery speci- Money-Back Guarantee a new approach to making pots It m a dear, mens unearthed in central Panama $3.50 readable, and definitive book on making pots THE WORLD OF JAPANESE CERAMICS using the pinch method $11 95 ILLUSTRATED DICTIONARY SELLING YOUR CRAFTS by Herbert Sanders This handsome book illus- OF PRACTICAL POTTERY by' Norbert N. Nelson This book leads you lrates the forming and decorating processes through the actual slages necessaryto sell suc- and the unique tools used by the potters of PIONEER by Robert Fournier. This work is exhaustive in POTTERY cessfully what you produce Covers Japan includes American equivalents of scope and delail There are nearly 1200 entries such di by' Michael Cardew. The main purpose of this verse channels of sales as wholesale, retail, Japanese glaze compositions $19 50 and over 450 illustrations $15 95 mail book is to help craftsmen who want to make order and specialty markets $4 95 pottery using natural materials without depend- STEP-BY-STEP CERAMICS ing on customary sources of supply Covers GLAZES FOR SPECIAL EFFECTS by Jolyon Hofsled. A complete introduction to clays, glazes, kilns $6.95 THE KILN ROOK b~ Herbert Sanders Covers the /heor~ and ceramics! There are special sections on the Pot- production of crystals in glazes, the technique by' Frederick L. Olsen Covers in detail THE POTTER'S COMPLETE BOOK OF ter's Wheel. Glazing, Firing a Kiln, Building both the of copper reduclion glazes, the accumulalion technical and aesthetic aspects of CLAY AND GLAZES Your Own Kiln. and Raku $2.95 kiln construc- and use of ash for wood and plant ash glazes. tion and firing Easy to follow and informatively by James Chappel] This and embellishments such as luster and under- cross referenced HANDBOOK OF DESIGNS AND illustrated Paperback $9 50 handbook contains 1.500 glaze decoration $18 95 day-body and gJaze DEVICES. formulas, with instructions for mixing, applica- CERAMIC GLAZES POTTERY DECORATION tion, and firing Glazes covered include stone- by Clarence Hornung Over 1800 sketches of by Cullen W Parmelee A carefully revised edi ware. earthenware, single-fire, wide-firing basic designs and varialions including the cir- by Thomas Shafer Focusing exdusivel~, on the lion of one of the standard texts on range, porcelain, slip. salt and vapor glazing. cle, line, scroll, fret. shield, snow crystals and glazes It is a decorative aspects of poUer~ This helpful text and cup and spoon measure glazes $27 50 many more useful ~,mbols. comprehensive study of every aspect of the presents descriptive and explanatory interpre- $300 subject with clear, concise explanations An ,as tation of materials, tools, and techniques used senlial reference A CENTURY OF CERAMICS IN THE COMPLETE BOOK OF POTTERY $19 95 to embellish clay $17 50 UNITED STATES 1878-1978 MAKING PENLAND BOOK OF POTTERY THE PROFESSIONAL POTTER by Ganh Clark and Margie Hughto. This book by John B Kenny This LS a revised and up- Nine master potters of The Penland School is based on the exhibition of the same name dated edition of John Kenny's original version of by Thomas Sharer This practical book takes an Crafts demonstrate their methods of working staged by the Everson Museum of Art. Syra- which has been a standard text in the ceramic in-depth look at six potteries thal all have one with clay and include glaze formulas, sources of cuse. New York. in the spring of 1979 Com- art field for over lwo decades. $15.00 thing in common: The porters are earning a supply, etc $12 95 ments by the authors, photos of pieces in the living solely from selling their work $18 50 show and a section of extensive biographies of KERAMOS THE the arlists represented provide an impressive LIVING TRADITION OF MARIA CERAMICS MARTINEZ review of the period A valuable reference by Franz Kriwanek. All of the basic areas of by the editors of Sunset magazine An excellent source ceramic work are covered $12.95 in this revised edi- by Susan Peterson A major book about the text for beginners and those leaching begin- tion. The examples of pottery are impressive, great poller of San fidefonso and her black- ners Well-planned projects carry the reader There is a refreshing treatment on-black pottery Over of subject matter 190 color plates through basic handbuilding and throwing that makes the CERAMIC ART book unique. $550 $39 95 Techniques using a minimum of tools $2 45 Comment and Review, 1882-1977 CERAMIC SCIENCE FOR THE POTTER SHOJI HAMADA, A POTTER'S WAY edited by Garth Clark A review of dominant SALT.GLAZED CERAMICS by W G. Lawrence. The AND WORK influences on contemporary ceramics. An ex- best source for infor- by Jack Troy This is the first book on the tech- bySusan Peterson Contains a wealth tremely in formative and thought -provoking an- mation on produdng flameware and oven- of detail nique of salt glazing Technical information ware. complele with about Hamada's forming, glazing, tho]ogy $9.95 body and glaze formulas, and firing deals with clays and slips, glazing, and special A technical volume written for those having techniques and includes a very useful glossary salt kiln. Also discussed are sodium-beanng limited science background. index. A great gift. CERAMIC FORMULAS: $12.95 $19.95 substitutes for salt $17 95 THE COMPLETE COMPENDIUM A POTTER'S BOOK CLAY AND GLAZES FOR THE POTTER by John W Conrad. This very useful text con- GETTING INTO POTS tains over 700 tesled formulas by Bernard Leach. Now in its eighteenth by Daniel Rhodes. This revised edition covers for day bodies by George and Nancy Weulaufer A personal. and glazes in all finng ranges Features special Ameocan edition, this book should be in the all the fundamentals of days and glazes An direct style and awareness of "real life' coded library of every potter. impotant reference source $12 50 prob- color charls $10.95 $15.00 lems and solutions illuminate this appealing and very practical basic pottery book $595 [] Fournier -- Hecmc Kiln $11.95 [] Peterson -- Maria $39.95 [] Pelerson --Shoji Hamada $19 95 [] Fournier- Dictionary $15.95 THE CRAFTSMAN'S SURVIVAL [] Rhodes -- Clay & Glazes $12 50 [] Hofsled -- Step by Step $2.95 MANUAL Box 12448, Columbus, Ohio 43212 [] Homung -- Designs $3.00 [] Rhodes -- Kilns $1295 [] Kenny -- Complete Book $1500 [] Rhodes -- Stoneware $1250 by George and Nancy Wettlaufer. This manual [] Andre -- Restomr's Handbook $2000 [] Knwanek -- Keramos $5.50 [] Riegger -- Raku $795 is directed to those potters who wish to make a [] Ball -- Potrery $16.95 [] Lawrence -- Science $12.95 [] Sanders -- Japanese $19 50 full or part-time living from their craft Conlains [] Sanders -- Special Effects $18 practical business and marketing information [] Berensohn -- Finding $1195 [] Leach -- Potter's Book $15 00 95 [] Cardew -- Pioneer $6.95 [] Leach -- Hamada $55.00 [] Sharer- Decoration $1750 $345 [] Chappell -- Clay & Glazes $27.50 [] Leach -- Challenge $10.00 [] Sharer -- Professional $18 50 [] Clark -- Century Ceramics $1295 [] Lothrop -- Pre-Columbian $3.50 [] Sunset editors -- Ceramics $2 45 THE INVISIBLE CORE [] Clark -- Ceramic Art $9.95 [] Nelson -- Selling Crafts $4.95 [] Troy -- Sah-Glazed $1795 A POTTER'S LIFE AND THOUGHTS [] Wenlaufer [] Conrad -- Form,,las $10.95 [] Olsen -- Kiln Book $9.50 -- Into Pots $5.95 by Ma~uerile Wildenhain A very readable [] Wettlaufer -- Survival $3 45 F'q Counts -- Workshop $595 [] Parmelee -- Glazes $1995 book in which the author offers her philosophy [] Wildenhain -- Invisible $12.95 [] Enciso -- Design Motifs $2.50 [] Penland Book- $12 95 and strong opinions about art and artisls, art [] Woody -- Handbuilding $2000 education, and nature $12 95 NAME 1 enclose [] Check [] Money Order HANDBUILDING CERAMIC FORMS Oh:o re<~de~:, add 4 'L Sale- Taxi ADDRESS Apt # by Elsbeth Woody Prowdes informalion on the nature of day and the vanous tools one can use Explains the different hand-forming CITY __ STATE __ ZIP __ methods A ver~ practical book. $20 00

