2 C eramics Monthly Ceramics Monthly Volume 30, Number 4 April 1982 Features Louise and Satoshi Doucet-Saito by D. G. Jones...... 28 Dolores Hidalgo: City of Tiles by Maggie Creshkoff...... 32 Ronna Neuenschwander by Cheryl R. McLean...... 36 A Wood-Fired Raku Kiln by Harriet Brisson ...... 38 Steve Reynolds Exhibition...... 41 American Clay by Tom Haulk...... 42 Softbricks and Salt Glazing by Anne Shattuck...... 43 Ohio Fairs ...... 48 New Works in Clay at Syracuse by Margie Hughto...... 50 Summer Workshops 1982 ...... 57 Cone 5-6 Reduction Glazes by Paul Woolery...... 64 Departments Letters to the Editor ...... 7 Where to Show ...... 11 Questions ...... 15 Suggestions ...... 17 Itinerary ...... 19 Comment: Seduction by Machine by Jack Troy...... 25 News & Retrospect ...... 69 Index to Advertisers...... 96 Cover Summer workshops have been a tradition among ceramists, providing an opportunity for gathering together within the context of the medium to share ideas and friendships. From the newest pot­ ter learning to throw on the wheel to earthworks and industrial collaborations like that of Tony Hepburn (shown with his earthenware “Omaha Gate”) at the Omaha Brickworks in Nebraska, workshops have been part of the glue that holds together the ceramist’s substantial network of com­ munication and community. For information con­ cerning such events this summer, turn to the listings beginning on page 57. Photo: courtesy of Ree Schonlau. April 1982 3 4 Ceramics Monthly Ceramics Monthly Magazine

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Ceramics Monthly (ISSN 009-0328) is published monthly except July and August by Professional Pub­ lications, Inc. — S.L. Davis, Pres.; P.S. Emery, Sec.: 1609 Northwest Blvd., Columbus, Ohio 43212. Subscription Rates: One year $14, two years $26, three years $35. Add $3 per year for subscriptions outside the U.S.A. Change of Address: Please give us four weeks ad­ vance notice. Send both the magazine wrapper label and your new address to Ceramics Monthly, Circulation Office, Box 12448, Columbus, Ohio 43212. Contributors: Manuscripts, photographs, color sepa­ rations, color transparencies (including 35mm slides), graphic illustrations and news releases dealing with ceramic art are welcome and will be considered for publication. A booklet describing procedures for the preparation and submission of a manuscript is avail­ able upon request. Send manuscripts and correspon­ dence about them to The Editor, Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Indexing: Articles in each issue of Ceramics Monthly are indexed in Art Index. A 20-year subject index (1953-1972) covering Ceramics Monthly feature arti­ cles, Suggestions and Questions columns is available for $1.50, postpaid from the Ceramics Monthly Book Department, Box 12448, Columbus, Ohio 43212. Additionally, each year’s articles are indexed in the December issue. Copies and Reprints: Microfiche, 16mm and 35mm microfilm copies, and xerographic reprints are avail­ able to subscribers from University Microfilms, 300 N. Zeeb Road, Ann Arbor, Michigan 48106. Copies in microfiche are also available from Bell & Howell, Mi­ cro Photo Division, Old Mansfield Road, Wooster, Ohio 44691. Back Issues: Back issues, when available, are $3.00 each, postpaid. Write for a list. Postmaster: Please send address changes to Ceramics Monthly, Box 12448, Columbus, Ohio 43212.

Copyright © 1982 Professional Publications, Inc. All rights reserved April 1982 5 6 Ceramics Monthly Letters Towing the Line pots with high art, then perhaps a more “Censored Clay” (in the February issue) elevating base could be substituted (below illustrated the inescapable political aspect right). But if nobody wants a used statue of art beyond the classroom. Having left of Mayor Moscone, then perhaps the the sanctuary of radical academia and en­ artist could reuse it in a way that might tered the conservative governmental art advance his career in political circles world, Robert Arneson’s naivete reveals (below left). These composites cut and itself. Conservative art immortalizes those reassembled from Ceramics Monthly repre­ who pay to be immortalized, not those who sent only preliminary sketches and un- underline a mayor’s mortality. I abhor the stifling of any artist’s expression, but if one accepts the patronage of a political group, one must also tow that patron’s political line. Mark Anderson Lambertville, N.J. Stinging Reality Regarding Robert Arneson’s work hon­ oring George Moscone: Poor taste? Per­ haps. However, Arneson makes a strong social comment, reflecting—for good or bad—his perception of a violent culture. The work itself may not be in poor taste, while the society it mirrors may well be. Reality tends to sting just a little bit when we get a strong enough dose. Michael E. Wright Lynd, Minn. And a Solution In regard to the controversy concerning Robert Arneson’s sculpture of San Fran­ cisco’s assassinated mayor George Moscone, I am amazed at how little creativity has been shown by the San Francisco Art Com­ mission and by the artist himself when confronted with this problem, which stems mostly from taking the whole project much too seriously. Why, any potter could come up with a new base for the Moscone sculp- doubtedly there could be even more useful variations if all concerned extended their creative thinking a bit. Name withheld by request Recommended Reading Howard Becker’s Comment (“Arts and Crafts”) in the January issue was abso­ lutely outstanding. Nowhere have I seen this crucial issue analyzed with anything approaching his insight. He examines all facets with amazing thoroughness and with an impartial approach. As a potter, I kept thinking “right on” to each point he made, and thought of example after example from my own expe­ riences. I recommend this article be required reading for faculty and students in all college art departments. Henry Harmeling Jr. Beverly, Mass.} Gold Dangers Noted I was shocked to read the answer to the ture, and Robert can simply write Ken question about liquid-gold china paint in Ferguson at Kansas City Art Institute for the February CM. The article quoted is a a nifty one like this (above). relic of 1898, when toxicology was in its If, on the other hand, the artist and the infancy. The recipe belongs in a museum commission are concerned about mixing Continued April 1982 7 8 Ceramics Monthly and athletes, will always be taken lightly from time to time. Generally it is well Letters and not understood for the work, discipline balanced. I don’t object to seeing what the along with the “Mad Hatter,” who ac­ and energy it takes to keep going. avant-garde are doing, so long as it is quired his occupational disease due to mer­ Barb A’Hern shorn of self-justifying jargon. Encouraging cury poisoning. A relevant answer would Anoka, Minn. a self-help study of the past is more impor­ have been, “Buy the gold luster from a tant than mutual back-scratching and ego- precious metal company such as Engelhard A most enlightening Comment in Febru­ tripping, clothed in a welter of obscure in New Jersey and leave the formulation to ary’s issue. We all need comic relief from prose. experts.” But if the subscriber must do time to time. John Gunn everything, at least mention the need for a Deanna Kostyshyn Chichester, Sussex, G.B. chemical fume hood and the proper han­ Verona, N.J. dling of the aqua regia (nitric-hydrochloric I often am both offended and amused acid mixture) liquid mercury-mercury saltSubscribers’ Comments by the holy tone of some of CM’s authors’ (vapor pressure 1mm at room tempera­ The December cover is simply obscene. pronouncements. Clay is not God but a ture), and the other toxic materials. Am I to aspire to this garbage? Even the dependable substance for the workaday This formulation should not be tried by “artist’s” description is inane and boring. world (such as making sparkplugs); for the potter who lacks knowledge of chem­ Please show fine, fine work as in the hobbyists, craftsmen, artists and workmen istry and the safe handling of highly toxic December Portfolio; don’t throw trash at (such as bricklayers). materials. the subscribers. CM is contributing to the Tom Westbrook E. M. Ferreri sickness described by Harry Davis in his Louisville, Ky. Upton, N.Y. eight-page article published in the same issue. What value do the pieces on the CM continues to improve. The wide- December cover possess in relation to any­ range coverage is informative and gives Craft Burnout thing? I cannot detect any particular skill everyone a chance. The broad approach Your February Comment was wonderful. involved in their execution, find no value allows one to keep in touch with the entire The thing I can’t understand about pot­ or meaning to the work, and would really field. Stick to your guns. tery is the romanticism. A person works like to know why these appear on what I Norman Schulman 40-plus hours a week at making pots, phys­ have always considered a fine, rational, in­ Penland, N.C. ically doing oneself no good (silicosis, telligent magazine. asthma, dermatitis, back problems, aller­ Candace Young gies and now carpal tunnel syndrome to Bayboro, N.C. Share your thoughts with other readers. name a few) and then has people say, All letters must be signed, but names “What fun it must be to have a pottery Is CM produced by a machine? It will be withheld on request. Address: The shop and play in the mud all the time.” would be nice to have some editorial com­ Editor, Ceramics Monthly, Box 12448, I guess we craftspeople, just like musicians ment to share your thoughts with readers Columbus, Ohio 43212.

April 1982 9

Where to Show exhibitions, fairs, festivals and sales Send announcements of juried exhibitions, Juried from 5 slides and current resume. (May 14—June 13) is open to all artists fairs, festivals and sales at least four Fee: $10. Jurors: Rudolph Staffel, Betty born or residing in Arkansas, Louisiana, months before the entry deadline to ThePark and Patricia Malarcher. Contact: Mississippi, Missouri, Oklahoma, Texas Craft Concepts, Jewish Community Cen­ and Tennessee. Juror: Helen Drutt. Juried Editor3 Ceramics Monthly, Box 12448, ter, 501 North Jerome Avenue, Margate from objects. Fee: $7.50 per work, limit 2 Columbus, Ohio 43212; or phone (614)08402, or call: (609) 822-1167. works. For further information contact: 488-8236. Townsend Wolfe, Arkansas Arts Center, April 1 entry deadline Box 2137, Little Rock 72203, or call: University Park, Pennsylvania “16th An­ (501) 372-4000. nual Juried Crafts Exhibition, Central Events Pennsylvania Festival of the Arts” (July April 23 entry deadline 6—September 12) is open to all crafts- White Plains, New York “Mamaroneck April 23 persons. $2000 in prizes. Jurying fee: $5 Artists Guild 29th Open Juried Exhibi­ Millersville, Pennsylvania “The 4th An­ for up to 2 entries. Exhibition fee: $15. tion” (April 30—May 16) is open to all. nual Ceramic Boat Regatta” is open to For further information send a self- groups and individuals. All boat parts addressed, stamped envelope to: Stephen Awards. Fee: $12 for 1 entry, $16 for 2 touching the water must be made of ce­ Mershon, Box 5, Lemont, Pennsylvania entries. Work must be hand delivered. For ramic material. Non-ceramic oars, paddles 16851, or call: (814) 234-3086. more information write: Cynthia Doyle, and decorations are acceptable. Boats, 10 Burns Street, Hartsdale, New York powered by one person, must navigate one May 7 entry deadline 10530, or call: (914) 948-6298. lap on the Swan Pond. (No engines per­ Houston, Texas “What’s New in Clay” mitted.) Prizes: 1st, 2nd, 3rd, and by (June 19—July 10) is open to all ceram­ May 7 entry deadline popular vote—“Most Exotic” and “Most ists. Juried from slides, minimum 3 entries. Evergreen, Colorado “Summer in the Likely to Cross the Atlantic.” (See CM, Fee: $15. For further information contact: Rockies Fine Arts Exhibition” (June 18— December ’79, page 77 for details on the Huey P. Beckham, University of Houston, July 16) is open to all artists and crafts­ first regatta.) For further information and Fine Arts Department, 4800 Calhoun, persons in Colorado, Wyoming, New Mex­ clarification write: Art Department, Brei- Houston 77004, or call: (713) 749-3828. ico, Kansas and Utah. Juried from slides denstine Hall, Millersville State College, and photos. Awards. For further informa­ Millersville 17551, or call: (717) 872- June 14 entry deadline tion contact: Evergreen Artists’ Associa­ 3301. Cooperstown, New York “47th Annual tion, Box 1511, Evergreen 80439, or call: Art Exhibition” (July 18—August 21) is (303) 674-0842. open to artists and craftspersons. Juried May 15 entry deadline from works. $7000 in awards. Fee: $10. Seattle, Washington “Northeast Regional International Exhibitions For further information contact: Olga Crafts ’82” (September 25—October 16) Welch, 22 Main Street, Cooperstown is open to all craftspersons from Washing­ April 30 entry deadline 13326, or call: (607) 547-9777. ton, Oregon, Alaska, Utah, Montana and Faenza, Italy “40th International Compe­ Idaho. Awards. Juried from slides of 1 to tition of Artistic Ceramics” (July 25—Oc­ September 11 entry deadline 3 views per work, up to 3 entries. Fee: $8. tober 10) is open to ceramic artists. Marietta, Ohio “Marietta College Crafts For more information contact: Allied Arts Awards: “Faenza Prize” L. 1,500,000 (ap­ National ’82” (October 30—November of Seattle, 107 South Main Street, Seattle proximately $1300) and a solo exhibition; 28) is open to all U.S. craftspersons. 98104, or call: (206) 624-0432. purchase prizes and gold medals. Juried Juried from slides. $5,500 in prizes and from a maximum of 5 works. Entry forms awards. Fee: $15 for 3 entries. For further June 1 entry deadline due: April 30; work due: May 15. For information write: Arthur Howard Winer, Saint Louis, Missouri “Art of the Bath” information and entry forms write: Edo- MCCN ’82, Marietta College, Marietta (August 1—31) is open to all artists from ardo Dalmonte, Concorso Internazionale 45750, or call: (614) 373-4643, extension Arkansas, Illinois, Indiana, Iowa, Kansas, della Ceramica d’Arte, Palazzo delle Espo- 275. Michigan, Minnesota, Missouri, Nebraska, sizioni, Corso Mazzini 92, Faenza. North Dakota, Oklahoma, South Dakota May 14 entry deadline and Texas. Theme: the bath and bathing. Auckland, New Zealand “The Fletcher Regional Exhibitions Juried by Ruth Kohler from a maximum Brownbuilt Pottery Award 1982” (June of 10 slides. Cash and purchase awards. 6—20) is open to all potters. Juried from April 1 entry deadline 40% commission. Fee: $10. For more works; one entry per person. Purchase Los Angeles, California “Clay ’82” (May information contact: Craft Alliance, 6640 award: NZ$3000 (approximately $2600). 15—June 28), sponsored by the American Delmar Boulevard, Saint Louis 63130, or 20% commission. Contact: The Competi­ Ceramic Society, is open to ceramists in call: (314) 725-1177. tion Organizer, Fletcher Brownbuilt, Pri­ California and Nevada. Juror: Ralph Ba- vate Bag, Auckland. cerra. Juried from works; minimum 2, June 1 entry deadline maximum 3. Awards. Fees: $10, members; Chagrin Falls, Ohio Valley Art Center’s $25, nonmembers; $8, students. For more “First Annual Great Lakes Regional Art information contact: Bernice Haver, 9820 Exhibition” (September 14—October 2) Beckford Avenue, Northridge, California is open to ceramists residing in Minnesota, National Exhibitions 91324, or call: (213) 349-3940. Wisconsin, Michigan, Indiana, Illinois, April 1 entry deadline Ohio, Pennsylvania and western New Elk Grove Village, Illinois “Trends in April 2 entry deadline York, including Syracuse. $20,000 in Stoneware” (May 6—31) is open to all Charlottetown, Prince Edward Island, awards. Juried from slides. Fee: $10 for ceramists. Juried from slides. Awards: Canada “Atlantic Visions/Vues Atlan- up to 2 entries. Commission: 15%. Send $1000 to $1500. A catalog documenting the tiques” (September 10—October 3) is a self-addressed, stamped envelope to: selected works will be published. Fee: $10 open to all craftspersons in the four At­ Great Lakes Regional Art Exhibition, Val­ for 3 works. For further information con­ lantic provinces of Canada. Juried from 3 ley Art Center, 155 Bell Street, Chagrin tact: Nick Nero, A.R.T. Studio, 921 Oak- works. Fee: $5 per entry. Jurors: Made­ Falls 44022, or call: (216) 247-7019. ton Street, Elk Grove Village 60007, or line Chisholm, Jacques Garnier and Vir­ call: (312) 593-6060 in Illinois, or (800) ginia Watt. Contact: Colleen Lynch, 8 August 6 entry deadline 323-0212. Upper Battery Rd., St. John’s, Newfound­ Little Rock, Arkansas “25th Annual Delta land A1 A, 1A4, or call: (709) 726-3135. Art Exhibition” (November 24—January April 1 entry deadline 2, 1983), an exhibition of painting and Margate, New Jersey “Craft Concepts ’82” April 23 entry deadline sculpture including ceramics, is open to (June 12—16), a multimedia exhibition Little Rock, Arkansas “Fifteenth Annual artists born or residing in Arkansas, Lou- including ceramics, is open to all artists. Prints, Drawings and Crafts Exhibition” Continued April 1982 11 12 Ceramics Monthly val, 910 Wheeling Avenue, Cambridge ber 4—6, 11—12, 18—19, 25—26 and Where to Show 43725, or call: (614) 439-6688. October 2—3) is open to all craftspersons. isiana, Mississippi, Missouri, Oklahoma, Juried from 4 slides or photos. Fee: $150; Tennessee and Texas. Juried from slides April 1 entry deadline $200 after April 30, includes booth space. of up to 2 works. Awards. Fee: $7.50. Milwaukee, Wisconsin “Art Fair U.S.A.” Contact: Maryland Renaissance Festival, Contact: Townsend Wolfe, Arkansas Arts (April 17—18), an indoor spring show, is 2025 Maryland Avenue, Baltimore 21218, Center, Box 2137, Little Rock 72203, or open to artists 18 years or older in all or call: (301) 685-1445. call: (501) 372-4000. media. Submit 5 slides or photographs with resume. Entry fee: $65 for a 10x10- May 1 entry deadline August 14 entry deadline foot space. Contact: Dennis R. Hill, 3233 Minneapolis, Minnesota “Rose Fete” (June Gatlinburg, Tennessee “Spotlight ’82: South Villa Circle, West Allis, Wisconsin 20), a festival at the Minneapolis Insti­ Southeast Crafts” (October 6—November 53227, or call: (414) 321-4566. tute of Arts, is open to all. Juried from 3 20) is open to artists 18 or older living in slides. Jury fee: $5. Booth fee: $35 for a Alabama, Florida, Georgia, Kentucky, April 10 entry deadline 15x15-foot space. For more information Louisiana, Mississippi, North Carolina, Mountain View, Arkansas “Ozark Foot­ contact: Jacquelyn Warner, Minneapolis South Carolina, Tennessee, Virginia and hills Handicraft Guild’s 20th Annual Institute of Arts, 2400 Third Avenue West Virginia. Juried from slides. Juror: Spring Show and Sale” (April 16—18) is South, Minneapolis 55404, or call: (612) Mel Somerosky, professor of art, Kent open to all craftspersons using natural ma­ 870-3221. State University, Ohio. Entry fee: $10. terials. Juried from 5 slides of work and For further information write: Arrowmont booth arrangement. Entrance fee: $5. May 1 entry deadline School, Box 567, Gatlinburg 37738, or Booth fee: $15 for a 4xl0-foot space. For Hillsborough, New Jersey “New Jersey call: (615) 436-5860. more information contact: James H. San­ Craft Experience” (November 12—14) is ders III, Ozark Foothills Handicraft Guild, open to all artists and craftspersons. Juried Box 140, Mountain View 72560, or call: from 5 slides. Fee: $165 for an 8xl0-foot (501) 269-3896. space. No commissions. For more informa­ tion contact: Howard Rose, 8-5 Cardinal Fairs, Festivals and Sales April 15 entry deadline Lane, Hillsborough 08876, or call: (201) April 1 entry deadline Morristown, New Jersey “Morristown 874-5247. Dubuque, Iowa “DubuqueFest” art fair CraftMarket” (October 8—10) is open to (May 20—23) is open to all craftspersons. all professional craftspersons. Juried from May 1 entry deadline Juried from 3 slides or prints. Fee: $35 5 slides. Ceramics juror: Byron Temple. Woodstock, New York “Woodstock Art & for two days, or $20 for one day includes Entry fee: $7.50. Booth fee: $125 for a Crafts Festival” (September 3—6) is open a 10x10-foot space. Awards. For further 10x10-foot space. For further information to ceramists. Juried from 5 slides. Entry information contact: Dubuque Fine Arts contact: Michael and Barbara Feno, Mor­ fee: $15. Space fee: $110—$125. For Society, 422 Loras Blvd., Dubuque 52001, ristown CraftMarket, Box 2305-R, Morris­ further information contact: Neil and or call: (319) 583-6201, or 588-9751. town 07960. Scott Rubinstein, Box 43 7B, Woodstock 12498, or call: (914) 679-8087. April 1 entry deadline April 16 entry deadline Lincoln, Massachusetts “DeCordova Mu­ Evanston, Illinois “Fountain Square Arts May 15 entry deadline seum’s Crafts Fair” (June 25—26), part Festival” (June 19—20) is open to all Lafayette, Indiana “Lafayesta,” a festival of DeCordova’s 1982 Festival of the Fu­ craftspersons. $4000 in prizes and awards. of arts and crafts (September 4—5), is ture, is open to ceramists. Juried from 3 to 135 artists will be selected. Fees: $10 for open to all. Juried from 4 slides. Cash 5 slides. Application fee: $5. Booth fee: application with 5 slides, $30 for registra­ awards. Fee: $30 includes a 8x10-foot $100. For further information contact: tion and space. For further information space. For more information contact: Nan Joan Sinatra, DeCordova Museum, Sandy contact: Ira Golan, Evanston Chamber of Schwetman, Lafayette Art Center, 101 Pond Road, Lincoln 01773, or call: (617) Commerce, 807 Davis Street, Evanston South Ninth Street, Lafayette 47901, or 259-8355. 60201, or call: (312) 328-1500. call: (317) 742-1128. April 1 entry deadline April 16 entry deadline Grand Rapids, Michigan “Ramparts Hamilton, New York The “Village Artists’ May 15 entry deadline Show” (August 20—21) is open to all and Craftsmen’s Eighth Annual Art and Syracuse, New York “The 12th Annual craftspersons. Juried from 4 or 5 slides. Craft Fair” (July 24—25) is open to all Downtown Syracuse Arts and Crafts Fair” Fee: $25, includes a 15xl0-foot space. For craftspersons. Juried from 5 slides. Fees: (July 15—17) is open to all artists and information write: Ramparts, 143 Bost- $2 entry; $30—$60 booth, depending on craftspersons. Cash and purchase awards. wick North East, Grand Rapids 49503, or space. For further information contact: Juried from 5 slides of work and display. call: (616) 456-4572. Village Artists and Craftsmen, Box 292, Entry fee: $5. Booth fee: $45. For further Hamilton 13346, or call: (315) 824-1343. information contact: The Downtown Com­ April 1 entry deadline mittee of Syracuse, 1900 State Tower Layton, New Jersey “Peters Valley Craft April 20 entry deadline Building, Syracuse 13202, or call: (315) Fair” (July 24—25) is open to all crafts­ Menomonie, Wisconsin “Mabel Tainter422-8284. persons in the U.S.A. Juried from 5 slides. Festival of the Arts” (July 10—11) is Entry fee: $10. Booth fee: $65 for a open to artists 18 years or older. Juried May 15 entry deadline 10x10-foot area. No commissions. For fur­ from 3 to 6 slides. Entry fee: $2; after Sheboygan, Wisconsin “Twelfth Annual ther information contact: Linda Davis, April 20: $4. Booth fee: $4 per day for Outdoor Arts Festival” (July 17—18) is Peters Valley, Layton 07851, or call: an approximately 12x6-foot space. For fur­ open to all craftspersons. Juried from 5 (201) 948-5200. ther information contact: Mabel Tainter slides. $1200 award and purchase prizes. Chautauqua of the Pinery, Mabel Tainter Fee: $25. No space fee. For further infor­ April 1 entry deadline Memorial Building, Menomonie 54751. mation contact: John Michael Kohler Arts Garrison, New York “Garrison Art Cen­ Center, 608 New York Avenue, Box 489, ter’s 13th Annual Arts and Crafts Fair” April 24 entry deadline Sheboygan 53081, or call: (414) 458-6144. (August 21—22) is open to all crafts­ Marietta, Ohio “Indian Summer Festival persons. Juried. Fees: $3 with 5 slides and ’82” (September 17—19) is open to all May 19 entry deadline application, $35 for registration and space. artists and craftspersons 18 years or older. Fort Wayne, Indiana “Three Rivers Fes­ 10% commission. For further information Juried from slides of up to 5 works. Par­ tival” (July 10—11) is open to residents contact: Garrison Art Center, Box 4, ticipants are asked to demonstrate during of the U.S.A., Canada and Mexico. Juried Garrison 10524, or call: (914) 424-3960. show. Fee: $55 for a 10x10-foot space. from 5 slides or photographs. Fee: $20 For more information contact: A. H. includes a 10x10-foot area. For further April 1 entry deadline Winer, Indian Summer Arts and Crafts information contact: Betty Newton, 1707 Cambridge, Ohio “Salt Fork Arts and Festival, Marietta 45750, or call: (614) Kensington Boulevard, Fort Wayne 46805, Crafts Festival” (August 13—15) is open 373-8027. or call: (219) 422-6949. to ceramists. Juried from 3 slides. $1500 in awards. Application fee: $5. Booth fee: April 30 entry deadline June 1 entry deadline $55 for an 8x8-foot space. Contact: Baltimore, Maryland “Maryland Renais­ Mount Vernon, Illinois “Cedarhurst Craft Chamber of Commerce, Salt Fork Festi­ sance Festival” (August 28—29, Septem­ Please Turn to Page 70 April 1982 13 14 Ceramics Monthly Questions Answered by the CM Technical Staff I understand that cones measure work (a temperature-time relationship) rather than simply temperature alone. Yet when one compares the way small and large cones of the same numeri­ cal designation behave in the kiln, there is quite a difference. Can you explain this and show the relationship of small and large cones fired at the same temperature and rate?—L.H. The answer to your question is a complex one. To begin with, small and large cones of the same number are made from the same material composition, but there the similarity ends. “Though the viscosity of both large and small cones [standing inclined at 8° from vertical] would decrease at nearly the same rate when heated side by side, the greater weight of the large cone will cause it to deform first,” stated Chris Gjessing, of the Orton Foundation staff. What’s more, there are other variables: a small cone used horizontally in a kiln sitter deforms earlier than the same cone standing 8° from vertical primarily because of the added weight of the sitter bar. The deformation is further influ­ enced by factors including the position of the cone beneath the kiln sitter tripping bar, and the adjustment of the kiln sitter. (Orton found three different weights of kiln sitter bars on three kilns tested; the bars weighed 3.4, 3.8 and 3.6 grams respectively, at the point of contact. Most kiln sitters are adjustable by moving the tripping mechanism on the outside end of the kiln sitter bar.) . . Contributing as much to the nonprescriptive nature of this cone comparison are the temperature variations found in every kiln,” commented an Orton source. With all these variables, it should not be surprising to learn that Orton has no charts which compare small and large cones fired at the same rate. The only useful comparison for the potter is to fire large and small cones side by side in the same manner in which you use them. According to Orton, “this actual perfor­ mance test is probably more helpful than temperature data.” Generally speaking, though, small cones will deform at approx­ imately 15°C higher than the corresponding large cones when fired in the recommended near-vertical position. When the small cone is fired horizontally in a kiln sitter, it generally shuts off electrical current from one to one and a half cones lower than the corresponding near-vertical large cone. After a recent brush fire which burned a substantial portion of a nearby grassy meadow, we gathered quite a bit of the ash. After a variety of tests, however, it does not appear to perform like the wood ash we are more used to using in glazes. Can you suggest a grass ash recipe, and tell us why this ash is so different?—M.C. Grass ash tends to be high in silica when compared to wood ash, and for this reason it is typically much more refractory. A good recipe for starting experimentation with this potentially useful glaze ingredient is the following: GRASS ASH GLAZE (Cone 10, oxidation or reduction) Talc ...... 23% Whiting ...... 5 Grass Ash ...... 53 Kaolin ...... 13 Flint ...... 6 100% Grass ash may be used in the same manner as wood ash in both the washed and unwashed states—the former removing some of the soluble flux resulting in more mattness of the glaze surface. Our local supplier no longer is able to stock Macaloid, which we use as a plasticizer in porcelain. Can you recommend a substitute for this material?A.M.— Veegum T may be directly substituted for Macaloid.

