September 1997 1 2 CERAMICS MONTHLY September 1997

Volume 45

Number 7

British potter John Leach stoking the wood-fired kiln at Muchelney Pottery. FEATURES 58 36 Mario Sarabia by Ryan Taylor Transition and Revival in Bolivian Ceramics 39 Gary Molitorby Glen R. Brown Slip-cast sculpture inspired by science fiction 43 Is Barium Carbonate Safe? by JeffZamek Porcelain vessel Separating fact from fiction sculpture by California 47 John Goodheart by Georgia Strange artist Gary Molitor. Rekindled enthusiasm for functional work 39 51 Jung-Ching Hsiau by Hsin-Lung Lai Abstract sculpture in rural Taiwan 53 Never Be Afraid to Play by Elaine Alt Serious about whimsy 58 John Leach: Conservationist Potter by Marian Edwards A personal response to preserving the landscape 65 Santa Cruz Clay by Karen Thuesen Massaro Tracing the development of area studio daywork by Roger Honey Earthenware vase with 104 Building a Budget-Conscious Fiber Kiln latex-resisted glazes From rough drawings to installing three layers of fiber and on-glaze brush- 107 Etched Porcelain by John R. Guenther work by Bolivian potter Mario Sarabia. Brushed shellac and elbow grease for relief patterning 36 110 Betty Spindler’s Full Harvest by Lisa Crawford Watson Oversized fruits and vegetables in vibrant colors

Stoneware teapot by Mary Helen Chappell; from the exhibition “Time and Place: Fifty Years of Santa Cruz Studio Ceramics.” The cover: Massachusetts potter Elaine Alt; see 65 page 53. Photo: David Oxton.

September 1997 3 UP FRONT 12 Lisa Stinson Thrown and altered ware at Collinsville (Connecticut) Artisans 12 Forms in Clay Anniversary exhibition at Many Hands Gallery, San Diego EditorRuth C. Butler 12 Cermatech Conference Associate EditorKim Nagorski Technical conference for production potters in Baltimore Assistant EditorConnie Belcher 14 Mindy Moore and Tatjana Krizmanic Editorial AssistantElaine Jebsen Collaborative work at Secord Gallery in Halifax, Nova Scotia Art Director Randy Wax 14 Bean Finneran Advertising ManagerSteve Hecker Ceramic sculpture at Braunstein/Quay Gallery, San Francisco Circulation AdministratorMary R. Hopkins 14 Barbara Sorensen by Teresa E. Robert Circulation AdministratorMary E. May errace Sculptural installation at Orlando City Hall T Gallery Publisher Mark Mecklenborg 16 Three Georgia Potters Show of works completed at Callanwolde Fine Arts Center, Atlanta Editorial, Advertising and Circulation Offices 735 Ceramic Place 18 Marion Askjaer Veld Post Office Box 6102 Earthenware sculpture on view at Galerie Amphora, Netherlands Westerville, Ohio 43086-6102 18 Lisa Conway Telephone: (614) 523-1660 Ceramic sculpture at Kimura Art Gallery in Anchorage, Alaska Fax: (614) 891-8960 E-mail: [email protected] 18 Raining Cats and Dogs [email protected] Exhibition of clayworks depicting animals at Baltimore Clayworks [email protected] 20 Fun, Funky and Functional circulation@ceramicsmonthly. org Touring exhibition of utilitarian and playful teapots Web site: www.ceramicsmonthly.org

22 Tea Party in Tempe Ceramics Monthly (ISSN 0009-0328) is published monthly, Exhibition of works for and about tea at Tempe Arts Center, Arizona except July and August, by The American Ceramic Society, 735 22 Australian Potters’ Directory Ceramic Place, Westerville, Ohio 43081. Periodicals postage Listings for over 130 artists and 50 galleries in Australia paid at Westerville, Ohio, and additional mailing offices. Opinions expressed are those of the contributors and do not 22 Alexandra Kochman by Carol Ann Bradley necessarily represent those of the editors or The American Coil-built sculpture at Ukrainian Institute of Modern Art, Chicago Ceramic Society. 24 Salt and Pepper Shakers Subscription Rates: One year $24, two years $44, three years “Great Shakes’ at Gallery Alexander in La Jolla, California $60. Add $10 per year for subscriptions outside the U.S.A. In Canada, add GST (registration number R123994618). 24 Smithsonian Craft Show Change of Address: Please give us four weeks advance notice. Juried sale of crafts by 120 exhibitors in Washington, D.C. Send the magazine address label as well as your new address to: Ceramics Monthly, Circulation Department, PO Box 6102, 24 Murray Douglas, 1916-1997 Westerville, OH 43086-6102. Contributors: Writing and photographic guidelines are avail­ 24 Karl Martz, 1912-1997 able on request. Mail manuscripts and visual support (photo­ graphs, slides, transparencies, drawings, etc.) to Ceramics Monthly, 735 Ceramic PL, PO Box 6102, Westerville, OH 43086-6102. DEPARTMENTS We also accept unillustrated texts faxed to (614) 891-8960, or e-mailed to [email protected] 8 Letters Indexing: An index of each year s feature articles appears in 26 Video the December issue. Feature articles are also indexed in the 30 New Books Art Index, available through your local library. 72 Call For Entries Copies and Reprints: Searchable databases and document 72 International Exhibitions delivery are available through Information Access Company, 72 United States Exhibitions 362 Lakeside Dr., Foster City, CA 94404; and through Univer­ 74 Fairs, Festivals and Sales sity Microfilms, 300 N. Zeeb Rd., Ann Arbor, MI 48106. 80 Suggestions Authorization to photocopy items for internal or personal 84 Calendar use, or the internal or personal use of specific clients, is granted by The American Ceramic Society, provided the base fee of 84 Conferences $5.00 per copy, plus $0.50 per page, is paid directly to the 84 Solo Exhibitions Copyright Clearance Center, 222 Rosewood Dr., Danvers, MA 86 Group Ceramics Exhibitions 01923. Prior to copying items for classroom use, please contact 88 Ceramics in Multimedia Exhibitions the Copyright Clearance Center, 222 Rosewood Dr., Danvers, 90 Fairs, Festivals and Sales MA 01923; (508) 750-8400. The code for users of the Trans­ 92 Workshops actional Reporting Service is 0009-0328/97 US$5.00 + $0.50. 96 International Events Back Issues: When available, back issues are $5 each, postage 98 Questions paid. Write for a list. 114 Classified Advertising Postmaster: Send address changes toCeramics Monthly, PO Box 116 Comment: 6102, Westerville, OH 43086-6102. Form 3579 requested. A Rain of Gold Coins by Delia Robinson Copyright © 1997 The American Ceramic Society 120 Index to Advertisers All rights reserved

4 CERAMICS MONTHLY September 1997 5

information that may be of use in some could hardly work without them, as I no Letters future time, even if it seems unlikely right longer can kick a wheel, nor wedge a lot of now. As to Ft. Worth, I might also suggest clay. Cheating? I hope not. I make no claims that you don’t cut off your nose to spite your about my tools. And, traditionalist though I Misplaced Blame face. I am sure that there are pots in Texas. am, I see no real difference between an older Having recently finished my service as on­ Big ones! potter using machines and having apprentices site chair for the “Guilty Pleasures” NCECA In conclusion, each NCECA conference do the scut work. (From what I’ve read, Shoji conference in Las Vegas, I feel more than will continue to be different. The excitement Hamada and, I assume, other Japanese pot­ qualified to respond to Jane Mayer’s letter of change and challenge to every attendee is, ters, had the “heavy lifting” done by appren­ (“Wake-Up Call,” JunelJulylAugust CM) in my estimation, the magnet that draws tices.) I use several commercial stains because, castigating the organizers for the lack of artists, potters and students year after year. I while preparing my own is feasible, I be­ attention paid to functional potters. am convinced that if only two people showed grudge the time it consumes. A friend, who NCECA recognizes the ever-growing up at any given conference, one of them was a superb cook, used to say: “Know how diversity of American ceramics, and makes would be unhappy about what did or did not to make your own mayonnaise and hollan- every effort to showcase all facets of the field. occur, based on her or his own self-interests. daise—then buy the commercial.” Bravo! It is a logistical nightmare to attempt to cover My parting suggestion to all concerned is to I agree one “can’t say that wheel-thrown all aspects of ceramic endeavor during a become involved in the organization and work is inherently better than machine- single conference—a fact I know from first­ produce change where it counts—from pressed or jiggered.” Better isn’t the issue; hand experience. Therefore, during the past within. truth is. There is an essential difference be­ decade, NCECA has rightfully arranged the Mark Bums, Las Vegas, Nev. tween a pot made by machine and one made theme of the conference to utilize the unique by a person. A difference we can agree to call aspects of the host city. With the guidance of Exploration vs. Denigration “soul.” When a jiggered pot is “given” throw­ the on-site chair, the organizers solicit the The May Letters column was interesting ing lines, and potters object, as I do, it is membership to submit proposals that are with the debate about “grossly unusual con­ because of a perceived intention to make the reflective of the theme. The chosen proposals structions,” esoteric articles, etc. I subscribe pot look as though made by a human han­ then become the conference framework. to the nonspecialization train of thought dling clay, which it wasn’t. The most plau­ Ms. Mayer has placed the blame for the because input from all areas of ceramics and sible reason for this deception would be to bad taste in her mouth on the wrong indi­ its related fields is very important to its con­ obtain the higher price a thrown pot would viduals. It’s the members who compose the tinued development. It’s important to know bring. (I cannot believe “throwing lines” are key elements of the conference; the organizers exactly what you don’t like as well as what jiggered in because thrown pots fetch less.) only select the best proposals, and choreo­ you like. This is cheating. graph the panels, lectures and demonstra­ There are other benefits also. For in­ On the other hand, I don’t think ex­ tions. This task represents hundreds of hours stance, you may not appreciate the final truded handles or pressed tiles constitute of planning, not to mention the thousand product but the materials, construction cheating, because that is the best way to make and one other details that make any gathering methods, decorative application, etc., may be certain shapes and nothing deceptive is done the size of the Vegas conference work. applicable to your specific area of interest. to jack up the price. As to the seeming lack of interest in the I am constantly amazed at the various As to throwing in sections, throwing huge functional area, I might point out to the methods, designs, decorations, etc., for ce­ pots requires strength. I doubt the strongest unhappy Ms. Mayer that the two previous ramics plus all the various other worldly woman can learn to throw as big as a strong NCECA conferences, Minneapolis and Roch­ input that we receive every day. If individuals man. And, as anyone who’s tried it will ester, were awash in functionality. These two wish to explore narrow, defined areas, then testify, throwing in sections is a real skill. As cities have long traditions in pottery, and the that is up to them, but denigrating other is adding coils to a thrown pot and integrat­ members of NCECA were the beneficiaries of areas is not conducive or helpful. Explore. ing them by throwing. More important: who that history. Las Vegas certainly doesn’t have Andrew Taylor, Worcester, England is cheated if no claim is made that the pot that history, and it seemed a perfect opportu­ was thrown as one piece? Left to their own nity to explore the “fringe” elements of ce­ Cheating Discussion devices, most buyers would assume a monster ramics in a copacetic surrounding. I might Lori Keenan’s excellent Comment in the pot wasn’t made as a unit. delicately suggest that Ms. Mayer may be a JunelJulylAugust issue deserves serious dis­ As to recentering gadgets: I agree truly bit “guilty” herself by not doing her home­ cussion, which I hope it will get. round is not necessarily more beautiful. The work about the content of the conference. I Cheating is a form of deceit meant to too-symmetrical pot often looks like a face certainly wouldn’t come to Vegas looking for benefit the cheater in some way while harm­ after too many “perfect” plastic surgeries. function, just some fun. ing, in some parallel way, the cheated. When But, as I understand it, these gadgets allow While it is unfortunate that this indi­ we say someone cheated on a spouse or at production potters to work still faster; a price vidual didn’t get exactly what she thought cards or on an exam, we mean that, quite I think worth paying when it is so hard to from the conference, she did, by her own intentionally, in a roundabout way, this make a living in clay. admission, “meet many wonderful people person deceived and harmed other people. As to acrylic paint: No one is forced to and had a wonderful time.” This in itself is As a Dinosaur potter, and a member of work in clay. Or any specific medium, for not a bad thing at all. It is to be hoped that TSSA (The Small Studio Alliance), though that matter. If one cannot work in clay well Ms. Mayer did take away some valuable spokeswoman for neither, I have given the enough to complete the clay process (which is parameters of handcraft a great deal of the firing), painting the piece (even a sculp­ Share your thoughts with other readers. All letters thought. And I think the “problem” lies in ture) is cheating. If, on the other hand, a must be signed, but names will be withheld on definitions of self and of one’s work to one’s potter paints a properly fired piece—maybe request. Mail to The Editor, Ceramics Monthly, customers—a term I use broadly to include to achieve effects unobtainable with glaze, I Post Office Box 6102, Westerville, Ohio 43086- show juries, grad-school-admission commit­ think that is okay. And, while I denounce 6102; fax to (614) 891-8960; or e-mail to tees, shop buyers, as well as retail customers. pots made of glued-together sections that editorial@ceramicsmonthly. org I use an electric wheel and a pug mill. I greater skill would have allowed to be fired as

8 CERAMICS MONTHLY September 1997 9 Letters take away their own livelihood. But what the designer contributes too little to matter. potters produce today is not necessary. As Yet one’s life can be beautified by such soul­ much as we need art, it remains a luxury in less objects. a unit, I have no quibble with epoxied pieces economic terms. We produce food for the I also would suggest that we are dealing made of sections that could not have been soul, not the belly, as it were. We are subject, with precision of language. The public fired together. Again, as long as no false therefore, to a different morality. spends hard-earned money on us. We should claims—even implied, even by omission— I would suggest to Ms. Keenan that what feel honored—and show appreciative respect are made. we call “soul” is individuality. No soul ever through accuracy. So when something pro­ As to the introduction of the wheel. enters objects made by machine. Yet, my duced by a dozen unskilled workers using Throwing is as difficult, but not more so, as house, Ms. Keenan’s too, I’m sure, contains machines is marked “handmade” because handbuilding or coiling, and takes as much perfectly beautiful machine-made objects. each process involved some manual labor, dedication to master. If early potters called And it would not surprise me if some of jiggerers, rammers, throwers and coilers alike throwers “cheaters,” they were protesting (as them had been designed on a computer and should protest. were the Luddites) against the industrial made by computers all the way down the After all, pharmacists mark generic medi­ looms, against a new technology that would line. The computer-generated item is fun­ cations by chemical name—not with the manufacture necessary goods cheaply, and gible from beginning to end. The “soul” of trademark of the original patents. A salon charges more if Madame herself cuts one’s hair than if an employee does. The supermar­ ket labels imitation crab meat as such. And when I need an operation, all the preparatory and ancillary work is done by nurses, interns and assistants, but I jolly well expect a genu­ ine board-certified surgeon to perform the actual surgery. If other trades can find the language to tell the truth in relation to pricel qualitylservice, so can we. And I hope such language evolves from discussions such as Ms. Keenan is starting. We owe her thanks. Lili Krakowski, Constableville, N.Y.

Enriching the Spirit I’m enjoying all issues and the variety presented. Letters are hilarious. The more images of pots, the better. I especially love the “rags to riches” stories of potters, how they became full-time successes. I’m speaking spiritual riches, though money is nice too. Eve Doolon, Davidsonville, Md.