90 CERAMICS MONTHLY WESTERN CERAMICSUPPLY COMPANY ELIMINATES 1601 Howard Street San Francisco, Ca. 94103 A MESSY NEWS & RETROSPECT (415)- 861 - 7019 TABLE normal range, each object held reminis- Complete suppliers pottery cups, cences of familiar items stretched and to the ceramics Level your ceramic or trade for thirty bowls, vases or tops using the "handy arranged to draw one toward a new years. dandy" Ceramic Screen Board. vision." Shown, below, from the exhibition Raw materials, color, machinery, kilns and furnaces; everything for ceramics and metal arts. Catalo4 free to schools and institutions/$1 .SO to Individuals, CRESS Front loading elec- W trio kilns chambers up to 27 cu. ft. temperatures to 22S0 F (C/6). Model C-336.C

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PROPORTIONINO * clay, glaze, THUMBWHEEL SE'rTING. equipment // lndustrtal DrLve Tallahame, F1. 31304 224- 3326 (904) Kevin Helvey J ATTENTION: is Kevin's wheel-throwlJ, slip-east chair, low fired, with stains and oxides, 6 feet CERAMIC DEALERS, in height. PROFESSIONAL POTTERS, Dan Doak exhibited two-dimensional MOVING? wall pieces and sculptural forms. CERAMIC TEACHERS . . . If you plan to move, please notify of us at least four weeks in advance. Reliable glazes , Wide selection 5000 YEARS OF KOREAN ART Send your new address and the colors and effects , Finest quality • An exhibition of 345 Korean national old address label from your Fast personalized service. treasures and art objects began a two-year to: CERAMZCS magazine wrapper American tour at the Asian Art Museum Cone 06 ...... 116 glazes MONTHLY, Post Office Box 12448, "5000 of San Francisco in May. Entitled Cone 5 ...... 50 glazes Columbus, Ohio 43212. Years of Korean Art," the show featured sculpture, paintings, jewelry, tiles and ce- Cone 10 ...... 55 glazes ramies from as early as 3000 B.C. Com- Underglazes ...... 50 colors ments from the exhibition catalog follow. CERAMIC EQUIPMENT "Some 5000 years ago, at the beginning jIAF _'7"E ¢, PARAGON and DUNCAN kilns ~ ROBERT of the Neolithic period, a number of major BRENT slab roller - WALKER-JAMAR pug technological changes took place in Korea mills - Sllp mixers plus a complete stock Phone (213) 870-6000 sculptors' hand tools. as well as elsewhere in East Asia. The of potters and 5894 Blackwelder St. CAPITAL CERAMICS, INC. inhabitants of the peninsula gradually 2174 South Main St. learned to make better stone tools and Culver City, CA 90230 Salt Lake City, Utah 84115 Phone (801) 466.6471 or 466-6420 weapons, till the land and produce a low- ...... pottery which may be fired 'comb pattern' Write today for price list. a variant of North Asian prototypes. These people usually settled on river banks and built small villages of semi-subterranean Name Brunt . Soldner . Muddox . Marathon Paragon . Cress - Olympic . Kemper - Ortan )it houses with central fireplaces. Gallery Sales . Commercial Firing Plain Coarse Pottery is the name given Address Chemicals & Miscellaneous Supplies by archaeologists to a cultural stage which, BLUE SAGE POTTERY from ca. 1000 to about 600 B.C., corre- City 4911 w. Clearwater, Kennewick, WA 99336 sponds to the last phase of the Neolithic (S09) 73S-1702 period. In addition to simple but teehni- Jesse Greeaough, Jr. Nancy Kay Strom State Zip Continued