Subscribers’ inquiries are welcome and those of general interest will be answered in this column. Send questions to: Technical Staff, Ceramics Monthly, Box 12448, Columbus, Ohio 43212. April 1982 15 16 Ceramics Monthly Suggestions from our readers Net Results glazes. Being so light, they require no counterbalance, and can be When sieving wet glazes, instead of assisting the batch through written on and put aside for further additions. Available at drug the screen with a hand or spatula, use a folded or rolled nylon net stores as well as beauty shops, they are inexpensive (250 in a box bag—the type onions come in—to rub over the sieve. The glaze for approximately 600). — Mary Lambrix, Clifton Park, N.Y. seems to “fall” through in record time. —June Barber, Dundas, Ont. Quality Trimming Tool Strap metal from packing crates will make an excellent trim­ Glued Reduction ming tool. Bend a 12-inch length in half to form a loop tool; Elmer’s glue applied full strength to bisqueware will cause those wrap tape around the ends to form a satisfactory handle. Angled areas to reduce black in an oxidation sawdust firing. shapes may also be achieved by crimping the loop. —Margot Johnstone, Stonington, Conn. —Linda H. Mau, Campbell, Calif. Production Memory Kiln Rewiring Trick With the need to employ efficient processes in the studio, one When working element wire through a hole in a softbrick, system I have found to be very useful is a card file containing electric-kiln wall, the job goes much faster if you first insert a the following information: type of production item, weight of plastic drinking straw through the hole from the outside until clay, finished dimensions and raw dimensions. This has been visible inside. Slide the wire lead of the element into the straw particularly useful for those items which have been phased out and through the wall, then remove the straw. of my current production line (and current memory) and then -—Nina E. Long, Baltimore reordered. —Helen Helwig, Cridersville, Ohio Smooth Cutting Tool Storage Cutting teapot strainer holes with a drinking straw is even The plastic containers that hold baby “wipes” can be used to easier if the straw is dipped in talc first. store tools or brushes. Some have square, flat lids that can be —Yurico Iwanaga, San Jose, Calif. removed and cut into ribs, templates, etc. —Ron Wilson, Garden Grove, Calif. Dollars for Your Ideas Ceramics Monthly pays $5 for each suggestion used; submissions Test Papers are welcome individually or in quantity. Send your ideas to CM, End papers (squares of tissue used to hold hair ends in curl­ Box 12448, Columbus, Ohio 43212. Sorry, but we can’t acknowl­ ers) are great for measuring small amounts of colorants for test edge or return unused items.

April 1982 17 18 Ceramics Monthly Itinerary events, exhibitions, fairs, festivals, sales and workshops to attend Send announcements of events, exhibitions, “Porcelain Raku” by Janice Rowell; at the tin Brothers, English studio potters; at the workshops, or juried fairs, festivals andCenter Lobby, Palo Alto Cultural Center, Delaware Art Museum. sales at least seven weeks before the 1313 Newell Road. month of opening to The Editor, Ceramics Florida, Sanibel Island April 8—30 Ce­ California, San Francisco April 6—May 15 ramics by Duey Liber; at Sanibel Gallery, Monthly, Box 12448, Columbus, OhioNew work by David Gilhooly; at Meyer 43212; or phone (614) 488-8236. Breier Weiss, Building A, Fort Mason 1628 Periwinkle Way. Center. Idaho, Boise through April 22 Ceramic Delaware, Wilmington through April 18 sculpture by Richard Shaw; at the Boise Events Turn-of-the-century ceramics by the Mar­ Continued California, San Jose April 5—8 The an­ nual conference of the National Council on Education for the Ceramic Arts (NCECA) at San Jose State University will include pre-conference workshops, 20 satellite exhibits and tours of nearby ceramic collections. The theme of the con­ ference is “California Art, 1950 to Now.” For more information contact: Marsha Chamberlain, Box 1106, Saratoga, Califor­ nia 95070 or: Department of Art, San Jose State University, San Jose 95122, or call: (408) 277-2541. New York, New York April 2—7 The annual convention of the National Art Education Association, at Sheraton Center, includes art exhibits, tours and placement service. Contact: National Art Education Association, 1916 Association Drive, Res- ton, Virginia 22091. Pennsylvania, PhiladelphiaMay 1 An auction of works donated by resident and visiting artists of Peters Valley Craft Cen­ ter, with proceeds to benefit Peters Valley facilities; at Philadelphia Art Alliance, 251 South 18 Street. For more information contact: Sherrie Posternak, Peters Valley, Layton, New Jersey 07851, or call (201) 948-5200, or 948-5207. Utah, Logan April 21—24 “Clay into Art V,” a western regional conference includes workshops and demonstrations by Paul Soldner, Laura Andreson, Jean Biagini, Dan Doak, Larry Eisner, Trish Hawkins, Deborah Horrell, Bruce Howdle, Rich Lipcher, Mark Prieto, Randy Schmidt, Bob Shay, Kurt Weiser and Richard Zakin. Guest lectures by Garth Clark, Norman Elliot, David Cox and Brent Peterson. In­ cludes exhibitions. Conference membership fees: $35 before April 1, $45 after. Con­ tact: Clay into Art V, Utah State Univer­ sity, UMC 50-A, Logan 84322, or call: (801) 750-1690.

Solo Exhibitions California, Fullerton April 16—May 20 “Figures,” an exhibition of ceramic sculp­ tures by Viola Frey; at the California State University Fullerton Art Gallery. California, Los Angeles through April 6 An exhibition of new polychrome low-fire works by Betty Woodman; at the Garth Clark Gallery, 5820 Wilshire Boulevard. California, Mendocino April 10—30 An exhibition of new porcelain works by Chris­ topher Yates; at Artisan’s Guild Store, 45050 Main Street. California, Palo Alto through April 18 April 1982 19 20 Ceramics Monthly ing exhibition of the Smithsonian Institu­ chen Larson; at the James A. Michener Itinerary tion; at the Anchorage Historical and Fine Library, University of Northern Colorado. Gallery of Art, 670 Julia Davis Drive. Arts Museum. Connecticut, Greenwich through April 17 Illinois, Chicago through May 1 An exhi­ Arizona, Mesa through April 14 The 4th “Connecticut Choice,” a group invitational bition of sculptural ceramic wall units by annual “Vahki Juried Competition”; at including ceramics; at the Elements Gal­ Patricia J. McGarry; at ARC Gallery, 6 the Mesa Activities Center, 155 North lery, 14 Liberty Way. West Hubbard. Center Street. April 16—30 New work in clay by Michel Connecticut, Guilford April 3—25 An Conroy; at Lill Street Gallery, 1021 West Arizona, Phoenix through April 4 “Blue exhibition of the pottery collection of Seth Lill Street. and White: East and West,” a survey of Isman; at Guilford Handcrafts Shop, the influence of Chinese porcelain on Route 77. Illinois, Winnetka through April 28 Por­ Middle Eastern and European wares. celain by Sandra Byers; at Synopsis Gal­ through April 18 An exhibition of 16th- D.C., Washington through April 3 “Amer­ lery, 931 Linden Avenue. to 19th-century Oriental ceramics from the ican Clay 1981”; at the Foundry Gallery, collection of Dr. and Mrs. Matthew Wong. 641 Indiana Avenue, Northwest. Kansas, Emporia through April 9 Ce­ May 8—June 27 “American Porcelain: through April 25 “The Inedible Renwick ramics by Rob Wiedmaier; at the Norman New Expressions in an Ancient Art,” a Birthday Cakes,” a 10th anniversary show R. Eppink Art Gallery, Emporia State traveling exhibition of work by 102 con­ of works by 14 artists, includes ceramics; University. temporary artists organized by the Smith­ at the Renwick Gallery, Pennsylvania Ave­ sonian Institution’s Renwick Gallery; all nue at Seventeenth Street, Northwest. Massachusetts, Boston April 1—30 New at the Phoenix Art Museum, 1625 North through May 9 “Between Continents/Be­ tripod raku sculptures by Rick Hirsch; at Central Avenue. tween Seas: Pre-Columbian Art of Costa Impressions Gallery, 275 Dartmouth St. Rica,” an exhibition of objects produced Arizona, Tucson through April 16 An from 500 B.C. to the mid-16th century Michigan, Birmingham through April 24 exhibition of 17th-, 18th- and 19th-century A.D., includes ceramics; at the National An exhibition of clay forms by Judith Salo­ American arts, includes ceramics; at the Gallery of Art, East Building, Fourth mon; at Robert L. Kidd Associates Gal­ Tucson Museum of Art, 140 N. Main Ave. Street at Constitution Avenue. leries, 107 Townsend Street. Florida, Orlando April 26—May 20 “8th Michigan, Okemos through April 24California, Laguna Beach through April Annual Competition: Small Works,” a Thrown stoneware and porcelain by Linda 12 A two-person show including clay-and- multimedia show of objects within 15x15- D. Nakatani; at the pARTners Gallery, wood sculptures by Phyllis Green; at La­ inch format; at the Valencia Community 2160 Hamilton Road. guna Beach Museum of Art, 307 Cliff Dr. College. New Hampshire, Plymouth April 5—25 California, Richmond through April 25Idaho, Boise through April 3 A group “Three Years After,” an exhibition of ce­ “Small Format,” a mixed-media exhibi­ exhibition including sculptural vessels by ramics by Jim Simister; at Plymouth State tion including ceramics; at Richmond Art Kerry Moosman; at the Boise State Uni­ Center, Civic Center Plaza. versity Gallery of Fine Arts, 1910 Univer­ College Art Gallery. sity Drive. New Mexico, Albuquerque through April California, San Francisco through April 23 25 “Recent Work in Clay from the Ata- “High and Dry,” an exhibition of ceramics Idaho, Ketchum April 1—20 A two- laya Hill Site,” a solo exhibition by Pamela by Blazin, Marsha Connell, Timothy Per­ person show of works by Alex McLauchlin Messer; at Mariposa Gallery, 113 Romero sons, Tom Smith and Jeff Whyman; at and Michael Corney. Street. Source Gallery, 1099 Folsom Street. April 22—28 The Sun Valley Center through June 6 “The Effie B. Allison winter session ceramics student show; both New Mexico, Santa Fe April 15—28 Collection: Kosometsuke and other Chi­ at the Sun Valley Center Gallery, Fourth “New Work in Clay,” by Shell Neymark; nese Blue and White Porcelains”; at the Street and Leadville. at the Artists’ Gallery, a Co-Operative, Ch’ing Gallery. 125 West Palace Avenue. through December 31 “Year of the Dog,” Illinois, Evanston through April 12 An tomb figurines of the Han Dynasty in­ exhibition including ceramics by Victor New York, Aurora through April 9 An cludes glazed pottery dogs; at the Gruhn Verbalaitis; at the Evanston Art Center, exhibit of work by Victoria MacKenzie- Court. Both at the Asian Art Museum of 2603 Sheridan Road. Childs; at the String Room Gallery, Wells San Francisco, Golden Gate Park. College. April 8—June 27 “Ceramic Sculpture: Indiana, Indianapolis April 20—May 30 Six Artists,” featuring the work of Robert “Recent Accessions,” an exhibition of new Pennsylvania, Philadelphia through April Arneson, David Gilhooly, John Mason, acquisitions, includes the Mead Collection 5 “New Work in Clay” by Wayne Bates; Kenneth Price, Richard Shaw and Peter of 35 Chinese ceramics; at the Indianapo­ at Sign of the Swan Gallery, 8433 Ger­ Voulkos; at San Francisco Museum of lis Museum of Art, 1200 West 38 Street. mantown Avenue, Chestnut Hill. Modern Art, Van Ness Avenue at McAllis­ ter Street. Kansas, Topeka April 4—May 3 “Topeka Virginia, Richmond April 4—18 “Porce­ Crafts Exhibition 6”; at the Topeka Public lain Poems,” an exhibition of sculpture by California, Santa Barbara through April Library Gallery of Fine Arts, 1515 West Joan Rosenberg; at Marsh Gallery, Mod- 18 A group exhibition of the works of 10th Street. lin Fine Arts Center, University of Rich­ Anne Shattuck, Juta Savage and Ann mond. Christenson; at the Elizabeth Fortner Gal­ Massachusetts, Boston through April 23 lery, 1114 State Street, Studio 9, La “Artists in Artisanry,” an exhibition of Washington, Spokane April 1—30 “Pot­ Arcada Court. work by faculty of Boston University’s Pro­ tery for Every Corner of the Cabin,” an gram in Artisanry; at the Federal Reserve exhibition by Kaaren Stoner; at the Pot­ Bank Gallery, 600 Atlantic Avenue. tery Place, Old Flour Mill, 621 West California, Saratoga through April 11 A through April 30 “Interiors II,” an exhi­ Mallon. group exhibition includes pottery by Jan bition of contemporary handmade accesso­ Daniels and raku porcelains by Janice ries for the home, includes ceramics; at the Wisconsin, Sheboygan through April 4 Rowell; at the Montalvo Center for the Society of Arts and Crafts, 175 Newbury Miniature porcelains by Sandra Byers; at Arts, end of Montalvo Road, off Saratoga- Street. the John Michael Kohler Arts Center, Los Gatos Road. through May 2 “New England Begins: 608 New York Avenue. California, Sunnyvale through April 15 The Seventeenth Century, 1620—1700,” Porcelain pottery by members of the San includes ceramics by colonial craftsmen; at Francisco Potters Association; at the Cre­ the Massachusetts Museum of Fine Arts. ative Arts Center Gallery, 550 East Rem­ Group Exhibitions Massachusetts, Milton through June 27 ington Drive. “Yang-Ts’ai: the Foreign Colors,” rose Alaska, Anchorage through April 18 “The Colorado, Greeley through April 16 Re­ porcelains of the Ch’ing Dynasty; at the Contemporary American Potter,” a travel­ cent ceramics by Gail J. Frasier and Gret- Please Turn to Page 66 April 1982 21

24 Ceramics Monthly Comment Seduction by Machine by Jack Troy

Four years ago I bought a Roto- aired clay before, reasoned that airless tiller and a stoneware jug at a house­ clay is the best kind to throw, regard­ hold auction in the town where I live. less of how the air got removed, so I wanted the Rototiller because I’d the pug mill seemed attractive. grown tired of spading my garden by During most of September I ogled hand. This fall I traded the jug in on the pug mill specifications and had a pug mill because wedging clay pretty well decided on a model to seemed too much like spading the meet my needs. The only thing be­ garden: it catered heavily to the Puri­ tween me and it was the $2000 price tan work ethic, induced in me a kind tag. Looking hard at the collection of of righteous trance, and hurt my el­ Early American jugs and crocks I’d bows—three good reasons for mend­ assembled over the years, I decided to ing one’s ways. This is how it all came take a dozen of them to a stoneware about: auction that was to be held nearby in Last spring a young man named October. Enjoying the pots had been Bill, who used to wedge clay for me, pleasurable; to hoard them would returned to the studio for a visit. In be something quite different. This the course of recounting our time seemed as good a time as any to pass apart the past ten years, he asked if them on to other appreciators. he could try wedging again, and I I arrived at the antique dealer’s had no objections at all. Bill is born late one afternoon a few weeks prior to wedge. He’s about 6 feet 3 inches to the sale, unloaded the pieces from tall and weighs maybe 240. He can my truck, and was writing up an take two chunks of clay the size of my inventory when a local stoneware col­ head and with a couple dozen smooth lector happened by. He picked up the rocking pushes present me with the jug I’d bought the day I got the most marvelously consistent ball ofRototiller, and turned it around care­ clay a potter could wish for. Bill had fully. It was a straight-sided one- worked for me when the minimum gallon oxidized piece with a blue bird wage was $2 per hour, and he could on it, partially enclosed by a wreath wedge the contents of a 20-gallon of cobalt slip-trailed lines. It was garbage can of clay in less than 30 stamped “T. H. Willson, Harrisburg, minutes, all the while telling me in his Pa.” and had been knocked down to quiet way where and what the bass me for $70 four years earlier. I doubt were hitting in the Juniata River. that I’d have gone to $72.50 if I’d When Bill left that day for his job had the next bid. It was a nice little as a welder, I fondly recalled the jug, but lacked the vigorous potting mornings I’d come into the studio to I’ve come to admire in early work. find my worktable groaning under its Thomas Willson had been one of load of 500 or more pounds of beauti­ Harrisburg’s first stoneware potters, fully wedged balls, sized to order, cov­ working there from 1852 to 1855. His ered with plastic sheeting—my day’s output, therefore, would have been ammunition in the battle against the modest, compared to that of a larger amorphousness of clay. Watching Bill pottery such as Cowden and Wilcox. wedge had not only made me nostal­ “Is this going to be in the sale?” gic, it prompted me to call a pug mill the man asked me. manufacturer and request some pro­ “Yes, I believe so,” I replied. motional literature. “What do you have to get for it?” Now there will always be those “I’m not sure; there probably among us who claim that hand wedg­ aren’t too many of Mr. Willson’s ing is the best way to prepare clay forpieces around.” the wheel, while building character in “You’re right. There aren’t. Would the potter. I doubted that my char- you take $500 cash today?” acter-building had slipped noticeably “Let me think about it while I while Bill had worked for me, and make up my list.” though I’d never thrown pugged, de­ Continued April 1982 25 26 Ceramics Monthly Comment could come across a jug, crock or indiscreet, asthmatic wheeze, unlike churn that had originally been undec- Bill, who used to more or less croon at I agreed not to let it be sold for less orated, but had been ingeniously slip his work. Taking it apart and cleaning than the figure he’d offered. He was trailed and refired by contemporary it is not a joyful way to spend the satisfied; said he’d see me at the sale. salt-glaze potters who apparently better part of an afternoon, when Auction day arrived, along with amake part of their living by subscrib­ switching from stoneware to porce­ certain aura of dramatic possibility. I ing to the motto, “Let the buyer be­ lain clay bodies. (It took Bill less than showed up an hour early to inspect ware.” Then there were the collectors five minutes to clean the wedging the nearly 300 pieces of Early Ameri­ —their affinities for certain pieces as board and wash his hands.) Using the can pottery. In the midst of so much sharply defined as the appetites of pug mill probably helps build charac­ of this work, most of which had prey-specific predators. ter for the persons wrho designed, as­ netted a penny a gallon for the potters Early in the afternoon my consign­ sembled and sold it, which is fine by who made it, I got caught up in the ment came up, and the auctioneer me. Though I miss Bill’s quiet, ener­ swift confluence of modern values addressed the little jug as “one of the getic help, I can call him to find out and naively produced clay antiquities. stars of the show.” The bidding where the fish are biting, and what I Some pots would sell for more than opened at $75 and, as my companion should take along in the way of bait, the value of the entire pottery where noted, in less than a minute had sold since the lack of wedging has helped they had been made. A jug or crock for more than half the price of the my casting arm considerably. I guess that had dried too quickly to accept pug mill. While some of the other you could say the pug mill has come its maker’s stamp one August after­ pieces brought less than what I’d paid home to roost. noon 150 years ago would change for them, I was pleased to have come As for the jug—it’s probably the hands for a fraction of its value had by the new machine without having apple of its owner’s eye—a trade-off it been marked. Buyers were here who to throw 400 generic stoneware mugs in a game of mutually satisfying barely knew how to spell stoneware at $5 each—my alternate plan. seductions. but who had a keen eye for investing How do I like the pug mill? It’s in commodities, and that, after all, well designed and does its work ad­ The author Jack Troy is on the fac- was what those old potters had been mirably, though the de-airing compo­ ulty of Juniata College, Huntingdon, making anyway. Occasionally onenent operates with an unnerving, Pennsylvania.