May Comment Kudos In reference to Cheryl Haynes’ Comment in the May issue, Hear! Hear! (spelling is intentional). Art speaks. Mary Ellen Hancock, Kaneohe, Hawaii

Thank you, Cheryl Haynes, for your Comment “Making a Statement” in the May CM. While I enjoy reading about artists and their work and lives, I’d rather learn how they create their work and what influences them in their own words, rather than “expresses through his altars a clear and almost ascetic wish to reduce ceramics to the supreme essentiality of the ‘red firebrick over the white one’” (Up Front, page 18, May 1997). I wasn’t at that interview, but from the punc­ tuation of the sentence, the words “red firebrick over the white one” belong to the artist and are what the artist actually said. The other gobbledegook belongs to the author of the article. When words are placed on art, by anyone (including the artist), the art is gagged and cannot speak. As Cheryl Haynes said, “If you could put it in words, you wouldn’t need clay Please turn to page 112

10 CERAMICS MONTHLY September 1997 11 saucer. These are the subtle expressions that connect the user to Up Front the maker. “Prior to the industrial revolution, potters were bound to answer the elementary needs of civilization. Industry has since provided inexpensive ways of producing enough work to fill the Lisa Stinson utilitarian needs of the public. This has allowed the artist room Wheel-thrown and altered functional ceramics by Connecticut for individual expression. potter Lisa Stinson were exhibited recently at Collinsville “My work involves creating a sense of gesture, a dance within (Connecticut) Artisans. These asymmetrical forms are intended each piece,” Stinson explained. “The potter’s wheel involves a type of rhythmic movement. I manipulate the form further by ribbing, pushing and pulling the clay during the wet stages....Once the parts are made, they are put together to create an active whole.” Forms in Clay To celebrate its 25 th anniversary, Many Hands Gallery in San Diego presented “Forms in Clay,” featuring vessels and sculp­ ture by Julie Brooke, Cathy Burns, Sherri Eskesen, Lynn Hagler,

Lisa Stinson’s “Iron Teapot,” 6 inches in height; at Collinsville Artisans in Collinsville, Connecticut. to invite the viewer “to a familiar space, informing the eye and becoming known in a tactile way through use,” Stinson com­ mented. “It is through this interaction that the observer discov­ ers the relationship of the curve of the handle to the hand, the surface texture of a glaze, the sound of the teacup placed on its

Julie Brooke pitcher, 17½ inches in height, crystalline- glazed porcelain; at Many Hands Gallery, San Diego.

Ann Hobart, Alan Irwin and Diana Kilmer. Shown from the exhibition is a crystalline-glazed porcelain pitcher by Julie Brooke, a Scottish potter now living and working in San Diego. Cermatech Conference The timing may have been a bit off, but the concept was on target for “Cermatech ’97,” the technical conference sponsored “Wave Covered Jar,” approximately 8 inches in by CerMA (Ceramic Manufacturers Association) for production height, wheel thrown and altered, wood fired. potters in Baltimore last June. Though attendance was low, satisfaction was high. Attendees were particularly pleased with You are invited to send news and photos/slides about people or events the opportunity for one-on-one discussions with industry of interest. We will be pleased to consider them for publication in this experts about their problems. column. Mail submissions to Up Front, Ceramics Monthly, Post The sessions topics included Marketing and Building a Office Box 6102, Westerville, Ohio 43086-6102. Business, The Nature of Clay, Kilns and Firing Practices, Glazes

12 CERAMICS MONTHLY

Up Front and Glazing, Updates on Mold Materials, and Environmental Concerns and Regulations. Time for questions and answers was reserved for the end of each presentation, and lunch on Saturday was devoted to round-table discussions of topics recommended by conference registrants, ranging from kiln maintenance problems to clay additives, glaze techniques, employee/business concerns and web site marketing. Closing remarks were provided by artist/ educator/author Susan Peterson (Carefree, Ari­ zona). She presented slides of indigenous pottery methods from India to the American Southwest, relating the factors impacting the production of this work to concerns of modern potters. Mindy Moore and Tatjana Krizmanic “Pictures and Pitchers,” an exhibition of collabora­ tive work by potter Mindy Moore and painter Tatjana Krizmanic, was on view recently at Secord Back to front: Bean Finneran’s “Red Cell,” 2½ feet in diameter; “Yellow Cone,”3 1/2 feet in height; and "Blue Line,” 14 feet in length; Gallery in Halifax, Nova Scotia, Canada. Worldng at Braunstein/Quay Gallery, San Francisco, California. together since 1995, the two begin the process with Krizmanic drawing into wet porcelain slabs. Moore then Francisco. For several years, Finneran has been working with a assembles the slabs, creating various forms, such as teapots, large single elemental form—“a curve,” she says, “as a meditation upon multiplicity in nature.” She starts by rolling out small curved tubes of low-fire white clay, then applies underglazes as well as contrasting glazes on the tips and/or centers. “The many thousands of individual elements in each piece are not physically connected as another reflection of natural process,” notes Finneran. “With its deliberately un-natural’ color, the work celebrates aspects of nature but does not attempt to mimic it.” Barbara Sorensen by Teresa E. Robert “Pinnacles,” an exhibition of large-scale slab-built sculpture by ceramist Barbara Sorensen, was installed recently at the Orlando City Hall Terrace Gallery in Florida. Although Sorensen works primarily out of her studio in Winter Park, Florida, there is no denying the influence of the extended studio and leisure time she has spent in Colorado. Metaphors of the geologic processes that created the Rocky Mountains abound in her work. Visceral and crusty surfaces show small cracks formed by the extending and pushing of the interior. Ranging from 2 to 8 feet in height, these pinnacles were constructed from stoneware on a wooden platform equipped Mindy Moore and Tatjana Krizmanic’s “Solo,” with wheels for mobility. A plumbing-pipe armature was 17 inches in height, slab-built porcelain with stains, attached to the center of the platform, and the sections were $700; at Secord Gallery, Halifax, Canada. constructed one on top of the other. Each section was formed from slabs up to 3 inches thick; urns and bowls. Color (stain) is later added by Krizmanic. sometimes, they were pulled, stretched or thrown on the floor “Tatjana’s images have pushed me to work out ideas I’ve to alter their shape. Wrapped and stacked up as large coils, wanted to taclde for a long time,” Moore notes. they were joined on the inside to accumulate layers and allow “When you have an idea, there’s no telling how it will come the building process to show. Large vertical cracks where the out,” Krizmanic adds. “Our styles come together and change to slab edges were joined were not denied; instead, they only add accommodate each new piece.” to the depiction of nature s course. Subsequent sections were built and stacked sequentially to allow for proper fit and Bean Finneran shrinkage during drying. Ceramic sculpture by California artist Bean Finneran was Paddles, scrapers and stamps were used to create and exhibited through July 26 at Braunstein/Quay Gallery in San enhance the folded and layered surfaces. When shaping was

14 CERAMICS MONTHLY September 1997 15 Up Front complete and the clay had become leather hard, the following engobe was brushed on, leaving drips. Jun Kaneko White Engobe for Wet Clay (Cone 6) Gerstley Borate ...... 20 % Ball Clay ...... 20 Kaolin...... 40 Flint...... 20 100% Add 15%-20% stains for colors. The pinnacles were allowed to dry for three months. Each set was fired to Cone 6 for five days. The kiln was candled for two days, allowing an increase in temperature of only 10°-20°F per hour until it reached 400°F. The fuel and air were increased

Margaret Patterson basket from her “a tisket...a tasket series,” 12 inches high, thrown/altered stoneware, salt fired to Cone 6, $150; at the Potters Guild, Roswell, Georgia.

my own obsessive need to control the clay. These pieces are about relinquishing control. Letting the clay be clay. Dirt. Mud. I have felt freer, more inspired, while making this work than I have in a long time.” Jones is primarily concerned with utility: “I see all pots, no matter how plain their everyday use, as worthy of special

Rachel Jones’ double-walled cups, to 4 inches in height, carved stoneware, reduction fired to Cone 10, $16 each.

Barbara Sorensen’s "Pinnacles,” 26 inches in height, slab-built stoneware; at the Orlando (Florida) City Hall Terrace Gallery. in appropriate amounts to allow a gain of 50° per hour main­ tained over the next 24 hours. By the beginning of the fourth day of firing, the temperature had reached 700°F. Adjustments were made to continue the slow climb in temperature until the kiln reached 1600°F on the fifth day. The kiln was turned up, and the remainder of the firing took approximately six hours. Three Georgia Potters

“Fireworks,” an exhibition of ceramics by Georgia potters Ellen McManus’ “No. 1 Teapot,” 6 inches in height, Rachel Jones, Ellen McManus and Margaret Patterson, was soft-slab-constructed stoneware, salt glazed, $120. presented recently at the Potters Guild in Roswell, Georgia. The works on view were the result of th. two-year pottery assistant- adornment,” she says. “I strive to elevate these everyday func­ ships each recently completed at the Callanwolde Fine Arts tional pieces into individual personalities that are a pleasure to Center in Atlanta. live with and use.” For McManus, these pieces “represent an entirely new way of Pattersons work is thrown then altered in shape and/or working with clay,” she explains. “The process is completely surface. On “entering the program, very round, very smooth intuitive, creative, childlike. It has freed me from the confines of pots came from the potter’s wheel; so perfect, I was unable to

16 CERAMICS MONTHLY September 1997 17 Up Front or leaving it to dry and crack. During the building phases, the pieces are often suspended or propped with foam to avoid flat spots and to “capture a certain gesture,” according to Conway. disturb them,” she notes. “Because I felt that wonderful surfaces Each is fired 10-20 times, as layers of terra sigillata, stains and shapes are achieved through altering the thrown pot, I and glazes are applied, “with lots of washing off, staining cracks, wanted to reach through my personal reluctance to do so.” dry brushing and sponge painting layers of colors,” she explains. Conway has moved from creating more representational Marion Askjaer Veld figurative sculpture to forms that are manipulations and exag- Earthenware sculpture by Marion Askjaer Veld, Arnhem, Netherlands, was on display recently at Galerie Amphora in Oosterbeek, Netherlands. Since the mid 1980s, Veld has, for the

“Moon Flesh,” 34 inches in length, by Lisa Conway.

gerations of human, animal and vegetable anatomy. “In this format,” she notes, “I have found that I can make figurative work that seems even more naked’ than nude sculptures, hence revealing more truth about the human condition while avoiding issues like the relationship between artist and model, objectifica­ tion of the female form or appropriation from other artists. “With all of my forms and surfaces, I try to create a visceral world of contrasts, playing the line between seduction and repulsion,” she continued. “I also like to call into question our presumptions regarding such dichotomies as inside/outside, male/female, beautiful/ugly, etc..., to enable all of us to see beneath surfaces and move out of the trap of personal value based on beauty quotient and sexual-role expectations.” Marion Askjaer Veld’s “Juweel,” approximately 12 inches in height, handbuilt earthenware; at Galerie Amphora, Raining Cats and Dogs Oosterbeek, Netherlands. “Its Raining Cats and Dogs,” an exhibition of clayworta depicting animals, was featured recently at Baltimore Claywork most part, built human heads from a variety of colored clays. In in Maryland. Exhibiting works that ranged from realistic to many, the eyes are closed to create an aura of contemplation. Others appear more lighthearted and playful. Once the heads are formed, Veld applies oxides, slips and sometimes glazes, allows them to dry, then fires to 1100°C (2012°F) in an electric kiln. Lisa Conway Ceramic sculpture by Alaska artist Lisa Conway was exhibited recently at the Kimura Art Gallery of the University of Alaska Anchorage. Most of her forms are begun by dipping cheesecloth into red earthenware paper clay, then draping it over inflated balloons or beach toys. When the clay is leather hard, she pops the inflatable, and alters the “shell” by reconfiguring, adding to,

Lisa Conway’s “Some Nerve III,” 20 inches in length, earthenware, with terra sigillata and encaustic paints; at Elyse Saperstein’s “Shielded Voyage,” 14 inches in height, Kimura Art Gallery, University of Alaska Anchorage. glazed earthenware; at Baltimore Clayworks, Maryland.

18 CERAMICS MONTHLY

Up Front whimsical, the participating artists included Chuck Aydlett, State College, Pennsylvania; James Chaney, Mertztown, Pennsylvania; Mary Lou Deal, Ashland, Virginia; Holly Hanessian, Durham, North Carolina; Lois Hennessey, Baltimore; Anna Jalickee, Silver Spring, Maryland; Chuck Johnson, Donna Nicholas, Edinboro, Pennsylvania; Kirk Mangus, Kent, Ohio; Ron Mazanowski, Dekalb, Illinois; Jane Pleak, Statesboro, Georgia; Elyse Saperstein, Elkins Park, Pennsylvania; and William Tersteeg, Dalton, Pennsylvania. Fun, Funky and Functional “Teapots, Fun, Funky and Func­ tional,” a juried exhibition of 37 teapots in clay and silver (as well as 2 paintings), was featured recently at the Oconomowoc (Wisconsin) Gallery, then at Chiaroscuro Gallery in Chicago, Illinois, where it re­ mained on view through May 10. Selections were made from 350 submissions by artists and craftspeople from across the United States. As the title suggests, some of the featured works were playful interpre­ tations of the form, others were rooted in utilitarian tradition, and some combined both approaches. For example, Geoffrey WTieelers work is Q(e R0kvam’s “Tubing Teapot,” 12½ inches in height, sandblasted stoneware created to facilitate and enhance with metal tubing, $250; at the Oconomowoc (Wisconsin) Gallery and at human interaction.” He is interested Chiaroscuro Gallery in Chicago, Illinois.

Carol Gentithes’ “Sea Dogs,” 6½ inches in height, Geoffrey Wheeler’s “Foliage Teapot,” 11 inches handbuilt whiteware, $160. in height, salt-glazed porcelain, $200.

20 CERAMICS MONTHLY September 1997 21 Up Front

Mitsuko Siegrist’s "Soda-Fired Teapot,” 5 inches in height, wheel-thrown stoneware with slips, $140. in making objects that “people interact with, not only visually and intellectually, but physically.” Mitsuko Siegrist agrees: “Ever since childhood, I have found beauty in the ordinary things around me, not necessarily in those things we see in museums....In my own work, I want to make functional things, things that people will really use,...and

Anita D. Powell’s “Yellow Dress,” 26 inches in height, $1250; at Tempe (Arizona) Arts Center.

negative attitudes about these traits,” she observes. “I can also validate and encourage reactions of those who can see beyond the surface to find a message of tenacity, power, resourcefulness and the transformation of limitations into strengths.” Australian Potters’ Directory A new full-color directory to members of the Potters’ Society of Keisuke Mizuno’s "Delicate Teapot,” 3 inches in height, Australia was released recently. “The Australian Potters’ Direc­ handbuilt porcelain, $325; from the exhibition “Teapots, Fun, Funky and Functional.” tory” includes listings for over 130 clay artists and 50 galleries. Each artist’s entry is illustrated by an example of his or her perhaps they will wonder who made them, as I have wondered work, and provides a brief description of current interests, plus [about handmade utensils and furniture] myself....I aim to address, telephone number and studio hours. Also included in express myself by creating living works of art that have soul.’” the directory are an alphabetical index of galleries and suppliers, an index by state of Australian potters’ groups, and an index by Tea Party in Tempe state and region of the listed ceramists. “Tempe Tea Party,” a juried national exhibition of works for and Copies are available for AUS$26 (approximately US$19.50), about tea, was presented through July 27 at the Tempe Arts plus postage and handling. Contact the Australian Potters’ Center in Arizona. Jurors Kurt Weiser, professor, Arizona State Directory, Post Office Box 937, Crows Nest, New South Wales University (ASU) School of Art; and Heather Lineberry, head Australia; telephone (02) 9901 3353, fax (02) 9436 1681, or e- curator, ASU Art Museum, selected 54 works by 28 artists from mail [email protected] across the United States. Among the works shown was “Yellow Dress” by Indiana Alexandra Kochman ceramist Anita D. Powell. “My work is an attempt to reflect a by Carol Ann Bradley truly genuine response to life,” she explains. “In order to detach Nineteen ceramic sculptures by Illinois artist Alexandra myself from the particular feelings of shame associated with the Kochman were featured in a recent exhibition at the Ukrainian traditionally feminine, I engage in the process of owning or Institute of Modern Art in Chicago. Although made in a embracing them. contemporary style, her human figures and abstract landscapes “This way, I can use sentimentality, domesticity, quaintness, have surfaces that suggest antiquity. The plasticity of the wet beauty and intimacy as devices to confront those who hold clay allowed her to develop both geometric and organic lines

22 CERAMICS MONTHLY September 1997 23 Up Front ceramists); on opening day, several reported they had never before experienced such exuberant sales rates. More than 1300 applicants vied for the opportunity to and shapes, while the raw unglazed surface intensified colors participate. Selections were made by jurors Bebe Pritam and textures. Johnson, an East Hampton, New York, gallery owner specializ- The medium-firing clay ranged in color from ocher to burnt umber. Blue glazes were applied to accent the rims of some figurative pieces, while a range of glaze colors played off the