November 1979 91 ~'- CE~IC ~ EQUIPMENT WARE TRUCKS Ware trucks are very useful in any ceramic work. Ware may be accumulated on the ware truck and then moved to the kiln for loading (saving unnecessary handling of ware) . . . may also be used for moving the fired pieces from the kiln to a point where they can be displayed for pickup by the student or potter. One or several trucks will serve surprisingly well in the studio or classroom. GLAZE FORMULATING TABLES Each table will provide a clean, compact working area. No more sacks of material which might be spilled or broken - - - a variety of materials is placed at your fingertips. Each tilt-out bin will hold up to 150 pounds of material. Bins are engineered to open with mini- mum effort when co~oletely filled. WRITE TODAY (0R CALL) FOR COMPLETE INFORMATION ~ TO DEPT. B

mone~ .9 I~5 ~o ..~ ec_r e_tc.,k...IE_BCO 5~ve~ ~1 o,~'no~e~j onott r ~,c e~L~Ltp'~En-k ! E_B CO tl~e Or~LY is4~ b ~4:or ~ere AVAILABL~iN -%i~ , ,('~ q :20R~ 4i. d EXCLUS.!VE ~IGHTS ~ !~- ii IMPuRTER * ( OF.... ~1~ BAIIERY OPLRAIED ~ ' CLOCe,MOVEMENTS HANDS ~ LE T...... ,o,.0o... Oo.,.,,,~,m " ~1~ d) 4) ,,P 4V .~b-,,~.L,.j,,,~.t,k,--,~ S rPeent d ~t,~nmBaPme nd~u~ ~ ~'~tner L ar~ne~a~ la°nnd~o~0 yes X i ~) NUMERALS AND MARKERS H .l~o,.,a o.tL. Sold~o-.Shi,q~o- GOLDFACED ON BLACK -- PRESSURE SENSITIVE. '~/i-rL.I w~t.~t~ h-LOeb,-o.-- I1/Ill-- / n CLASSIC / \VIII r-4 .M00.,N U SIZE $/8" TO 1-114" "i. I I C:i L..L,.J. I'A- ~ 1~/," INNOVATION - boSzt Sili co~ Ce~-I~d~ She_lye5 F0 9 LTIE 1-'~,--l~,-glti in,Sl.ocv, ~-~ ~edeti'o-3- ?ko~e Call3 g.~'-.r#2~ c ol/ee'~ 92 CERAMICS"MONTHLY Don't Mess Up Your Bottom! DEATOI~S DING BAT

NEWS & RETROSPECT tally more advanced types of earthenware, this culture produced highly refined stone Best Bat you will ever use. Our unique surface causes pots to pop loose when leather hard. implements. No foot trhnming or finishing necessary. "The successive cultural changes and 12~' BATS 14" BATS remarkable achievements of the prehistoric 1 - 10 S3.00 eack 1 - 10 $4.S0 each 11 - 20 S2.7S " 11 - 20 $4.30 " period have long captured the attention of Custom Bats to 22" dia. Korean scholars. According to current $.4S a dia. inch b¢lose ¢hnck wlfll order theory, the people of the Plain Coarse Pot- PlayShippeder frelgM collect. tery period originally migrated from the 12918 Houstoe, TX 7704S north. Known as Yemaek in modern Ko- rean and probably of Tungusic stock, they brought with them the language which KILN/WHEEL SALE developed into present-day Korean. POTTERS WORKING FOR POTTERS "Korean history proper begins at the Distributors of ~,.~[]'~]~q 35% OFF LIST end of the second century B.C. when Han INCLUDES KILN SITTER "~c~l~t~ AIM • Skull Model 2327-7 cu. ft. $416 China invaded and occupied a sizable ter- ~ ~rmF~ ~ Brent • Soldner Model 1727.3.9S on. ft. $296 ritory in the northern part of the country. ~ ~ ~ Crusader • Max Model G.2327.7 ¢u. ft. gas $423 Model G.2927.10.3 ¢u. ft. gas $524 Meanwhile, the ancestors of today's Ko- _~~ L & L u Walrus <:~KILN KITS 30% OFF LIST reans established several independent and CLAY • GLAZES Model G331 - 8 ca. ft. gas S290 rival states in the rest of the country. SPIGOTS Model G931 . 11.84 cu. ft. gas $402 TEAPOT HANDLES We carry full osserfmen~ at kiln shelves and pos~s. Three of these states, Koguryo, Paekche SPONGES and Silla, dominated the political and cul- CRUSADER Wheels 15% OFF LIST TOOLS • CORKS Model 101 I/3 hp, $34S. Model 102 1/z hp, $404. tural scene from the middle of the first KICKWHEEL KITS Quantity discounts available. Shipping extra. century B.C. to the latter part of the 7th Send for latest catalog $2.00 Ohio residents add 4% sales tax century A.D. This long and formative THE SALEM CRAFTSMENSGUILD POSTERITY STUDIO period in the history of Korea is known as 3 Alvin Place, Upper Monfclair. NJ 07043 2687 Osceola Ave., Columbus, OH 43211 746-8828 (614) 263-1319 the Three Kingdoms period. "Silla (57 B.C.-A.D. 668), the third of the three kingdoms, counterbalanced Paekche in the southeast of the peninsula. SAN DIEGO -- Klckwheel kit -- Mod-B (me~al parts) $69.50. Full ,llne at potter's Silla potters produced many unusual wheels, gas and electric kilns. Gas kiln parts, shapes, some of which were adopted by pug mill, chemical, scales etc. Cataloc) $1.2S. Japanese potters of the Old Tombs period Brochure on selected items free. Ph. 424-3250. (third-sixth century A.D.). Jars with hu- WAY-CRAFT man and animal figurines, stands or recep- 394 Delaware St., Imperial Beach, CA 92032 tacles with tall perforated feet, anthropo-