April 1982 27 Louise and Satoshi Doucet-Saito by D. G.J ones

Step through the door of Louise and Satoshi Doucet- curtained windows, lighting up the pale gray walls and Saito’s Canadian studio these days and you may be sur­orange tints in the pine furniture, so that two or three rounded by the ghostly elements of some unborn city. pots seem to merge with the decor. On certain days, you Bisqued and waiting to be high fired, the pots along the may be treated to seaweed-wrapped squid, rice and sake shelves and benches may evoke structures in a Pueblo or to Gaspe salmon and French wine. And this center of village or a chapel by Le Corbusier. They betray theirthe Doucet-Saito enterprise may grow untidy with pottery origins in the slab; occasional thrown sections serve magazines and with pots themselves. merely to display or test the asymmetrical balance of the When Satoshi Saito came from Tokyo to do graduate forms—warped polyhedrons—pierced by slits, by wedge- work in economics at McGill University, no one would shaped openings or by square apertures like the roof hatch have predicted his future as a potter in the Appalachian on a skyscraper. Here is geometry under stress, an archi­ hills. Even for Louise Doucet, who studied sculpture at tecture partially liberated from the right angle. When the Montreal Museum of Fine Art, the future must have fired, they will take on the distinctive tints and textures ofbeen something of a surprise. A summer course in pottery the clays and glazes, and go separate ways. Yet, for a led to their working together for a year, marriage, and a moment, it seems a shame. One likes to think of them two-year working honeymoon in Japan. On returning, assembled there like some pristine and slightly exotic idea they abandoned all sense of economics to buy the farm of a town taking shape in the moonlight. in Way’s Mills and devote themselves wholly to ceramics. All is calm and tidy at their typical white farmhouse Since first working together in 1964, they have functioned with its vegetable garden, barn and gray weathered shed, as a team; the sense of dialogue, of integration and bal­ overlooking the village of Way’s Mills in eastern Quebec. ance that is implied in such a collaboration is central The wind pours through the valley, animating the old to their art. trees around the house. The sun pours through the un­ For Louise, the trip to Japan constituted a kind of Quebec potters Satoshi and Louise Doucet-Saito. AboveHandbuilt, deeply carved slab form, approximately 9 inches in height, partially glazed. Left Slab form, 1 foot in height, handbuilt from indigenous clays, partially glazed by spraying; shades of “architecture brute/3

April 1982 29 Photos: Raymond Martinot, J. F. Ozoux r olr. oe ae eao gae tie ars the across striped glaze celadon have Some collars. or ih et hv del cre sd pnl ad h whole the and panels side carved deeply have have feet, others with color; richer of bands shimmering with chest more and more recent sculpturalforms. balancing of challenge The conditions. than 2000years. 30 their in excitement the of much provides tensions extreme Doucet-Saitos the Japan, in exhibitions two for ware alr n hair rudd ie oss wt lre necks large with torsos, like rounded heavier, and taller pbld ams pal gae Oe bxs r rs often urns, or boxes Open glaze. pearly almost pebbled, a con­ the and form of conception abstract the sensuous, more its spanning stature, ceramics enduring Chinese its or Etruscan for Columbian, judged be may it Finally, They Mashiko. in studio Shimaoka’s Tatsuzo at worked eid a nt ht f niiul, u o te Japanese the of but individuals, of that not was period rt poete o cas n gae udr ifrn firing different under glazes and clays of properties crete t pwr o riuae sne f h cneprr world. contemporary the of sense a articulate to power its their preparing While pottery. Japanese to introduction neo cltr. wr my e ugd o is individual its Michel­ for a judged or be painting may Picasso work A a sculpture. as angelo interest of kind same view ofpotteryasahighartwithanancienttradition. h uiiain n te etei, h itleta ad the and intellectual the aesthetic, the and utilitarian the ere a ra da. e te el nlec drn this during influence real the Yet deal. great other a to them learned introduced who critics and artists younger nert, amh n vtlt. t a as b jde for judged be also may It vitality. and warmth integrity, they context, a such in Working art. Japanese of facets an provided it both, For culture. Japanese in course crash aaiy o od t on ihn cleto o pre- of collection a within own its hold to capacity met and Hamada, Shoji late the neighbor, his visited also

s h sae gauly eeoe, h vss became vases the developed, gradually shapes the As hi sa wr blne taiin n idvda ideas, individual and tradition balances work slab Their aoh ad oie el sa pt a cmad the command can pot slab a feel Louise and Satoshi C eramics M onthly

ds neet Te esos e u bten different between up set tensions The interest. adds n acet fr hy pa o mtras ne stress, under materials of speak they for ancient, and s evl gae. ag-cl msis r prily or partially are mosaics Large-scale glazed. heavily is h author The or rock, of stratification re-entering earth’s atmosphere. and shearing the is it whether iig tr frs n rw ufcs. e te ey honesty very the Yet surfaces). raw and forms stark sizing pcs gaig n utetd ly se aporae to appropriate seem clay, untreated and glazing spaces, one offivepotsmayemergeacceptable. lns gaeu cre ad ct age, pn n closed and open angles, acute construction and the curves of graceful planes, elements the reveal they which with brute architecture oia voec ad eieet Te ae oh modern both are They refinement. and violence logical h efcs f eprtr ad rsue n ns cone nose a on pressure and temperature of effects the n g wih a isl epoe te xrms f techno­ of extremes the explored itself has which age an brooke in the Eastern Townships ofQuebec. brooke intheEastern Townships aoh hv itoue smtig f h hrhes of harshness the of something introduced have Satoshi on o ter at rp o oa cta o ban particular obtain to Scotia Nova to trip last their of count lightly glazedandmountedonpanels. ly a te em—h poes ean a abe Only gamble. a remains process seams—the the at clays iain f lb fo dfeet ly, hs complicating thus clays, different from slabs of bination at ht nal frhr lnig wdig n mxn of mixing and wedging planning, further entails that fact dark a like glistened that clay a found and deposit choice h wr. ic te hikg vre aog h clays—a the among varies shrinkage the Since work. com­ the the to was led but clay glaze, this heavy own, under hidden its be on to Interesting not tenderloin. of strip ly. e a be wrig n h pt l dy ad was and day, all pit the in working been had He clays. h vsa dsg ad raig oe aeil esos in tensions material more creating and design visual the ie ad okd y h ri. e h dsogd n more one dislodged he Yet rain. the by soaked and tired ikn mr, rcial ad eteial, oie and Louise aesthetically, and practically more, Risking nhsam o te aeil mre i Stsis ac­ Satoshi’s in emerges material the for Enthusiasm . . oe tahs t Uiest d Sher­ de VUniversite at teaches Jones G. D. Louise and Satoshi select pots for firing. for pots select Satoshi and Louise Forms are slab built from combinations of combinations from built slab are Forms Louise andSatoshiDoucet-Saito. Right Scotia, encourage leaving areas unglazed areas leaving encourage Scotia, on manyworks. Left character of the clays, largely from Nova from largely clays, the of character The object. the stress may that rates shrinkage differing with often clays, native 1 foot inheight. Handbuilt form,approximately a acietrl oeet empha­ movement architectural (an Slab form, 15 inches in height, by height, in inches 15 form, Slab

April 1982 31 Spain centuries earlier. The brushed polychrome glaze Dolores Hidalgo: decoration on these tiles is a product of Hispano- Moresque fusion, with a dash of Renaissance Flemish found in the rendition of saints. City of Tiles In 1810 Miguel Hidalgo left the alfarena (pottery) he had opened six years before. On their own, the farmers byM aggie Creshkoff developed a seasonal tradition, decorating tiles and plates only when it was too wet to work the land. The tech­ niques were handed down, but memories fade with time and the number of those who knew how to decorate the tiles diminished. Dolores Hidalgo, a small town four and a half hours But in 1916 Juan Guadalupe Carrillo purchased Fa­ north of Mexico City, is alive with colorful earthenware ther Hidalgo’s workshop, learned the glazing methods tiles; indeed the story of their production is interwoven from campesinos too old and arthritic to work, and with the history of the town and of Mexico itself. At the re-established the town’s reputation for azulejos (fine beginning of the 19th century Miguel Hidalgo, the local tiles). Today, two branches of his family and the Vasquez curate, established parish schools to teach the campesinos family, who learned the craft from Juan Carrillo, are the (farmers) tile-making skills to supplement their often only potters producing the traditional tiles of Dolores meager harvests. Decades later, some of the original kilns Hidalgo. are still being fired, reproducing patterns brought from At the neighboring workshops, the tiles are made from

Above and leftThe traditional tiles of Dolores Hidalgo form an integral part of the community.

Puebla 54, the town's original school building, contains tile from the early 19th century.

The tiles are a blend of Hispano-Moresque and Renaissance Flemish influences.

32 C eramics Monthly a plastic blend of red, brown and black clays—all found fueled car kilns. In the more traditional method, the within a 20-mile radius. Large slabs are rolled out, piled Vasquez family uses silica andgreta (lead) as the base seven or eight high and wire cut along a template. When glaze, with copper and cobalt oxides providing the green dry, the tiles are bisqued at Cone 06. The hands of the and blue palette; all the ingredients are ground and men and women, who then decorate the reddish 4-inch mixed by hand. Although the Spanish-style adobe kilns squares, seem to move in a blur. An undercoat of white have been converted to fire kerosene with a forced-air glaze is painted on each tile and allowed to dry. A latex system, a large supply of wood is on hand “in case the stencil provides the spaces for shapes and dots in a sec­ electricity leaves.” ondary color. After the stenciled pattern is dry, the tiles Perhaps due to a shared sense of pride in upholding a are stacked on a turntable positioned before a third traditional product, competition is friendly between the glazer, who makes his full-bodied brushes from horses’ three families. They will, however, make the tiles in any manes and tails cut with a long, thin tip for fine lines. design requested. Street names and house numbers, Pulling dark washes and glazes through the confusing poems, pictures and commemorative texts appear on pattern of dots, he unifies the entire design in a few swift recent orders. All the cement benches in a Dolores Hi­ strokes. The decorated tiles are then placed in “stackers” dalgo park were tiled by the elder Senor Carrillo; today and again fired to Cone 06. his grandson, Gustavo Carrillo Vertiz, in the same genial This process is much the same in the three studios, but vein says: “Whatever the customer pleases.” the Carrillo families are moving toward modernization, gradually substituting lead-free glazes and commercial The author Ceramist Maggie Creshkoff resides in San colorants, as well as installing electric ball mills and gas- Miguel de Allende, Guanajuato, Mexico. Photos: Hugh Ralinovsky

Clay for tilemaking—a plastic blend of red, black and brown clays—dries at the Carrillo Vertiz pottery.

Above and rightOver a coat of white glaze, tile is decorated through latex stencils, then by hand. April 1982 33 Silica and lead for glazes are ground by walking around this mill at the Vasquez pottery .

In a move toward modernization 3 the Carrillo Sanchez pottery is gradually substituting lead-free glazes and commercial colorants, as well as installing electric ball mills (far right) and gas fueled car kilns (above). Bisqued ware is glazed and fired in tile setters to Cone 06 in six to eight hours. Left Bricking up the door of a gas-fired, updraft kiln at the Carrillo Vasquez pottery.

34 Ceramics Monthly A Spanish-style adobe kiln at the Vasquez pottery has been converted to kerosene with a forced-air system.

The tip of a tile iceberg, rejected works attest to the pride of craftsmanship at the Vasquez pottery.

Right Unloading setters at the Vasquez pottery. With the two. branches of the Carrillo family, they are the only producers of traditional A ball mill is charged with river rock for grinding tile in Dolores Hidalgo. glaze at the Carrillo Sanchez pottery. April 1982 35

Photos: Jerome Hart, Cheryl R. McLean Left handbuilt earthenware,10inchesinheight. -co nf, Rna xlie. Ta’ al hts needed. that’s all “That’s explained. Ronna knife,” X-acto itrcl otx, ntd eaiti-eiec Ronna ceramist-in-residence noted context,” historical You cancutupanythingandfastenittogetherwiththose. om, h fgrs ee eomd dfre ad trans­ and deformed reformed, were figures the forms, Crafts) Contemporary (at space studio with ceramists oe aair ih h tig I o I m o primarily not am I do. objects—getting finishesthatwork.” lot I a be things to the earthenware, with low-fire very cavalier a more with work also I ae rm ml. sebe wt idvdal slip-cast individually with Assembled mold. a from made the surfacetreatment.Asomberpatinafinisheshis- omd hog a ait o adtos n subtractions. and additions of variety a through formed culmi­ study sponsored of year whose Neuenschwander, lc cmeca gae sm ae hn i frd o subdue to fired pit then are some glaze, commercial slick finished in rather but process, technical the in interested Te ny ol I s ae pitrs fr lp n an and slip for paintbrush a are use I tools only “The Association andtheOregonArtsCommissionforpast neet is o ol i rltn cneprr attitudes contemporary relating in only not lies interest alr i Prln. udd y h Cneprr Crafts Contemporary the Crafts by Contemporary Funded at Portland. exhibition in solo Gallery recent a in nated td iue otn ea wt a on ojc o a image an or object found a with began often figures ited and amonthlystipend. “A n clua ted, u as paig hm n broader a in them placing also but trends, cultural and 1 er, h rsdne rga hs rvdd selected provided has program residence the years, 11 prpitl vre, ay f h supue dn a don sculptures the of many varied, Appropriately o “h Eehn: sotd itre, te 0 exhib­ 20 the Histories,” Assorted Elephant: “The For n

Qen Semiramis “Queen vd collector avid f h oeloe ad bcr, my obscure, and overlooked the of 3 a Eehn N. ” slip-cast 1” No. Elephant War ,

cast, handbuilt, with low-fireglazes cast, handbuilt,with Below ieaue y Women by Literature Oregon sculptorRonnaNeuenschwander. h author The the colors.Finally,afixativeisappliedtopreventflaking. iilt (eatd rm h tp f n atewr slip earthenware an of top the from (decanted sigillata lcee i swut iig. usqet plctos of applications Subsequent firings. sawdust in blackened loe t stl fr t es 2 hus, hs fgrs are figures these hours), 24 least at for settle to allowed vallisOregon. temper to fired sawdust also are paints acrylic airbrushed oial oine wrs Bsud te sryd ih terra with sprayed then Bisqued, works. oriented torically “Trojan Elephant ” 11 inches inheight , “Trojan Elephant”11inches n dtr o Calyx for editor An , hrl . cen eie i Cor­ in resides McLean R. Cheryl , . Junl f r and Art of Journal A April 1982 slip

37

A Wood-Fired Raku Kiln byH arriet Brisson

Last spring at Rhode Island College a wood-fired raku used angle iron, threaded rod, nuts and washers for the kiln was constructed in just a couple of hours; a small fire door. The total expenditure was approximately $10, with in the firebox dried the mortar and by midafternoon fuel for firing coming from a demolished building. glazed raku forms were pulled from the chamber. Size limitations were imposed by the kiln shelves, each With minimal cost a prerequisite for the kiln’s design, 12x20 inches, and their relationship to the standard brick, the following materials were assembled: standard hard 9x45/2x21/2 inches; so the chamber turned out to be ap­ firebrick reclaimed from a demolished factory chimney; proximately 20 inches wide, 13/ 2 inches deep and 10 sand (free for the hauling) and fireclay (at $6 per 100 inches high. pounds) for an equal-parts mortar mixture; a used stove­ Because we built the kiln on a concrete slab, it was pipe, 6 inches in diameter, for a stack; four old refractory necessary to start with a layer of insulating brick under kiln shelves, plus a shelf section, for the base and top of the firebox. By chance, a Minnesota flat-top kiln had been the chamber; and five new soft firebricks ($1.25 each), dismantled and its top served this function well; leveled Constructed from salvaged materials, this wood-burning raku kiln cost approximately $10. The angle iron/insulating brick door could instead have been built from refractory felt or board. Photos: Humi Lamar and the author

38 Ceramics Monthly Three courses of scrap hardbrick were laid with fireclay/sand mortar over a foundation of insulating brick. Rods for the grate were placed about 2 inches apart across the walls, the space between the rod ends filled with mortar, and more courses added.

The finished kiln is easily fired with wood. A neutral or slightly reducing atmosphere is best for maximum heat rise and may be maintained by balancing the stovepipe damper with stoking speed, so there3s just a little smoke.

Copper in glazes may emerge from the wood kiln reduced to red, rather than the metallic copper color typical of raku. To prevent reoxidation, the object must be quenched in water. Placing it in combustible material often changes the copper red back to its metallic state. April 1982 39 earth would have been just as satisfactory. There should be as much, or more, space under the firebox grate as above for good combustion. Three courses of brick were laid with the clay/sand mortar (mixed with just enough water to hold it together). Very few bricks had to be cut, since there were ample broken ones from the old chimney. Spanning the brick walls, the J/^-inch-diameter iron rods were placed about 2 inches apart and the space between the rod ends filled with mortar. Then three more courses of brick were laid. Kiln shelves positioned across the firebox formed the chamber floor and stack support. Draft passes from the firebox to the ware chamber through a space3/2 inches wide at the end opposite the firebox opening. (A secon­ dary intake, approximately 1 inch in width, was left in the middle of the ware chamber floor, but this proved unsatisfactory and was later mostly blocked with a piece of firebrick.) The draft entrance to the ware chamber and the flue should have similar areas, so the two flues were made 5j/2x4j/ inches each, for a total of 491/ square inches. Four2 more courses of brick were laid to2 form the chamber walls, with a side opening to match an assembled softbrick door. Other kiln shelves became the chamber roof and the 13/ x45/2-inch stack was built7/2 inches high with brick, then2 narrowed to the 6-inch diam­ eter of the 6-foot-high stovepipe. The chamber could easily have been made higher by changing the door design—adding another row of vertical softbricks to make it 18 inches in height. Fiberfrax (alum­ ina silicate) board could act as a door as well. While the shelves limited the size of the kiln, larger ones would allow greater depth and width dimensions. An arch could have been made from a castable refractory to span the top of a deeper or longer kiln. It didn’t take long to learn how often to stoke or how much wood was necessary to keep the chamber tempera­ ture consistent. A bisqued pot, freshly glazed, can be put into the kiln when starting the fire to indicate when the temperature is high enough to raku. A neutral or reduc­ tion atmosphere within the chamber can be maintained by partially closing a damper (in the stovepipe) and stoking more heavily. Copper in the glaze may come out Planned around the dimensions of the reduced to red, eliminating the need for a secondary available kiln shelves, and hardbrick from a reduction in combustible material, which often reduces dismantled factory chimney, the kiln is copper to a metallic state. Iron, if added to the glaze in 40 1/.'2 inches long, 22/

To synthesize that “curious intel­ lectual dichotomy that being a ceram­ ist often engenders when talking to artists with formal painting/sculp­ tural backgrounds,” Steve Reynolds (of the University of Texas art fac­ ulty) combined clay, found objects and paintings in work exhibited re­ cently at the San Antonio Art Insti­ tute. “Over the past 25 years or so,” Steve observed, “many of the artists involved in ceramics have been ac­ knowledging (in spirit at least) the conceptual/aesthetic/historical trajec­ tories of various movements in con­ temporary painting: abstract expres­ sionism, dada, surrealism and pop.” With these multimedia sculptures, “I’ve attempted to integrate my re­ cent notions about the status of the ‘ceramic object’ with issues more com­ patible with painting in a tangible and visible sense.” Above“Requiem ” 8 feet in height, earthenware vessel, painting with found objects. } Right “Craft Climbing to the Level of High Art ” ceramic and mixed-media sculpture, approximately 8 feet in height.

April 1982 41 American Clay byT om Haulk

The use of clay in the production of common objects has been part of almost every culture throughout history. The mystique of taking part of the earth, directly, and creating an object of permanence and aesthetic value to express ideas—the addition of imagination to the medium —served as the basis for the development of clay as a Photos: Marc Abbin, Mandy Lippman sculpture and painting medium. With logical, persistent steps, taking reference points from other media and from its own traditions, the evolu­ tion of American ceramics has consistently been toward fine art. In “American Clay 1981” [recently exhibited at Meredith Contemporary Art in Baltimore] I assembled works representative of current art directions in clay. More specificially, I have chosen works where the artist used clay as a source of sculptural technology, as a vehicle for a concept, or as a medium for painting. Approximately one-third of this exhibition was devoted to artists who concentrate on the vessel form—the most ancient category of clay sculpture. Another third was devoted to artists who use clay as a field for painting, and Black raku-fired vase, 16 inches in height, by the final third was devoted to pure sculpture. ]amie Davis, Pickens, South Carolina.

ccPerrier Box ” 9 inches in height, handbuilt, low-fire clay, with watercolors, by J. B. Hanson, Baltimore.

42 C eramics Monthly Softbricks and Salt Glazing byA nne Shattuck

Many of us wish to recreate the intensity of a freshly traditional kiln, and much less salt per cubic foot. These thrown pot—wet and fluid; salt glazing is one of the few softbricks attract little salt, so 25 to 30 pounds achieves processes that comes close to that freshness. Also, salt even glazing, despite packing the 75-cubic-foot kiln as yields a certain element of unpredictability which makes tightly as for a regular stoneware firing. every firing unique. Though salt glazing can be laborious Covered with insulating ceramic fiber (Durablanket) and time consuming with a traditional hardbrick kiln, my attached to the bricks with sheet metal and wood screws, sprung-arch car kiln, built with Babcock and Wilcox, the kiln is preheated with propane, and fired with oil. K-23, (39% alumina) softbrick, cuts hours off the firing Originally the softbrick interior was coated with Green- cycle, using only a fraction of the fuel consumed by aset-80 (A.P. Green), but some areas didn’t hold. Although Photos: Jim Bailey, Bob Barrett

The author with recently fired ware in her softbrick salt kiln. April 1982 43 Above and leftThe 75-cubic-foot, downdraft car kiln is preheated with propane, fired with oil. Built -from standard Babcock and Wilcox K-23 (39% alumina) softbrick, covered by insulating ceramic fiber (Durablanket) 3 the kiln requires a fraction of the fuel consumed in a conventional hardbrick salt kiln. Fireboxes, floor and peepholes are high-alumina hardbrick (Cruzites) coated with high-alumina refractory cement. Since the bricks attract little salt, 25—30 pounds achieves even glazing in a tightly stacked kiln. Below Anne Shattuck 3s studio, with pots ready for salt glazing.

44 Ceramics Monthly Wheel-thrown teapot, 9 inches in height, salt-glazed stoneware, with incising, rutile slip, glaze, by the author.