Lisa Naples' soup tureen, 12 inches in height, earthenware; at the Smithsonian Craft Show, Washington, D.C.

ing in contemporary furniture and collectibles; Gerhardt Knodel, director of Cranbrook Academy of Art in Bloomfield Hills, Michigan; and Dorothy Saxe, a studio crafts collector from Menlo Park, California. Murray Douglas, 1916-1997 Michigan ceramist/educator Murray Douglas died on April 17 at the age of 81. Douglas received his bachelor’s degree from Wayne State University (WSU) in Detroit in 1936, then earned master’s and doctorate degrees from the Ohio State University. Alexandra D. Kochman’s “Apart/Together,” 18 inches in height, orange stoneware; at the Ukrainian Museum of He taught art at Brookside School at Cranbrook in Bloomfield Modern Art in Chicago. Hills, Michigan, from 1936 to 1950. Douglas also taught graduate seminars as well as ceramics earth-toned clay in the landscape series. On all, the beauty of part time at WSU. In 1950, he became a full professor and was unglazed clay prevailed, giving an appearance of natural erosion. eventually named chairperson of the art department. He was one of the university’s first recipients of the Arts Achievement Salt and Pepper Shakers Awards, receiving the award in 1975. “Great Shakes,” an exhibition of salt and pepper shakers by 20 artists worldng in clay, glass and metal, was presented through Karl Martz, 1912-1997 June 28 at Gallery Alexander in La Jolla, California. On view Karl Martz, professor emeritus of ceramics at the Henry Radford Hope School of Fine Arts at Indiana University (IU) in Bloomington, died on May 27. He was 84. After earning a bachelor’s degree in chemistry from IU in 1933, Martz went on to study ceramics at the Ohio State University in 1933 and ’34, and apprenticed at the Brown County Pottery. Martz married Becky Brown in 1935 and the two set up their own studio in Nashville, Indiana. During World War II, he worked as an assistant ceramist conducting defense-industry research at the Armour Founda­ tion in Chicago. He also taught night classes in ceramics at the School of Design, which was run by Bauhaus founder Laszlo Moholy-Nagy. Marilyn Andrews’ “Couple with Dog,” to 7 inches in height; In 1945, Martz was hired as the head of IU ceramics depart­ at Gallery Alexander, La Jolla, California. ment. In addition to teaching and experimenting with ceramic techniques and form, Martz produced several educational films, were a variety of designs, from traditional to whimsical, includ­ one of which won a prize at the Cleveland film festival; another ing this figure grouping by Marilyn Andrews. became a teaching tool for the U.S. State Department. Martz also wrote several articles on decorating techniques for Smithsonian Craft Show Ceramics Monthly in the 1950s and ’60s, including an article on The 15th annual “Smithsonian Craft Show,” a juried sale at the working with engobes and a three-part series on decorating clay National Building Museum in Washington, D.C., drew a with clay in the magazine’s first year (1953). An inveterate record attendance of nearly 16,000 visitors, which resulted in investigator of materials and processes himself, he wanted to record sales for many of the 120 exhibitors (including 21 instill in the reader “an unquenchable desire to try things.”

24 CERAMICS MONTHLY September 1997 25 In most of the segments, the artists also Video comment on their aesthetic concerns (al­ though background noise sometimes makes it difficult for them to be heard). For ex­ Shoji Hamada ample, Queensland potter Gwyn Hanssen A Potter’s Way and Work Pigott creates worlds that are “simple but Filmed in 1970 by ceramist/educator/ subtle; not flashy. I really wanted to show author Susan Peterson, this visit with the late how potent just a simple form can be,” she Shoji Hamada shows him at work in his explains. “And that’s one of the reasons why pottery in Mashiko, Japan. As Peterson nar­ I put simple forms in groups.” Approxi­ rates, Hamada is seen faceting, paddling and mately 1 hour and 45 minutes. Available as incising a few pots, which were then carried VHS videocassette. $69.95, plus $5 postage by workers to the five-chamber noborigama and handling. Mesa Productions International, for a bisque firing. (According to Peterson, 2834 Starlington Drive, Boise, Idaho 83712. Hamada fired this kiln every six weeks; he also fired a salt kiln as well as an enamel kiln.) Handmade Tiles Prior to decorating and glazing, the sur­ Volume 1: Forming the Tile face of each bisqued piece was whisked to In this “how-to” video—the first in a remove ashes. Although Hamada did not series of four—Freehold, New York, artist glaze every pot, he did all the decoration—by Frank Giorgini demonstrates various meth­ ladling, finger pulling or brushing. He also ods of creating tiles, beginning with a simple made his own brushes, using the hairs from flat tile formed by rolling out a slab of clay his Akita dogs. with a rolling pin. After the surface is smoothed During the glazing cycle, the pots—up to with a rib, he cuts the tile to size, then places 3000—were loaded into the noborigama. it between Sheetrock to dry flat. The firing, overseen by Hamada’s deshi, took Giorgini then makes a model for a plaster three days and nights. After cooling for threemold from two slabs of clay layered together. more days, the kiln was opened and Hamada Next, he transfers a design on paper by laying took “the first peek,” removing a few pots forthe paper on the top slab and punching holes inspection. He seemed pleased, says Peterson.through the design. Placing the model on a As the workers unloaded the remaining turntable for better control, he uses an X-acto pots, Hamada examined each one carefully. knife to cut the design out of the top layer of He also sketched every piece. “Sketching,” clay only. Other tools are used to incise explains Peterson, “was his method of re­ additional lines. membering.” Once the design is complete, a wooden The video also documents an exhibition frame is set around the tile model, the corners of Hamada’s work, held at a department storeof the frame are sealed with coils of clay, and in Tokyo. After waiting for hours to get in, the plaster is poured in slowly. After the eager customers swarmed through the show, plaster has hardened, Giorgini removes the grabbing the cards that indicated the prices offrame and carefully “peels” the clay model the pots. from the mold. Peterson’s opportunity to visit with Ha­ A thick slab of clay is then placed in the mada “was rare and wonderful,” she observes.mold; “you get your best impression if it sort “Hamada was one of the greatest ceramic of fits right in,” Giorgini explains. Laying artists of our century.” 30 minutes. Available canvas on top, he uniformly pounds the clay as VHS videocassette. $49.95.Distributed by with a rubber mallet. Excess clay is cut off Axner Pottery Supply, 490 Kane Court, Post with a wire tool, a straight edge is used for Office Box 621484, Oviedo, Florida 32762, final flattening, and a plaster block is set on telephone (800) 843-7057; and by the Potters top to facilitate drying. Shop, 31 Thorpe Road, Needham, Massachu­ When Giorgini sees that the clay has setts 02194, telephone (617) 449-7687. pulled away from the plaster, he removes the tile by placing a wooden bat on top, then The Diversity of Australian Ceramicsturning the mold over and tapping. “Most Australian ceramic traditions be­ He then goes on to demonstrate the mak­ gan elsewhere, arriving with the European ing of tiles using a few “gadgets” he has settlers during the last 200 years,” explains developed, which have cut production time the narrator of this 3-part video, which takes considerably. The first tool shown cuts clay a look at the work produced by 18 contempo­slabs to the same thickness each time. The rary Australian ceramists who draw inspira­ second tool is a manual tile presser made from tion from a variety of sources. In each segment,plumbing fixtures bought at a hardware store. the narrator discusses the artist’s background, Carving molds from plaster block is dem­ styles, philosophy, etc., while examples of theonstrated next. To make the blocks, he uses artist’s work or candid studio shots are shown.Plexiglas forms, sealing the outside with clay

26 CERAMICS MONTHLY September 1997 27 Video

coils. After it has set, Giorgini carves directly into the plaster. A slab of clay is then placed on a canvas-covered board and the carved block set on top to be pressed. Finally, Giorgini covers two decorating techniques—shellac resist and inlay. For the shellac-resist technique, he brushes slip onto the surface of a bone-dry tile. He then takes a rubbing (using tracing paper and graphite) from a finished bas-relief tile, places the rub­ bing face down on the dried slip, and traces with a pencil. After transferring the design, he covers it with shellac. When the shellac has dried (about 20 minutes), Giorgini rubs a wet sponge over the surface. The shellacked area is protected, while the exposed slip is washed away. For inlaying, Giorgini carves a design into a leather-hard tile, then dabs on colored slips until they’re well above the surface. (An ice­ cube tray is used to hold a variety of colored slips.) Then excess slip is scraped off. Later, the tile will be clear glazed and fired. 60 minutes. Available as VHS videocassette. $49.95.Frank Giorgini, Route 67, Box 126\ Freehold, New York 12431; telephone (800) 838-3786. Clay Workshop In this instructional video, North Caro­ lina ceramist Elizabeth Priddy explains her approach to throwing a bowl at the potter’s wheel, breaking the process down into several distinct steps, because “you need to think about each part of making a pot separately. It isn’t one smooth flowy thing where you just ooze your way into it until you’ve been doing it for a long time.” Beginning with centering, she suggests the student work on each step until it is done correcdy, then build on that experience: “Cen­ ter ten balls of clay without trying to open them,” she advises. “When you see that you can center, then you open it.” Priddy uses a rather unusual technique to open the clay, inserting her index finger at the marked center, then pulling toward herself with that finger. In turn, she throws the cylinder walls by pulling/pressing with the index fingers. After each pull, she “recenters” (compresses) the rim. For shaping, Priddy uses a rib with a curved and a flat side. She then runs through the whole process again quickly and cuts the bowl down the middle to check consistency. Approximately 45 minutes. Available as VHS videocassette. $35. Priddy Clay Studio, 308 Moore Street, Beaufort, North Carolina 28516; telephone (919) 504-2622, e-mail epriddy@usa. net or www. angelfire. com!vie!clay workshop

28 CERAMICS MONTHLY September 1997 29 categories, each image is identified by the in April 1983. When interviewer Jim Danisch New Books artist’s name, title of the work, dimensions, asked about her preparation for daywork, materials and techniques used, and some­ Wood answered, “I’m very organized. Before times a short statement about the concept. I fall asleep at night, I form a general picture The Best of New Ceramic Art 128 pages, including index of artists. 149 ofwhat I’m going to do the next day....I make “In years of jurying shows and exhibi­ color photographs. $24.99.North Light Books,a list of what I’m going to do the next day in tions, I have never faced such a daunting 1507Dana Avenue, Cincinnati, Ohio 45207; pottery....Then the task,” observes Toni Fountain Sikes, regard­ telephone (800) 289-0963. next day I go into my ing the 1996 “Monarch National Ceramic studio and do it. I Competition” in Florence, Alabama. “When Beatrice Wood don’t lose time going I finally made the journey to view the selectedA Centennial Tribute in a circle thinking pieces, I was struck, once again, by the strength Published in conjunction with the exhibi­ about things. and depth of this group of winning pieces. tion of the same name (see the June/July/ “I’ve found, even The entire exhibit made an important state­ August issue of CM), this book/catalog uses with pots, that it’s bet­ ment about new American ceramics. And reprints of magazine articles to trace Califor­ ter for me to make this was a statement that should be presentednia artist Beatrice Wood’s career from 1937 only two at a time. If I beyond the physical exhibition itself. to the present. Wood began drawing in 1910do it in an assembly line, I lose something. “Thus this book,” she explains. “Think ofand continues to do so today. When she Where thrown forms are concerned, I’m only it as an exhibition on paper, where one can started working in ceramics in 1937, “she interested in doing something that I hope will move between the relied heavily upon her many years of experi­ be beautiful. Where sculptures are concerned, rooms at will—then ence as a draftsman, preparing detailed I like keeping them very primitive and kind of revisit at a later date.” sketches of work she planned to execute in mischievous, and very few come out the way Illustrated by the clay,” notes exhibition curator Francis M. I would like them to be. I purposely keep my works of 90 artists Naumann. “The skills she had acquired were sculptures unschooled. I’ve never been in­ juried into the 1996 especially useful when she made decorative structed in sculpture, so I just find my own competition, the tiles for plates, for the figurative adornment way and enjoy it. They take a long time to book is divided into was worked out in a series of carefully ex­ complete because I have no set technique.” five sections—sculp­ ecuted preparatory drawings.” Approximately 180 pages, including bibliog­ ture in ceramics; the clay figure; painting, Among the articles selected (reproduced raphy. 107 color and 128 black-and-white carving and reliefs; vessel forms; and teapots, here in their entirety) is an interview with photographs; 49 drawings. $57, plus ship­ pitchers and drinking vessels. Within the Wood that was published in Ceramics Monthly ping and handling. American Craft Museum,

30 CERAMICS MONTHLY

New Books the trench and with air space between the vessels and the fuel. “Controlled ignition of the overlying fuel 40 West 53rd Street , New York, New York radiates heat downward over the vessels and 10019-6136; (212) 956-3535. encourages drafts that raise the temperature of the underlying coals,” they continued. “A The Prehistory and History of reduction atmosphere is maintained in the Ceramic Kilns early stages of firing by volatile gases released edited by Prudence M. Rice by the fuel and by any carbonaceous material in the clay. During this phase, some blacken­ “It was not too long ago that New World ing or sooting of vessel surfaces can occur. As archaeologists were taught that pre- combustible gases are exhausted and charcoal Columbian New World pottery was manu­ alone provides both upper and lower heat, a factured entirely without the wheel, without slight oxidation atmosphere prevails, remov­ glazes and without kilns,” observes the editor ing soot. By the time the overlying fuel of this collection of 12 scholarly papers. “These collapses on the vessels, the effects of tem­ technologies were thought to be absent from perature are nearly complete. After short potting activities in the western hemisphere soaking near peak temperature, the firing is until their introduction by Europeans. The quenched with a layer of earth, isolating both recent discoveries of kilns—often quite early the fuel and vessels from additional oxygen. kilns—at pre-Colum- Temperature declines steadily, and within 24 bian sites in North, hours the vessels are usually cool enough to Central and South remove.” 272 pages, including index. 11 America are obviously black-and-white photographs; 84 sketches. forcing us to discard $95; members, $76. American Ceramic Soci­ that old notion.” ety, 735Ceramic PL, Westerville, Ohio 43081. Papers discussing this new information Coiled Pottery were featured in a sym­ posium on prehistoricTraditional and Contemporary Ways and historic ceramic by Betty Blandino kilns at the annual meeting of the American “Coiling and handbuilding are often seen Ceramic Society in 1996. Also presented at as exercises toward ‘real’ potting—that is, the symposium (and compiled as this text) throwing on awheel,” notes the author of this were papers on kiln operational principles, revised “how-to” manual first published in inferring firing procedures from Greek shards,1984. “They are, rather, alternative meth­ kilns of the Indus civilization during the third ods—which many contemporary potters have millennium B.C., the Jingdezhen egg-shaped chosen as their means of expression and by kiln, and brick and tile making in Spanish which some of the most beautiful pots, from California with related Old and New World all parts of the world and from many histori­ examples, and unusual old kilns. cal times, have been made.” In their discussion on the technology and After an overview of the history of coil organization of Anasazi trench kilns in the building, Blandino tallcs about starting the Mesa Verde region, Eric Blinman, from the pot, suggesting the type of clay to use, as well Office of Archaeological Studies at the Mu­ as describing various ways to form the base. seum of New Mexico, and Clint Swink, a “Most people who are taught to coil learn by potter in Colorado, looked at the features of building on a disk, coil the design, the firing regime and the produc­ by coil,” Blandino ex­ tion schedule. Most of the kilns were rectan­ plains. “Because this gular, although some were more oval in shape. method is made up of Lengths ranged from almost 5 feet to ap­ distinct stages, it is proximately 28 feet; widths from 3 to 6½ possible to be in con­ feet. The depth of the kilns varied more, from trol throughout. about 4 inches to 2 feet. “It is not only a Generally, “after trench construction, a good starting point fire of coarse fuel is set within the feature,” the but can become a two explained. “When the fuel is reduced to highly developed technique. Contemporary a layer of coals, a stone pavement is con­ potters who use it are Monica Young and structed on the coal bed. Vessels are placed inPeter Stoodley: they roll out the clay and a single layer on this pavement, and if cover form coils directly upon it.” (Blandino pro­ sherds are used they are arranged at this time.vides examples of individual ceramists’ work­ As the vessels heat up from the underlying ing styles throughout the text.) coals, a dome or layer of wood fuel is built Adding to the base—making and build­ above the vessels, supported by the edges ofing with coils, variations, shaping, the rim—