Gare goes Hi-Fire to cone 10 Gare has cone 10 electric kilns available. Extra insulation keeps heat in kiln. Simple switches to operate. Write for price information, then check our prices. GARE INCORPORATED 165 Rosemont St., Box 830, Haverhill, Msum. 01830 LOW PRICES ON Brush-Tool Holder Holds brushes or tools in SHIIVlPO-WEST, BRENT, handy upright position on wheel table. Sturdy base ab- CRESS kilns and sorbs moisture, drains excess water. Protects and pre. •• serves. Send $5 ppd. LECLERC weaving looms Cobble Brook Pottery Box 67, Kent CT 067S7. All Shipments Factory Direct ~o Save You Money /:or free price llst write: Sold only I THE POTTERS' MARK by Route 3. Buckhorn Rd., Gatlinburg, TN 37738 Authorized I Silla warrior vessel Serving entire Continental United States Dealers I morphic or zoomorphic vessels [such as the 1147 E. Elm I warrior on horseback, above, of gray stone- W. P. DAWSON, INC: I:ullerton,Calif. 92631] ware, approximately 9 inches in height] are among the most distinctive of this production. iF)eters'°',..00 "In the constant struggle for hegemony DISTRIBUTORS WANTED which marked the entire period of the FULL LINE OF CORK PRODUCTS Three Kingdoms, the odds were against valley WRITE ON YOUR COMPANY Silla, but the rulers of this energetic state Loyton, New Jersey 07851 LETTERHEAD took advantage of the rise of the Tang black~ithin 9, wood, fine metals, CORK PRODUCTS COMPANY, INC. dynasty [China] early in the 7th century. photography, textiles, ceramics 250 PARK AVENUE SOUTH They formed an alliance with this imperial resident program, internships, NEW YORK. N.Y. 10003 Continued workshops, summer courses I

November 1979 93 REPEAT OFFER 501 Atlantic A N. Kansas City, Missouri 64116 A/C 816-421-7011 "Trim-the P.O. Box 7556 Fat" Sale Good Earth Clays moist & dry blended, bulk raw materials, chemicals. (ofimmense proportions) Quantity discounts on the above. ALPINE • AMACO • BRENT CONWAY ° CRESS • DELTA GOOD ° KFMPER • OHAUS

Nick Nero ORTON • SOLDNFR • WALSH All these Ohaus scales will be shipped freight free in continental U.S. -- offer good through 12/15/79. MORROCAN SAND NOTE: Due to prepackaging, catalogs may not be included with this offer nor can other items be shipped with the same order. WEIRD WILLIF'S FQUIPMENT STASH Model 750 & Inquire about a Good Earth representative in your area. Model 760 (with tare compensating beam}

Model710& Model 710T- with tare

...... MOdel 720S By Thomas Stuart {stainless steel scoop) Model 720 (plastic scoop) • Easy Assembly ...... j! Illinois residents add 5 per cent Sales Tax! • Precision Built Model List A.R.T. Price per • Bolt Toget~h~Metal