Salt-glazed stoneware basket, 15 inches in Porcelain dinner plate, 12 inches height, thrown, rutile slip. in diameter, thrown, incised. Open, footed bowl, 15 inches in diameter, thrown, incised, central portion glazed, by the author. the unprotected insulating firebricks are not corroding, Powder Blue Glaze (Cone 9) for a better bond, those planning softbrick salt kilns Whiting ...... 31.25% might consider dipping each brick in Greenset-80 during Nepheline Syenite ...... 6.25 construction. The fireboxes, floor and peepholes were Custer Feldspar ...... 31.25 made of high-alumina refractories (Cruzites). These Ball Clay...... 31.25 hardbricks were coated with high-alumina refractory ce­ 100.00% ment, and every four or five firings the firebox is recoated. Add: Cobalt Oxide...... 0.63% Having never been kiln washed, the silicon carbide shelves Rutile (milled) ...... 8.75% (Carborundum) have been salted regularly for six years. Scraping after each firing removes the salt easily and Brown Glaze (Cone 9) there is not the usual mess associated with kiln wash. Albany Slip...... 88.9% Salted porcelain shows detail well, but I apply oxides and Custer Feldspar ...... 11.1 stains (in a water wash) or the following slips to bring 100.0% out depth and variation: Add: Red Iron Oxide...... 5.6% Rutile ...... 5.6% Porcelain Slip Occasionally single fired, but usually bisqued first, the Custer Feldspar ...... 25% slip- and glaze-treated ware may be elevated from the Grolleg Kaolin ...... 60 unwashed shelves with pads made from 1 part kaolin and Flint (300 mesh) ...... 15 5 parts alumina hydrate (and a bit of white flour for workability). Coated with a thin wash of alumina hydrate Too% on the bottoms, plates are always fired directly on the Commercial stains may be added “by eye” in unmeasured shelves. The rims of lidded pots are also brushed with amounts to the base slip for a variety of colors. the kaolin/alumina hydrate wash. After loading the kiln, the estimated amount of salt Blue-Black Slip necessary for even glazing is weighed out and set aside. Albany Slip ...... 100 parts Wearing a mask and welder’s goggles, I begin salting Nepheline Syenite ...... 5 when Cone 8 is down. An angle iron is used to place 105 parts the salt into the firebox for the next two or three hours. Add: Cobalt Oxide...... 2 parts When Cone 9 is down, firing stops. My work springs from the relationship of form and Ocher Slip function. Much of it is like a sketch; if successful, it leads Nepheline Syenite ...... 20 parts to a larger exploration of the form and its possibilities. As Custer Feldspar ...... 60 I grow and move through ideas, retrospection reveals Grolleg Kaolin ...... 10 which pots have succeeded. 90 parts Although continuing with smaller functional pots, I am also beginning to make large vessels/basket forms. Add: Yellow Ocher...... 10 parts This extension is exciting because it seems to be a culmi­ nation of all my technical knowledge and aesthetic feel­ Rutile Slip ings about clay. The roots of these forms come from Nepheline Syenite ...... 18 parts function, yet that is not their ultimate purpose. I seek to Ball Clay ...... 40 transcend the “just functional” aspects to incorporate Grolleg Kaolin ...... 40 sculptural and decorative ideas. 98 parts I am trying to blend traditional qualities of pot making Add: Rutile ...... 12 parts with my own style and process. Whatever the direction, Both Ocher and Rutile Slip should be applied thinly. I attempt to bring something fresh and new to the work. The responsiveness of clay to touch, to tools and tech­ When working in stoneware I like to beat the clay up nique, to salt glazing, to mood and intuition, the transfor­ a bit, tearing, pulling and pinching the edges to define mation by fire of such a soft pliable substance to a vit­ areas. Envisioning most pots as finished at the leather- reous state, never ceases to amaze me. hard stage, I let the salt speak for itself, with only a little color applied here and there. Just a few favorite glazes The author Studio potter Anne Shattuck resides in Kings­ are employed inside and out. ton, New York.

Many potters still believe that a salt kiln can only be built of hard firebrick , yet “after over 40 firings the softbrick kiln has held up exceptionally well”

46 Ceramics Monthly

For those interested in gaining a sense of the current Ohio Fairs economic climate, these fairs offer some interesting statis­ tics: The Cincinnati Crafts Affair produced a 9% in­ crease in retail sales, even though attendance dropped 15% from last year’s event. With approximately 30% of the participants in ceramics, exhibitors sold a total of $131,000 in objects by 103 craftsmen, with the top ceram­ ics booth recording sales of $2400. Winterfair (Columbus), the largest of the Ohio fairs, reported a 5% increase in attendance and $615,000 in total retail sales by 292 craftsmen. With 25% of its par­ ticipants in ceramics, Winterfair potters averaged $1837 per booth, with one ceramic sculptor topping all media with sales in excess of $12,000. As a result of such statis­ tics, Winterfair has been attracting attention over the past few years as an exemplary event, and this year members of a trade mission from mainland China visited the fair Come to Ohio in the pre-Christmas buying season, and to see the work of American ceramists. you are liable to hear about the three fairs sponsored by The Cleveland Designer Craftsmen Fair, newest of the Ohio Designer Craftsmen, the state’s professional crafts O.D.C. events, showed signs of a sagging economy in the association. Among the best-run fairs in the country, the Northern Ohio region. Even after O.D.C. increased its events are open to artisans throughout the U.S., and are Cleveland advertising budget, the city responded with a mounted to benefit the group’s program during the year, 30% decrease in attendance and purchases. Nevertheless, plus serve as a marketplace between quality craftsmen retail sales totaled $70,000 for 100 exhibitors; the top and the public. ceramics booth sold $1850.

Winterfair in Columbus reported a 5% increase in attendance and $615,000 in sales. Potters averaged $1837 per booth; one ceramic sculptor had sales in excess of $12,000. Right Fairs are providing a burgeoning marketplace for sculpture as well as functional ware. Representative of the former category is “Shrouded Memories,33 8 inches in height, a translucent porcelain mask, by MaryAnn Fariello, Alexandria, T ennessee.

48 Ceramics Monthly Above“String of Pearls33 handbuilt, translucent porcelain bowl, 5 inches in height, by Curt and Suzan Benzie, Columbus. Top left Wheel-thrown vase, 33 inches in height, raku fired, by Rick Foris, Marathon City, Wisconsin. Rick sold all his work in the first few days of Winterfair, despite having prices in the $100-plus range. Top Stoneware lamp with ash glaze, by Allen Monsarrat, Friendsville, Tennessee. Left Porcelain teapot, 8 inches in height, thrown, with slip trailing, by Bunny McBride, Iowa City. The artist3s lightweight, easily assembled booth was of white Styrofoam home insulation board. April 1982 49 An artist comes to the institute to do clay works he or she might not otherwise be able to make, because of size New Works in Clay or complexity, or the lack of technical information and skill, equipment, space or assistants. The project now at Syracuse includes not only painters and sculptors, but also ceram­ ists, and most recently a photographer, as well as an artist byM argie Hughto who works with computers. Although there could be many visiting artists, their number is limited to three or four per semester. Other­ wise it would be something like a small factory. For each participant there are tests to be made, clay to be mixed A reflection of the total body of 1979-81 ceramic sculp­ and prepared, glaze tests and firing the work. Most of the ture produced by 18 Syracuse Clay Institute project par­artists stay only two to seven days, spending their time ticipants, the traveling exhibition “New Works in Claymaking the pieces and working directly with faculty and III” is another step in documenting the ceramic art students. form. Sponsored by Syracuse University School of Art and Within this framework come learning, experimentation Everson Museum, the Syracuse Clay Institute began anand collaboration. The importance of maintaining a flow experimental project in September 1974, inviting inter­ of new attitudes and ideas cannot be underestimated. It nationally renowned artists (who were not ceramists) to is a way to maintain life in a medium and to encourage work in clay, and providing them an opportunity to dis­ input that is creative and progressive. cover new directions with the medium. The university In this work there are similarities with current direc­ offered studio space, equipment, assistants and collabora­ tions in clay throughout the United States. More and tors, while the museum provided exhibition space and more we are seeing a focus on clay as a fine art medium. documentation. More specifically, we are seeing trends in which the artist Through the university, an elective course entitled uses clay as a source of sculptural technology, as a vehicle “Ceramic Sculpture Workshop” is open to all students in for a concept, or as a medium for painting. the School of Art. A student enrolls in this class to work with the visiting artists and to create a personal body of The author Margie Hughto is resident ceramist and di­ clay work in a sculptural or painterly direction. rector of the Syracuse Clay Institute. Photos: Courtney Frisse, Stuart Lisson Above“Wishbone X” salt-glazed stoneware, 17 inches in height, by Mary Kelsey, Boston. Far left “Tempo” 25 inches in width, handbuilt, by Sheila Girling, London. Center left “Time Fragment ” low-fire white stoneware and steel, 36 inches in height, by Helene Starr, Syracuse. Left “]apan Spring No. 3” handbuilt stoneware, 18 inches in height, by Walter Darby Bannard, Rocky Hill, New Jersey. April 1982 51 “Computer Design Floor Piece/3 8 feet in length, commercial tiles with overglaze enamel in a pattern actually developed with the aid of a computer, photo-transferred, by Darcy Gerbarg, New York City. Right “Japan Spring No. 2” handbuilt stoneware, with slip, glazes, 21 inches in height, by Walter Darby Bannard.

“Not of Human Knowledge,93 19 inches in height, slabs residual salt fired to Cone 3; raku-fired cast boxes; by Ann Mortimer, Newmarket, Ontario.

Left “Wall Relief 78-043 ” colored clays, porcelain and glaze bits, 17 inches in height, by Kenneth Noland, South Salem, New York. 52 Ceramics Monthly “Untitled ” 30 inches in height, handbuilt of colored clays, with glazes and glaze bits, by Kenneth Noland. Works in this article were produced by painters, sculptors and ceramists at the Syracuse Clay Institute, New York. April 1982 53 Top "Shipley Point II,” vitreous china and earthenware, 24 inches square, by George Mason, Alfred, New York. Above“Cross Bronx Hijacking ” 11 inches in height, stoneware, by Stuart Lisson, Syracuse, New York. Left “CL 3,” 13 inches in height, by William Noland, New York City. 54 Ceramics Monthly "Globe 81-75 ” handbuilt from colored clays, 12 inches in height, glazed, by Kenneth Noland. April 1982 55 Top (detail) and Above“Dress Shoe Wallpaper Sample No. 2,” each wall-mounted shoe is approximately 16 inches in length, stoneware, colored slips and stains, by Courtney Frisse, Syracuse. Left “Ancient Ritual/3 24 inches in height, salt-glazed stoneware, inlaid porcelain, porcelain slip, by Jo Buffalo, Montrose, Colorado .

56 Ceramics Monthly Dennis Parks and student Lisa Neave at Tuscarora Pottery School, Nevada. Summer Workshops 1982 This marks the twenty-fourth year Ceramics Monthly has compiled its special listing of workshops for ceramics. We hope its timely appearance will be of help to those planning summer vacation activities. Because enrollments are limited in many areas, we suggest you make reservations early.

California, Davenport 2-day seminar with William Hunt (July 1—2); “Production with Bob Nichols; “Sculptural Clay: Functional and Non­ July 11—31 Pottery and Sculpture” with Douglas L. Johnson (July 11— functional” (July 26—30) with Phyllis Hammond; “Seeing/ Big Creek Pottery will hold two workshops: beginning to in­ 24); and “Mexican Pottery,” polychrome and black pottery Forming/Enjoying the Clay Vessel” (August 2—6 and 9—13) termediate instruction wih Bruce McDougal (July 11—17); techniques with Juan Quezada (August 22—September 3). with Betsy Tanzer; “Pottery: An Approach to Professional­ advanced pottery with Karen Karnes (July 25—31). Fee: Live-in accommodations available. Fee: $170 plus $15 labora­ ism,” throwing, kiln construction, firing, glaze development, $495 each, includes instruction, lodging and materials. For tory per week. Contact: U.S.C.—Idyllwild Campus, Box 38, studio management, marketing (August 16—20 and 23—27), further information contact: Big Creek Pottery, Davenport Idyllwild 92349, or call: (714) 659-2171. with A1 Johnsen. For further information contact: Karen 95017, or call: (408) 423-4402. Kesler, Mendocino Art Center, Ceramic Workshops, Box California, Long Beach 765, Mendocino 95460, or call: (707) 937-5818. California, Fremont June 21—July 16 July 11—17 California State University is planning a 4-week “Clay/Glass California, Oakland “Pipe Sculpture Workshop, West” will include making and Workshop” with Tony Marsh, Rodney Tsukashima and Rob­ May 17—August 26 firing terra-cotta sculptural forms from sewer pipe extru­ ert Winokur, for beginning to graduate level students. Live- The California College of Arts and Crafts is planning a series sions; at Mission Clay Products Company. Instructor: Jerry in accommodations available. Contact: Kay Tanamachi, Clay/ of lectures and workshops in conjunction with the 12th In­ L. Caplan. Submit slides and brief resume by June 25 to: Glass Program, California State University, Long Beach ternational Sculpture Conference. Workshops will cover: pot- Selection Committee, Jerry L. Caplan, 5812 Fifth Avenue, 90840, or call: (213) 498-4376. vessel concept and throwing, molds, hand construction, unu­ Pittsburgh, Pennsylvania 15232, or call: (412) 661-0179. sual processes in glazing and firing. Instructors: Viola Frey, Art Nelson, John Nelson and Sandra Shannonhouse. Limit­ California, Mendocino ed live-in accommodations. Contact: California College of California, Idyllwild June 21—August 27 Arts and Crafts Extension/Summer Office, 5212 Broadway, June 13—September 3 Mendocino Art Center will offer the following workshops: Oakland 94618, or call: (415) 653-8118, extension 150. University of Southern California—Idyllwild is planning a “Ceramic Slip-Cast and Press-Mold Making” (June 21—25) series of 1- and 2-week sessions: “Acoma Pottery,” processes and “Ceramic Underglaze/Overglaze Application via Air­ and techniques of the Pueblo Indians with Lucy Lewis, Em­ brush Techniques” (June 28—July 2) with John LaFrancesca; California, Santa Cruz ma Mitchel and Delores Garcia (June 13—25); “Advanced “Studio Potter’s Perspective on Combined Wheel Work and June 21—July 16 Ceramics” with Susan Peterson (June 27—July 10) includes a Handbuilding—Handles and Glazes” (July 5—9 and 12—16) Cowell College Pottery Studio of the University of California

April 1982 57 lege, 3001 South Federal Boulevard, Denver 80236, or call: Georgia, Rising Fawn (303) 936-8441, extension 281. May 17—August 13 Rising Fawn Pottery will offer four 2-week workshops (May Colorado, Marble 17—28; June 21—July 2; July 5—16; August 2—13) on basic June 21—July 16 approaches to pottery making with emphasis on wheel Thanos A. Johnson Studio is offering an intensive 4-week throwing, alternative methods of firing, and survival as a pot­ workshop for a limited number of participants. Each student ter. Contact: Charles Counts, Route 2, Rising Fawn 30738, or is provided with a wheel and workspace. Emphasis on throw­ call: (404) 657-4444. ing, handbuilding, stoneware, raku, kilnbuilding, glazes and clay bodies. Camping area available. Contact: Thanos A. Idaho, Sun Valley Johnson, 4367 Goodson Way, Rohnert Park, California June 14—August 13 94928, or call: (707) 584-1987, before May 26; thereafter: Sun Valley Center is planning a 9-week workshop on con­ 118 East Silver Street, Marble 81623, or call: (303) 963-2022. temporary figurative and representational clay. Instructors: Dan Doak, Mary Frank, Gayle Prunhuber, Steve Reynolds, Jim Romberg and Richard Shaw. Also July 1—2, a 2-day Colorado, Steamboat Village symposium with all artists. For further information contact: August 1—12 Ceramics Department, Sun Valley Center, Box 656, Sun Val­ The University of Northern Colorado plans a 12-day work­ ley 83353, or call: (208) 622-3539. shop on handbuilding, wheel throwing, kiln firing and glaze technology with Herb and Carlene Schumacher; at the Scan­ dinavian Lodge at Steamboat Village. Live-in accommoda­ Illinois, Northfield tions available. Contact: Herb Schumacher, Fine Arts De­ May 3—August 19 partment, University of Northern Colorado, Greeley, Northfield Pottery Works plans two 8-week sessions for all Colorado 80639, or call: (303) 351-2143. levels, also a 6-week course on designing, building and firing a kiln. Instructors: Jill Grau, Larry Danesi, Diane Gosser and Drake Johnson. For further information contact: Lois Deet- Colorado, Vail jen, Northfield Pottery Works, 1741 Orchard Lane, North­ June 21—August 6 field 60093, or call: (312) 446-3470. Summervail Workshop plans the following sessions: “Colo­ rado Clay Symposium” with Bruce Breckenridge, Richard Indiana, Goshen Lipsher, Don Reitz, Paula Rice, Richard Shaw and Robert June 14—July 2 Turner (July 8—10); “Production Techniques and Surface “Media Workshop: Raku” with Marvin Bartel, for beginning, Wendy Foster and Rhonda Fortunoff model the latest safety gearDesign” with Dan Keegan (June 21—25); “Low Fire Surface at C.W. Post Crafts Center, Greenvale, New York. intermediate or advanced students. Registration can be for 1, Decoration” with Bruce Breckenridge (June 28—July 2); 2 or 3 weeks. Contact: Marvin Bartel, Department of Art, “Personal Directions for the Potter” with Jim Lorio (July Goshen College, Goshen 46526, or call: (219) 533-3161. 12—16); “Limited Production” (July 26—30) and “Raku: is planning a ceramics workshop with A1 Johnsen. Live-in ac­ Ideas and Techniques” (August 2—6), both with Rod Tsuka- commodations available. Contact: Adrienne Van Gelder, shima. Limited live-in accommodations available. Contact: Indiana, Indianapolis University of California Extension, Carriage House, Santa Summervail Workshop, Box 117, Minturn, Colorado 81645, June 14—18 Cruz 95064, or call: (408) 429-2971. or call: (303) 827-5703. Indiana Central University is planning a 1-week workshop on clay bodies, glaze formulas, decorating and firing with Califoma, Taft emphasis on electric kilns. Instructor: Dee Schaad. Live-in ac­ June 15—July 22 Connecticut, Brookfield commodations available. Contact: Art Department, Indiana “Primitive Pottery Techniques” includes mining, processing June 26—July 16 Central University, 1400 East Hanna Avenue, Indianapolis Brookfield Center is planning a series of ceramic workshops 46227, or call: (317) 788-3219, or 788-3253. and utilizing local clays, primitive forming techniques, tool including: “Functional Forms” with Chris Gustin (June 26— making, kiln building and firing. Instructor: Jack Mettier. 27); “Porcelain Carving” with Jean Mann (July 10—11); “Pro­ Limited live-in accommodations. For further information duction Throwing” with Byron Temple (July 12—16). Lim­ Indiana, Indianapolis contact: Jack Mettier, Taft College, 29 Emmons Park Drive, ited live-in accommodations available. For further informa­ June 28—August 6 Taft 93268, or call: (805) 765-4086. tion contact: Brookfield Craft Center, Box 122, Brookfield Herron School of Art is planning three 2-week workshops on 06804, or call: (203) 775-4526. porcelain forming and surface treatment techniques. “Sur­ Colorado, Arvada face Treatment on Thrown Forms” with Scott Frankenberger June 21—August 26 Connecticut, Middletown (June 28—July 23); “Soluble Salts, Vapor Glazing and Other Arvada Center for the Arts and Humanities is planning a ce­ Techniques on Handbuilding Forms” with Walter Hall (July ramic session at all levels. Instructors: Chris Clark, Rolf Dahl, July 26—30 12—23); and “Slip Casting, Decals and Airbrush” with Greg Steve Schrepferman, Bob Smith and Ted Vogel. Also an ad­ “Raku Workshop” with Kathi Yokum will include all aspects Geisman (July 26—August 6). Fee: $100 per 2-week session, of the raku process and kilnbuilding. Live-in accommoda­ covers materials. Live-in accommodations available. Contact: vanced workshop with John Reeve and Warren MacKenzie tions available. Contact: Wesleyan Potters, 350 South Main (July 22—30). For information contact: Arvada Center for Porcelain, Herron School of Art/IUPUI, 1701 North Penn­ the Arts and Humanities, Wadsworth Boulevard, Arvada Street, Middletown 06457, or call: (203) 347-5925. sylvania Street, Indianapolis 46202, or call: (317) 923-3651. 80003, or call: (303) 431-3080. D.C., Washington Indiana, New Harmony June 21—July 30 June 14—July 16 Colorado, Aspen Corcoran School of Art is offering two sessions, for adults June 21—August 27 (June 21—July 30), and high-school students (June 28—July University of Evansville plans a 5-week workshop in ceramics Anderson Ranch Arts Center is planning a series of work­ 30), on handbuilding, throwing, glazing, reduction and saw­ for beginning to advanced students on handbuilding, throw­ shops in ceramics: “Impossible Ceramics” with Philip Corne­ dust firing. Instructor: Pamela Skewes-Cox. For further in­ ing, salt glazing, raku and stoneware. Instructors: Les Miley lius (June 21—July 2); “Ceramic Mural” with Steven Erickson formation contact: Pamela Skewes-Cox, Ceramics Depart­ and guest ceramists. Live-in accommodations available. Con­ (June 21—25); “Pottery” with Cynthia Bringle (June 28—July tact: Les Miley, Department of Art, University of Evansville, 9); “Pueblo Indian Pottery” with Blue Corn (July 12—16); ment, Corcoran School of Art, 17 and New York Avenue, Box 329, Evansville, Indiana 47702, or call: (812) 479-2043. “Porcelain and Raku” with Jenny Lind (July 12—23); “The Washington 20006, or call: (202) 628-9484. Art of Throwing” with David Strong (July 19—23); “Pottery” Kansas, Pittsburg with Warren MacKenzie (July 26—30); “Pottery” with Ken Georgia, Gainesville June 8—July 1 Ferguson (July 26-30); “Ceramics of Serenity” with Toshiko July 11—24 Pittsburg State University is planning a session for beginning Takaezu (August 2—6); “Form in Clay” with Daniel Rhodes Lake Lanier Stoneware Pottery plans two 2-week workshops and advanced ceramics students. Instructor: Malcolm Ku- (August 2—13); “Archaic Clay” with George Kokis (August on wheel throwing, slab building, glaze development, kiln charski. Contact: Art Department, Pittsburg State University, 9—13); “Raku” with Jim Romberg (August 16—20); “Porce­ management and design in a year-round production studio Pittsburg 66762, or call: (316) 231-7000, extension 353. lain” with Tom and Elaine Coleman (August 16—27); and for beginners to semiprofessional students. Instructors: Bob “Surface Variations” with Bennett Bean (August 23—27). and Pat Westervelt. Live-in accommodations available. Con­ Contact: Anderson Ranch Arts Center, Box 2410, Aspen tact: Lanier Stoneware Pottery, 5450 Pine Forest Road, Kentucky, Louisville 81612, or call: (303) 923-3188. Gainesville 30501, or call: (404) 532-7769. June 9—July 13 “Limited Forms,” a workshop with emphasis on wheel throw­ Colorado, Cortez Throwing at Augusta Heritage Arts Workshop, Elkins, West ing for intermediate to advanced students. Instructor: Tom May 31—June 13 Virginia. Marsh. Live-in accommodations available. Contact: Fine Arts “Sand Canyon Primitive Pottery Workshop,” with emphasis Department, University of Louisville, Louisville 40292, or on replicating prehistoric Anasazi pottery techniques, will in­ call: (502) 588-6796. clude obtaining clay, tool making, wheel throwing, hand- building and various firing techniques. Live-in accommoda­ Louisiana, New Orleans tions available. Contact: Kelly Place, 14663 County Road G, June 11—July 1 Cortez 81321, or call: (303) 565-8920. Tulane University/Newcomb Art School is planning a work­ shop on raku with Mark Rosenbaum; includes instruction in Colorado, Denver handbuilding, wheel throwing, glaze and kiln building. For June 14—July 2 further information contact: Gene H. Koss, Glass and Ce­ Loretto Heights College plans an intensive workshop for in­ ramics, Tulane University Newcomb Art School, New termediate and advanced students with instruction in wheel Orleans 70118, or call (504) 865-5734. throwing, handbuilding, kiln stacking and firing reduction stoneware and porcelain; clay and glaze formulation. Instruc­ Maine, Deer Isle tors: James and Nan McKinnell. Live-in accommodations June 13—September 10 available. Contact: Summer Program, Loretto Heights Col­ Haystack Mountain School plans the following clay work­