32 CERAMICS MONTHLY September 1997 33 New Books photographs; 2 sketches. $22.95, softcover, “Now look at the working out of this plus $3.25 shipping for one book, $2 for eachbroad principle in minor detail,” he pointed additional book. Krause Publications, Book out later in the lecture. “Observe how, from is covered in the next chapter, then Blandino Department HR97> 700 E. State St., Iola, highest to lowest discusses archaeological and ethnic decora­ Wisconsin 54990-0001; (800) 258-0929 or health of art has first tion and firing. Incidental markings; im­ online www.krause.com depended on reference pressed, incised and painted patterns; and to industrial use. burnishing are described, as are various firing Lectures on Art There is first the need and postfiring processes. by John Ruskin of cup and platter, es­ Decoration techniques used by contem­ edited by Bill Beckley pecially of cup....And porary potters are examined next. Some pot­ After spending a decade preoccupied with to hold it conve­ ters, like British artist Jennifer Lee, build social problems, art critic John Ruskin (1819— niently, you must put decoration directly into the piece. Lee uses 1900) presented a series of lectures about the a handle to it; and to colored clay in her unglazed pots, “the colorslink between art and society—the relation of fill it when it is empty for each pot having been carefully selected art to religion, of art to morals, of art to use, you must have a large pitcher of some sort; from test tiles,” Blandino explains. “The formetc.—to his students at Oxford University. and to carry the pitcher you may most advis­ is started with a pinched base to which coils This book is a compilation of seven lectures ably have two handles. are added. delivered in 1870. “Modify the forms of these needful pos­ “After the pot is made and scraped, the On the relation of art to use, Ruskin sessions according to the various require­ color may be adjusted or intensified by bur­ stated: “I wish...strongly to assert to you, and,ments of drinking largely and drinking nishing oxide into the grainy surface,” she so far as I can in the time, convince you, that delicately; of pouring easily out, or of keeping continues. “Out of the kiln, each pot is the entire vitality of art depends upon its for years the perfume in; of storing in cellars, polished with emery and glass grinding paper being either full of truth, or full of use; and or bearing from fountains...and you have a until it becomes like weathered stone or rock,that, however pleasant, wonderful or impres­ resultant series of beautiful form and decora­ smooth and matt, with the rich, muted, sive it may be in itself, it must yet be of inferiortion, from the rude amphora of red earth up natural colors of neutral striations.” kind, and tend to deeper inferiority, unless it to Cellini’s vases of gems and crystal.” 263 In the final chapter, Blandino discusses has clearly one of these main objects—eitherpages, including John Ruskin biography, bib­ coiling within the context of pottery as a to state a true thingor to adorn a serviceable one. liography and index. 24 black-and-white whole in Great Britain during the 20th cen­ It must never exist alone—never for itself; it photographs; 2 sketches. $18.95, softcover. tury. 128 pages, including bibliography and exists rightly only when it is the means of Allworth Press, 10E. 23rdSt., Suite 400, New index. 26 color and 153 black-and-white knowledge, or the grace of agency for life. York, New York 10010; (800) 491-2808.

34 CERAMICS MONTHLY September 1997 35 Mario Sarabia Transition and Revival in Bolivian Ceramics by Ryan Taylor

In the early mist-shrouded the area around Tiwanaku is hours of the Andean morn­ fantastic,” he says. ing, Bolivia’s Mario Sarabia Although he uses the same rises to enter his studio on the clays as in the prehistoric pots outskirts of La Paz, seemingly found in the area, he is careful on top of the world, in a place not to identify himself too laiown to locals as the Valley closely with the Tiwanaku of the Moon. For the past 15 soul. “Tiwanaku has already years, this mostly self-taught been made. It wouldn’t be re­ potter has managed to create spectful for me to be repro­ beautiful pots and sculpture ducing Tiwanaku ceramics in a hostile environment. At instead of creating my own.” altitudes reaching 12,000 feet And the pieces Sarabia cre­ above sea level, oxygen and ates speak of his involvement vegetation needed for firing in the Bolivia of today, a coun­ are sparse. try with an incredible social When Sarabia first started and cultural panorama, and a producing ceramics, he gath­ natural diversity ranging from ered materials around La Paz, the high, snow-covered Andes the altiplano and in the lower mountains surrounding Lake valleys. Today, he continues Titicaca, to the verdant Ama­ to explore the area, walking zon basin far below. the earth in search of good Inspiration for his work clays to be ground, sifted, comes from personal experi­ slaked and wedged in his stu­ ences, such as the seven- dio. “In Bolivia, there’s no month canoe trip he once such thing as a clay supply took from Bolivia to Venezu­ house where you can just walk ela—from what he saw and in and buy all the materials from the stories that were told, prepackaged,” he says. “You from the remains of people have to get out there with your buried on the banks of the shovel and dig it up.” river who, in time, become a Standing amidst millions part of the clay. of cubic tons of pale reddish From his studio on the clay deposits on the road to other end of the Andean- the ancient ruins ofTiwanaku Amazon nexus, Sarabia has the (a culture thought by some to opportunity to witness the be the cradle of American civi­ daily tensions and disparities lization), Sarabia tells stories, of a society in constant transi­ part fact and part mystery. He tion. One series, known as describes, for example, how “Los Viejos,” refers to the old the Tiwanaku people must beggars on the streets of La have dragged their gigantic Paz. Often covered by mantles 20-ton stones across the top of richly textured weavings, of this red clay during the they beg from passersby by rainy season, because they tapping on their knees. Sarabia would have moved more eas­ has seen many “fancy” people ily across a slick surface. “I “On Man’s Earth” from the “Celestial Series,” 25 inches walking right by without pay­ believe in telling people sto­ in height, wheel-thrown and handbuilt stoneware, with oxide ing any attention whatsoever. ries to get them interested, and washes on the top and blue glaze on the bottom. He finds it ironic that a per-

36 CERAMICS MONTHLY son unwilling to help a beg­ Ten years ago, no gallery gar with 54 would pay be­ in Bolivia would show his tween $200 and $300 for one work because at that time ce­ of his ceramic “beggars.” ramics was considered craft He is not making a politi­ and no one took it seriously. cal or social statement, but Despite the history of fine merely expressing the daily pre-Columbian pottery, 500 reality that surrounds him in years of Spanish domination a multiethnic country char­ had left Bolivia with only acterized by extremes in pov­ utilitarian ware and almost erty. “I don’t understand no ceramic art tradition. But political problems all that Sarabia persisted. By going much,” says Sarabia, “but I back to galleries year after do see things that could be year, he initiated a change, handled politically.” and now galleries call him, The series came about requesting his work. His ef­ from a misshapened thrown forts have had a major im­ bowl. “I just wanted to fold pact on representation op­ it in, and as I folded, it the Bolivian ceramist Mario Sarabia working in his studio in the portunities for his fellow piece was there,” he recalls. Valley of the Moon, on the outskirts of La Paz. ceramists as well.

Stoneware vase, 14 inches in height, with latex- “Bird in a Cage,” 11 inches in height, wheel-thrown resisted black glaze on white matt glaze, and iron earthenware, with white engobe and polychrome and cobalt brushwork, $250. glazes, fired to Cone 02, $200.

September 1997 37 “Los Viejos” from “The Elderly” series, 16 inches in height, local earthenware, wheel-thrown and folded bowl form with handbuilt additions, accented with brushed glazes, fired to Cone 04, $500 per pair, by Mario Sarabia, La Paz, Bolivia.

Sarabias goal is to teach people in He admits, however, that if hand­ Like sentinels on the road between Bolivia how to look at contemporary made ceramics are to be revived in Bo­ decline and revival, Sarabias clayworks ceramics. “Until someone points out to livia, there has to be a change. For the are witnesses to dynamic cultural and you a sunset, you may not even notice past 500 years people have been using social change. Yet his studio is a free, it,” he says. “You have to likewise men­ lead, straight pure lead, to glaze their neutral space where students are en­ tion ceramics, you have to talk about it, pots. Before the Spanish conquest, no couraged to seek their own direction. “I you have to inspire curiosity in how it glazes were used, only slips and miner­ don’t expect them to follow my road. I was made, what it should be...what it als on burnished ware. He feels a re­ want the student to want to do clay his can express.” sponsibility to educate common people or her way. It’s my responsibility not to It has taken a long time, “a lot of about what they are drinking and eat­ have that enthusiasm die.” shows, a lot of work, a lot of stress ing out of. probably. To maintain myself as a stu­ Firing at extremely high altitudes is The author Ryan Taylor, previously design dio potter here, supporting my family difficult. But with the advent of electric consultant and co-owner of Third Coast, Inc., and all—just staying with it—is very kilns, glazed ware can be produced with­ in Houston, Texas, has resided in Bolivia for hard. You know I believe in what I’m out the use of lead. It is now possible for the past six years, and is currently marketing doing, I believe in clay. I believe it has Bolivian potters to jump to high-fire, consultant for the Quipus Craft Development got a force to it.” lead-free glazes. Program in La Paz.

38 CERAMICS MONTHLY “Mind Shadow in the City of Starwide,” 14 inches in height, slip-cast porcelain, with airbrushed glazes, fired to Cone 6, $4100. Gary Molitor by Glen R. Brown ddly colored leaves and tendrils un­ part of what Molitor describes as a spiri­ preliminary drawing to finished piece, furl in graceful arabesques, horny pro­ tual quest for hidden absolutes from Molitor takes pride and pleasure in the boscises poke and probe, kidney-shaped which to fashion a private cosmos. “I act of making. “I guess that I’m an old- wings test the air with the hesitation of played in the realm of primal morphol­ fashioned artist in that respect,” he con­ a newborn, and pulpy masses glide like ogy,” he explains, “discovering that the fesses. “I get a tremendous amount of sea slugs over the ocean floor. The illu­ physical manifestations were only dim enjoyment from the whole process.” sion of life—fragile, beautiful and un­ outlines of the truth. In a sense, each For Molitor, the process of making a predictable, pulsing with a physical and object that I made became a story about sculpture normally begins when an spiritual energy—radiates from the the search for this truth—a story about oddly arresting shape is encountered in works of California sculptor Gary trying to actually see God. Maybe, in everyday experience. “Often,” he reveals, Molitor and confirms through its or­ my otiose attempt to know God, I “the shapes I start with are biological: ganic traces an indulgence of the artist s would become a god myself.” microscopic, skeletal or horticultural. oldest and most secret desire: to be­ If Molitor s sculptures reflect an ob­ Sometimes I find leaves or roots in the come a creator of worlds. session with the miracle of genesis, there yard. One time, I even began with a The will of this demiurge has led is nothing magical or spontaneous about shape that I found in a Formica faux- Molitor to experiment with various his actual working method. Since his marble shower stall.” forms of creative expression, among days as a graduate student at San Fran­ It is not important to Molitor to them an ongoing science-fiction epic cisco State in the 1960s, he has been duplicate the specific forms he encoun­ narrated on cassettes and frequently re­ known for maintaining the discipline ters, but rather to distill from them “ar­ turned to as the basis for the series of and exacting standards of a scientist. chetypal elements,” abstractions that large porcelain sculptures he has pro­ Every stage in the production of his reveal formal relationships of a more duced over the past ten years. The novel slip-cast sculptures is carefully controlled, universal character. “I try to maintain and the sculptures it has inspired are and the process is never rushed. From the basics from nature of what makes,

September 1997 39 “Jardow and Sytheen Together,” 13½ inches in height, porcelain, slip cast, bisqued, airbrushed with matt glazes, $3750.

for example, shape and color relate to builds a 120% model of the finished from thinly ground hacksaw blades— one another,” he explains. “If you look piece by rolling out slabs of low-fire then sealed by spraying on a fast-drying closely at leaves or insects, beyond the white clay and pressing them over a automotive acrylic lacquer. specifics, you find generalities in the specially constructed wooden armature Molitor s expertise at mold making color/form relationship. Those are what wrapped in newspaper. dates back to the 1960s when, after interest me.” The model, which may be assembled graduate school, he sculpted body parts After working out the details for a from half a dozen individual compo­ for a supplier of prosthetic devices. The prospective piece through a series of nents, is often cumbersome and may precision necessary to produce custom- contour and perspective drawings, consist of many intricate forms. When designed artificial limbs still exerts a Molitor determines the ideal size of the leather hard, the surface of the model is strong influence over Molitor s method sculpture. Then, calculating for the worked with custom-designed tools— and the standards he sets for himself. As amount of shrinkage that will occur, he such as rasps that Molitor has made a consequence, a single sculpture may

40 CERAMICS MONTHLY “Steps Above Galumyth,” 12 inches in height, porcelain with airbrushed glazes, fired to Cone 6, $3500.

take months to complete. From plan­ can pour as much as 30 pounds of gun that Molitor has modified to allow ning a network of mold seams to porcelain slip into the mold at one time. pressure control. With these tools he smoothing the exterior of the mold in Although each mold is used to make can build up a surface of speckled color order to eliminate any tiny projections only one final sculpture (anyone who rather than a flat field of a single hue. that might catch on clothing, the pro­ buys a piece can keep the mold or have “If you look at the back of your hand cess is slow and meticulous. The drying it archived in case a part is broken), under a low-power microscope,” he ob­ time alone can be as long as a month, Molitor typically casts three or four cop­ serves, “you’ll see lots of colors, not just since Molitor prefers to leave the plaster ies as backups to be used in the event of one. I try to capture this depth of color in the open air rather than risk cracks or a problem during drying or firing. the way Jackson Pollock did in his drip other imperfections that might occur After a piece has been removed from paintings.” To achieve the desired ef­ by force-drying the molds in an oven. the mold, its surface is often retextured fect, Molitor may alternately paint and Each mold can weigh up to a hun­ with carving tools or is stippled with bisque fire a sculpture half a dozen times dred pounds and may consist of as many porcelain slip. Occasionally, Molitor will before the final firing at Cone 6. as six pieces, but Molitor has developed even make a mold of an unusual sur­ For Molitor, a sculpture is not com­ several tools and procedures to facilitate face, such as dried paint on the inside of plete until it has been mounted on its the slip-casting process. Using truck in- a can, and lift thin casts of slip from it own pedestal and protected under a clear ner-tube bands and threaded steel rods to add to the surface of the sculpture. Plexiglas hood. “When I was a child,” as vises to clamp the pieces together and Then, after the bisque firing, the he recalls, “my mother used to take me a specially constructed cradle to hold piece is colored with custom-formulated to the Maritime Museum in San Fran­ the assembly off the ground, Molitor matt glazes using an airbrush and a spray cisco. I remember that the model ships

September 1997 41 “Paleo Myathis at the River Styga,” 16½ inches in height, slip-cast porcelain with airbrushed glazes, fired to Cone 6, $3750, by Gary Molitor, San Leandro, California.

in vitrines thrilled me. It was like seeing to the constellation Cancer, prompt a where, so I’ll do something else, like jewels exquisitely displayed.” nostalgia for a mysterious and beautiful refinish a desk or work on an old car.” Molitor s display cases similarly high­ lost world of which the sculptures are (He has restored six classic autos and is light the preciousness of their contents, the only tangible trace. currently working on a 1959 Morris but they are also intended to produce But Molitor s sculptures are also the “woody” station wagon.) the impression that his sculptures are traces of his own metaphorical journey: These diversions are the catalyst for “specimens, remnants from the past.” art making, he says, is a “peregrination the creative process. By concentrating To reinforce this interpretation, Molitor of discovery,” as varied and unpredict­ on other things, eventually a shape will equips the pedestals with brass plaques able as life itself. “Sometimes,” Molitor suggest itself, an idea will form, and on which are inscribed excerpts of his confesses, “ideas flow out of my head Molitor will find himself absorbed once unfinished novel. The passages, describ­ like water through a broken dam. Other more in the process of populating his ing the memories of a mythical traveler times, its like I fell into a hole some­ private cosmos. A