Number Price I 3 I 750 $64.50 58.00 52.00 Frame . ~ 760 $74.50 67.00 60.00 720 $79.50 71.50 65.00 • Optional Motor 720S $90.50 81.50 74.00 710 $74.50 67.00 62.00 Attachment 710T $84.50 76.00 71.00 707 weightset $15.00 14.00 13.00 Write For:~A Free Brochure! No C.O.D.'s, no ptlrchase orders. Outside continental U.S. add + 6.00. Thomas Stuart Notes: 720 series does not come with weight sets as standard. Weight sets may not be ordered separately, models may be combined for group discount. Box 9699 ~e" -:...... Denver, Colora~6~0223 ,~ A.R.T. STUDIO CLA Y COMPANY 303-832-2128 ~...... F ~...... 921 Oakton St., Elk Grove Village, IL. 60007 94 CERAMICS MONTHLY NEWS & RETROSPECT basic technique of applying celadon glazes to porcelaneous bodies was used for such house and defeated Paekche and Koguryo. diverse objects as pillows, roof tiles, water For the first time Korea was placed under sprinklers used in Buddhist rituals, toilet a single dynastic rule known as Unified or cases, cosmetic boxes, oil bottles and in- Great Silla. "Unified Silla potters introduced new shapes and decorative devices, some of which were inspired by Chinese models created mainly in Chekiang Province. Dur- ing the 8th or early 9th centuries inten- tional glazing appeared for the first time, thus preparing the way for the achieve- ments of the next period--the Koryo dynasty. "The main artistic contribution of the early Koryo dynasty was made in the field of ceramics. Starting from the late 10th century and continuing for about 300 years, kilns located on the eastern sea- board of the peninsula and particularly in South Cholla Province, produced large quantities of one of the most refined types QUALITY BLACK SHIRT W/WHITE of ceramics made in East Asia. Until the RAKU SYMBOL. middle of the 12th century, these celadons SEND NAME, ADDRESS, $5.95 + 1.00 were either plain or decorated with sub- POST. & HAND. dued incised, stamped or molded designs. At an early stage this production was ), SPECIFY SHIRT SIZE already admired by Sung connoisseurs. About A.D. 1150 these traditional decora- RAKU BOX 224344 DALLAS 752(0,4 tive techniques were supplemented with innovative and typically indigenous ones including inlay and underglaze painting. Porcelain incense burner NATIONAL INVITATIONAL "Koryo celadons attracted the attention 6 inches in of European and American connoisseurs tense burners [as shown above, FIFTH ANNUAL early in this century and are, as of today, height, celadon-glazed porcelaneous ware probably better known in the West than with open-work and incised decoration]. found any other facet of Korean art. The bulk "Depending essentially on models of the production consists of receptacles in the vegetable and animal kingdoms, at prominent ceramicists ~q~ for the table and the writer's desk, or of shapes and ornamental schemes were ~O 3 As time flower vases. The first category, by far the first straightforward and subdued. Fridl~Y, Nov, 30 thru Sunday, Dec. 2 ~ largest, comprises bowls, cups and small passed, however, they became increasingly Open ine;e F;iht nc:r:d:~t ~o 'nOPn;~ ,5.00 m dishes as well as a variety of bottles and elaborate. By the middle of the 12th cen- tury experiments were made that, in addi- brochure available upon request tion to inlaying, involved underglaze cop- per and iron decoration or even iron glazes. Only a few years ago such 'painted' wares school of art to the 13th old church cuRural center were automatically attributed S61I~mo~ RoadD*mlrll! ~knvJe~xyO7627 201.~7,71a0 or even 14th century. A campaign of exca- vations conducted these past few years has revealed that several kilns in the region "~o~;;.:_ ,,, produced wares of these various types about a century earlier than was previously POTTERY assumed. A Montgomery "Starting from 1231, Korea was repeat- Technical Institute edly invaded and devastated by the same Mongol hordes who were about to establish Troy, NC 27371 the first foreign imperial dynasty in China. YEAR ROUND CLASSES After putting up a gallant but ineffectual RAKU resistance, Koryo surrendered to the in- vaders in 1239, and for the next century STONEWARE or so the country was placed under mongol SALT rule. The prestigious celadon kilns pursued "BLACK" their activities until the end of the dynasty, POTTERY but with a notable decrease in quality and II opportunity very little innovation. The creative urge of bnal Instituflon the former period had either dried up or was stifled by the new regime. Inlaid wine server "The major artistic contributions of wine pots [such as the above, approxi- early Yi, or of the entire period for that BIG CREEK POTTERY[ mately 12 inches in height, celadon-glazed matter (A.D. 1392-1910), are to be found porcelaneous ware with inlaid decoration]. in the fields of painting and ceramics. The second category consists of essentially Judging from records going back to King water-droppers, and the third of tall, high- Sejong's reign (1419-1450), the output of shouldered, small-mouthed vases made es- early Yi kilns must have been considerable, pecially to hold plum blossoms. The same Continued

November 1979 95 I(El l/flO$

A DIVISION OF WESTWOOD CERAMIC SUPPLY CO.

t¢orttonboll Syllabus for Advanced Ceramics Garendo Gallery Presents by F. Carlton Ball 68 pages, $3.95 4TH CERAMIC TOUR TO JAPAN Ship. Wt. 1 lb. March 29 to April 18, 1980 The Advanced Syllabus is an instruction book for the more advanced potter. It includes information on glaze formulations and chemicals. Highl;ghts: Visit: Kyushu (Fukuoka, Arita, Agone, Onda, Karatsu, Koishihara) Okinawa (Tsuboya), Kurashiki, Bizen, Tokyo Contact: Masako (Tour. Leader) Hideyo Ando Garendo Gallery Japan America Tours 12955 Venture Blvd. 312 E. First Sf., Sfe. 307 I G,..,n,,W---Or.m-- Sfudio Cify, Ca. 91604 Los J by Verni Greenfield Angeles, Ca. 90012 (213) 783-1861 (213) [ ~ ~ Gr~ll~eJd 36 pages, $2.99 623-4161 Ship. Wt. ½ lb. This concise and readable text is useful to all ceramic students. It rj iflD | | i | gil ll||i II g el Iliil| | i llllg ||| ||||| ~ explains how to convert glaze calculations from weight measurements to volume measurements. This book is the answer for the educator PflTLtiCK : who does not have enough gram scales available for his students. i JJL PUBGIC.,TIflN$ I Other Titles From Keramos The Kiln Book Drinking Vessels 77 By Kay Healy. Here by Frederick L. Olsen 20 pages, $3,00 is a guide to conducting classes in ceramics, porcelain, glass 172 pages, $9.50 Ship. Wt. 1/, lb. and china painting. This I 104-page book provides step-by-step Ship. Wt. 2 Ibs. lesson plans for | i the beginning teacher or the experienced professional I Syllabus for Beginning Pottery who wishes to bring something new to her students. Pro- by F. Carlton Ball fusely illustrated. For the distributor, it can be used as a 76 pages, $4.00 i text in seminars for teachers and dealers. $7.00 each. I Ship. Wt. 1 lb. ORDERFORM THE ART OF AIRBRUSHING i FOR CERAMICS AND CRAFTS I copies of Syllabus for Beginning Pottery $4.00 By G. Maynard Clerk. The author is a leading authority | copies of Syllabus for Advanced Ceramics $3.95 on airbrushing and has pioneered in the creative use .copies of The Kiln Book $9.50 i of this tool in the ceramic field. His profusely illustrated I copies of Glazing Without a Gram Scale $2.99 book includes instructions and comprehensive informa- copies of Drinking Vessels 77 $3.00 tion on equipment and techniques pertaining to one stroke underglaze application, including glazing with a glaze gun. Bisque California Raidents add 6% Sales Tax. and craft decoration is explored i in detail. $4.00 Please include appropriate postage: US, .59/lst 1 lb., add .22 ea. add. each. 1 lb., after 7 Ibs., add .13 ea. add. 1 lb. Foreign, .69/lst 1 lb., .81/21bs. I 1.25/4 Ibs., add I .50 ea. add. 21bs. Please allow 2-3 weeks for delivery. THE WONDERFUL BUSINESS OF CERAMICS Enclosed is a check/money order for U.S. $ (Telephone By Merle Peratls. It's the handbook for dealers and orders accepted with approved credit). For further information con- teachers who need help in setting up and managing their tact Keramos Books. studios. It's a practical guide to profitable studio oper- ation with 20 chapters brimful of information about studio Name layout, obtaining customers, pricing wares, proper buy- ing methods, record keeping, etc. This book can start new Address dealers off properly or save some shaky businesses. New edition, revised and enlarged. $5.00 each. i City State Zip I I I I Keremos Books I Potluck Publications, P.O. Box 48643, Los Angeles, CA 90048 I P.O. Box 2305, Dept. Bl110 Bassett, CA 91746 (213) 330-0631 I,...... I