58 Ceramics Monthly shops with: Byron Temple (June 13—25), Wayne Higby (June 27—July 16), John Glick (July 18—30), Winnie Owens (August 1—20), and Robert Turner (August 22—September 10). Live-in accommodations available. For further informa­ tion contact: Haystack Mountain School of Crafts, Deer Isle 04627, or call: (207) 348-6946. Maryland, Columbia July 12—August 14 Visual Art Center, Columbia Cultural Institute, is planning: “Wheel Concepts of T hrowing Open and Closed Forms” with Rebecca Moy; “Master’s Class in Wheel” with Richard Lafean; “Ceramic Art History” and “Interdisciplinary Ce­ ramic Techniques” with the institute faculty; and “The Pot­ ter’s Personal Pattern” with Pat Saab. For further information contact: Visual Art Center, 6100 Foreland Garth, Columbia 21045, or call: (301) 992-3933. Massachusetts, Cambridge June 14—August 8 Radcliffe Pottery will offer an 8-week open studio in throw­ ing and handbuilding stoneware and porcelain, glazing, gas reduction and sodium vapor glazing for beginning to ad­ vanced students. Instructors: Bernice Hillman and Warren Mather. For further information contact: Radcliffe Pottery Summer Studio, Office for the Arts, 10 Garden Street, Cambridge 02138, or call: (617) 495-8680, or 354-8705. Massachusetts, Cambridge June 21—September 3 Mudville Pottery will offer an 11-week informal session in high-fire stoneware, wheel throwing and handbuilding for beginning through advanced students. Contact: Nan Hamilton or Carolyn Asbury, Mudville, 1305 Cambridge Street, Cambridge 02139, or call: (617) 547-9600. Massachusetts, Cohasset July 15—25 lb Kalon Center plans an introductory session in American Indian pottery techniques, including handbuilding, bur­ nishing and sawdust firing with Ursula Ording. Live-in ac­ commodations available. Contact: To Kalon, 181 Atlantic Av­ enue, Cohasset 02025, or call: (617) 383-6007. Massachusetts, Housatonic June 1—August 31 The Great Barrington Pottery offers three 1-month work­ shops on Japanese throwing and turning techniques with emphasis on production; includes firing a wood-burning kiln. Instructor: Richard Bennett. For beginning to advanced students and professional potters. Contact: The Great Bar­ rington Pottery, Housatonic 01236, or call: (413) 274-6259. Massachusetts, Newton Highlands June—August The Potter’s Shop will offer a variety of sessions including: “Raku” with Steve Branfman; “Lusters” with John Heller; “Electric-Fired Pottery, Throwing, Glazing, Firing” with Dai­ sy Brand; “Traditional Japanese Pottery Techniques” with Makoto Yabe; “Pottery for Art Teachers” with Carol Temkin; “Studio Equipment Maintenance and Repair” with Tim Shaw; and “Photographing Three-Dimensional Art” with Robert Arruda. Contact: The Potter’s Shop, 34 Lincoln Street, Newton Highlands 02161, or call: (617) 965-3959. Ken Ferguson at Sun Valley Center, Idaho. Massachusetts, Plymouth July 10—August 22 Michigan, School of Art, 2000 Bonisteel Boulevard, Ann Ar­ ther information contact: The Pot Shop, 2527 North Ferry, “Raku Workshops,” four 3-day sessions with Bill Bell. For in­ bor 48109, or call: (313) 764-0432. Anoka 55303, or call: (612) 427-7160. formation contact: Bill Bell, Plymouth Potter, 69 Newfield Street, Plymouth 02360, or call: (617) 746-8827. Michigan, Interlochen Minnesota, Minneapolis June 27—August 23 July 18—August 24 Massachusetts, Truro Interlochen Center for the Arts is planning sessions on de­ T he University of Minnesota is planning two workshops: July 6—August 27 sign, handbuilding, wheel throwing, glazing and firing for “Ceramics: Focus on Wheelbuilding” with emphasis on Truro Center for the Arts is planning a series of workshops: beginners through advanced students, from age 8 through throwing, and building a wheel to take home (July 18—24); “Clay Sculpture and the Landscape” with Vivian Bower; college. Instructors: Melissa Williams and Curt Yoder. Con­ and “Ceramics: Focus on Kilnbuilding” with emphasis on “Figure in Clay with Two Models” and “Portraiture in Clay,” tact: Director of Admissions, National Music Camp. building and firing a multi-chamber gas kiln (July 25—Au­ with Joyce Johnson; “Clay Construction” with Anne Lord; Interlochen 49643, or call: (616) 276-9221. gust 24). Instructor: Rimas VisGirda. Live-in accommoda­ “Three-Dimensional Design” with Anna Poor; “Two- and tions available. For further information contact: Summer Three-Dimensional Design” with Mikhail Zakin; “Wheel and Arts Study Center, Department E, 320 Wesbrook Hall, 77 Handbuilding with Clay” and “Intensive Wheel Workshop” Michigan, Saugatuck Pleasant Street Southeast, University of Minnesota, with Katy McFadden; “Colored Clay Workshop” with Leon July 18—August 28 Minneapolis 55455, or call: (612) 373-4947. Nigrosh; “Constructing a Mosaic Mural” with Lilli Ann Ros­ Oxbow plans two open workshops with Jayne Hileman: enberg; “Traditional Japanese Firing Techniques Using a “Raku: Fabrication and Firing” (July 18—August 7); “Clay as Contemporary Blow Torch” with Jayne E. Shatz; “That In­ a Drawing Material: Exploring the Painterly Usage of Clay” Montana, Helena credible Raku” with Randy Williams; “Wall Work” with Rich­ (August 8—28). The summer program also includes tradi­ June 16 ard Zakin; and “Workshop” with Karen Karnes. Contact: tional pottery methods. Live-in accommodations available. Archie Bray Foundation will offer a lecture and discussion Truro Center for the Arts, Castle Hill, Box 756, Truro, Contact: Oxbow, Saugatuck 49453, or call: (616) 857-5811, with Garth Clark on “Contemporary Ceramics.” For further 02666, or call: (617) 349-3714. or (312) 226-7534. information contact: Archie Bray Foundation, 2915 Country Club, Helena 59601, or call: (406) 442-2521. Michigan, Ann Arbor Minnesota, Anoka July 15—August 4 June 15—July 24 Nebraska, Omaha University of Michigan School of Art is planning a workshop The Pot Shop plans a 6-week session for intermediate to ad­ June 7—19 in handbuilding, throwing, glaze technology and kilnbuilding. vanced students. Emphasis will be on decorating, glazes and Omaha Brickworks is planning 2 workshops on clay sculp­ Live-in accommodations available. Contact: University of glazing, kilns and firing. Instructor: Barb A’Hern. For fur­ ture with Ken Little (June 7—12) and Jun Kaneko (June

April 1982 59 14—19). A maximum of 20 participants will work in an in­ New Jersey, Morristown dustrial environment with two assistants and the guest artist. June 28—July 30 Live-in accommodations available at no extra cost. For fur­ Earth and Fire plans a 5-week workshop on wheel throwing, ther information contact: Ree Schonlau, Craftsmen’s Gallery, handbuilding and glazing for beginning through advanced 511 South 11, Omaha 68102, or call: (402) 346-8887. students. Instructors: Michael F. Feno and Sy Shames. For further information contact: Earth and Fire, Box 5, Nevada, Tuscarora Morristown 07960, or call: (201) 455-9368. June 27—August 9 Tuscarora Pottery School is offering three 2-week workshops: New Mexico, Abiquiu “Wheel Throwing” (June 27—July 10); “Raw Glazing and June 21—August 16 Oil Firing” (July 12—25 and July 27—August 9). Instructor: Ghost Ranch is offering “Creative Arts Workshop,” raku and Dennis Parks. Live-in accommodations available. Contact: primitive fire with James Kempes (June 21—28); “Adven­ Tuscarora Pottery School, Tuscarora 89834, or call: (702) tures in Ceramics,” handbuilding, throwing, glazing and fir­ Tuscarora 6598. ing, with Willard Spence and Jim Kempes (July 12—26); “Festival of Folk Arts,” tile making, decorating and firing, with Marie Tapp (July 26—August 2); “Festival of Crafts— New Hampshk Goffstown Week I,” raku and primitive fire, with James Kempes and June 21—July 30 Marie Tapp (August 2—9); “Festival of Crafts—Week II,” Phoenix Workshop s planning the following workshops: Cone 10 stoneware and primitive fire, with James Kempes “Terra-Cotta Sculpture” with Armand Szainer; “Intensive and Willard Spence (August 9—16). Live-in accommodations Throwing” with Rudy Houk; “Painting on Pots” with Ed Nel­ available. For further information contact: Ghost Ranch, son; and “Advanced Studio, Master’s Class” with Gerry Willi­ Abiquiu 87510, or call: (505) 685-4333. ams. Live-in accommodations available. For further informa­ tion contact: Phoenix Workshops, RFD 1, Goffstown 03045, New York, Brooklyn or call: (603) 774-3582. June 1—July 9 Pratt Institute is planning a workshop on clay construction New Hampshire, Jefferson with Frank Olt. Emphasis will be on architectural ceramics, July 6—23 assembling forms using the potter’s wheel, slab roller and ex­ T he Waumbek Center is planning 1- to 3-week programs: truder. Contact: Nancy LaPointe, Pratt Institute, 200 Wil­ ‘Various Methods of Clay Handbuilding, Coil, Slab, Model­ loughby Avenue, Brooklyn 11205, or call: (212) 636-3528. ling” with Judith Dvorchik, for children, adolescents and Howard Shapiro throwing at North Texas State University adults; “Modeling and Sculpture” with Jean Bartoli, for Workshop. adults. For further information contact: Sculpture Work­ New York, Clayton shops, Waumbek Center, Box 38, Jefferson 03583, or call: July 5—September 3 (603) 586-4350, or 788-2572. Thousand Islands Museum Craft School is offering “Begin­ ning Pottery” with Joanne Afford; “Wheel Throwing Work­ New York, Otego shop” with Peter MacDougall; “Handbuilding and Mural August 1—27 New Hampshire, Weare Construction” with Chris Thompson; “Alternate Surface “August Clay Workshop,” includes sculpture, wheel throw­ July 12—August 13 Techniques for Ceramics” with Marion Held. Contact: Thou­ ing, formulation of clay bodies, glazing and firing gas, elec­ Craney Hill Pottery plans five 1-week intensive workshops sand Islands Museum Craft School, 314 John Street, Clayton tric and raku kilns. Instructor: Elizabeth Nields. Live-in ac­ on wheel throwing. Instructor: Dave Robinson. Live-in 13624, or call: (315) 686-4123. commodations available. Contact: Elizabeth Nields, Box 300, accommodations available. Contact: Craney Hill Pottery, Route 1, Otego 13825, or call: (607) 783-2476. Craney Hill Road, Weare 03281, or call: (603) 529-7443. New York, Greenvale August 2—13 New York, Saratoga Springs New Hampshire, Wilton Long Island University plans “Earthenware,” an intensive May 26—August 13 July 26—August 7 workshop on developing a personal aesthetic through the Skidmore College plans two sessions in ceramics for begin­ River Bend Pottery will offer an intensive two-week workshop utilization of various techniques, from press molding to ners to advanced or graduate level. Instructors: Regis C. in woodfiring: design and construction of wood kilns, with throwing. Instructors: Patrick Loughran and a visiting lec­ Brodie and Bruno LaVerdiere. Guest artist: Toshiko Ta- emphasis on multichambered hill-climbing kilns, production turer to be announced. Live-in accommodations available. kaezu. Contact: Skidmore College, Summer “SIX” Art Pro­ and firing of ware. Instructor: John Baymore. For further For further information contact: Joan Harrison, Crafts Cen­ gram, Saratoga Springs 12866, or call: (518) 584-5000. information contact: River Bend Pottery, Route 2, Intervale ter, C.W. Post Center of Long Island University, Greenvale Road, Wilton 03086, or call: (603) 654-9404. 11548, or call: (516) 299-2203. New York, West Nyack June 28—August 8 New Jersey, Layton New York, New York T he Rockland Center for the Arts plans the following ses­ May 15—August 27 June 4—13 sions: “Ceramics” at all levels with Judith Slane; “Raku Work­ Peters Valley plans the following: “Primitive and Smoke- “Architectural Ceramics,” a 10-day workshop led by Marylyn shop” with Roberta Leber. For further information contact: Firing Techniques” with Tom Neugebauer (May 15—16); “A Dintenfass with a core group of participants chosen by port­ Rockland Center for the Arts, 27 South Greenbush Road, Workshop” with Paul Soldner (May 29—31); “To Decorate” folio review will include slide presentations and demonstra­ West Nyack 10960, or call: (814) 358-0877. with Bennet Bean (June 12—13); “Functional Salt Work­ tions open to the public. The workshop will culminate in a shop” with Kris Nelson (June 14—25); “Anagama Internship symposium with architects and planners. For further infor­ New York, White Plains Session” with Katsuyuki Sakazume (June 28—August 27);mation contact: Maxine Feldman, Women’s Interart Center, 549 West 52 Street, New York 10019, or call: (212) 249-1050. June 19—August 3 “Wood-Fire Seminar” (August 23—27). Contact: Peters Val­ Westchester Art Workshop is planning two sessions: “Bau­ ley, Layton 07851, or call: (201) 948-5200. bles, Buttons and Beads” of clay, porcelain and Egyptian New York, New York paste (June 19); and “Night Whistles,” making and tuning Self-portraiture at the Creative Arts Community, Portland, June 7—25 musical instruments of stoneware and porcelain (July 13, 20, Oregon. “Kiln Construction for Schools and Urban Potters,” a work­ 27 and August 3). Instructor: Connie Sherman. Contact: shop to design and build two gas-fired 20-cubic-foot, down­ Westchester Art Workshop, County Center Building, White draft kilns. Instructors: William Mahoney and Jeff Jewell. Plains 10607, or call: (914) 682-2481. Live-in accommodations available. Contact: Teachers College, Columbia University, Department of Art and Education, 525 West 120 Street, New York 10027, or call: (212) 678-3360. North Carolina, Brasstown May 23—August 28 The John C. Campbell Folk School is planning a series of New York, New York workshops: “Primitive Pottery,” handbuilding with Marcia June 14—July 22 Bugg (May 23—29); “Pottery,” wheel throwing, glazing and A 6-week workshop in porcelain with June Ansorge, Stephen firing, with Lee Davis (July 4—17); “Pottery,” wheel throwing Hill, Sally Israel, Jim Makins, Susan Tunick and Alice Turkel. for intermediate and advanced students with Bill Gordy (Au­ For further information contact: Janet Bryant, 92 Street gust 1—14); and “Glazing Techniques” with Kathy Tripplett YM/YWHA, 1395 Lexington Avenue, New York 10028, or (August 22—28). Live-in accommodations available. For fur­ call: (212) 427-6000, extension 172. ther information contact: John C. Campbell Folk School, Brasstown 28902, or call: (704) 837-2775. New York, New York June 23—August 25 North Carolina, Cullowhee Earthworks Pottery is planning “Handbuilding with Porce­ June 21—August 6 lain,” a workshop on functional or decorative bowls, with Ai- Western Carolina University plans the following sessions with lene Fields. Fee: $120. For further information contact: M. William Buchanan: “Raku Workshop” (June 21—July 2); Simonds, Earthworks Pottery, 255 East 74 Street, New York “Wheel Throwing Workshop” (July 12—23); “Raku Work­ 10021, or call: (212) 650-9337. shop” (July 26—August 6). Live-in accommodations available. Contact: Department of Art, Western Carolina University, New York, New York Cullowhee 28723, or call: (704) 227-7210. July 2—August 27 Fireworks Shop will be offering summer workshops on hand­ North Carolina, Penland building and wheel throwing for children, teens and adults. May 31—August 30 Instructors: Carol Cutler, Joy Johnson and Nancy Lowell. Penland School of Crafts is offering 2- and 3-week sessions Contact: Fireworks Shop, 151 West 25 Street, New York for beginning through advanced students on handbuilding, 10001, or call: (212) 924-5479. throwing, glazes, clay bodies and firing techniques. Live-in

60 Ceramics Monthly accommodations available. Contact: Penland School of Crafts, Oregon, Otis Moravian Pottery and Tile Works, Swamp Road, Doylestown Penland 28765, or call: (704) 765-2359. August 13—15 18901, or call: (215) 345-6722. Sitka Center for Art and Ecology is planning a 3-day work­ North Carolina, Raleigh shop, “Ceramics with Ken Ferguson,” which will include Pennsylania, Mill Run August 2—6 demonstrations, discussions and a slide program (August July 19—August 6 North Carolina State University is offering a 1-week work­ 15), open to the public. Contact: Sitka Center, Box 65, Otis Pioneer Crafts Council, Mill Run, is planning “Functional shop “Porcelain for All Potters,” for ceramists with wheel- 97368, or call: (503) 994-5485, or 994-2960. Pottery” with Michael Thiedeman (July 19—30), and “Oxida­ throwing experience who do not usually work with porcelain. tion Glazing” with Richard Zakin (August 2—6). Contact: Pio­ Emphasis will be on throwing and hand construction. In­ Oregon, Portland neer Crafts Council, Box 2141, Uniontown, Pennsylvania structor: Sally Bowen Prange. Live-in accommodations avail­ August 2—11 15401, or call: (412) 438-2811. able. Contact: North Carolina State University, Craft Center, Oregon School of Arts and Crafts will offer “Ceramic Sculp­ Box 5217, Raleigh 27650, or call: (919) 737-2457. ture: Technique and Concept" with Richard Notkin (August 2—6); and “The Artist in Business: Controlling Your Own Pennsylvania, Philadelphia Destiny” with Libby Platus (August 9—11). For further infor­ June 28—August 5 North Carolina, Troy mation contact: Andrea Nebel or Sharon Marcus, Oregon Moore College of Art is planning a 6-week session on hand­ June 6—August 26 School of Arts and Crafts, 8245 Southwest Barnes Road, building, raku and stoneware for beginning and advanced The Montgomery Technical Institute is offering a workshop Portland 97225, or call: (503) 297-5544. students. Instructor: Joyce Robin Bordon. Live-in accommo­ on technical and aesthetical approaches to salt glazing for be­ dations available. Contact: Moore College of Art, 20 and ginning and advanced ceramists. Instructor: Mike Ferree. Race Streets, Philadelphia 19103, or call: (215) 568-4515. Contact: Montgomery Technical Institute, Pottery Depart­ Oregon, Portland ment, Troy 27371, or call (919) 572-3690. August 8—21 “The Arts at Menucha,” a 2-week workshop on handbuilding Pennsylvania, Slippery Rock with Judy Teufel or W'alt Gordinier; wheel throwing with July 12—16 Ohio, Bowling Green Dennis Meiners; and sculpture with Paul Buckner. Live-in ac­ Slippery Rock State College will offer “Toshiko Takaezu and July 19—August 13 commodations available. Contact: Creative Arts Community, Pine Lake Clay Workshop,” an exploration of clay techniques. “Ceramic Sculpture” wih Don Ehrlichman, including clay Box 4958, Portland 97208, or call: (503) 281-6814. Fee: $100. Live-in accommodations available. For more infor­ body development for varied temperatures, handbuilding mation contact: Ed Abrams, Conferences and Workshops, techniques, wheel throwing, slip and glaze technology, and 101 Old Main, Slippery Rock State College, Slipperv Rock kilnbuilding for large forms fired in place. Live-in accommo­ Pennsylvania, Doylestown 16057, or call: (412) 794-7551. dations available. Contact: Don Ehrlichman, School of Art, June 21—August 19 Bowling Green State University, Bowling Green 43403, or “The Moravian Pottery and Tile Works 8th Annual Summer call: (419) 372-2786. Apprentice Tile Workshop,” an 8'/2-week program for ad­ South Dakota, Spearfish vanced ceramists on the production of tiles and mosaics as June 13—20 Ohio, Cincinnati they were made between 1898 and 1930. Production time in “Earth, Fire and Water” will be a primitive pottery workshop June 21—August 20 exchange for studio time. May 1 deadline for slides and ap­ utilizing local materials. Instructor: Stephen Andersen. University of Cincinnati is offering an introductory session to plication. For further information contact: Mandy Sallada, Live-in accommodations available. Contact: Stephen Ander­ basic clay forming methods, glazing and firing with Diane Kruer; also a 3-week workshop with Roy Cartwright, empha­ sizing raku, salt glazing, primitive firing and clay bodies Taag Peterson, studio technician at U.S.C.—Idyllwild, California. (June 21—July 13). For further information contact: Fine Arts Department, University of Cincinnati, Mail Location 16, Cincinnati 45221, or call: (513) 475-2962. Ohio, Columbus May 24—July 30 Columbus College of Art and Design plans a 10-week session on stoneware and porcelain neriage, nerikomi and slip deco­ ration. Instructors: Curtis Benzie in porcelain, Ban Kajitani in stoneware. A 2-day workshop with Koji Nakano (June 21—22) on ceramic painting, mural making, throwing and nunome (a traditional Japanese technique for textured sur­ faces with slip-covered cloth). For additional information con­ tact: Mary Urquhart, 47 North Washington Avenue, Colum­ bus 43215, or call: (614) 224-9101. Ohio, Kent June 14—July 9 Blossom-Kent Art Program is planning a 4-week program in ceramics with Andrea Gill, Clary Illian and Walter Ostrom. Scholarships available. Live-in accommodations. Contact: Blossom-Kent Art Program, 211 New Art Building, Kent State University, Kent 44242, or call: (216) 672-2192. Ohio, Logan June 13—19 “Pipe Sculpture Workshop, East” will include making and fir­ ing terra-cotta sculptural forms from sewer pipe extrusions; at Logan Clay Company. Instructor: Jerry L. Caplan. Send slides and brief resume by May 28 to: Selection Committee, Jerry L. Caplan, 5812 Fifth Avenue, Pittsburgh, Pennsylvania 15232, or call: (412) 661-0179. Ohio, Oxford June 21—July 23 Craftsummer will hold the following workshops: “Porcelain for a Living” with Tom Turner (June 21—25); “Design and Production of Handmade Tile” with Beth Starbuck (July 19 —23). Live-in accommodations available. Contact: Peter Da- hoda, Craftsummer, Art Department, Miami University, Ox­ ford 45056, or call: (513) 529-7128.

Ohio, Put-in-Bay Summer Lake Erie Islands Workshop plans sessions for advanced to professional students. Studio space, internships and residen­ cies available. Contact: Lake Erie Islands Workshop, 2085 Cornell Road, Number 210, Cleveland, Ohio 44106. Oklahoma, Ada June 2—July 27 “Raku: New Directions” will include all areas from clay mak­ ing to firing. Instructor: Marc Etier. Live-in accommodations available. Contact: East Central University, Ada 74820, or call: (405) 332-8000, extension 354.

April 1982 61 glaze formulation, surface treatment and firing in stoneware and porcelain (June 16—30, July 1—August 13). Instructor: Charles C. Scott. Live-in accommodations available. Contact: Charles C. Scott, Department of Art, Glenville State College, Glenville 26351, or call: (304) 636-1900. Wisconsin, Drummond June 13—19 “Primitive Claywork and Firing,” a live-in workshop, will em­ phasize exploring primitive and raku clay techniques. In­ structor: Kurt Wild. Fees, including room, board and tuition: $112.94, residents; $238.26, nonresidents. Contact: Kurt Wild, Art Department, University of Wisconsin, River Falls, Wisconsin 54022, or call: (715) 425-3266. Wisconsin, River Falls June 14—July 30 University of Wisconsin will offer: “Sculptural Clay: Mold, Hand, Wheel,” including firing in small handbuilt kilns of various materials, constructing wall reliefs and free stand­ ing sculptures, with Douglas L. Johnson (June 14—July 2); “Workshop in Ceramics,” a combined studio class for begin­ ning and advanced students on forming, throwing, glazing and firing, with Kurt Wild (July 5—30). Live-in accommoda­ tions available. Contact: Art Department, University of Wis­ consin, River Falls 54022, or call: (715) 425-3266. Wisconsin, Sheboygan June 7—August 27 “Arts/Industry ’82,” an artist-in-residence program open to advanced graduate students and professional artists. One 8-week session (June 7—July 30) and one 12-week session (June 7—August 27) for 4 artists each. The participants will use the Kohler Company facilities and the technical expertise of engineers and industrial craftsmen. Live-in accommoda­ tions available. Contact: Nancy Drummer, John Michael Kohler Arts Center, 608 New York Avenue, Box 489, She­ boygan 53081, or call: (414) 458-6144. Wisconsin, Whitewater July 12—August 5 University of Wisconsin is planning a session with Charles Olson. Live-in accommodations available. For further information contact: Art Department, University of Wisconsin, Whitewater 53190, or call: (414) 472-1318.