42 CERAMICS MONTHLY Is Barium Carbonate Safe? byJefFZamek

^fes—provided you don’t go into your clay was left untreated, it would require tures, barium carbonate is mostly known studio and eat or directly inhale barium excessively high amounts of defloccu- for producing soft, buttery glaze tex­ carbonate. That is the short answer to a lant to transform it into a casting slip. tures. It can also yield intense blue col­ controversial issue raised by many in Barium carbonate reacts with soluble ors when combined with copper in the field of ceramics. However, knowl­ salts found in clays, changing them into reduction glazes. edge of the material, especially in the insoluble barium sulfates, which in turn raw form, is vital to a potter’s health reduces the deflocculant requirement for Alternatives and safety. the slip. Sometimes, if less than 6% is used in Barium carbonate has a long history In low-fire white clay bodies, where high-temperature (above Cone 6 or of use in clay bodies, casting slips and the amount of ball clay can be as much 2194°F) glaze recipes, and it is not glazes in which it serves several func­ needed to promote color or glaze tex­ tions. Regardless of this history, today ture, barium carbonate can be removed many potters are removing barium from Understandably, without changing the fired nature of their studios, fearing its toxic potential. the glaze. In such situations, barium is As the general population has be­ potters do not want acting as a marginal flux. Its absence come more aware of health and safety to jeopardize their will not appreciably affect the fired glaze issues, every material is being examined result. In glazes containing amounts for its potential harmful effects. Under­ health when greater than 6%, the barium carbonate standably, potters do not want to jeop­ handling ceramic is probably contributing to opacity and ardize their health when handling raw glaze color, and removing it would sub­ materials, nor do they want to place raw materials. Nor stantially change the glaze. their customers at risk when using their do they want to Strontium, which goes into a melt fired clay and glaze products. With such more actively than barium, has been legitimate health and safety concerns, place their used as a substitute (¾ part strontium why use barium carbonate? customers at risk carbonate to 1 part barium carbonate), but it does not yield an adequate match In Clay Bodies when using their in glaze color, opacity and texture. We have all noticed surface deposits fired clay and glaze Barium sulfate (the insoluble and of white powder developing on exposed non toxic form of barium used for medi­ parts of common red building brick. products. cal procedures) is another ineffective The soluble salts in the clay migrate to barium carbonate substitute in glazes or the brick surface, causing white scum­ clay bodies. Sulfate fumes are released ming. When barium carbonate is added as half the clay body recipe, the level of as the barium reacts with increasing kiln to the clay body (0.25% to 2% based barium carbonate required can be temperature, causing blisters or pinholes on the dry weight of the clay body), it 0.03% to 0.05%, based on the dry in glazes and bloating in clay bodies. reacts with the calcium and/or magne­ weight. The actual amount required will sium salts in the clays, changing them depend on the soluble salt levels found Facts About Barium Carbonate into calcium carbonate and barium sul­ in the clay. The barium carbonate material that fate, which do not produce soluble salt In stoneware and high-iron-content potters use in clays and glazes is never scumming. By eliminating soluble salts casting slips, barium carbonate is needed found in nature in its elemental form, in the clay body, subsequent firing dis­ to facilitate good casting properties and but is mined from barite ore that con­ coloration is reduced. Some red earth­ can be as high as 2%, again based on tains barium sulfate. Barite is a natu­ enware clays are more susceptible to the dry weight of the recipe. rally occurring mineral used in the oil- soluble salt problems, but even so-called and gas-drilling industries. About 5% “clean” clays can occasionally have high In Glazes of barite is processed into barium car­ levels of troublesome salts. Conse­ Barium carbonate can be classified bonate, barium chloride and barium quently, the use of barium carbonate is as an alkaline earth that is very refrac­ hydroxide. Barium carbonate is used in advantageous in many different types tory. Its use promotes unique glaze col­ the manufacture of glass for television of clay bodies. ors and surface qualities that are very and computer screens due to its capac­ difficult to obtain when using alterna­ ity to absorb X-rays generated when the In Casting Slips tive glaze materials. Small percentages image is produced. Barium carbonate is Ball clays used in casting slips some­ in low-temperature glazes will result in also blended with iron oxide to form times contain soluble salts. If the ball dry matt surfaces. At higher tempera­ ceramic magnets used in many prod­

September 1997 43 ucts. Various industries in the United documented when seven people in one barium into another material. He was States use approximately 50,000 tons of family accidentally consumed rodenti- not wearing a dust mask and inhaled a barium carbonate every year. See “Toxi­ cide (barium carbonate) and required considerable amount of powder, but did cology and Carcinogenesis Studies of treatment at their local hospital; reported not swallow much. He experienced Barium Chloride Dihydrate (Drinking cramps and nausea; his feet and hands Water Studies),” U.S. Department of felt heavy and weak. At the hospital, he Health and Human Services, case num­ Most barium that was treated with potassium intrave­ ber 10326-27-9, pages 13-16. nously and completely recovered in five A search of the relevant medical lit­ enters the body is days. This case was studied by R. Shankle erature and journals reveals two kinds eliminated within and J. R. Keane, “Acute Paralysis from of problems associated with toxic reac­ Inhaled Barium Carbonate,” Archives of tions to raw barium carbonate. Barium one or two weeks. Neurology, volume 45, pages 579-580. carbonate can be accidentally ingested/ While such cases are sensational and inhaled, or it can be intentionally in­ thought provoking, they do not reflect gested to commit suicide. in the Annals of Emergency Medicine by potters’ experiences with barium car­ C. H. Johnson and V. J. Van Tassell in bonate. Studio potters are not likely to Toxic Effects of Ingestion October 1991, pages 1138-42. encounter a case where barium carbon­ The effects of ingestion take place Most barium that enters the body is ate is involved in an explosive reaction, when barium carbonate changes in the eliminated within one or two weeks. but this accident does illustrate the need presence of stomach acid (hydrochloric See the “Toxicological Profile for for a dust mask. acid), yielding soluble barium chloride. Barium” issued by the U.S. Department The first symptoms can be vomiting, of Health and Human Services, Public No Reported Potters’ Reactions skeletal and muscle twitching or muscle Health Service, Agency for Toxic Sub­ For more than 40 years, potters in paralysis. If ingested, small amounts of stances and Disease Registry, PB 93- the United States have been using barium carbonate (13 grams) can be 110658. barium carbonate in their studios and lethal. One woman attempted suicide Barium is not a cumulative substance have sold functional pottery with by eating 40 grams of barium carbon­ in the body where at some point a toxic barium-containing glazes. The medical ate. She required mechanical ventila­ level could be reached. Past informa­ records do not show any reports of toxic tion after her respiratory muscles were tion about barium causing cumulative reactions to barium carbonate used in paralyzed, but recovered fully within central nervous system damage is not pottery studios or toxic levels of barium one week, according to D. M. Phelan, supported by the Environmental Pro­ released from glazes. Databases searched S. R. Hagley and M.D. Huerin in “Is tection Agency’s toxicological evaluation include BIOSIS (toxicological aspects of Hypokalemia the Cause of Paralysis in of soluble barium in the Federal Register, environmental health), TOXLIT (toxi­ Barium Poisoning?” British Medical Jour­ volume 62, number 2, January 3,1997, cology literature), RTECS (Registry of nal\ volume 289, page 882. pages 368-370. However, just on a Toxic Effects of Chemical Substances), Another example of intentional in­ commonsense level, it would still be a and MEDLINE. This lack of documen­ gestion of barium involved a man who prudent step to store barium carbonate tation indicates two possibilities: pot­ went on a drinking spree, bingeing on in a clearly labeled covered jar. Acci­ ters are receiving toxic doses of barium ethanol for one week, then ingesting dents do happen in every area of life. carbonate in their studios and their about 13 grams barium chloride in an symptoms (vomiting, paralysis, etc.) are attempt to commit suicide. He devel­ Toxic Effects of Inhalation not recognized or reported; or toxic re­ oped paralysis involving the extremi­ Breathing in particles of any sub­ actions to barium carbonate simply are ties, his respiration became paralyzed stance found in the pottery studio not happening. and he was placed on mechanical venti­ should be prevented. Whenever clay and In fact, an occupational exposure lation. Magnesium sulfate was adminis­ glaze materials are handled in the dry study reported no adverse health effects tered, and the patient made a rapid state, small particles often become air­ related to workers exposed to high lev­ recovery after an 11-day hospital stay. borne. Wearing a dust mask in situa­ els of barium carbonate dust for periods This case was documented by S. F. tions where bags of dry materials are of 7 to 27 years; see “Exclusion of Dis­ Wetherill, M. J. Guarino and R. W. opened or mixed is a safeguard against turbances to Health from Long Years of Cox in “Is Acute Renal Failure Associ­ inhalation of these particles. Exposure to Barium Carbonate in the ated with Barium Chloride Poisoning?” In the medical literature, one case Production of Steatite Ceramics” by in Annals of Internal Medicine, volume demonstrates what types of problems H. G. Essing et al. in Arbeitsmedizin 95, number 2, pages 187-188. Such potters are not having with barium car­ Sozialmedizin Praventimedizin, volume cases are significant in that barium in­ bonate. A 22-year-old man (who was 11, number 12, pages 299-302. gestion was by intent, not an accident. new on the job) caused an explosive Clearly the published warnings about A case of unintentional ingestion was blowback into his face by dumping barium carbonate usage should be taken

44 CERAMICS MONTHLY seriously; however, precautionary mea­ man Services states that the drinking fired glazes containing barium can range sures should remove the potter from water in some United States cities can from 0 ppm to more than 1250 ppm; any short- or long-term hazard due to exceed 20 ppm. This amount reflects however, many glazes tested are within inhalation and ingestion. what people are consuming daily with­ the 20 ppm barium-release ranges. out ill effects; it does not tell us what It is always prudent and useful to Safe Handling in the Studio amount greater than 20 ppm people test for barium-release levels on func­ Essentially, the same safety precau­ could consume with no ill effects. tional pottery glazes that come into di­ tions should be in effect when handling In the past, long-term exposure to rect contact with food or drink. If the any raw material. Whenever possible, low levels of barium were thought to test is done correctly, the accuracy rate purchase materials in clean, unopened cause health problems, but the data do is 99%. Choose a laboratory that is bags and store them in covered contain­ not support this belief. The National familiar with the testing procedure. For ers or large heavyweight plastic bags Toxicology Program Study by the U.S. example, a test for barium release or with twist-top closures. During clay- or Department of Health and Human Ser­ other elements in glazes (i.e., antimony, glaze-mixing operations, immediately vices conducted tests in which animals manganese, vanadium, lead, etc.) can return any unused raw material to the were given water containing up to 700 be done by sending a fired sample of covered jar or storage bag. In this way, ppm barium. At this level of daily con­ the glaze on a cup or bowl to Office of bags will not accidentally be broken sumption, the water did not produce Sponsored Programs, New York State open, causing small particles of raw ma­ harmful effects and was considered safe College of Ceramics, Alfred University, terial to spread throughout the studio. to drink. The medical assumption in Alfred, New York 14803; there is a $30 When opening a raw-material bag or this method of testing is that animals charge per element tested. mixing dry materials, always wear a dust respond similarly to humans. Commonly, high-barium-release lev­ mask, preferably a cartridge respirator Humans ingest barium on a regular els in glazes can be substantially de­ in which the filter is changed regularly. daily basis. It is found in many foods, creased by firing the glaze one or two Barium carbonate has limited solu­ including tea, coffee and fruits. Dietary cones higher or by adjusting the glaze bility in pure water. Solubility of barium consumption of barium from foods is constituents. If you are unsure of how carbonate in glaze water varies with pH from 300 to 1770 mg/day. Barium is to adjust the glaze, seek guidance. Ex­ levels, but remains marginal. If the glaze perimenting on your own without a water is acidic (low pH levels), some basic understanding of glaze materials barium carbonate changes to barium Essentially, can be fun, but it can also be time chloride, with levels in the water of 15.3 consuming. Often, the most efficient ppm to 45 ppm. Such amounts are well the same safety method is to obtain several barium glaze below any toxic concern for absorption precautions should recipes that have already been tested. through the skin, even with an open wound on the hand. be in effect when Summary While mixing a wet or dry glaze with handling any raw As potters, we should educate our­ your hands is not recommended, the selves about the safe use of any raw medical literature does not contain any material. material in our studio. We should then reports of barium carbonate migrating use this knowledge to protect ourselves through wounds in the skin. By way of and our customers from any potentially comparing the relative risks in glazing also found in bran flakes (3.9 ppm), harmful effects. However, we are often operations, mixing high-alkaline and eggs (7.6 ppm), sea water (5.2 ppm to asked to make decisions about ceramic soluble wood ash glazes with bare hands 25.2 ppm), beets (2.6 ppm) and Brazil materials based on incomplete facts. In is more harmful, as this will cause skin nuts (1000 ppm), but even at that the past, unchallenged claims, un­ irritation and/or burns. Regardless, amount, the chances of anyone eating founded dire projections, and generali­ washing hands after any glazing opera­ enough Brazil nuts to achieve a toxic zations about raw-material hazards were tion is always best. level of barium are remote, as the stom­ more drama than documented fact. In ach and digestive system could not hold some circumstances, the information Barium in the Environment that bulk. published has not been relevant to how Barium, in its different forms, is com­ we as potters use the material. An ongo­ monly found in food, water, soil and Barium Release from Glazes ing effort to increase our knowledge of even the air we breathe. It is one of the Barium carbonate decomposes when questionable materials will yield a real­ most abundant materials found in the heated, and changes to barium silicate istic evaluation of potential hazards. earth. We are in a barium-laden envi­ or barium salts in the fired glaze, after Often a valid disagreement exists on ronment. The “Toxicology and Carcino­ which the glazed surface can release which materials are truly dangerous. genesis Studies” report issued by the barium when in contact with weak ac­ Such differing opinions are beneficial, U.S. Department of Health and Hu­ ids contained in foods. Release levels of as they contribute to discussions, test­

September 1997 45 ing, and greater research in ceramic raw amount takes into consideration vari­ can always take the recommendations material toxicology as it directly relates ous factors that can cause variable of “experts,” but real knowledge comes to potters. barium-release levels in glazes, such as from building up a base of information The health and safety issues con­ glaze thickness, firing atmosphere, end­ from many sources. Disregarding raw- cerning potters use of barium carbon­ point firing temperature, time to tem­ material warnings is irrational, just as ate fall into two primary areas of perature, refiring glazes and marginal believing the “poison of the month” concern: The accidental ingestion/in- glaze testing inaccuracies. theory is excessive. Both extremes are halation of the material in the studio, The drinking water study (“Toxicol­ inaccurate and foster ignorance instead and its potential release from fired glazes. ogy and Carcinogenesis Studies of of insight. To prevent accidental inhalation/inges- Barium Chloride Dihydrate”) is signifi- Potters must do some hard work and tion, store in covered containers and look into the literature and toxicity sta­ wear a dust mask when mixing or han­ tistics on this common glaze material. dling barium carbonate. Sometimes a Disregarding raw- On some level, we calculate the relative simple recommendation is not consid­ material warnings is risk factor in all daily events. How dan­ ered valuable or effective because it is gerous is flying? Not as dangerous as too easy to believe. irrational, just as driving to the airport. The second area of concern relates believing the “poison How dangerous is barium carbonate to the potential release of barium used as used by potters? Not as risky as back in clay bodies, casting slips and glazes. of the month” theory pain from lifting kiln shelves, nerve dam­ The low percentages of barium carbon­ is excessive. age from carpal tunnel syndrome (re­ ate used in clay bodies and casting slip petitive motion injury from throwing, recipes, and its low potential for release wedging, lifting) or retina damage from negate any level of concern regarding cant because it relates to a barium-con- looking into a firing kiln without eye health and safety. sumption level in water (20 ppm) over protection. Proper protection and In glazes, the ideal is an inert, stable, a prolonged time. This is the closest knowledge will prevent accidents in nonleaching fired surface, but this situ­ approximation to people drinking or these known potential areas of risk. The ation is not necessary for barium—al­ eating from barium-release glazes for an same principle should be applied to though it should be for lead and other extended time. It also assumes the worst barium carbonate. heavy metals, which are highly toxic case situation where a glaze-releasing and can accumulate in the body. With barium will continue to release the same The author A frequent contributor to CM, the level of barium release in some com­ amount of barium every time it con­ ceramics consultant Jeff Zamek resides in munities’ drinking water approaching tacts food or drink. Southampton, Massachusetts; he recommends 20 ppm with no ill effects on the popu­ Barium carbonate is not an easy ma­ potters attend an online discussion concerning lation, a 20 ppm or lower release of terial to classify concerning safety is­ “Toxic Materials in Ceramics” on American barium for functional pottery glazes sues. It requires respect and effort to Onlines Hands in Clay chat room September should be a conservative goal. This understand how to use it safely. Potters 18, 1997, at9PMEDT. Health and Safety Recommendations for Handling Raw Materials * Obtain from your ceramics supplier a Material Safety *Clean up any raw-material spills on the floor or tables Data Sheet (MSDS) for each raw material used in the when they occur. studio. It will list the control measures for safely handling the material. Wear a separate set of clothes in the studio, and clean your studio clothes frequently. ’ Always store dry clay and glaze materials in covered containers or heavyweight (or doubled) plastic bags. Wipe down worktables with a wet sponge before leaving the studio. * Label all raw materials stored in the studio. Wash hands before leaving the studio. ' Never eat, drink or smoke in the pottery studio. Place a door mat outside the pottery studio to catch ' Never store food in the studio. dry materials. > Always wet mop the studio floor every day or every Clean eyeglasses after leaving the studio. other day to remove raw-material dust; wear a dust mask during this operation. Install a small-particle air filtration unit in the studio to improve air quality. ' Always wear a dust mask when mixing dry glaze or clay body materials. Supervise children in the studio at all times.