96 CERAMICS MONTHLY For Sale

NEWS & RETROSPECT 'ong stoneware bowl, approximately 3 inches in height, with incised and stamped for 321 such kilns were officially listed. decoration filled by white slip.] a very small portion of Unfortunately, only "A number of kilns controlled by gov- this production has been preserved intact. ernmental agencies specialized in the noted for "Early Yi ceramics are not manufacture of white porcelain. Starting delicate shapes, subtle glazes, minute orna- House & Studio with 4.5 Acres from the middle of the 15th century, this Price~$110,000 mental schemes or elaborate decorative porcelain was frequently painted in under- Serious Inquiries Only For information Write Or Call glaze blue in the best Chinese tradition Sunflower Clay Works, Inc. but--as was the case in the field of paint- Box 252 compositions Berea, Kentucky 40403 ing--with a choice of motifs, 606-986-8173 and brushstrokes that frequently revealed an already well-established indigenous taste. Unlike punch'ong kilns which were scattered all over the country, most official kilns were located in the vicinity of New Hope on the Delaware. Kwangju in South Cholla Province. Spectacular view. 2 apts., fireplaces, large century an ele- "Throughout the 17th studio showroom and 700 sq. ft. workshop gant calligraphic style was developed by fully engineered for ceramics. Inside peal, porcelain decorators working for official sauna, roof garden. Ample parking. Residen. kilns. Otherwise this period was rather tial or commercial S235,000. (215) 862-2208. conservative. From the late 17th or early 18th centuries on, the talents of the best Korean potters seemed to have been almost exclusively channeled toward the costly Punch'ong stonezcare bowl TurkeyKobWorksho . production of white porcelains with under- pot- techniques. Generally robust, heavily glaze painting mainly in blue, although ted and boldly decorated with great flour- iron brown and copper red are not un- tool or painting hand, ishes of the carving usual. A few new shapes were introduced cela- they offer a vivid contrast with the [see cover] as were some elaborate orna- Koryo. dons of the 12th and 13th centuries mental schemes, but the bulk of the pro- that Historians have rightly emphasized duction remained faithful to the sturdy We Sell the Best in continuity, and there was no real break shapes and straightforward decoration of wares were in that early 15th century early Yi. In this age of great scholarly from Koryo celadons. LYfflPIC KILNS direct line of descent activity, a large number of accessories were Yet the typical early Yi stoneware or por- o At Discount made for the writer's desk. masculine taste plus free shipping celain reveals an entirely "Until 1884, "when they were definitely past. So Cull or write: Rf. 2, Box 293-E and a major departure from the closed, the official Punwon kilns continued and decorative Sparta, NC 2867S (919) 372-5291 far as ornamental schemes to produce white porcelain in the best 18th the goldsmith's techniques are concerned, century traditions." Photos: ]ames Medley, approach which had been so characteristic National Museum of Korea, and courtesy [ of Koryo ceramics, and which they might of the Asian Art Museum of San Fran- have inherited from the Silla tradition, cisco. was now replaced by the painter's ap- L e STUDENTS Lr L1E II step is but one aspect l] C ramics, Glaze Chemistry, WheelWork ]| proach. This major II I plus 47 other Fine Arts and Crafts [U of the process of sinicization that was BARRINGER/BRAWARSKY ~l ~ I J~'A c0"ed courses and workshops ill taking place at the time. As a matter of IL 1[ IIf A 610 lexington Ave. [I "Collaborations," an exhibition by Mary V • ~ NYC 10022 IJ~ fact Yi ceramics taken as a whole reflect, Barringer and Diane Brawarsky, is being I 212.,,.,,o0 x ,, /i in their own way, the new aesthetics of held through November 3 at the Farming- Ming China. ton Valley Arts Center Gallery, Avon, "Such generalities might give the im- Connecticut. Shown from the exhibition is pression that all early Yi ceramics were Fer Sale unsophisticated--a simplistic and errone- Pottery store and studio. ous impression. There were, in fact, two Established 7 years. Includes 56 ¢u. ft. down. quite distinct categories of wares: the one draft kiln. Excellent location and opportunity unpretentious, imaginative, made primarily for hardworking pot~er(s). Odyssey Stone. for the people; and the other aristocratic ~- _ .-% ~- , , :~. ware, 13 Mill Creek Drive, Port Jefferson and produced in government kilns for the N¥ 11777. court. "The first category, which was occa- sionally patronized by the government as well, consists of a variety of produced all over the country and desig- nated by the generic term of 'punch'ong.' These jars, bottles, flasks, bowls and dishes "Second Conversation" were decorated by incision, stamping, sgraf- the collaborative work "Second Conversa- fito or painting in iron oxide~ but they all tion," 34 inches in width, incised and share two characteristics which are at the impressed slab forms of red stoneware. origin of their names: a white slip and a Both artists occupy studios at the arts It is one of the ironies bluish green glaze. center. Photo: ]an Bennett. of history that this type of pottery con- tributed to the development of the cele- brated tea ceremony wares of Japan, but FRANK BOYDEN did not in Korea proper really survive the A June exhibition at White Bird Gal- devastating Japanese invasions of the late lery, Cannon Beach, Oregon, featured ce- 16th century. [Shown, above, is a punch- Continued