International

Haystack Mountain School of Crafts studios, Deer Isle, Maine. Belgium, Rochehaut July—August Maison Artisanale will offer two 1-week and one 3-week ses­ sion in ceramics. Instructors: Denise Frankinet and Yves La sen, line Arts Department, Black Hills State College, Spear- ing of Ceramics,” a seminar. Instructor: Elmer Taylor. Live-in Haye. Live-in accommodations available. Contact: Denise fish 57783, or call: (605) 642-6272. accommodations available. For further information contact: Frankinet, Maison Artisanale de Rochehaut, 6849 Roche­ Elmer Taylor, North Texas State University, Denton 76203, haut, or call: (061) 46 6480. Tennessee, Alexandria or call: (817) 788-2855. August 27—29 Canada, Alberta, Banff New Hope Studios is offering “Women and the Creative Vermont, Bradford August 16—27 Force,” a live-in, process-oriented workshop, focused on the August 16—27 “Collaborations—Fibre and Clay,” a session in conjunction intuitive aspects of the creative process. Instructor: MaryAnn South Road Pottery is offering a two-week throwing skills with the weaving department, will examine multimedia mate­ Fariello. Send a self-addressed, stamped envelope to: New workshop. Instructors: Bruce and Phyllis Murray. Live-in ac­ rials in relation to concept. For more information contact: Hope Studios, Route 1, Box 192, Alexandria 37012, or commodations available. Contact: South Road Pottery, Brad­ The Banff Centre, School of Fine Arts, Box 1020, Station I, call: (615) 529-2990. ford 05033, or call: (802) 222-5798. Banff T0L 0C0, or call: (403) 762-6180. Tennessee, Gatlinburg Washington, Seattle Canada, Manitoba, Snow Lake June 7—August 13 August 22—28 June—September Arrowmont School of Arts and Crafts is offering the follow­ Pottery Northwest is offering “Kiln Building and Heat Ex­ Northern Canada Art School is planning “Wheel Throwing ing sessions: “Low Fire” with Margaret Ford (June 7—11); change Workshop,” with Paul Soldner and Frank Boyden. and Primitive Firing,” for beginners and intermediate stu­ “Salt Kiln” with Mike Sherrill (June 14—25); “The Ceramic Contact: Pottery Northwest, 226 First Avenue North, Seattle dents, with Emily Crosby. Live-in accommodations available. Vessel” with Harvey Sadow (July 19—23); “Wheel Thrown 98109, or call: (206) 285-4421. For more information contact: Northern Canada Art School, Pottery” with David Nelson (June 28—July 9); “Ceram­ Box 484, Snow Lake ROB 1M0. ics—Firing in Arrowmont’s Anagama Kiln” with Ishmael So­ to (July 26—August 6); “Porcelain” with Curtis and Suzan Washington, Tacoma Benzie (August 9—13). For further information contact: Ar­ June 14—25 Canada, Ontario, Haliburton rowmont School of Arts and Crafts, Box 567, Gatlinburg A session in glaze technology with Kenneth Stevens. Live-in July 5—August 6 37738, or call: (615) 436-5860. accommodations available. For further information contact: Haliburton School of Fine arts is offering the following work­ University of Puget Sound, Art Department, Tacoma 98416, shops: “Handbuilt Sculptures” with Dzintars Mezulis (July 5 or call: (206) 756-3348. —9); “Throwing and Altering Porcelain Forms” with Paula Tennessee, Smithville Murray (July 12—16 and 19—23); “Relief Sculpture” with June 14—August 13 West Virginia, Elkins Richard Gill (July 26—30); “Mid-Range Oxidation Glazing” Appalachian Center for Crafts workshops will include pot­ July 11—30 with Ann Mortimer (July 26—30); “Throwing Clay” with tery with Ron Meyers (June 14—25), clay symposium with Augusta Heritage Arts Workshop will offer handbuilding, Sam Moligian (August 2—6). Live-in accommodations avail­ Phil Cornelius, Kurt Weiser and Sandy Simon (July 5—16); glazing and firing techniques with Duke Miecznikowski (July able. Contact: Barb Bolin, Haliburton School of Fine Arts, and wood- and salt-fired pottery with Wayne Brannum (Au­ 11—23); clay digging and processing techniques with Brian Box 339, Haliburton K0M ISO, or call: (705) 457-1680. gust 2—13). Live-in accommodations available. Contact: Bill Van Nostrand (July 25—30). Live-in accommodations avail­ Rummel, Appalachian Center for Crafts, Route 3, Smithville able. Contact: Augusta Heritage Arts Workshop, Davis and 37166, or call: (615) 597-6801, or 528-3051. Canada, Ontario, North Bay Elkins College, Elkins 26241, or call: (304) 636-1900, exten­ July 5—23 sion 209, or 636-0006. Canadore College is planning three 5-day workshops: “Oxi­ Texas, Denton dation: Glazing and Decoration Techniques” with Keith May 31—July 7 West Virginia, Glenville Campbell (July 5—9); “Handbuilding Porcelain” with Paul North Texas State University is planning “Studio Problems June 16—August 13 Mathieu (July 12—16); and “Raku” with Monique Ferron and Techniques,” for students at all levels, and “The Teach­ Glenville State College plans two sessions in wheel throwing, (July 19—23). Live-in accommodations available. Contact:

62 Ceramics Monthly France, Poilly-sur-Serein July—September “Le Moulin de Poilly” is planning four 3-week courses in handbuilding, sculpture, wheel throwing, glaze technology, history of ceramics, Cone 10 stoneware, porcelain and raku. Instructors: Phillip Gearheart, Hester Tjebbes and guest professors. Live-in accommodations included. For further in­ formation contact: Le Moulin, Poilly-sur-Serein, 89310 Par Noyers, or call: (86) 75-92-46. Greece, Euboea, Procopion May 23—August27 Candili Pottery is offering 2-week sessions on wood-fired earthenware and raku. Instructors: Robert O’Keeffe and Pip Whitaker. Live-in accommodations available. Contact: Can­ dili Pottery, Achmetaga Estate, Procopion, or call: (0227) 41204. Holland, Utrecht July 1—23 “The Netherlands: Clay Workshop and lour” will be a 22-day session in the Mobach Pottenbakkers studio, plus a tour of cultural areas. Instructors: Mikhail Zakin and Adri­ ana Chilton. For further information contact: Old Church Cultural Center, 561 Piedmont Road, Demarest, New Jersey 07627, or call: (201) 767-7160. Italy, Cortona June14 —A ugust24 Dave Shaner decorating bowls at Pottery Northwest, Seattle. The University of Georgia plans “Ceramics in Italy,” a 10-week session which includes work in a 15th-century mon­ astery studio and field trips throughout Italy. Instructor: Joe Bova. Emphasis is on work with local clays, glazes, firing, Artsperience, Canadore College, Box 5001, North Bay P1B England, Kent, Maidstone raku, earthenware and terra sigillata. Fee: $2840 for trans­ 8K9, or call: (705) 476-2111. May 31—August 30 portation, room, board and tuition. Contact: Study Abroad John Solly is offering several 1-week workshops in ceramics Program, University of Georgia, Visual Arts, Athens, Geor­ with emphasis on throwing and slip decoration. Contact: gia 30602, or call: (404) 542-1511. Canada, Ontario, Toronto John Solly, 36 London Road, Maidstone ME16 8QL, or call: May 31—July 12 0622 54623. George Brown College is planning two 3-week courses on Italy, Tuscany, Firenze handbuilding, throwing, glazing and decorating for begin­ June 5—September 11 ners and intermediates. Instructors: G. Johns, J. Lowry and England, North Wales, Clwyd Ceramica Riparbello offers a summer course on clay. Accom­ J. H. Louie. Contact: G. Johns, Ceramics Department, May 31—September 3 modations available. Contact: Ceramica Riparbello, 50020 George Brown College, Casa Loma Campus, Box 1015, Sta­ Ruthin Pottery is offering several sessions on handbuilding, Marcialla, Firenze, or call: 0571/660084. tion B, Toronto M5T 2T9, or call: (519) 967-1212. wheel throwing, decorating, raw glazing and single firing stoneware and semiporcelain. Instructor: Claude Frere- Smith. For further information contact: Ruthin Pottery, Japan, Tokyo Canada, Quebec, Ayer’s Cliff Ruthin Crafts Centre, Lon Parcwr, Ruthin, Clwyd LL15 IBB, July21 —August20 June—September or call: Ruthin 4377. Parsons School of Design is planning a 5-week program, in­ Rozynska Pottery is planning five 2-week sessions on basic cluding ceramics, at the studios of the Tokyo Designer Ga- through advanced wheel throwing, handbuilding, glazing, kuin College. Fee: $3100 includes airfare and housing. For stacking and firing. Instructor: Wanda Rozynska. Live-in ac­ England, North Yorkshire, Harrogate further information contact: Office of Special Programs, commodations available. Contact: Rozynska Pottery, Way’s July 19—24 Parsons School of Design, 66 Fifth Avenue, New York, Mills, R.R.l, Ayer’s Cliff JOB ICO, or call: (819) 838-4321. Harrogate College of Arts and Adult Studies is offering a New York 10011, or call: (212) 741-8975. 6-day session in raku and post-fire treatment. Instructors: Canada, Quebec, Montreal Dennis Farrell, Tim Proud and Dave Roberts. Fee: £45. Con­ July 5—29 tact: Harrogate College of Arts and Adult Studies, 2 Victoria Ban Kajitani throwing neriage forms at Columbus College of Art McGill University is offering a session on raku techniques, Avenue, Harrogate HG1 1EL, or call: 62246. and Design workshop, Ohio. involving wheel throwing, handbuilding, glazing and kiln- building. Instructor: R. L. Studham. Live-in accommoda­ England, Somerset, Nr. Glastonbury tions available. Contact: McGill University, Summer Sessions, July 26—August 13 Montreal H3A 1Y2, or call: (514) 392-8857. Dove Workshops is offering three 5-day sessions, including throwing, raw glazing and raku firing, with instructor Paul Canada, Quebec, North Hatley Stubbs. Accommodations available. Contact: Dove Work­ June 25—August 24 shops, Barton Road, Butleigh, Nr. Glastonbury, or call: The Pottery is offering three sessions. “Wheel Throwing” Baltonsborough 50385. with Cheryl Kenmey; “Glazes” with Rosalie Namer; and “Raku” with Ken Madokoro. Live-in accommodations avail­ England, Somerset, Yeovil able. For further information contact: The Pottery, Box 181, June 26—September 11 North Hatley JOB 2C0, or call: (819) 842-2764. A series of 1-week classes will be held at Ridge Pottery on wheel throwing, handbuilding, glaze and clay technology, kilnbuilding with emphasis on wood firing. Instructor: Denmark, Copenhagen Douglas Phillips. Live-in accommodations available. For fur­ August 31—September 11 ther information contact: Ridge Pottery, Queen Camel, Yeo­ “Design in Arts and Crafts in Scandinavia,” touring design vil BA22 7NF, or call: (44) 935-850753. seminar organized in collaboration with Danish, Norwegian and Swedish craft organizations, includes lectures, visits to exhibitions, workshops, industries, showrooms and muse­ England, Sussex, Chichester ums. Seminar conducted in English. Contact: Helle Wisti, June 4—August 6 Kul^rvet 2, DK 1175, Copenhagen K, or call: (45-1) 135448. West Dean College is planning a series of weekend, 4-, 5- and 7-day workshops for beginners and advanced students in all areas of ceramics: modeling, pottery, porcelain, glazing and England, Berkshire, Maidenhead firing, including raku. Instructors: John Gunn, Alison Sand- July—August eman and Eric Stockl. Live-in accommodations available. Kingsbury Pottery will offer sessions in handbuilding and Contact: West Dean College, Chichester P018 0QZ, or call: wheel throwing with Renee Rubinstein. Live-in accommoda­ 0243/63/301. tions available. Contact: Kingsbury Pottery, 4 Boyn Hill Road, Maidenhead SL6 4JB, or call: 0628 27984. England, Yorkshire, Wakefield July 10—16 England, Herefordshire, Ross-on-Wye Bretton Hall College is offering a ceramics workshop which April, July, August includes lectures and demonstrations in handbuilding, Wobage Farm is planning three weekend seminars on ceram­ throwing, raku and salt firing, and study trips to ics: “Throwing” (April 24—25); “Decoration” (July 24—25); Staffordshire potteries and Roman York. Fee: £155 (approxi­ and “Big Thrown Pots and Decoration” (July 31—August 1). mately $295), includes tuition, room, board, materials and Instructors: Michael and Sheila Casson, Wally Keeler, An­ transportation. Contact: Jim Robinson, Ceramics Depart­ drew McGarva and Eileen Nisbet. Contact: Wobage Farm, ment, Bretton Hall College, West Bretton, Wakefield WF4 Upton Bishop, Ross-on-Wye HR9 7QP, or call: (098985) 233. 4LG, or call: 44-92-485-261.

April 1982 63 Almost any Cone 10 body can be reformulated to vitrify at a lower temperature by substituting nepheline syenite Cone 5-6 (or a combination of talc and nepheline syenite) for feldspar in the recipe. Reduction Each of the following glaze recipes has demonstrated good temperature range and consistency when applied to thrown stoneware and fired in a gas kiln at Cone 6 Glazes (large Orton cones between two and three o’clock).

byP aul Woolery Clear Glaze (Cone 4—10, reduction) Gerstley Borate ...... 21% Wollastonite ...... 8 Nepheline Syenite...... 30 Kaolin ...... 10 Flint ...... 31 100% An excellent clear glaze, this recipe will fit most stoneware bodies. Shino Glaze (Cone 5—6, reduction) The romance of high-fired reduction glazes partly stems Gerstley Borate ...... 4.9% from tradition, yet is amply justified by the finished Soda Ash ...... 2.9 works’ surface vitality and depth. Nevertheless, highNepheline Syenite ...... 54.5 firing did not originate in a romantic spirit, but was the Spodumene ...... 22.8 result of necessity. Early potters had to fire to the melting Ball Clay ...... 14.9 temperature of available materials. With a little lime, 100.0% most native materials will melt at Cone 9, but at the Particularly nice on a dark body, this recipe is fat and lower end of the stoneware range (Cone 5—6) a satis­ creamy where applied thickly, breaking to gold where factory melt was often difficult to achieve. For today’s thin. potters, low-temperature fluxes (such as Gerstley borate, zinc oxide and frits) are readily available from nearby Ash Glaze (Cone 5—6, reduction) ceramics suppliers. As fuel costs continue to rise, the Gerstley Borate ...... 13.6% current necessity is no longer to melt a rock, but to Lithium Carbonate ...... 4.5 reduce expenses. Pine Ash ...... 18.2 I began working at Cone 5—6 reduction knowing that Whiting ...... 18.2 the cost and length of firing could be cut by at least one- Albany Slip...... 36.4 third. However, the glazes I had seen were often zinc Kaolin ...... 9.1 oxide or boron dominated, flamboyant and glossy, or flat 100.0% in color—without range. Theorizing that these glazes Add: Red Iron Oxide...... 5.0% were simply underdeveloped and not the inherent result Green and brown in color, this runny glaze will vary of the lower temperature, I tested numerous recipes, then depending on the ash. An addition of 0.5% cobalt oxide plotted a trilateral graph with the percentage weights of will produce blue-gray. Si0 , A1 0 , and fluxes grouped together. There a pattern began2 to2 take3 shape. Glazes of similar qualities were clus­ Albany Gold Glaze (Cone 5—6, reduction) tering in different areas of the chart. With this informa­ Gerstley Borate ...... 27% tion and a few intuitive leaps, I began to formulate Cone Albany Slip ...... 73 5—6 reduction glazes matching the quality of high-fired 100% recipes, as well as offering colors and effects not possible Add: Titanium Dioxide ...... 5% at Cone 10. Red Iron Oxide...... 5% Successful Cone 5—6 glazes generally depend on the This is what I regard as a flamboyant glaze with very rich ratio of the usual fluxes, without too much reliance on and dramatic color. I prefer it applied with restraint over Gerstley borate or zinc oxide. In some instances a Cone 10 the Tea Dust and Ohata glazes. glaze can be lowered simply by substituting a frit for part or all of the feldspar. It is difficult, however, to fit this Tea Dust Temmoku Glaze (Cone 5—6, reduction) kind of a transparent glaze to a Cone 5—6 clay body. A Frit P-25 (Pemco) ...... 26.3% solution is reducing the alkaline fluxes in favor of Gerstley Whiting ...... 10.5 borate, but too much will produce a milky glaze that may Albany Slip...... 63.2 also be too fluid and prove unsatisfactory when applied 100.0% with washes and slips. In any case, a series of tests in Add: Red Iron Oxide...... 5.0% which proportions are varied in small percentages will With colors ranging from red, gold and green through pinpoint the most satisfactory recipe. shades of brown to black, the tea dust effect occurs where Clay bodies, by the way, do not present a problem. the glaze is thick. 64 Ceramics Monthly Ohata Glaze (Cone 5—6, reduction) Bone Ash...... 14% Dolomite ...... 8 Gerstley Borate ...... 4 Lithium Carbonate...... 4 Potash Feldspar...... 52 Kaolin ...... 6 Flint ...... 12 100% Add: Red Iron Oxide ...... 8% Ohata has a matt surface finely speckled with many red tones from bright ketchup to deep plum. Gold Matt Glaze (Cone 5—6, reduction) Bone Ash...... 3.6% Frit P-25 (Pemco) ...... 4.5 Talc ...... 3.6 Whiting ...... 18.7 Potash Feldspar ...... 47.3 Kaolin ...... 22.3 100.0% Add: Red Iron Oxide ...... 4.0% Rutile ...... 4.0% A reliable matt, this recipe responds well to various color­ ant additions. Celadon Glaze (Cone 5—6, reduction) Gerstley Borate ...... 10% Volcanic Ash...... 56 Wollastonite ...... 14 Ball Clay ...... 12 Flint ...... 8 100% This glaze tested well with three different samples of volcanic ash, two processed from local deposits. The color may be deepened with an addition of up to 15% Albany slip. Speckled Carbon Trap Glaze (Cone 5—6, reduction) Gerstley Borate...... 14.9% Lithium Carbonate ...... 4.3 Nepheline Syenite ...... 37.2 Ball Clay ...... 21.3 Flint ...... 22.3 100.0% Add: Zircopax...... 7.0% A Shino-type glaze that trapscarbon in fine gray specks, this recipe breaks from gold to white on a dark body. Spodumene Glaze (Cone 5—6, reduction) Dolomite ...... 24% Gerstley Borate ...... 4 Spodumene ...... 30 Custer Feldspar...... 21 Kaolin ...... 9 Flint ...... 12 100% Add: Zircopax...... 5% This satiny glaze responds colorfully to washes. The author Paul Woolery maintains a studio in Eugene, Oregon. April 1982 65 Itinerary Continued from Page 21 Museum of the American China Trade, 215 Adams Street. Michigan, Detroit through April 20 “Michigan Ceramics 82/Rouge,” a juried exhibition of approximately 70 works in­ corporating the color red by Michigan art­ ists; at Detroit Artists Market, 1452 Ran­ dolph Street. Minnesota, Duluth through April 4 “Min­ nesota Ceramics: An Invitational,” in­ cludes works by 24 clay artists; at Univer­ sity of Minnesota Tweed Museum of Art. Minnesota, Minneapolis April 5—10 A group exhibition including functional wood-fired stoneware by Mark Pharis; at By Design, Lumber Exchange Building, 10 South Fifth Street. Montana, Billings April 4—28 A two- person show, including pottery by George Dunbar; at Gallery ’85, Emerald Drive. Montana, Browning through April 2 “Tile Mosaics by Red Rainbows”; at Museum of the Plains Indian and Crafts Center. Nebraska, Omaha through April 28 “Fired With Wood,” an exhibition of new work by Paul Chaleff and Steve Dennis; at the Exhibition Gallery, 2nd Floor. “Wood- Fired Functional Work,” featuring works by Jasper Bond, Wayne Branum, Randy Johnston, Marck Nystrom, Jeff Oestreich, Mark Pharis and Jack Troy; at the First Floor Gallery. Both at the Craftsmen’s Gallery, 511 South 11 Street. New Hampshire, Manchester through April 22 “Second New Hampshire Crafts Biennial”; at the Manchester Institute of Arts and Sciences, 148 Concord Street. New Jersey, Lakewood April 18—30 An exhibition of New Jersey artists includes ceramics by Mark Forman, Albert Green and Byron Temple; in conjunction with the conference “Crafts—Getting your Act Together” (April 30) ; at Georgian Court College Gallery. New Mexico, Hobbs through April 2 “LEAA All Media National”; at New Mexico Junior College, Lovington High­ way. New York, Albany through April 25 “Soup Tureens from the Campbell Collec­ tion,” works made mostly during the 18th and 19th centuries in Europe, China and the United States; at the Albany Institute of History and Art, 125 Washington Ave. New York, New York through April 10 A three-person show includes ceramic work of Frank Boyden. April 13—May 1 An exhibition including clay vessels by Paul Soldner; both at the Elements Gallery, 766 Madison Avenue. through May “Young 9 Americans: Award Winners,” an exhibition featuring the work of 19 craftspersons; at the American Craft Museum, 44 West 53 Street. through May 16“The Museum and the Creative Artist,” includes clay sculpture by Vera Lights tone; at the American Museum of Natural History, Akeley Gallery, 79 Street and Central Park West. through May 30“The Communion of Scholars—Chinese Art at Yale,” a selec-