46 CERAMICS MONTHLY John Goodheart by Georgia Strange

gallery can function as a container— a container of art. It, too, has shape, color, texture, space, etc. At the recent exhibition of vessels by John Goodheart in Indiana University’s School of Fine Arts Gallery in Bloomington, I was struck by the staggered and layered for­ mation of pots on shelves of different sizes, as if a message was hidden in this gallery container, evoking the stacked complexity of the I Ching over the lin­ earity of Morse code. A left-to-right pe­ rusal seemed inadequate, as the forms interacted with those above and below. Diagonal juxtapositions beckoned as well. It was necessary to move in closer to control the visual field, permitting the intimacy of a focused experience. This is the key to the sensory explo­ ration of Goodheart’s intricate and refined compositions, which pay hom­ age to pottery’s history of function and craft. The reverence also belies a tongue- in-cheek attitude that is reflected in the stance of the forms, the crusty glazes and blackened copper, the titles and the absurdity of the elaborate metal, plastic and rubber connections. John Goodheart has reaffirmed his commitment to pottery. He had aban­ doned functional pottery for the one- of-a-kind “art pot,” crossed over into sculptural clay objects, took a flying leap into conceptual clay statements, which devolved into blowing up perfectly good bags of clay with the help of the U.S. Navy, then inched his way back to the resoluteness of clay as a material trans­ formed by fire. A hiatus from the studio dictated by several years as an academic administrator interrupted the flow of ideas, washing away all implications for the future. “The Inquisitor’s Teapot,” 11 inches in height, handbuilt earthenware On entering a studio after a cooling- body and press-molded spout, fired to Cone 04 in oxidation, down period, an artist must try to re­ with copper lid and handle, and rubber tubing. gain the passion for making things. For Goodheart, the passion remained in pottery’s saturation of human history.

September 1997 47 “No other art form seemed as honest, direct yet replete with ceremony,” he stated. “Following the bloated and blus­ tery ’80s, a clay vessel represented a noble constant of simplicity.” Earthenware clay was thrown, ex­ truded, press-molded and handbuilt to ensure a chorus of visual forms. Each method added its signature, yet the clar­ ity of the form remained a priority. Cone 04 oxidation firings were repeated until “Fra Bernardo’s Sin Maker,” 9 inches in length, handbuilt the glazed surfaces reached a charged earthenware fired to Cone 04 in oxidation, copper lid and mix of dryness, texture and color, which handle, rubber tubing. played counterpoint to blackened bur­ nished metal attachments. Goodheart s rekindled enthusiasm for functional work is apparent. He places “a high premium on usefulness. I am intrigued by the challenge of solving aesthetic and utilitarian problems. Ad­ dressing usefulness is a tremendous chal­ lenge, which mediates the adoration of aesthetics. I respect the traditions and humility of craftsmen, as well as the beauty inherent in daily rituals. I have learned to appreciate the ordinary as well as the heroic. Admittedly, I stretch the boundaries between aesthetics and function. For example, it takes an extra effort to use some of my teapots, but I hope the aesthetic experience will be rewarding enough that the owner will not mind this effort. This concept does not compromise my commitment to craftsmanship, usefulness or aesthetics. Every potter must decide how he/she wishes to address this issue—I prefer to push these boundaries.” Goodhearts examination of tradi­ tional pottery forms, such as cups, pitch­ ers and teapots, was not like a circle closing, resurrecting his beginning as a functional potter, but more like a spi- raling staircases view of layers passed below. Metalworking skills learned in school at East Carolina University were “Brother Aquataine’s Bucket,” 13 inches in height, renewed in order to combine a cold, wheel-thrown earthenware fired to Cone 04, copper lid mechanical hardness with the clay ves­ and handle, and rubber tubing.

48 CERAMICS MONTHTY sels. The blackened copper lids ensured the closure of the forms and added mys­ tery to sealing the space within. The combination of earths materials, clay and metal, was emphatically shaped in rigid contours of familiar and hybrid “The Friar’s Teapot,” 13 inches in length, earthenware, geometric shapes. The sense of purpose handbuilt with press-molded spout, fired to Cone 04 was made loud by these hard-edged in oxidation, copper lid, wire handle. forms, subtly echoing the over­ engineered structures for transporting imaginary gases or liquid through the containers. Spouts seemed unpreten­ tious, in contrast to the labored argu­ ment of transparent tunnels and pierced, convoluted pipelines traveling toward sieves patiently waiting to receive and isolate the remaining impurities. Goodheart has given a great deal of thought to the titles of his pieces. “Titles are very important in my work. I want to give my pots a feeling of previous ownership, which will enable the viewer to travel to another place and time. I have often stood before a very old pot, say an 11 th-century Mimbres bowl, and completely lost myself contemplating the circumstance surrounding its cre­ ation and its purpose. I believe strongly in the power of pots. They have the power to mentally transport one to an­ other time. My pots are very much about this concept and I use titles to push the viewer along in this direction.” The dark patinas and crusty surfaces, the rigid geometry, the fussy attention to detail, the excess of engineering col­ laborate to evoke something anxious, perhaps sinister. The titles build on these sensations with references to humanity’s dark side, the realm of sin. In certain pieces, such as “Fra Bernardo’s Sin Maker” and “Sin Eater’s Bucket,” the titles weigh heavily on the viewer, as traces of medieval intrigue and alchemy are summoned. But Goodheart does “The Sin Eater’s Bucket,” 13 inches in height, not push these into a truly scary realm, wheel-thrown earthenware, reduction fired to Cone 04, perhaps because he enjoys the seduc­ with copper lid and handle, and rubber tubing. tion of the vessels’ visual sensuality, and

September 1997 49 “The Novice’s Teapot,” 10 inches in height, handbuilt earthenware with press-molded spout, oxidation fired to Cone 04, with copper lid and wire handle, by John Goodheart, Bloomington, Indiana.

remembers the fun inherent in the “Brother Aquataine’s Bucket,” which These vessels occupied the actual smaller venial sins. invites the viewer to circle the form, space of the gallery and the virtual space Several pieces are more overt in their inspecting the implied maneuvers be­ of thought reflected in material forms. playful banter about the dark side of tween cylinders, cones, a splash of red Beyond the subject matter of pottery human folly and superstitions. These and sprinkling of punched openings. and religion’s fascination with sin lay forms incorporate delicate linear con­ This vessel, like most of Goodheart’s the visual and sensual festival of curve, structions, stretching out from an open pots, offers many vantage points before pigment and touch. tangle as found in “The Novices Tea­ the production is revealed. The bilateral pot” to a cones perfection in “The Friar’s symmetry common to most of the world The author Georgia Strange is a sculptor Teapot.” Another teasing reference to a as defined by animals and teapots is and teaches at the Henry Radford Hope hypothetical religious community is thankfully and conspicuously absent. School of Fine Arts at Indiana University.

50 CERAMICS MONTHLY Jung-Ching Hsiau by Hsin-Lung Lai

As I was driving along the muddy tire-worn track, the forest became thicker, signs of human life scarcer and the scent of the trees stronger. Jung-Ching Hsiau’s studio, located in the forested mountains of San Yi in Miao Li County, Taiwan, is far from the hustle and bustle of the city. An artist with a close affinity to nature, Hsiau built this remote studio over a period of time. For his sculp­ ture, he digs clay from around his house and mixes in dog and cat excre­ ment. Dropping, tossing, molding and pinching methods are used to pro­ duce the forms. When dry, they are fired to 1240°C (2264°F) in his cus­ tom-made kiln. Hsiau lives an arduous farmer’s Untitled sculpture (#9405), approximately 18 inches life—he calls his residence “Half-Farm in diameter, pressed local clay, wood fired.

Jung-Ching Hsiau working on a-square-within-a-circle-within-a-square form pressed into a framework created by removing unmortared bricks from the studio floor.

September 1997 51 House.” In fact, only half his time is spent on daywork. Previously, Hsiau lived in the noisy, densely populated city of Taipei. There, he used an electric kiln to ex­ periment with different kinds of glazes, even reducing some by insert­ ing grass, branches and wood. This resulted in much thick smoke, which often caused the fire brigade to be called. Using wood to fuel his experi­ ments was unacceptable to his neigh­ bors. Hence the move to the sparsely populated mountain area. Hsiau’s method of expression is akin to that of many other Taiwanese artists—making use of reserved East­ ern thinking as well as ancient Chi­ nese philosophical ideas. He often incorporates totem symbols or words from the Book of Changes, such as the Eight Diagrams (Ba Gua), num­ bers, squares or circles. These were also included in the studio design (on doors, on the floor, walls, tables and Sculpture #9323, approximately 22 inches in height, chair arrangement) to enable him to press molded and wood fired. become immersed in contemplation and thought as he works. Naturally, he used the earth, stones from his beloved surroundings and his own ce­ ramics as building materials. His recent works have focused on the use of local materials. He then adds color (from his glaze experi­ ments) and reduction fires. Finally, he puts on the date and serial number. In this way his ceramics language can be completely recorded. A characteristic of Chinese aesthet­ ics is the emphasis on the merging of opposites—the coexistence and an­ tithesis of the abstract and practical, the rational and sensual, and the cir­ cular and square. Art lies in creation and innovation. The basic forms of squares and circles are integral to Hsiau’s art. Within circles, there are squares; within squares, there are circles. This kind of creative consciousness repre­ Handbuilt sculpture (#9412), approximately 29 inches in length, local clay sents the coexistence and antithesis of with feldspathic glaze, fired to 1240°C (2264°F), by Jung-Ching Hsiau. the modern and traditional spirit. ▲

52 CERAMICS MONTHLY Above all, I want my decorated vessels Never Be Afraid to Play to convey the tension between whimsy and seriousness. This happens best by Elaine Alt when I let myself have a little fun with my desire to make things “just right.” I’ve never had an easy time with the line between reality/fantasy, seriousness/ whimsy or loose/tight. I used to believe that one had to choose—loose or tight, never both. After a number of false starts, I’ve come to think that my pots can be about the struggle to do both. Why not have a piece that is both seri­ ous and whimsical? In my work, the “serious” part is in the balanced forms, geometric designs and craftsmanship. The “whimsy” is in the putting together of things that “don’t go”: bright gold on matt glazes; hard- edge geometry with squiggles and wiggles; vivid, light-hearted designs on elegant forms. But this is only the most recent work, and it took me a long time to get here. There were many drag­ ons to slay along the way. I grew up in an ethnic New Jersey home filled with gold cherubs, rain­ bow prism lamps sitting on pink marble columns, and scenes of Italy painted on the walls. I guess this explains the whimsy. I was also a fairly intense sci­ ence student and nearly finished a Ph.D. in geology before bailing out. It wasn’t until I was in my twenties that I discovered art. I was living in genteel middle-class England, teaching bored English schoolboys how to blow up a science lab. (It got their attention and in retrospect wasn’t bad training for future kilns.) Fearing for my sanity, a friend carted me off against my will to evening classes. I didn’t know what ce­ ramics was. I had bought my mugs at discount stores. So, along with an as­ sortment of village moms, grannies and kids, I was introduced to ceramics by a very charming, very eccentric English sculptor named John Doubleday. Once I put my hands in clay, like so many of us, I was hooked. That was the 1970s, when Bernard Leach was revered unconditionally. I enrolled in a ceramics degree course at the Chelmer Institute, and A Potters Book was our bible. We really were “Purple Knight,” 18 inches in height, wheel-thrown and handbuilt earthenware, taught that there was only one way to with tape-resisted glaze patterns, multifired, $475. pull a handle and one set of propor-

September 1997 53 tions for a jug. My personal heroes to tackle porcelain. Back in the states, I of the opening, I looked at all those were Lucie Rie and Hans Coper, whose dared to place one porcelain bowl on serious pots sitting on pedestals and for beautiful, sophisticated, elegant works my outdoor craft fair display of func­ the first but definitely not the last time were more than I, an art novice, could tional stoneware. The lone porcelain thought the work looked dead. That hope to emulate. So, I contented my­ piece won a prize. Shallow as it sounds, was quite a shock after all the effort I’d self with trying to make good wheel- I was thrilled and took it as an omen, put into the show. A friend, Lucia thrown functional stoneware the “right” went home, gave away all my stone­ Jahsmann, gave me my second piece of way. Try as hard as I might, though, I ware and began a decade of producing really good advice: never be afraid to could never really master the English porcelain pots. play with the clay. ideal of subtle, sensitive work. I had a After two years of making wheel- So, I went back to my studio and wonderful teacher, Joanna Constanti- thrown, carved porcelain vessels, I was thought, I’ve always been afraid of nidis, who gave me a great piece of thrilled when a small New York City handbuilding and never made small advice: just listen to the voice inside gallery (Incorporated, sadly missed since pots. Maybe I should play around with yourself and the work will follow. Un­ the owners died) offered me a show. handbuilding small delicate pots. It was fortunately, she couldn’t tell me what The recognition felt great, but the night great—just like the thrill I felt being the voice was saying and I really hadn’t a clue that it was those childhood cher­ ubs and prisms trying to get out. I came to value the hallmarks of English ceramics—serious, careful craftsman­ ship and sensitivity—and still do to­ day. It just took a long time to figure out how to make them work for me. A few years later, I was back in the states looking at Peter Voulkos’ work for the first time. I was shocked and horrified. I could feel the energy, but it seemed so undisciplined. Where was the understated sensitivity of Rie and Coper I’d come to love? Youthful arro­ gance prevailed and I became deter­ mined to show Americans what they were missing. In England, I’d been too intimidated by the “European masters”

Black crepe tape is flexible, allowing it “Spider’s Web,” 16 inches in height, earthenware, with brushed and trailed to conform to curves. commercial glazes, dotted with gold luster, $395.