November 1979 97 STATEMENT REQUIRED BY THE ACT OF AUGUST 12 970 SECTION 3685 TITLE 39 UNITED STATES CODE SHOWING' THE OWNERSH P, MANAGEMENT AND CIRCULATION OF: CERAMICS MONTHLY, ISSN 009-0328, publish- ed monthly except July and August, at 900 East NEWS & State Street, Athens, Ohio 45701 for September RETROSPECT 26, 1979. Number of ssues published annually: 10. Annual subscription price: $12.00. The General ramic works by Frank Boyden. Included Business Offices of the Publisher are located at 609 Northwest in the show were small, low-fired bottles Boulevard, Columbus Ohio 43212. The names and addresses of Publsher, Edi- with porcelain stoppers in the shape of tor and Managing Editor are: Publisher: Profes- sional Publicatlons, animals, bird heads or spine-like protru- Inc., 1609 Northwest Boule- vard, Columbus, Ohio 43212. Editor, Spencer L. Davis Worthington Ohio 43085: Managing Editor, Wil am C. Hunt, Coumbus, Ohio 43212. The owner is: Professional Publkations, Inc., 1609 Northwest Boulevard, Columbus, Ohio 43212; the names and addresses of stockholders owning or ha ding I percent or more of total amount of stock are: Spencer L. Davis, Worthington, Oh o 43085. APPALACHIAN The known bondholders, mortgagees, and other security holders owning or holding I percent or CENTER FOR CI-L&FTS more of total amount of bonds, mortgages or other securities are: none. The average number of copies each issue dur- ing the preceding 12 months are: A) Total no. of copies printed: Net Press Run: 44,370 B) Paid circulation: Opening Celebration: Dec. 9, 1979 I Sales through dealers and carriers, street vendors and counter saes: 2,042 Exhibits and demonstrations, 2) Mall subscriptions: 41,018 C) Total paid circulation 43,060 music and dance, food and D) Free distribution by mail, carrier festivities to celebrate the or other means: sample, com- plimentary and other free copies: 304 opening of this unique profes- E) Total distribution: 43,364 F) Copies not distributed: sional crafts school. Opening I) Office use, left-over, unaccounted, Exhibit: Appalachian Crafts/ spoiled after printing: 1,006 2) Returns from news agents: 0 Thirteen States. For informa- G) Total 44,370 The actual number of copies for single issue tion: Appalachian Center for nearest filing date are: Crafts, Box 5106/TTU, Cooke- A} Total no. copies printed: Net Press Run: 44,000 ville, Tennessee 38S01 B) Paid circulation I Sales through dealers and carriers, street vendors and counter sa es: 1,851 2] Mail subscriptions: 40,432 C) Total paid circulation: 42,283 X I)Jxi~il)n Of I('ilIR'~'(" ~,rTN ( ()lllllll~N1()n D) Free distribution by mail, carrier or other means: samples, com- plimentary and other free copies: 290 E] Total distribution: 42,573 F) Copies not distributed: I} Office use, left-over, Frank B,,~d,. unaccounted, spolled after printing: 1,427 sions. The bottles were slip-glazed and 2) Returns from news agents: 0 G} Total: 44,000 raku fired to produce a surface such as I certify that the statements made by me above that shown above, 8~ inches in height, are correct and complete. Spencer L. Davis, STUDIOS IN HOLLAND with porcelain stopper. Publ;sher Ceramists interested in rent- ing a studio in the Keramisch Werkcenfrum Heusden, the Index to Advertisers A & A Netherlands, are now invited ...... 78 Donker ...... 67 Owl Creek ...... 87 A-1 to apply to the manager, ...... 88 Duncan ...... 29, 30, 31, 70 Pacific Kiln ...... 70 A.R.T ...... 94 Paragon ...... 20 Eagle ...... 8~ Paramount ...... Hans van Wiick. The centre Alpine ...... 16, 92 Eckels ...... 89 Amaco ...... 66, 69 Peach Valley ...... 73 is designed Ferro, Electro Div ...... fo help both in Appalachian Center ...... 98 10 Peters Valley ...... 93 Florida Potters ...... Phoenix Artex ...... 81 91 Design ...... 69, 83, 87 the transition from art school Flower - ...... 71, 80 Plainsman ...... Axner ...... 85. 93 27 Fox Run ...... 87 Plasti-Bat ...... 89 to professional practice, e.g. Bailey ...... 3 Francoise ...... 85 Posterity ...... 93 Baldwin ...... their first exhibition: and also 83 Gate ...... Potluck ...... 96 Bat ...... 87 93 Garendo ...... Potters' Mark ...... 93 for the more experienced Bennett ...... 96 who 8 Raku ...... 95 Berman ...... 19 Geil ...... 28 ~obbins ...... wish to carry out experimen- Big Creek ...... Giffin ...... 13 95 Robinson ...... 87, 89 Blue Sage ...... Good Earth ...... 94 tation, e.g. on a larger scale, Hammill & Gillespie ...... Ravin ...... 84 Bluebird ...... 85 25 Industrial Salem ...... 93 or design and glaze develop- Book Department__ll, 65, 85, 90 Minerals ...... 80 Innovations ...... Scott Creek ...... 66 Boston University ...... 76 92 ment. J. Clay ...... 89 Seeley's ...... 71 Brant ...... ~l Shimpo ...... Cover 2 Burns ...... 89 Joy Reid ...... Kemper ...... Cover Skutt ...... 12 Requirements: I. Completed Butz ...... 25 3 Keramisch Werkcentrum Soldner ...... 14 Byrne ...... 71 --- 98 ceramic studies, or 2. A train- Keramos ...... 96 Spence'r ...... 79 California Kiln ...... ing of similar level, or 3. At 84, 85 Kickwheel Pottery ...... 4, 80 Spinks ...... 72 California Pot-Tools ...... 88 Kilntronics ...... 22 Standard ...... 13 Campbell ...... least four years experience, 78 Kodansha ...... 9 Sun Valley ...... 97 Capital ...... 91 Kraft ...... 83 Sunflower ...... 97 i~c self-taught. Ceramic Fiber ...... 26 L&L ...... 89 Superamics ...... 78 Ceramic Films ...... 70 L&R ...... 85 Thomas-Stuart ...... 94 An advisory committee de- CeramiCorner ...... 93 Leslie ...... 83 Thompson ...... 82 cides admission on the Ceramics & Crafts ...... 89 Manson Kennedy ...... 82 Turkey Knob ...... 97 basis Chicago Ceramics ...... 91 Marathon ...... 24 Turner ...... 87 of quality, skill, written moti- Cinnamon Hill ...... 89 Marion ...... 83 Tuscarora ...... 95 Clay Devil ...... 81 Max ...... 73 Van Howe ...... 86 vation and a plan of action Clay People ...... 84 Mayco ...... 15 Venco ...... 68 from the candidate. Cobble Brook ...... 93 Miami Clay ...... 81 WCS ...... 74 Contemporary ...... 7 Minnesota Clay ...... 76 Walker Jamar ...... 87 Inquire: Mr. H. van Wijck, Cork Products ...... 93 Montgomery Technical ..... 95 Walsh ...... 89 Cornell ...... 78 Oak Slab ...... 88 Way-Craft ...... 93 Postbus IS, $256 AT Heusden Craft Students ...... 97 Oak Tree ...... 81 Webco ...... 92 Creative ...... 82 Odyssey ...... 97 West Co~st ...... 86 gem. Heusden, the Nether- Creek Turn ...... 77 Ohio Ceramic ...... 67 Westby ...... = ...... 67 lands. Tel. 04162-1694. Cress ...... Cover 4 Old Church ...... 95 Western Ceramms ...... 91 Crusader ...... 18, 86 Olsen ...... 66 Wolfe ...... 19 Dawson ...... 93 Olympic ...... 23 Wonder Woods ...... 89 Denton ...... 93 Orton ...... 21 Ysern ...... 85