66 Ceramics Monthly tion of objects from the Yale University Ohio, Oberlin through April 4 The “First Art Gallery, including Ch’ang-sha ceram­ Juried Clay Exhibition.” ics; at the China Institute Gallery, 125 April 13—25 An exhibition of works by East 65 Street. Canadian potters Louise Doucet-Saito and April 6—24 An exhibition of works by Satoshi Saito; both at Firelands Associa­ Maxine Klein and James Makins. tion for the Visual Arts, 80 South Main April 27—May 15 Ceramics by Clifford Street. Mendelson, Phyllis Folk and Madeline Lane; both at Greenwich House Pottery, Ohio, Toledo through May 30 “Animals 16 Jones Street. in Ancient Art from the Leo Mildenberg Collection,” includes ceramic animal ves­ New York, Rochester through April 25sels and sculpture from ancient Near East­ “Bedouin and Village Arts and Crafts ern, Egyptian and classical cultures; at the from Saudi Arabia,” including pottery; at Toledo Museum of Art, Monroe Street at the Memorial Art Gallery of the Univer­ Scottwood Avenue. sity of Rochester. April 3—28 “A Party of Three,” ceram­ Ohio, Westerville April 8—May 15 A ics by Barry Bartlett, Kirk Mangus and group exhibition including ceramics by Arnold Zimmerman; at Hopper’s Gallery, Mary Ellen Dwyer; at the Herndon House, 643 South Avenue. 40 Winter Street. New York, Scarsdale through April 24 “Invitational 1982,” includes ceramics by Ohio, Wooster April 4—May 2 “Func­ Bennett Bean, Marvin Bjurlin, Sylvia tional Ceramics 1982,” an exhibition of Bower, Frank Boyden, Stephen Harford, work by 29 ceramists from 14 states; at Thomas Hoadley, Curtis Hoard, Karen the College of Wooster art museum. Karnes, Susan and Steven Kemenyffy, Nancee Meeker, David Nelson, Byron Pennsylvania, Elkins Park April 3—24 Temple, Tom Turner, Laura Wilensky, Raku wall pieces and sculpture by Susan Malcolm Wright and Dale Zheutlin. and Steven Kemenyffy; at Gallery 500, April 11—May 7 Sixth annual “Invita­ Church and Old York Roads. tional 1981,” presents the work of 27 craft artists in several media, including porce­ Pennsylvania, La Plume April 14—May 7 lain, terra cotta, and raku; both at the “Fire and Ashes,” an exhibition of contem­ Craftsman’s Gallery, 16 Chase Road. porary wood-fired ceramics; at Keystown New York, Schenectady through April 28 Junior College. The “8th Regional Craft Show”; at the Pennsylvania, Loretto through May 16 Schenectady Museum, Nott Terrace Hts. “Continuity and Change: 3 Generations New York, Syracuse April 23—May 31 of American Potters”; at the Southern Biannual regional exhibition of work by Alleghenies Museum of Art, Saint Francis upstate New York artists, includes ceram­ College Mall. ics; at the Everson Museum of Art, 401 Pennsylvania, Philadelphia April 26—May Harrison Street. 28 An exhibition of the works donated by New York, Utica through May 2 “Found Peters Valley Craft Center’s resident and in New York’s North Country: the Folk visiting artists, which will be auctioned Art of a Region,” includes ceramics from May 1; at Philadelphia Art Alliance, 251 New York State north of the Mohawk South 18 Street. River Valley; at Munson-Williams-Proctor Pennsylvania, Sewickley April 4—May 1 Institute, 310 Genesee Street. An exhibition including ceramics by I. B. New York, White Plains April 30—May Remsen; at Bird in the Hand Gallery, 16 “Mamaroneck Artists Guild 29th Open 427 Broad Street. Juried Exhibition”; at the Community Rhode Island, Newport April 2—25 “The Unitarian Church, Rosedale Avenue and Great American Bowl,” a juried and invi­ Sycamore Lane. tational show; at the Art Association of Ohio, Cincinnati through April 4 “Re­ Newport, 76 Bellevue Avenue. naissance of Islam: Art of the Mamluks,” includes ceramics from the Mamluk em­ Rhode Island, Providence through April pire of Egypt and Syria (A.D. 1250— 25 “The Haystack Tradition: Art in Craft 1517); at the Cincinnati Art Museum, Media,” works by former students and fac­ Eden Park. ulty of the Haystack Mountain School of Crafts in Deer Isle, Maine; at the Rhode Ohio, Cleveland through April 17 A two- Island School of Design, Museum of Art. person show includes ceramics by Neil Tet- kowski. Texas, Bastrop April 16—25 “Texas as April 23—May 12 A group exhibition in­ Art,” a multimedia juried show; at the cluding porcelain works by Joan Rosen­ Bastrop County Association for the Arts, berg; both at the Mather Gallery, Case 1006 Main Street. Western Reserve University, 11111 Euclid Avenue. Texas, College Station through April 3 through May 30 An exhibition of works by “Texas Designer/Craftsmen Exhibition”; artists of the Western Reserve, includes at Rudder Exhibition Hall, Texas A & M ceramics; at the Cleveland Museum of Campus. Art, 11150 East Boulevard. Utah, Cedar City April 1—30 “The 41st Ohio, Columbus through April 13 “Shad­ Annual Cedar City Art Exhibition”; at the ow of the Dragon: Chinese Trade Ceram­ Southern Utah State College Braithwaite ics,” an exhibition of approximately 250 Fine Arts Gallery. objects from the Song, Yuan and Ming dynasties; at the Columbus Museum of Vermont, Middlebury through April 23 Art, 480 East Broad Street. Please Turn to Page 74 April 1982 67 68 Ceramics Monthly News 8c Retrospect Jim Klingman and handbuilds forms with a red clay from society,” ceramic sculpture by Jens Morri­ Porcelain dinnerware, teapots, vases and China. Coated on all but the foot with son (Carlsbad, California) was exhibited lamps by Colorado potter Jim Klingman white slip (made from Korean kaolin), at Grossmont College in El Cajon, Califor­ were exhibited recently at Max’ims of most are decorated with black stain brush- nia, through February 19. Among the Greeley. As on this blue vessel, 10 inches work. Barium and lithium carbonates slab-built “dwellings” treated with slips, brighten the glaze color overall. The work underglazes, indigenous clays and glazes is fired to 1180°C (2155°F) in oxidation. (fired to Cone 06—05), was “Tea Tem­ ple,” 30 inches in height, whiteware. The artist is “particularly interested in verna­ 1983 NEA Budget Proposed cular architecture and its manifestations Even though funds for the National that are the ‘core’ of primitive societies Endowment for the Arts were cut to throughout the world. Several years ago, $100,800,000 (down from $143,000,000 in I began to develop a concept of history by 1982) in the 1983 proposed federal bud­ inventing my own culture called the Far- get, the Visual Arts programs should be mounians. This ‘pseudoceramic’ society, only slightly affected, according to spokes­ based on agricultural societies of ancient man Michael Faubion. Since grants are Mesopotamia and Egypt, has led me to administered in two-year cycles, the study peoples of the world that could be 1982—83 categories are set and will re­ considered ‘folk cultures.’ The Somba and main unchanged. Dogon mud dwellings of West Africa, the Constant budget alterations during the wooden houses of the Tarascan Indians of past year led to the development of vari­ Mexico, and other such architectural won- ous plans for programs contingent upon the final appropriation. If Congress again approves a budget higher than that pro­ posed, priorities have already been estab­ lished—with the primary intent to support individual artists through fellowships. Blue vessel Guidelines for NEA group programs are currently available; a separate booklet for in height, many of the forms were glazed individual fellowships will be published with a single transparent recipe, yielding this fall. Copies may be obtained by writ­ deeper color in throwing marks and incised ing: Visual Arts Program Guidelines, Na­ patterns. tional Endowment for the Arts, 2401 E St., Northwest, Washington, D.C. 20506, Kenji Kato or by calling: (202) 634-1566. Fifth-generation potter Kenji Kato re­ cently presented “Turkish Blue Ceramics,” Indiana Marketing a one-man show at Green Gallery in To reach a nationwide market, Indiana Tokyo. Glazed with a transparent tur- ceramists are entering the rapidly expand­ quoise-blue, the 77 exhibited forms in­ ing mail-order field. The second annual cluded bowls, plates, cups, bottles and this edition of the “Redbud Catalog of Indiana Arts and Crafts” features works by 35 selected artisans. The sponsoring nonprofit organization, Indiana Creative Resource Corporation, receives 35% commission on sales to cover operational costs. I.C.R.C. Whiteware “Tea Temple” takes the orders, validates the check or ders have had an important influence. credit card, then forwards the requests to From these resources I draw inspiration the artist, who is responsible for shipping. and am then able to extend ideas about Artists are paid 65% of the catalog price color and form to ceramic images.” plus shipping costs on the 15th of the fol­ lowing month. This year 65,000 catalogs will be sent around the U.S. to people on Dennis Parks commercial mailing lists for similar prod­ “Fragments,” work from the past three ucts. Copies are available for $1 from: years by Dennis Parks (Tuscarora, Ne­ I.C.R.C., 116½ South College Avenue, vada), was recently shown at the Marcia Bloomington, Indiana 47401. Rodell Gallery, Los Angeles. Rich in color, the surfaces of these wall plaques Jens Morrison are corroded and often lava-like, with bloating and firing scars. The fragment Reflecting “cultures of the world that designation comes, however, from the im­ dwell on the fringe of our technological pressed parts of words, poems and extracts You are invited to send news and from journals and family diaries. Trun­ photographs about people places or cated phrases slowly become manifest events of interest. We will3 be pleased through the smoked surfaces, drawing the to consider them for publication in thisviewer closer to read. Japanese handled vase column. Mail submissions to: News & Construction and firing processes are handled vase, approximately 9 inches in Retrospect, Ceramics Monthly, Box much in evidence. The slabs are made height. At his studio in Tajimi, the “ce­ 12448, Columbus, Ohio 43212. from thrown cylinders, cut on one side, ramic capital of Japan,” Kenji throws Continued April 1982 69 Where to Show Continued from Page 13 Fair” (September 11—12) is open to all. Juried from 3 to 5 slides. $1000 in awards. Screening fee: $3. Booth fee: $100 for a 10x15-foot space. Contact: Pat Doscher, 10 Hawthorne Hills, Mount Vernon 62864, or call: (618) 242-1236. June 1 entry deadline Highlands, North Carolina “6th Annual High Country Art and Craft Show” (July 2—3) is open to all artists and craftsper­ sons. Juried from 3 slides or photos. Fee: $55 includes a 10x12-foot space. Contact: Virginia Smith, High Country Crafters, 29 Haywood Street, Asheville, North Carolina 28801, or call: (704) 254-0070. June 1 entry deadline Greensburg, Pennsylvania “Westmoreland Arts Heritage Festival” and “New Outdoor Sculpture Competition” (July 3—5) are open to all. Awards. Each event juried from 4 slides. Fee: $4 each. For further information contact: Olga Gera, West­ moreland County Roads and Bridge Build­ ing, Route 8, Donohoe Road, Greensburg 15601, or call: (412) 836-1703. June 1 entry deadline Richmond, Virginia “7th Annual Rich­ mond Craft Fair” (November 12—14) is open to all craftspersons. Juried from 5 slides. $4000 in awards. Entry fee: $5. Booth fee: $120 for an 8x10-foot space. For further information contact: Jan Det- ter, Hand Work Shop, 1001 East Clay Street, Richmond 23219, or call: (804) 649-0674. June 5 entry deadline Bloomington, Indiana “The Fourth Street Art and Craft Fair” (September 4—5) is open to all media including ceramics. Ju­ ried from 4 slides. Fee: $35 includes an 8x10-foot space. Contact: Fourth Street Art and Craft Fair, Box 1257, Blooming­ ton 47402, or call: (812) 824-4217. June 12 entry deadline La Crosse, Wisconsin “Great River Tra­ ditional Music and Crafts Festival” (Sep­ tember 4—5) is open to all craftspersons. Juried from 4 slides. $1000 in awards, oriented to traditional-type crafts. Entry fee: $5. Booth fee: $25 for 2 days. For further information contact: Pat Wiffler, Crafts Committee, Pump House, 119 King Street, La Crosse 54601, or call: (608) 788-7787. July 1 entry deadline Gaithersburg, Maryland 7th annual “Na­ tional Craft Fair” (October 15—17) is open to all media. Juried from 5 slides. Entry fee: $5. Booth fees: $100—$175. No commissions. For more information contact: National Crafts Ltd., Gapland, Maryland 21736, or call: (301) 432-8438. July 1 entry deadline Boone, North Carolina “4th Annual High Country Art and Craft Show” (July 16— 18) is open to all craftspersons. Juried from 3 slides or photos. Fee: $60 includes an 8x10-foot booth. Contact: Virginia Smith, High Country Crafters, 29 Hay­ wood Street, Asheville, North Carolina 28801, or call: (704) 254-0070. July 1 entry deadline Milwaukee, Wisconsin “Craft Fair U.S.A.” Continued

70 Ceramics Monthly News & Retrospect flopped down, stretched out and torn. Visible throwing and stretching marks, as

Dennis Parks’s “. . . eking a Toad . . on “. . . eking a Toad . . .,” approximately 16 inches in length, refer to the forming process and the previous state of the now hard material. The plaques are single fired upside down on top of boards and wooden con­ structions arranged on the kiln shelf. Car­ bon and ash are trapped between the slab and the shelf, yielding the blacks and soft grays ringed by orange and lavender.

“Smoke . . Other slabs, fired on salt-kiln shelves, such as “Smoke . . .,” approximately 16 inches in height, had sodium migrate to the surface, fluxing, blistering and producing a glowing color over the noncarboned areas. Dennis came upon this process by acci­ dent several years ago. He had made a series of thin clay belts, up to 40 inches long, but many broke while moving them from ware boards to kiln shelves. Rather than risk breakage, the solution was to fire belts and boards together. The subsequent richness of the back of the belts intrigued Continued April 1982 71 Where to Show (July 24—25) is open to all artists 18 years or older. Juried from 5 slides or photographs. Fee: $65 includes a 10x10- foot space. For further information con­ tact: Dennis R. Hill, 3233 South Villa Circle, West Allis, Wisconsin, or call: (414) 321-4566. July 15 entry deadline Highlands, North Carolina “7th Annual High Country Art and Craft Show” (Au­ gust 6—8) is open to all media. Juried from 3 slides or photos. Fee: $55 includes a 10x12-foot booth. For more information contact: Virginia Smith, High Country Crafters, 29 Haywood Street, Asheville, North Carolina 28801, or call: (704) 254- 0070. July 15 entry deadline Nags Head, North Carolina “8th Annual Compass Rose Art and Craft Fair” (Au­ gust 5—6) is open to all. Juried from 6 slides. Fee: $60 for a 6x6-foot space. For further information contact: Jan Mann, Route 1, Box 195-A, Goodwin, North Carolina 28344, or call: (919) 567-2978. July 15 entry deadline Pittsburgh, Pennsylvania “A Fair in the Park” (September 10—12) is open to all artists in the U.S. Juried by members of the Craftsmen’s Guild of Pittsburgh from 5 slides. No jury fee or commissions. Booth fee: $60 for a 10x8-foot space. For more information contact: Mark Powder, Box 10128, Pittsburgh 15232, or call: (412) 363-0569. August 1 entry deadline Asheville, North Carolina “High Country Summerfest Art and Craft Show” (August 19—21) is open to all media. Juried by 3 slides or photos. Fee: $85 for a 10x12-foot booth. For more information contact: Betty Kdan, 40 Hyannus Drive, Asheville 28804, or call: (704) 253-6893. August 1 entry deadline Milwaukee, Wisconsin “Craft Fair U.S.A.” (September 25—26) is open to all artists 18 years or older. Fee: $65 includes a 10x10-foot space. For further information contact: Dennis R. Hill, 3233 South Villa Circle, West Allis, Wisconsin 53227, or call: (414) 321-4566. August 15 entry deadline Cashiers, North Carolina “2nd Annual High Country Art and Craft Show” (Sep­ tember 3—5) is open to all media. Juried from 3 slides or photos. Fee: $55 for a 10x12-foot booth. For more information contact: Virginia Smith, High Country Crafters, 29 Haywood Street, Asheville, North Carolina 28801, or call: (704) 254-0070. September 1 entry deadline Virginia Beach, Virginia “Atlantic De­ signer Crafts Exhibition” (November 26— 28) is open to all craftspersons. Juried from 4 slides. Cash awards. Entry fee: $5. Booth fee: $80, includes a lOxlO-foot space. For further information contact: Atlantic Designer Crafts, Box 100-60, Vir­ ginia Beach 23451, or call: (804) 422- 3268.

72 Ceramics Monthly News & Retrospect Dennis; he continued to experiment with the technique, eventually incorporating it into the fragments. As a ceramist, writer and poet, Dennis draws together literary ideas spanning 20 years—reviewing, condensing, solidifying the thoughts and words in an abstract di­ mension to translate from one medium to another. The impressed words resemble epitaphs—the laying to rest of the last memory or essence of a poem. People who start out as one thing and then switch to another field always find ways to transfer early discoveries and insights. The results of such fusion often lead to new ideas and solutions, unprecedented and thought pro­ voking. In his clay work Dennis avoids getting too literary. He feels it is too easy to come up with a sign, something too tangible, an obvious presentation, and prefers to play process against content or message. Al­ though of no greater significance than the words, the textural qualities and color become the immediate focus. It is like finding a stone broken from a cliff, taking it home and then discovering writing on it. There is mystery and magic created not only by the process but in the finding of words. Text: Frank Boy den. Dora De Larios Thrown-and-assembled figures, bowls, platters and wall forms by California ce­ ramist Dora De Larios (see CM, October 1978) were presented recently in “Mas­ ters,” a four-artist exhibition at Gallery

Blue and white porcelain vase Eight in La Jolla. Also shown was this porcelain vase, 14½ inches in height, with inlaid clay, glazed blue and white, fired to Cone 10. Photo: V. Bracke. Don Reitz “New Directions in Salt-Glazed Ceram­ ics,” a one-man show by Don Reitz (Mar­ shall, Wisconsin), was presented at Holsten Galleries in Palm Beach, Florida, through Continued April 1982 73 Itinerary Continued from Page 67 “Coffee or Tea” includes functional and nonfunctional ceramic forms relevant to the theme; at the Vermont State Craft Center, Frog Hollow. Washington, Kennewick April 1—May 31 Recent work by Kurt and Linda Johnson; at the Village Gallery, 8651 Gage Boule­ vard. Washington, Seattle April 29—May 16 A two-person exhibition, includes ceramic sculpture by Marilyn Lysohir; at Foster,/ White Gallery, 311½ Occidental Ave. S. West Virginia, Morgantown April 13—27 “Pitchers,” a national ceramics invitational organized by West Virginia University; at the galleries of the Creative Arts Center. Wisconsin, LaCrosse April 8—29 “Min­ nesota Ceramics: An Invitational,” in­ cludes work by 24 clay artists; at Viterbo College. Wyoming, Cheyenne April 1—30 “North­ ern Rockies Clay 1981,” an exhibition of sculpture and functional ware by 25 ce­ ramists from Idaho, Montana and Wy­ oming; at Wyoming State Museum Gal­ lery, Barrett Building.

Fairs, Festivals and Sales Arizona, Tempe April 2—4 “Hayden’s Ferry Spring ’82 Arts and Crafts Fair”; at the Mill Avenue Merchants Association, Oldtown Tempe. Arkansas, Mountain View April 16—18 “Ozark Foothills Handicraft Guild’s 20th Annual Spring Show and Sale”; at the Guild Fair Grounds, 2½ miles north of Mountain View. Illinois, Deerfield April 17—18 “North Shore Unitarian Church Festival ’82”; at North Shore Unitarian Church, 2100 Half Day Road. Maryland, Gaithersburg April 16—18 “7th Annual Spring Arts and Crafts Fair”; at the Montgomery County Fairgrounds. New York, White Plains April 3—4 “3rd Biannual Craft Fair”; at the Westchester County Center Building, Tarrytown Road and Central Avenue. Pennsylvania, Wallingford April 30—May 2 “Potters Guild Spring Sale”; at the Community Art Center, 414 Plush Mill Road. South Carolina, Columbia April 3—4 “Sandhills Festival”; at Sesquicentennial State Park. Tennessee, Gatlinburg April 8—10 “Spring Craft Fair of the Southern Highland Handicraft Guild”; at Mills Convention Center. Tennessee, Knoxville April 16—18 The seventh annual “Dogwood Arts Festival Appalachian Crafts Fair”; at West Town Mall. Texas, AustinApril 3—4 “The Seventh Continued 74 Ceramics Monthly News & Retrospect January 26. Continuing to explore surface possibilities with salt, Don’s recent work includes thrown containers and platters,

Don Reitz’s 22-inch platter such as this rim-notched form, 22 inches in diameter, with incising through brushed and trailed decoration. Roger Boyce Constructed to “expiate the sins of ig­ norance perpetrated upon the original and universal thinkers of all ages,” a 16-foot- high clay-and-straw sculpture in honor of

Monumental sculpture with cast ceramic hooves 15th-century martyr Giordano Bruno was exhibited by Oakland ceramist Roger Boyce at the San Francisco Museum of Modern Art Gallery at Fort Mason, through Janu­ ary 24. According to the artist, “Giordano Bruno was a philosopher, scientist, poet and mystic who was secretly burned at the stake for heretical views and statements. His astronomical theories of a heliocentric universe were similar to Galileo’s, but (unlike Galileo) Giordano refused to re­ cant his theories though pressured by the Inquisition.” During the past 15 years, Roger’s work in ceramics has evolved from wheel-thrown, functional ware, through northern Califor- Continued April 1982 75 Itinerary Annual Winedale Spring Festival and Texas Craft Exhibition”; at the Winedale Historical Center, Farm Road 2714 in Round Top. Texas, Dallas April 22—25 “The Fair at Dallas,” formerly Dallas Craft Market; at Market Hall, Dallas Market Center. Wisconsin, Milwaukee April 17—18 “Art Fair U.S.A.”; at the Wisconsin State Fair Park, 8100 West Greenfield Avenue.

Workshops California, Richmond May 2 and 15 “Pit Firing,” a workshop with Andree Thomp­ son, includes a slide presentation, with a demonstration on burnishing and forms appropriate to smoke and glaze patterns. Participants will pit fire their own work. Fee: $15 for members of the Richmond Art Center; $17 for nonmembers. Con­ tact: Richmond Art Center, Civic Center Plaza, Richmond 94804, or call: (415) 231-2163. California, Sunnyvale April 9 A workshop with William Hunt, editor of Ceramics Monthly, includes a slide lecture on pub­ licizing the ceramist and a studio session on the use of local materials. For more information contact: Sheryl Nonneberg, Creative Arts Center, Box 60607, Sunny­ vale 94088, or call: (408) 738-5521. Connecticut, Brookfield April 3—4 “Moldmaking and Slip Casting Work­ shop,” an introduction to two, three and multipart mold designs. Instructor: Bar­ bara Tiso. Fee: $85. April 17—18 “Throwing without a Wheel,” handbuilding and glazing con­ tainer forms using soft clay slabs and plaster supports. Instructor: Jamie Fine. Fee: $85. April 24—25 “The Coil and Throw Method,” a hands-on workshop with Janet Leach. Limited enrollment. Fee: $95. May 1— 2 “Colored Clay and Inlay Workshop,” will include mixing clays, body recipes, transparent glazes and mille- fiore technique. Instructor: Katie Kazan. Fee: $80. May 8—9 “Alternative Fuels for Potters,” will include an overview of renewable and recycled resources of energy. Instructor: Harriet Brisson. Fee: $75. May 22—23 “Surface Effects for Potters,” colored clays, slips, stains, press molds and firing techniques. Instructor: Elizabeth MacDonald. Fee: $75. May 29—30 “Spray Glazing for Special Effects,” will explain techniques for ap­ plying glaze to earthenware, raku, porce­ lain or stoneware. Instructor: Nancy Rawls. Fee: $75. For more information on these workshops contact: Brookfield Craft Center, Box 122, Brookfield 06804, or call: (203) 775-4526. Connecticut, West Hartford May 3—6 A 4-day workshop with Ron Nagle will in­ clude mold making, slip casting, china paints and multifiring processes. For more information contact: Walter Hall, Hart­ ford Art School, University of Hartford, 200 Bloomfield Avenue, West Hartford 06117, or call: (203) 243-4393. D.C., Washington April 18—23 “Connois- Continued 76 Ceramics Monthly News & Retrospect nia funk influences, to cast naturalistic images. “I began to experiment with new ceramic techniques such as the use of con­ tinuous fiber polyester as a matrix for deflocculated slip. Except for the con­ tinuing construction of maquettes, the de­ signs were getting larger, exceeding the practical limits of a strictly clay form. This is when I began to consider alternative materials such as wood, straw, latex, nylon, fiber glass and tar in combination with ceramic casts.” “A Pyre for Giordano” was composed of 130 units, each approximately 8 feet in length. The modules were made by wrap­ ping oat straw on 2x2-inch pine armatures. Two hundred and sixty cast steer hooves were anchored to the armatures’ ends with Portland cement. With the straw-to-ce- ramic transition areas wrapped by treated burlap strips, the ends of the “legs” were dipped two or three times into an asphaltic emulsion. The modules have been arranged as a bundle and a wall, as well as the pyre form. “Each configuration, though made of the same modules, is a unique and newly created statement.” Adrian Saxe All mounted on raku-fired, tiered (some­ times with columns) bases, porcelain coffee servers, bowls and oil lamps by Los Angeles artist Adrian Saxe were recently exhibited at the American Hand in Washington,