54 CERAMICS MONTHLY back in evening classes in England when the subtle and sensitive. Again, I sent When things aren’t right, art has a I didn’t know what I was doing, and out slides and again the pieces grew way of hitting you over the head with for a while it was lots of fun. into something I thought was serious it. I got that old dead feeling back. I I lost quite a few galleries by chang­ enough to put on a pedestal. Looking knew it was time for a change, but I ing my work, but it was a small price to back, I see now that, again, there wasn’t couldn’t figure out what. What were pay for the renewed energy of trying enough of me in these pots. I had to let those voices saying? What was I sup­ something different. I experimented go of the idea that my new work had to posed to play with? I didn’t know, so I with large, bold and dramatic as well as be serious. learned to ski, hung out at shopping malls and ate too many lunches with friends. If a writer gets writer’s block, after 15 years of making pots nonstop, I got potter’s block. For about a year, I just stopped work­ ing; galleries lost interest, connections fell by the wayside. Then, one morn­ ing, for no reason in particular and without much fanfare, I walked out to my studio, loaded all my porcelain clay and glazes into the back of my van and drove to the town dump. Cleansing— yes. Scary—only a little. Energizing— oh yes. Then I phoned a supplier and ordered some low-fired earthenware and commercial glazes. In the eight years since, I’ve learned a great deal visually by looking at the way quilters and other folk artists from Haiti to Africa integrate complex pat­ terns and colors into a whole. I’m in­ spired by the way Venetian glassmakers blend elegance, delicacy and humor in a single piece. I’ve also learned a lot on a personal level. I hardly ever ignore the voices of the cherubs and prisms. I

“Galaxy,” 17 inches in height, wheel-thrown and handbuilt earthenware vase, The taping/glazing is repeated as with commercial glazes and luster, multifired, $250. needed to develop complex patterns.

September 1997 55 know I need to make pots for myself and not for galleries. I’ve even started a functional line as well, but hey, that’s another story about another line it’s good to straddle. My pots are made out of earthen­ ware in a variety of ways. For example, the teapots are both wheel thrown and handbuilt, parts of some bowls are wheel thrown and parts are molded. When dry, they are bisqued to a rela­ tively low temperature (Cone 06), be­ cause I find the surface remains more absorbent for the glazing. And then the decorating begins. In order to achieve the hard-edge lines in the geometric designs, I mask with Charettes black crepe tape. I like crepe tape because it’s flexible and I can make it bend into curves. After mask­ ing or outlining in tape all the areas to be glazed with one color, I either brush or sponge on two or three coats of underglaze. When the underglaze is dry, I cover it with wax, using the hard edge of the tape to define the wax. Next, I remove and reapply tape where needed to create another color pattern. I repeat this process until eventually all the col­ ors of the geometric pattern are com­ plete and waxed. The dots, dashes and squiggles are achieved by slip trailing. In order to get rid of the wax and achieve a true bisque, the pieces are fired a second time to Cone 01. For the functional, food-safe pieces, I apply two or three coats of commercial gloss glaze, and fire a third time to Cone 03. The perfume bottles, teapots and some decorative bowls have a matt finish with gold luster dots. Instead of coating them with a clear glaze, I place a dot of glossy glaze wherever I will want a gold dot. Then, after the piece is fired to Cone 01, I place a dot of gold luster on the shiny spot and fire to Cone 018. I Imow the best work happens when I can take the carefully controlled side of myself and mix it up with the whim­ sical, irreverent side. And when those two come together really well in a piece, it’s a great feeling. I also figure that I’ve been on this most amazing journey with clay and there’s no reason to think “Waves I,” 17 inches in height, multifired earthenware, that this is the last stop. ▲ with commercial glazes and luster, $250.

56 CERAMICS MONTHLY Perfume bottles, to 13 inches in height, wheel-thrown and handbuilt earthenware, with low-fire glazes and luster, $160 each, by Elaine Alt, Marblehead, Massachusetts.

September 1997 57 John Leach: Conservationist Potter by Marian Edwards

shaft of sunlight filters through the his 9-acre wildlife and tree conservation But that isn’t the complete picture. ancient oak mullion window, falling project, then paddle his coracle (a tradi­ The seemingly effortless brushwork of across the hands of John Leach as he tional boat made of leather) across the his visible success conceals a meticu­ throws at his wheel. Outside, only the still waters of the pond to check out the lously prepared canvas and an astutely feeding-time chatter of fledgling star­ swans’ island nest. Or he might choose applied foundation: years of in-depth lings disturbs the tranquility of the to meet friends in the local pub for a training, firm self-discipline, a mind con­ scene—a cluster of 16th-century chat over a refreshing pint of his favor­ stantly open to the world outside and thatched farm buildings nestling at the ite locally brewed ale. an acute awareness of the professional edge of the historic English village of Then would come dinner and ani­ marketing strategies required to achieve Muchelney, deep in the beautiful wet­ mated conversation with family and, and maintain profitability (without lands of King Arthur’s Somerset. frequently, fellow artists and makers compromising one’s integrity) in today’s Working with Leach are his wife seated around the refectory table in the competitive world. Lizzie, who welcomes customers from intimate, low-beamed living area next John Leach would be quick to ac­ all over the world to the Muchelney to the pottery throwing room. Finally, knowledge that, for an aspiring potter, Pottery store; assistant potter Nick Rees, there may be a committee or trustee he was born with good fortune on his with whom John has enjoyed a 24-year meeting connected with an educational side. His father is renowned potter professional relationship; and one stu­ or conservation cause close to his heart. David Leach [see “A Conversation with dent apprentice, Paul Dennis. It’s an idyllic picture, isn’t it? And it David Leach” in the January 1997 CM]; At the end of a productive day in the paints a perfectly truthful portrait of his grandfather was Bernard Leach, the workshop, Leach may stroll along the the lifestyle that Leach has enjoyed with revered founder of the English 20th- green country lane from the pottery to his family for over 30 years. century revival in studio pottery.

58 CERAMICS MONTHLY John was born in 1939 in his father at Bovey Tracey in the Pottery Cottage that Ber­ Devon, where he was intro­ nard had built after setting duced to the demands of up the famous St. Ives Pot­ standard-ware production, tery in Cornwall. One of his then with Colin Pearson in earliest memories is of watch­ the pottery at Aylesford, a ing his grandfather and fa­ Carmelite Monastery where ther at work on the potters potting was part of the wheel and of being encour­ monks’ economy. There, he aged to attempt his own first worked alongside two friars pots. “I loved it and I found and slept above the kiln. the physical contact with the His next teacher was Ray raw material very exciting— Finch (a former student of Muchelney Pottery was established in a 16th-century you just touched it lightly and thatched-roof farmstead in the Somerset wetlands. Michael Cardew) at Winch- it would leave a mark. The combe Pottery. There, he was response was so immediate.” introduced to earthenware School for John was typical of the pottery never uppermost in his mind. with its strong local influences of coun­ English public school system—lots of But on leaving school, in 1957, he be­ try pottery and the skills of kilnbuilding. emphasis on sport and team work, with gan a lengthy apprenticeship—first with “I started literally at the bottom—shov­

Muchelney standard ware, unglazed stoneware fired to Cone 11 with well-seasoned larch and spruce slab wood.

September 1997 59 eling clay from a pit in the or­ Pottery, set up his Mendocino chard, and being the tea-boy.” pottery. It was a summer that Training was completed at St. John now feels helped him de­ Ives under the highly critical eye cisively in his ensuing career. of grandfather Bernard. “There “It taught me the straight­ were ten or so of us students forward, bold American ap­ who gathered around the work­ proach to business, which gave shop fire at break times to suffer me confidence in setting up my criticism from the master. We own pottery on returning home. were always very attentive—but “I wasn’t at that time very one didn’t always have to agree ambitious,” he recalls. “All I with grandfather’s opinions. wanted was to make simple There was always room for the country pots and sell them to exchange of ideas and beliefs.” local people—perhaps a Uto­ Did he feel he was treated as pian ideal. I didn’t see myself any other student? “Well, I felt a becoming a great potter and certain pressure that as a Leach, decorator like my grandfather. I I ought to be able to impress. liked the honest generosity of But I certainly didn’t impress country ware.” my grandfather in those early In the county of Somerset, days. I felt I should always be John and Lizzie discovered, producing works of art. But I within a mile of the ruins of the grew out of it. In fact, I stopped 1 Oth-century Muchelney Abbey, making one-of-a-kind pots for a dilapidated stone and thatched quite a time—until an idea re­ farmstead built around 1600. ally burned within me. That’s a They managed to borrow the much better premise from which purchase price, set to work to start.” physically restoring the old His grandfather remained a buildings and, within a year, tough taskmaster. “I relished it,” John and his wife Lizzie preparing to serve John was producing 46 differ­ John recalls fondly. Bernard the traditional after-firing supper. ent functional kitchenware Leach also had a theory that pot­ shapes—and couldn’t keep up ters make pots that look like with demand. themselves—John, for example, was “When I separated it, there was a hole “It was the ‘Swinging Sixties,’ the considered a fat stewpot or hotpot in the shoulder of this rather splendid Beatles were just emerging—my simple maker. “And it’s quite true—I do like pot. I took it to my grandfather, apolo­ style of pots caught the mood of the making large pots, particularly in con­ gized profusely, and asked if he would moment.” Top London stores were de­ nection with the storage, preparation let me buy it, as it was now a second.’ manding regular supplies, and retail cus­ and cooking of food.” He snorted through his mustache and tomers were beating a path to the pottery It was during this period with his wrote: ‘Johnny—£5’ ($8) on a little la­ door, so much so that John and Lizzie grandfather that John’s lifelong passion bel on the bottom. I’ve still got the pot decided to build their own retail store for the firing process was first kindled. and the label. At the time, 1961, that alongside the pottery. One of his eventual tasks at St. Ives was pot would have sold for around $100. After seven years potting alone, John to pack his grandfather’s own special He never priced his own work higher took on his present assistant, Nick, as pots in the kiln. There were three cham­ than $120, which I thought was an apprentice. It was a major turning bers—the first oil-burning, the second horrifically expensive.” point for John’s personal approach to wood-fired, and the third for bisque That same year, John married Lizzie; work and for the future direction of firing. “The second chamber was they had Ben, the first of their five chil­ Muchelney Pottery. grandfather’s favorite—and it was al­ dren, and decided to postpone no longer “I’m amazed now that I ever worked ways an exciting, if apprehensive, mo­ what might later be an impossible goal— on my own. Nick and I bounce ideas ment to unpack the chamber after the to experience life and work in the U.S. off each other, and I find that challeng­ kiln had cooled.” In California, John took a summer- ing. He is exclusively engaged in pro­ Once, John remembers, a pot leaned school teaching post, and helped Harold ducing standard ware, but he makes his against a saggar due to his bad stacking. Guilland, author of Early American Folk own pots at home and sells them in our

60 CERAMICS MONTHLY One-of-a-kind wheel-thrown and paddled stoneware bottles with wax-resisted glaze decoration.

store and in exhibitions. Nick also keeps kiln, I had been excited by the fantastic to decorate less. The ware had a gener­ the accounts and is involved in most glowing finish that resulted from the ous country look. Just what I wanted.” policy decisions.” flames licking over the naked pots.” It Wood firing is a very demanding During Nicks early years at Muchel- was decided to convert the oil-fired kiln process, though. For the 29 hours of ney, they were firing once every three to wood. “Quite a risk, but it worked.” the firing, someone must be with the weeks in a two-chamber oil-fired kiln, The distinctive Muchelney “toasted” kiln. “At the start, we use heavy wood glazing in the first chamber, bisquing in finish was the more or less constant to gain heat slowly. At the end, we are the second. But Nicks extra pair of result, “although the unpredictable na­ stoking with thinner, lighter sticks ev­ hands enabled John at last to realize his ture of the firing did bring its frustra­ ery two or three minutes. Were aiming ambition to have a wood-fired kiln. tions in matching our repeat range,” for around Cone 11.” “Since the days when I used to un­ John admits. “But, because of the mar­ Controlling the temperature of the pack my grandfather s three-chambered velous finish we were getting, we started kiln is a combination of regularly check­

September 1997 61 Wood-fired bread crock, approximately 12 inches in height, wheel-thrown stoneware.

ing the rate of climb from stoke to sawed in the pottery yard to an exact plate. It demanded constant dedication stoke, and, toward the end of the firing, length to fit the fireboxes. It’s strenuous, to the making process, carefully planned drawing test rings to gauge glaze melt. labor-intensive work. lain loads to meet orders and delivery “There’s an intimate personal involve­ “But the results are directly related dates for wholesale and retail custom­ ment in this critical period of firing. to the effort that’s put into firing this ers, vigilant stock control, sensitive pric­ The whole atmosphere comes alive. The beast, this dragon. Actually,” he con­ ing, and attractive shelf display. smell is terrific. And you know there are fesses, “I think I’m basically a pyroma- During this period, new shapes and 50-foot-long flames in there.” niac and this is my fix.” sizes were gradually introduced, an il­ A ready supply of well-seasoned wood The new wood-fired stoneware was lustrated catalog of repeat ware was pro­ is vital, and John has good local sources enthusiastically received by buyers, and duced, and John was rewarded by of larch and spruce slab wood, which sales continued steadily through the ’70s. knowing his pots were in everyday use are brought in 1-ton bundles and chain- But success was not handed out on a in homes all over the U.K. “I got a real

62 CERAMICS MONTHLY Saggar-fired jug, approximately 8 inches in height, with undulating white line reflecting the way the pot was nested in combustibles.

buzz from seeing them in people’s kitch­ did: “I’d never been a great decorator. Muchelney was under threat. Ever the ens, especially if they had a patina from I’m more interested in form and tex­ pragmatist, John looked outward to seek regular use.” ture. But one thing my grandfather told advice. It came from all directions— Muchelney pots were chosen by food me was never to be tempted to decorate colleagues, friends. advertisers for product photography in a pot because you’re not happy with it, Up until this time, John had resisted magazines and on TV, and several were and you want to try and disguise its putting a personal seal on his work. awarded the Design Council of Great form. And I felt then and still feel that “Probably because I felt it was impor­ Britain’s prestigious seal of approval. the unpredictable finish, which is the tant to establish myself as an indepen­ Then came the economic recession product of wood firing, is a decoration dent potter without appearing to swing of the early ’80s. Sales stagnated; con­ in itself” the handle’ of my grandfather’s name.” sumer tastes shifted to more modern, However, something had to be done It was pointed out to him that he’d colorfully decorated pottery. John is can­ to revitalize sales. The rural idyll at been potting for 25 years; his work was

September 1997 63 on permanent display est lives you can have. in some of the coun­ One cannot do better try’s leading museums, than make things by such as the Victoria hand—it’s one of and Albert in London. those deep-down in­ Surely it was time he stinctive feelings.” had sufficient confi­ A recognition of dence in his own work the importance of this at least to sign his own quality of life, together one-of-a-kind pots? with his observations He was persuaded— while traveling abroad, and a newly charged have instilled in John creative world opened a growing awareness up to him. and a subsequent need Freed from the re­ John Leach afloat on “the best thing” he has ever done with clay. for a personal response strictions of repeat- to what he sees as the ware production, John accelerating destruc­ began experimenting with shapes and U.S.A. and Canada. Previously, John tion of the planet through humankind’s textures and with the magical workings had turned down opportunities to greed and ignorance. of his dragon kiln. He began to allow travel—unable to justify the time and “I live in one of the most beautiful himself time to evolve new work where cost involved to himself. But in 1984, parts of England with its wonderful old previously he had turned a blind eye to as the result of a John Ruskin bursary villages, abbeys and historic houses; and creative impulses. “Also, when you’re award, he was able to undertake a short its ancient farming and basket-willow- young, you are narrowly focused,” John study trip to Nigeria with his assistant, growing traditions still predominate. reflects. “Although I was most fortunate Nick. “It was an inspirational trip— And yet, even here, we are in danger of to have the workshop training I had, I we’re still living off it.” losing our traditional landscape unless do think that, had I studied at art col­ And the following year, partly as a we take care to preserve it now. I feel it lege and learned to draw, I would have result of the increased overseas exposure is vital for us to try to become more in observed more from an earlier age. of his work, and partly because of a harmony with nature. Whatever else one does, one’s eyes must growing desire to see and experience “As potters, we are fortunate to be always be open. more of the world in order to influence able to take something as common as “Throughout history, pottery has his own creativity, John began to accept clay from the ground and fashion it been famous for having borrowed de­ some of the invitations from abroad. into unique objects of beauty and func­ signs originally intended for other disci­ “And I discovered that I loved the tion,” he acknowledges. “But even we plines. I’m very interested in leather privilege of being able to pass on some must be prepared to repay nature for shapes, for example, especially the Chi­ of my skills to new potters—and to be what we use. And we must share a re­ nese and Middle East use of leather for able to learn from them in return. More sponsibility in preserving a world where bottles—although I’m still biased to the and more, I became conscious of being it will be possible for all creative skills to English way of making pots. There is a cog in a global wheel of potters, com­ be fully exercised.” not a lot of trimming, as in Oriental municating and empathizing with one To that end, John has established a pots—and I usually finish by hand as another. Our common use of clay with conservation woodland to replace the the pot leaves the wheel.” its humble origin cuts across race, reli­ trees that he constantly burns in his The results of John’s experiments gion, color and class.” kiln. “It’s a small gesture, but I feel I were dynamic—both creatively and in It is, he admits, also a uniquely self- have to do something.” turning around the fortunes of the indulgent life. “I make pots for me, and John also has dug a 1-acre pond to Muchelney business. His new one-of-a- I think ‘Wow—how lucky I am.’ Some encourage indigenous flora and fauna. kind pots were soon making a significant people in industry don’t even know their “It’s the best thing I’ve ever made out of contribution to total sales, despite much own boss, or even what it is they are clay,” he insists, “and, more to the point, higher unit prices. making. That must be soul-destroying. the most important.” International interest in his work Being a potter allows one to ‘downshift’ Already, the pond, now nine years brought with it invitations to conduct into an alternative, simpler but more old, has brought John more rewards workshops and give lectures to pottery rewarding way of life. than he ever imagined, revealing itself students and enthusiasts in other parts “Even though remuneration for a as an unfailing provider of creative im­ of Europe and, more particularly, in the potter is not huge, it is one of the rich­ petus, peace and renewal. A