98 CERAMICS MONTHLY KEMPER Precision,Extensionsbalanced of yourhands. extensionsthat enable TOOLS you to reach into the fiery kiln that culminates your artistic efforts. Kemper Raku Tongs grasp your work with nothing more than a caress to the fragile clay surface, yet hold firm for control. Built to last they are available in three sizes and grips at your nearest Kemper dealer or distributor. QUALITY Quality Raku Tongs from ~i!ii ¸ Kemper, your ~~ work deserves the best. Kemper Mfg., TONGS Inc., 13595 12.th Street, Chino, California 91710.

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/ \ / The Easiest-To-Fire Kilns in the World • FX23 Model: New Cone 10-2400°F. ,~ 3-Coat baked process to finish lid; Heavy duty fixed hinge with rating. Full 221/2'' deep by 17" wide \ beveled to reduce chance of automatic lid venting system. No need to return to close lid on i Locking, non-wobble lid support \ I hipping / most bisque and glaze loads for sturdy, full-opening lid \ \ Fall-away, non-pinching, adjustable Premium, hand-selected, insulating\ / lid venting prop for decals, gold firebrick for maximum heat storage. \ and lusters • New Coating between lid and Kiln for longer wear ------_.._ Permanently attached operating instructions always ready for use • Ventilated panel for increased wiring life MOTORIZED FIREMATE POWER • CONTROL (Exclusive patent • Coated tapered peepholes for pending, a Cress 1st) not necessary wide view and less heat loss _ to come back to turn kiln up? It turns itself up automatically. • Mirror finish, stainless jacket,- i /e form-fitted for strength ! Dawson Kiln Sitter and limit timer J standard built-in extra safeguard. • Chrome-plated, full-size handles~ for easy lifting l /* Exclusive push-to-turn safety knob (a Cress 1st) • Quality 392°F plated SF-2 wiring Exclusive Firemate electric speed • Pilot I!ghts control (Patent pending, a Cress 1st

• New fully illustrated two-color, Less heat shock on ware, due to step-by-step, 50-page instruction gradual increase--not step power and service manual, complete with increase. wiring diagrams, firing schedule, firing record sheets, and parts New UL & CSA approved extra identification. ,q heavy duty cord • Electrically welded, pre-assembled stand packed separately to avoid • ~ The easiest kiln to fire damage to kiln interior during manually with one dial transit. control

. Preprogrammed automatic Tuned elements and ~ minimum soaking for better reds -k exclusive electric circuitry and firing excellence--another r I to distribute power evenly exclusive Cress feature--patent and precisely where pending feedback circuitry. required for the most accurate temperature • Firemate automatically uniformity available. Better compensates for voltage than any other hobby kiln in fluctuations (within design limits) Galvanized steel base-plate the world! Another Cress during operating. for safety exclusive.

Patents pending in the U.S.A., Canada, Mexico, Venezuela, Japan, Australia, Great Britain, etc. The Cress FX23 -- Its exclusive features, quality and new firing excellence make it the best firing, longest-lasting kiln you can buy-- also the easiest. We are excited most that FX kiln users will find the enjoyment of perfect firing results from the very top to the very bottom, better porcelain, better bisque, better ceramics. We figure that's exactly what you expect from a Cress. *Shipments made from our Hopkinsville, Kentucky plant, when closer to you. Contact us (at our California plant shown below) for a free catalogue and your nearest stocking Cress dealer. CRESS MANUFACTURING COMPANY 1718 Floradale Ave. also shipped from South El Monte, Calif. 91733 Hopkinsville, Kentucky (213) 443-3081 AUTOMATED FIRING J