Oil lamp D.C. Coffee servers were slip cast in molds taken from vegetables (squash, cucumbers, pumpkins) and the thickly thrown bowls have rims cut in a gear-tooth pattern. An oil lamp, shown, 6 inches in height, is a stylized cactus form, with polychrome glaze, on a raku base. Neriage and Nerikomi Show An exhibition of work with layered and inlaid oxide-colored clays by Curt and Suzan Benzie, Ban Kajitani (Columbus, Ohio) ; Lewis and Risa Dimm (Livingston, Continued April 1982 77 Itinerary seurship of Chinese Ceramics,” a program organized around the Smithsonian’s Freer Gallery of Art’s collection of Chinese ce­ ramics. Topics will include: designs, glazes, kilns, materials, techniques of manufacture and decoration; recent discoveries from im­ perial tombs; the influence of foreign trad­ ers, the range of export wares; reign marks, fakes and dating controversies. For further information contact: Selected Studies, A and I 1190A, Smithsonian Institution, Washington 20560, or call: (202) 357- 2475. Maryland, Glen Echo Park April 3 “Clay as a Sculptural Medium,” a workshop by Rexford Brown, includes slide presentation and demonstration of forming techniques for murals and free-standing sculptures. Fee: $26. Contact: Glen Echo Pottery, Glen Echo Park 20812, or call: (301) 229-5585, or 492-6282. Massachusetts, Boston April 2 “A Con­ temporary Look at Low-Fire Ceramics,” lecture by Susan Wechsler; at Morse Audi­ torium Hall Bl, 602 Commonwealth Aye. April 6 “Recent Work,” a lecture by Rick Hirsch in conjunction with the Boston University Program in Artisanry Faculty Show; at the auditorium of the Federal Reserve, 600 Atlantic Avenue. Michigan, Lansing April 17 “Photograph­ ing Ceramic Art” with Glenn Rand, will include discussions and demonstrations. Contact: The Lansing Potters’ Guild, 8099 Coleman Road, Haslett, Michigan 48840, or call: (517) 339-8978. Missouri, Saint Louis April 30 A free slide lecture with Paul Soldner. May 1— 2 A workshop with Paul Soldner. Fee: $45, includes materials; both at the Craft Alliance Education Center. For more information contact: Ethel Sherman, Craft Alliance, 6640 Delmar Boulevard, Saint Louis 63130, or call: (314) 725-1177. New Jersey, Lakewood April 30 “Crafts— Getting Your Act Together,” a conference and exhibit. Panelists will discuss all as­ pects of the crafts business. Fee: $5, in­ cludes wine and cheese reception. For more information contact: Crafts Confer­ ence, Art Department, Georgian Court College, Lakewood 08701, or call: (201) 364-2200, extension 48. New York, Albany April 24 A workshop with Michael Cohen on throwing and glazing techniques, includes slide lecture. For more information contact: Jayne Schatz, S.U.N.Y. Albany College of Con­ tinuing Studies, 208 Husted, Washington Avenue, Albany 12203, or call: (518) 393-5963. New York, New York April 23 and 25 A workshop in basketry techniques adapted for pottery with Nancy Moore Bess. Fee: $25. April 25 A workshop, lecture and slide presentation on colored clays by Katie Kazan. Fee: $20. April 29 “The Development of a Potter,” a slide lecture by Jim Makins. Fee: $3.75. For information on these events contact: Janet Bryant, 92nd Street YM/YWHA, Continued 78 Ceramics Monthly News & Retrospect New York) ; Thomas Hoadley (Pittsfield, Massachusetts) ; James Kvapil (San Jose) ; Larry Lubow, Don Olstad (Los Angeles) ;

James Kvapil’s “Landscape” Hiroshi Sueyoshi (Wilmington, North Car­ olina) and Ruenell Foy Temps (Lagunita, California) was featured recently at Mar­ cia Rodell Gallery in Los Angeles. Among the thrown and handbuilt objects in “Ne­ riage and Nerikomi” was James Kvapil’s “Landscape,” top, approximately 24 inches in height, press molded from blue, white and brown clay, high fired. Thomas Hoad-

Thomas Hoadley’s neriage jar ley’s ware is formed in handmade molds, then scraped, sanded to a satin finish and left unglazed; the jar above, 8 inches in height, combines slate blue and white por-

Don Olstad’s covered box celain. Don Olstad’s box form, 1 inch in height, was also sanded smooth, but was made from wire-sliced blocks of layered porcelain. Val Cushing In Texas for the first time, Val Cushing conducted a three-day workshop at the University of Dallas, followed by a seven- day tour during which he lectured on “Contemporary Ceramics Since 1950” at Continued April 1982 79 Itinerary 1395 Lexington Avenue, New York 10028, or call (212) 427-6000, extension 172. April 26, May 3, 10, 17 and 24 “Raku,” a workshop with Pat Saab, on the aes­ thetics of raku form, making, glazing and firing. Fee: $65, includes studio workshop and materials. For information on all these events contact: The Hudson Guild, 442 West 26 Street, New York 10001, or call: (212) 242-9272. Ohio, Oberlin April 15 A slide lecture by Louise and Satoshi Doucet-Saito; at Shepherd Lounge, Oberlin’s Asia House. April 19 A gallery talk by Louise and Satoshi Doucet-Saito; at Firelands Asso­ ciation for the Visual Arts. For both events contact: F.A.V.A., 80 Main St., or call: (216) 774-7158. Ohio, Wooster April 22—24 “Functional Ceramics Workshop” with Oregon studio potters Elaine and Tom Coleman; ceramics historian and author Elaine Levin (North- ridge, California) ; Ohio studio potter and author Tom Shafer; and ceramic art pro­ fessor Charles Lakofsky (Bowling Green State University, Ohio). Fee: $35 for 3 days. Daily fees available. Contact: Phyl­ lis Clark, College of Wooster, Wooster, 44691, or call: (800) 362-7386, ext. 388. Oklahoma, Stillwater May 17—21 “The Ceramic Surface,” a workshop on surface possibilities with Gloria Dearcangelis. For more information contact: Richard Bivins, Department of Art, Oklahoma State Uni­ versity, Stillwater 74078, or call: (405) 624-6016, or 624-5647. Oregon, Willamette April 17 A workshop on functional pottery with Don Fletcher, at the Corvallis Art Center. Fee: $5 for members, $10 for nonmembers. For infor­ mation contact: Nancy Kendall, Willa­ mette Ceramics Guild, Route 2, Box 412, Alsea, Oregon 97324. Rhode Island, Newport April 17—18 ‘The Great American Bowl Workshop” with David Davison and Brian Van Nos- trand, featuring two approaches to a bowl: as a functional and a metaphorical object. Fee: $15 for students, $20 nonstudents. For information contact: Jay Lacouture, Art Department, Salve Regina, Newport College, Newport 02840, or call: (401) 847-6650, extension 379. Rhode Island, Providence April 5 “Pot­ ters of the Palanganas,” a slide lecture by anthropologist Spencer MacCallum. April 6 A demonstration of Mexican forming and firing processes, as practiced today, by Lydia Quezada de Talavera and Reynaldo Quezada. April 16 A demonstration of working tech­ niques and ways by which a potter may strive toward self-sufficiency, by Brian Van Nostrand. April 19—23 A workshop with British potter Janet Leach, artist-in-residence at Rhode Island College. Includes a free public lecture on the 19th at 4 P.M. For all these events contact: Harriet Brisson, Rhode Island College, Providence 02908, or call: (401) 456-8109. South Carolina, Charleston April 16—17 “Porcelain Workshop” with Curtis Benzie, Continued 80 Ceramics Monthly News & Retrospect the University of Texas, Arlington, and on “The Alfred Influence” at Richland Com­ munity College. He also worked with stu­ dents at Stephen F. Austin University in Nacogdoches, then traveled to the coast to lecture at the Art League of Galveston. Throughout the U.D. workshop Val spoke of personal influences, about being an artist and his excitement in discovering clay. “I came to Alfred in 1948 to play football, and when I saw that you could go to school and learn to draw and paint and make things with your hands, I couldn’t believe it. It touched something in me deeper than football.” Since 1956 Val has been in ceramics as an artist and teacher at Alfred University. Utilizing the potter’s wheel as a sketch­ book, Val demonstrated the dynamics of form relationships, stressing that an artist

Val Cushing at the University of Dallas must leave himself open to ideas. “Ap­ proach your work without a refined way of thinking. Remain open to the variety of techniques available. Look at a form, think about it and try to interpret it through

‘Remain open to the variety of techniques1 your own sensitivities.” In discussing the importance of identifying the influences in one’s work, he said: “As long as you know that you are trying to identify your­ self, influences can be supportive rather than encompassing and demanding.” In conjunction with the tour, an exhibi­ tion of Val’s large covered jars was fea­ tured at the Adelle M Fine Art Gallery in Dallas. Val offered multiple visual solu­ tions for these forms by providing two or Continued April 1982 81 cine Carraro, Box 5568, Austin 78703, or further information contact: Community Itinerary call: (512) 458-8196. Education Services, Okanagan College, for beginning through advanced students. 100 K.L.O. Road, Kelowna V1Y 4X8, or Includes slide presentation and participa­ Texas, College Station April 2—4 Texas call: (604) 762-5445. tory session on in-mold constructions, mix­ Designer/Craftsmen workshop with Els- ing different clay colors, surface inlays beth Woody. Fee: $35. Contact: Rebecca Canada, New Brunswick, Saint John and firing processes. Fee: $20. Contact: Roberts-Hirsch, Box 821, Bryan, Texas through April 9 “Invitational Craft Show Gibbes Art Gallery, 135 Meeting Street, 77806, or call: (713) 822-5029. ’81,” an exhibition of the 1980 Biennale Charleston 29401, or call: (803) 722- award winners; at the New Brunswick 2706. Washington, Cheney May 13—15 “All Museum. Clay,” a ceramic conference featuring South Dakota, Spearfish April 23—-24 guest artists Ken Ferguson working with “South Dakota College Art Association stoneware, Margaret Ford with low-fire Canada, Ontario, Ottawa April 3—21 A Ceramics/Glass Workshop” with Stephen sculpture and Kurt Weiser with raku and two-person show by Chris Thompson and Andersen, Richard Edie, Connie Herring, low-fire salt glazing. Activities include Elizabeth Griffin, includes works in raku; Lee Irvin, John Paul Kohler and Mark demonstrations, slide lectures and three ex­ at Hiberna Gallery, 340 Somerset West. Shekore. For more information contact: hibitions. For more information contact: Stephen Andersen, Department of Fine Bill Sage, Art Department, Eastern Wash­ Canada, Quebec, Montreal April 1—24 Arts, Black Hills State College, Spearfish ington University, Cheney 99004, or call: A two-person exhibition including ceramics 57783, or call: (605) 642-6272. (504) 359-2493. by Margaret Realica; at Centre des Arts Visuels, 350 Avenue Victoria. Tennessee, Gatlinburg through April 2 Washington, Kirkland April 28 A free “Porcelain,” with Richard Hensley. ceramic workshop with Barbara Sampson England, London April 1—24 An exhibi­ April 5—9 “Raku,” with Donna Polseno. on overglaze decoration; Dean Kentela on tion of works by Svend Bayer; at Amalgam For further information on these spring forming of functional ware without a Art Limited, 3 Barnes High Street. workshops contact: the Arrowmont School wheel; and David Stewart on handles, lids April 7—May 30 An exhibition of work of Arts and Crafts, Box 567, Gatlinburg and spouts. For more information contact: by Martin Smith; at the Crafts Council Creative Arts League, 620 Market Street, Gallery, 12 Waterloo Place. 37738, or call: (615) 436-5860. Kirkland 98033, or call: (206) 822-7161. Texas, Austin April 17—18 24—25 A Switzerland, Zurich through April 8 An raku workshop with Bill Mangham3 at La­ exhibition of works by Carlo Zauli includ­ guna Gloria Art Museum, will include International Exhibitions ing ceramic sculptures; at Maya Behn forming techniques, clay and glaze compo­ Galerie, Neumarkt 24. sition, kilnbuilding, firing, post-firing re­ Canada, British Columbia, Kelowna May duction and fuming. For beginners and 17—June 11 A workshop with Denys West Germany, Dusseldorf April 1 through advanced students. Fee: $50, includes all James on handbuilding, construction and June 30 Ceramics by Takako Araki from materials. For information contact: Fran- firing raku and low-fire salt kilns. For Japan; at Hetjens-Museum, Schulstrasse 4.

82 Ceramics Monthly News & Retrospect three interchangeable lids, each complet­ ing the shape in a different way. Joining two parts allows for the smooth, almost bursting appearance of the top area, as it contrasts to the textured bottom. (The

Val Cushing combining thrown forms upper section is thrown upside-down with an inner flange, trimmed at the leather- hard stage.) Val prefers “the clean con­ tour, the controlled aesthetics of classical form.” Much of the visual stimulation for his work comes from looking into nature. As Val said: “The whole purpose of be­ coming an artist is to discover and express your own being. An artist has the ability to get out what he has inside. We are all unique individuals, and the artist is a person who seeks to express his own uniqueness.” Text: Gene Anderson and Barbara Brault, photos: Carol Eddy Long, D. ]. Yoder. California Invitational A ceramics invitational featuring works by 10 West Coast artists was on view at West Hills College in Coalinga, California, through February 26. Among the func­ tional and sculptural objects was “Record-

John McCuistion’s “Recording Rack” ing Rack,” 28 inches in length, graphite on clay slabs, by John McCuistion, Tacoma, Washington. Also represented in the exhi­ bition were California ceramists Karen Atkinson, Selma; Chris Colver, Bob Ogata, Jim Shepard and Kathy Wosika} Fresno; Continued April 1982 83 84 Ceramics Monthly News & Retrospect Don Horn, North Fork; Bob Kizziar, Mira- monte; and Vince Suez, Fullerton; as well as Canadian artist David Toresdahl, Vic­ toria, British Columbia. Photo: Keith Bauer. Doyle Long Because of the volume produced in “fine tuning” his traditional forms, potter Doyle Long finds wholesaling a viable marketing method, accounting for 80% of sales. Din- nerware commissions and periodic weekend

Wholesale teapot sales at his studio in Delaware, Ohio, make up the balance of income. From stoneware blended in a mortar mixer powered by an 8 hp gasoline engine (making a ton of clay in six hours with two gallons of fuel), Doyle throws shapes in series, such as the teapot, above, approximately 7 inches in height, and this large pitcher, 13 inches in

Large pitcher thrown in series height. The ware is fired in a 130-cubic- foot propane, downdraft kiln with home­ made forced-air pipe burners. Scrap hard- brick was utilized for the base and side walls as high as the burner ports and flue exit; insulating brick completes the walls and arch. “At this point,” Doyle commented, “I feel that the functional pot is my primary Continued April 1982 85 86 Ceramics Monthly News & Retrospect concern. Direct use of an object in the home is a prime contact with the public. As a result, my pots must speak for me to the user. This conversation is best carried about by clear, functional purpose, bal­ anced design and comfortable colors.” Photos: Barbara Tipton. Neil Moss Ceramics by Neil Moss (Lomita, Cali­ fornia) were among the objects by West Coast artisans shown recently at the open­ ing of International Craft, a Tokyo gallery featuring works from countries outside

“Landscape Platter” from Tokyo exhibition Japan. From the exhibition, the artist’s “Landscape Platter” is 16 inches in diam­ eter. Photo: Neil Moss. Catherine Brant Wall-mounted shadow boxes, winged sculpture and a 7-foot tall stoneware foun­ tain were among the objects by Catherine Brant (Sebastopol, California) shown at Los Robles Gallery in Palo Alto through March 1. “Each form incorporates another media, be it silk, raffia, hand-woven fab­ ric or water: ... a subtle balance between the rigid stoneware and the vulnerability and elegance of the other elements,” the

“Amelia” artist explained. From the exhibition, “Amelia,” 12 inches square, includes por­ celain forms suspended with silk on a Continued April 1982 87 88 Ceramics Monthly ping. The burner from the local gas com­ News & Retrospect pany (one used by plumbers to melt lead) raffia grid in a stoneware frame. Photo: actually proved to be more than was Marcia Poundstone. needed. Some reduction occurred if we fired too fast (as in trying for 1200°C in Glazing with Fiji Materials one hour). At the government-sponsored ceramics Results from the tests for a suitable frit development project on Fiji (see pages 75 were graded according to fusibility and and 77 in the February 1981 issue), we desired glaze characteristics. A whitish have no nearby supplier for anything and weathered stone combined with 40% often improvise. Clay and glazes are pri­ borax produced a transparent yellowish marily local materials—prepared and fired gloss; sugar cane ash with 30% borax with homemade equipment. Thus it was yielded an opaque creamy tan which broke with some trepidation that I decided it nicely; and a greenish semiclay with 20% would be necessary to make our own frit borax resulted in an opaque dark red/ as an ingredient in low-cost, consistently successful glazes. Borax was selected as the main frit flux because it was nontoxic and available in large quantity. Small samples of any local materials with potential were gathered. I was doing a lot of clay prospecting at the time and so covered a good bit of the island, col­ lecting samples of these, not quite clays, weathered stone, black sand, tailings from the gold mine and sugar cane ash. Only materials that required little or no process­ M ing were chosen since the chances of get­ Removing the crucible from a frit furnace ting a large ball mill to grind coarse black semimatt. Samples of these materials substances seemed remote then. were sent for chemical analysis to the Clay slabs with finger depressions were government laboratory so that formulas prepared to test each material. Starting could be calculated. A series of trial glazes with a 50/50 blend of test material and were produced from the Merrit Limit For­ borax, the flux was reduced by 10% mulas and the best results recorded for increments down to 10%. The glazed slabs testing in larger batches. Made primarily were fired to 1200°C (Cone 6), the ma­ from sugar cane ash (in unlimited supply turing temperature of the local clay body, since the crushed cane is burned as a fuel in a small test kiln. at the mill), the following recipe is typical: Also homemade, the 1-cubic-foot test kiln has a frame welded out of 1-inch Opaque Ash Glaze (Cone 5) angle iron. Cement asbestos board was cut Ash Frit ...... 83.2% and installed so that these walls support Local Clay ...... 16.8 the roof and the door fits securely in the 100.0% Add: Zinc Oxide...... 5.3% An opaque creamy tan at 1180°C, the glaze is: K20 0.07 Na20 0.40 MgO 0.22 B203 0.70 Q._ . nn CaO 0.13 A13O3 0.51 Sl°2 4 00 Fe O 0.11 ZnO2 s 0.06 The ash was analyzed as: K 0 0.12 Na2 0 0.08 MgO2 0.38 A1 0 0.30 SiO 5.80 CaO 0.22 2 3 2 Fe2O3 0.20 The ash frit is: K20 0.075 Na20 0.430 g q q MgO 0.240 ¾¾ ™ Si0 2 3.60 CaO 0.140 23 u-iyu Fe203 0.120 One-cubic-foot test kiln The initial tests had been made with a front opening. Fiber blanket (2 inches cup-sized crucible heated in the test kiln, thick) was cut and installed in the same but to produce larger amounts of frit we order—first floor, then ceiling, then walls. needed a larger crucible and bigger heat­ (The door has extra blanket insulation to ing facilities. A simple furnace was built act as a seal.) The roof and door required with a 44-gallon drum lined with fireclay either sodium silicate as glue or twisted and sand, and a fireclay/sawdust mixture. element wire to prevent sagging or slip­ Continued April 1982 89 90 Ceramics Monthly News & Retrospect Fired with a vacuum cleaner blower, diesel oil fuels the homemade burner. Plans are afoot to convert to automobile waste oil, thus cutting costs substantially. Finding a suitable body for the crucible was the next step. In the first large vessels a crack usually appeared after one or two melts. A 50/50 blend of fireclay with an even, three-part mix of various sizes of home­ made firebrick grog proved adequate. The last one we made still works well after over a dozen melts. The crucible is filled with powdered local glaze material, dry mixed with borax.

Pouring molten frit After melting, the batch is dumped into water. The shattered frit is dried and ground to approximately 200 mesh. Al­ though we now have a ball mill (built locally), we found that the nearby cement factory would grind the frit batches with­ out cost. With 12 local people involved, the Fiji ceramic industries project is doing well and we are about to begin market testing. Text: Miska Petersham. Butler Art Institute Show The top award in the “34th Annual Ohio Ceramic, Sculpture and Craft Show” went to Christopher Richard (Edinboro, Pennsylvania) for his “Lidded Vessel,” 33

Christopher Richard’s<( Lidded Vessel” inches in height, low-temperature salt fired, with wooden sticks inserted at the top. On view at the Butler Institute of American Art in Youngstown through Feb- Continued

April IMS yi 92 Ceramics Monthly News & Retrospect ruary 28, the exhibition featured 172 works selected from 420 entries by artists who are current or former residents of Ohio. Also among the ceramic objects pre­ sented was a slip-cast boot, 15 inches in

Bob Shay’s slip-cast boot height, with textured orange glaze and silver luster beads on this side, china paints on the back, by Robert Shay, Co­ lumbus. Larry Clark Stoneware jars, teacups, plates and bowls by Larry Clark (Sandpoint, Idaho) were presented in a March exhibition at the Artisan Center in Denver. Thrown and realigned to form ovals and squares, the vessels were often brushed with slip in grasslike patterns, as on this squared stor-

Squared storage jar age jar, 11 inches in height. Varied sur­ faces resulted from ash deposits and salt flashing during salt glazing in a wood- burning kiln. Ewen Henderson Forty bowls and vases by British potter Ewen Henderson were exhibited recently at Westminster Gallery in Boston. Pinched from combinations of stoneware and porce- Continued April 1982 93 94 Ceramics Monthly “pleased when I see those forms coming News & Retrospect through. I can’t and don’t want to re­ lain (with varying shrinkage ratios), forms create those natural wonders, but it’s won­ such as “Pinch Dish-—Bone China Lami­ derful to find them synthesized through nate,” 5 inches in height, appear marbled me into my work—the fullness, the twists, or striated. “The bold, unpredictable tech- ridges, and the fluidity.” Eileen Lewenstein Images of the sea often influenced sur­ face treatment on the thrown or press- molded stoneware and porcelain forms by British artist Eileen Lewenstein (coeditor of “Ceramic Review”) recently exhibited at New Ashgate Gallery in Farnham, Sur­ rey. Among the works presented, metal bolts pierced sculpture derived from the sea-worn posts of breakwaters. Blue, brown Ewen Henderson’s “Pinch Dish” nique is reflected in the final pots, with their bubbly, wavy, pock-marked surfaces, asymmetrical outlines and bumpy edges,” observed Boston Globe reviewer Christine Temin. “There are no handles, tidy pie­ crust edges or other decorative frills. In­ stead, Ewen experiments with basic shapes themselves, sometimes producing perilously elongated cylinders which look about to teeter from their narrow bases (and are in fact weighted with sand inside).” Glazed in earth tones or marine colors, the vessels were sometimes inspired by particular stones or shells, displayed alongside the clay interpretation. Catharine Schroeder A series of sculptural vessels, ranging from 18 inches to over 3 feet in height, by Squared stoneware vessel Colorado artist Catharine Schroeder, was and gray inlaid slip suggests flowing water featured in a recent exhibition at Sebas- on vessels such as this squared stoneware tian/Moore Gallery in Denver. Con­ vase, 11 inches in height, fired in oxidation structed from stoneware or terra cotta, the to 1250°C (Cone 8). forms’ raw surfaces were treated with un­ derglazes, terra sigillata and oxides. While Northern California Artists’ Guide To introduce their work to collectors, designers, galleries, students and contem­ poraries, the Association of San Francisco Potters and Glassblowers recently pub­ lished a paperback directory. (Established in 1945 by Carlton Ball and student pot­ ters at the San Francisco School of Fine Arts, the organization now represents clay and glass artists throughout northern Cali­ fornia.) The booklet consists of a portfolio featuring works by 84 members, photo­ graphs of the artists, statements and signa­ tures, followed by the complete roster with addresses, telephone numbers and an indi­ cation of sales method—wholesale, retail or by appointment only. Copies are avail­ able for $10 plus $2 postage and handling from: The Association of San Francisco Potters and Glassblowers, Inc., Box 7223, San Francisco, California 94120. Lucy Hamilton Ceramic sculpture by Lucy Hamilton was featured in “Three Artists—Three Media” and “12 Bay Area Ceramists,” Catharine Schroeder recent exhibitions at Anna Gardner Gal­ the sculptures are not studies of seashells, lery, Stinson Beach, California. Originally seed pods or water patterns, Catharine is Continued April 1982 95 News & Retrospect trained in painting and printing textiles, Lucy feels her clay work “reflects a con­ tinuing fascination with detail, color and fiber.” For asymmetrical form, the low-fire clay was primarily coil built, then scraped thin. As on this plate-like construction,

Lucy Hamilton’s plate-like construction 15 inches in diameter, underglazes are painted or airbrushed, with wax resist applied between layers of color, and mul­ tifired to Cone 05 or 04. Photo: Ted Wood.

96 Ceramics Monthly