64 CERAMICS MONTHLY Santa Cruz Clay by Karen Thuesen Massaro

“Time and Place: Fifty Years of Santa Cruz Studio Ceramics,” a recent exhi­ bition at the Museum of Art and His­ tory in Santa Cruz, California, traced the development of studio ceramics in the county through the works of 49 artists. Santa Cruz County is a remark­ able location: an oceanside community where the temperate climate encour­ ages ceramists to expand the studio to the outdoors. Perched as they are on the Pacific Rim, Santa Cruz ceramists have formed links with the overseas Pan-Asian cultures, as well as with the arts com­ munities of Monterey to the south and San Francisco to the north. Inland over “Two Heart Bottles,” 6 inches in height, glazed stoneware, the Santa Cruz Mountains are links with 1980, byTerrie Kvenild. the arts communities of San Jose and

“The Gift,” 10½ inches in length, glazed porcelain, 1995, by Kathryn McBride.

September 1997 65 the South Bay. But the beauty of this place can be tempered by hardship: the tragic Loma Prieta earthquake of 1989 taught us that kilns and studios can be transitory, even if renewable. Some ceramists choose to relate their work to this locale. Artist/author/edu­ cator Daniel Rhodes wrote in 1984, “I have been working on a series of sculp­ tural heads, some of them quite monu­ mental in size....The original impetus or inspiration to do them came to me when I was studying the eroded sand­ stone cliffs and rocks at the beaches near our home. These rocks are an in­ credible panorama of form and surface, infinitely varied....I began to see the rocks as heads, forms that brought to mind both timeless geologic stability and the awakening of consciousness.” Life in Santa Cruz has provided sub­ ject matter for contemporary potters as well. On heart-shaped stoneware bottles, Terrie Kvenild has depicted scenes from the local amusement park; while “De­ Stoneware platter with temmoku and plum glazes, 17½ inches in diameter, tour,” an earthenware teapot sculpture 1982, by Bruce and Marcia McDougal. by Sally Gaynor, was made in reaction to the Loma Prieta earthquake. Studio daywork began in 1947, when our first ceramist of note, Bruce Anderson, moved to Scotts Valley and embarked on a prolific career, produc­ ing high-fired stoneware pottery. Other influential potters followed: A1 Johnsen came in I960, Bruce McDougal in 1967, and Bruce Bangert in 1978. Daniel Rhodes, a seminal figure in the devel­ opment of American ceramics, settled in Davenport in 1973. Following an apprenticeship with Bauhaus-trained Marguerite Wilden- hain at her Pond Farm Pottery in Guerneville, California, Anderson settled in Scotts Valley, where he built Sand Hill Kiln and, subsequently, an­ other kiln in the Pogonip area of Santa Cruz, where he lived until 1986. Johnsen and Bangert chose the rigors of study at Pond Farm as well, and later continued as potters and teachers in Santa Cruz. “Hydria/Head #3,” 30½ inches Rhodes also had periodic lessons on the in height, glazed stoneware, 1996, wheel from Wildenhain during the by Fred Hunnicutt. 1940s while he was a studio potter liv­ “Thrown Faceted Red Vase,” 11 inches ing in Menlo Park. in height, stoneware with copper red glaze, 1992, by Bruce Frye. Other revered Bay Area artists and teachers had a significant impact on the

66 CERAMICS MONTHLY “Detour,” 10 inches in height, cast whiteware with low-fire glazes, 1991, by Sally Gaynor.

“Circus Acrobats,” 20½ inches in height, acrylic-painted clay, 1987, by Manuel Santana.

September 1997 67 Wheel-thrown stoneware casserole, 9 inches in diameter, reduction fired, 1982, by Bruce Bangert.

early Santa Cruz potters. Among these that remains accessible and broad in its building techniques, as well as ceramic teachers was Herbert Sanders, who technical and philosophical reach. mural construction. taught at San Jose State—chiefly from From 1974 to 1984, the University In 1984, the university’s ceramics 1951 to 1974—and who authored two of California at Santa Cruz offered two program was reorganized, and its em­ well-known books on daywork. Ander­ ceramics programs (currently it offers a phasis shifted from pottery making to son and Bangert were also his students. single program). The pottery-making ceramic sculpture, under the direction Santa Cruz County itself boasts two ethic was particularly strong at the of Fred Hunnicutt, until his retirement locations for undergraduate study. Dave university’s Cowell College, where, in in 1995. With his background in metal McGuire began teaching ceramics classes addition to throwing, A1 Johnsen taught fabrication, Hunnicutt brought a fresh in 1962 at Cabrillo Junior College (now everything from jiggering (the use of a perspective on how to put clay together. Cabrillo Community College) in Aptos, revolving plaster mold to shape one side His students have emerged as particu­ and Anita Synovec taught ceramics there of a clay form) to bookkeeping (prepar­ larly skilled in representational construc­ from 1968 to 1979. John Bobeda joined ing students to establish successful busi­ tion of objects and the human figure. the staff in 1974, followed by Dan nesses as production potters). Across The ceramic sculpture program contin­ Martinez in 1980, and together these campus at Porter College, Bruce Bangert ues today under Nobuho Nagasawa, a two continue to maintain a program taught wheel-throwing and hand- multimedia artist who specializes in site-

68 CERAMICS MONTHLY specific installations and public art, and who joined the faculty in 1996. Academia has not been the only ave­ nue for clay study in Santa Cruz County. When Anderson returned from his ap­ prenticeship at Pond Farm, he set about to re-creating that relationship with ea­ ger young potters. The apprenticeship tradition continues today. And since the late 1960s, when Johnsen began teach­ ing students at Scott Creek Pottery, a number of cooperative studios and pri­ vate classes have existed to school new potters in the art. From 1971 to 1984, a splendid se­ ries of workshops organized by Marcia and Bruce McDougal took place at Big Creek Pottery, set in the hills above Dav­ enport. Santa Cruz students grasped the opportunity for experiential learning with internationally recognized artists such as Ruth Duckworth, John Glick, Karen Karnes, Toshiko Takaezu and Warren MacKenzie. Clay work in Santa Cruz took on new dimensions during the 1970s. Sev­ eral resident ceramists moved gradually from the vessel to sculpture. Represen­ tational images have served both as a “Salted T-Pot,” 6½ inches in height, salt-glazed stoneware, magnifying glass held on society and a 1992, by Ann Schwartz. means of expressing internal emotion. The three-dimensional story has re­ turned as subject matter for American ceramic sculpture, and Santa Cruz is certainly part of this national phenom­ enon. Most of the sculptures in this exhibition are figurative and/or narra­ tive. Sculptor Manny Santana celebrates the connections between people by us­ ing bright acrylic colors painted on in­ terwoven figures. Many of the artists in this show stand at the intersection of sculpture, paint­ ing and pottery, making forms with mul­ tiple references. Across America, the tea­ pot has become a popular vehicle for sculptural statement. In this case, the challenge accepted by the artist is to make a composition of sculptural inter­ est that also refers to functional compo­ nents: handle, spout, lid, container. This puzzle continues to inspire the works of Kathryn McBride and Sally Gaynor. Many potters in Santa Cruz County “Platter with Figurative Drawings,” Slab-built stoneware sculpture, 161/4 inches in diameter, glazed 19½ inches in height, 1970s, offer functional pottery through stu­ stoneware, 1983, by Al Johnsen. by Daniel Rhodes. dios and galleries, where it continues to

September 1997 69 Faceted jar, 51A inches in height, glazed stoneware, by Bruce Anderson.

be affordable. An exception to this was potter Bruce Frye, who from 1982 to 1995 chose to sell his thrown greenware (unfired) wholesale to area potters who then completed the pieces for their mar­ kets. He estimates now that during his busy years his annual production amounted to more than 12 tons of re­ peat production pottery. Fryes three vases in the exhibition attest to his sure sense of form and glaze. In addition to her daywork, Ann “Seed and Husk,” 32 inches in height, glazed stoneware, Schwartz, a production potter who 1996, by Bob Kinzie. trained with A1 Johnsen at Cowell Col­ lege, is distinguished by her contribu­ tions to the ceramics community; for ally exhibited outside our county to­ come opportunity for our entire ceram­ example, in 1976, she doubled as an gether with work that has been locally ics community to reaffirm the joy of electrician when she joined fellow art­ available. Notwithstanding pockets of working with clay as a medium for ex­ ists in rebuilding and establishing ce­ communication among Santa Cruz ce­ pression and communication; and the ramics studios at the Santa Cruz Art ramists, long studio hours and the lack essays, artists’ statements and photo­ Center. In addition, Schwartz formed of a formal network have contributed graphs in the accompanying 140-page other cooperative ventures that provided to significant isolation of ceramists from catalog document their commitment to studio and retail space for area potters. one another. This exhibition was a wel­ studio ceramics. ▲ In order for a field to remain vi­ brant, there must be dialogue. For art­ ists, exhibiting is visual publishing. A willingness to exhibit, with all the risks and flaws inherent in exhibitions, is im­ portant to the artists’ development. See­ ing, and in some cases touching and using, the actual work continues to be necessary for visual literacy. With the explosion of well-illustrated books and journals during the past 30 years, it is easy to neglect this fact. As the first comprehensive view of studio ceramics in Santa Cruz County, “Time and Place” addressed the pressing need for local communication. We were particularly Glazed stoneware teapot, 5¾ inches in height, and tea caddy, fortunate to be able to show work usu­ 1976, by Rob Forbes.

70 CERAMICS MONTHLY September 1997 71 February 20, 1998, entry deadline for Crafts, Att: Holiday Festival, 1560 Craft Cen­ Call for Entries Baldwin City, Kansas*The 1998 International ter Dr., Smithville 37166. Application Deadline for Exhibitions, Orton Cone Box Show” (March 10-April 7, October 1 entry deadline 1998), open to works composed of more than McMinnville, Oregon “Oregon Clay National Fairs, Festivals and Sales 50% fired clay that fit into a large Orton cone box for Men Only” (November 3-26). Juried from (3x3x6 inches). Juried from actual works. Jurors: slides. Fee: $25 for up to 5 entries. Juror: David Harris Deller, professor, Southern Illinois Uni­ Gilhooly. Awards: $1500. For prospectus, con­ versity, Carbondale; Anna C. Holcomb, profes­ tact Nils Lou, Director, Renshaw Gallery, Linfield International Exhibitions sor, Kansas State University, Manhattan; and College, McMinnville 97128. Michael Simon, studio potter, Winterville, Geor­ October 6 entry deadline September 15 entry deadline gia. Fee: $20 per entry; up to 2 entries. Purchase Wayne, Pennsylvania “Craft Forms ’97” (De­ Rochester, New York “Porcelain ’97” (Novem­ awards of $ 100 each. For prospectus, contact Inge cember 5-January 22, 1998). Juried from slides. ber 14-December 31), open to artists in the G. Balch, Dept, of ArtlCeramics, Baker Univer­ Jurors: Syd Carpenter, ceramist; Bruce Metcalf, United States, Canada and Mexico, making por­ sity, PO Box 65, Baldwin City 66006-0065. jeweler/writer; Bhakti Ziek, fiber artist. Fee: $20 celain functional forms. Juried from slides. Fee: September 30, 1998, entry deadline for up to 3 entries. Awards: over $2000. For $20 for 5 entries. Awards: $3000. For prospectus, Columbus, Ohio “ Ceramics Monthly Interna­ application, send #10 SASE to Wayne Art Center, send SASE to Porcelain ’97, Shoestring Gallery, tional Competition (March 15-21, 1999), open 413 Maplewood Ave., Wayne 19087; or tele­ 1855 Monroe Ave., Rochester 14618. to utilitarian and sculptural ceramics. Location: phone (610) 688-3553, fax (610) 995-0478. October 15 entry deadline Columbus Convention Center, in conjunction October 7 entry deadline Warrensburg, Missouri “Greater Midwest In­ with the National Council on Education for the El Cajon, California “Ceramics: Viewpoints ternational XIII” (January 24-February 22,1998). Ceramic Arts (NCECA) 1999 conference. No en­ ’98” (March 2-27,1998). Juried from slides of up Juried from up to 2 slides per entry. Fee: $20 for try fee. Juried from slides. Cash awards. Color to 3 works. Juror: Ivan Karp. Fee: $20. Awards: up to 3 entries; $25 for 4-5 entries. Juror: Andrea catalog. For prospectus, write CM International $1000, $500 and $250. Commission: 30%. For Inselmann, curator of exhibitions, John Michael Competition, PO Box 6102, Westerville, OH application, contact Grossmont College Hyde Kohler Art Center, Sheboygan, Wisconsin. 43086-6102; or fax (614) 891-8960. Gallery, 8800 Grossmont College Dr., El Cajon Awards: $1600 plus exhibition contracts for the 92020-1799; or telephone (619) 644-7299. “GMI Invitational Exhibition.” For prospectus, United States Exhibitions October 10 entry deadline send business-sizeSASE by October 6 to Gallery Tempe, Arizona “Heart” (December 5-Febru- Director, Central Missouri State University, Art September 15 entry deadline ary 8,1998), open to craft and sculpture depicting Center Gallery, Warrensburg 64093. Brooklyn, New York “Raku” (January 1-30, hearts or including heart imagery. Juried from up 1998). Juried from slides. Entry fee: $10. For to 3 slides per entry. Fee: $20 for up to 5 entries. Regional exhibitions must be open to more than one application, send SASE to Brooklyn Artisans Gal­ Juror: Lennee Eller, artist/curator, Sky Harbor state. Send announcements of juried exhibitions,fairs, lery, Attention: Raku Exhibit, 221A Court Street, Art Program, Phoenix, Arizona. Awards: $1000. festivals and sales at least four months before the Brooklyn 11201; or telephone (718) 330-0343. For prospectus, send SASE or self-addressed mail­ event's entry deadline (add one month for listings in September 25 entry deadline ing label and 32<£ stamp to Tempe Arts Center, July and two months for those in August) to Callfor Smithville, Tennessee “Holiday Festival” (No­ PO Box 549, Tempe 85280-0549; telephone (602) Entries, Ceramics Monthly, Post Office Box 6102, vember 24-January 5, 1998), open to works with 968-0888. Westerville, Ohio 43086-6102. Fax (614) 891- a seasonal celebratory theme. Juried from slides. October 17 entry deadline 8960; e-mail [email protected] For prospectus, send SASE to Appalachian Center Cambridge, Massachusetts“Illuminations: Into

72 CERAMICS MONTHLY September 1997 73 sentation. Juried from 4 slides (with SASE). Entry Call for Entries fee: $15. Contact Greenwich House Pottery, 16 Jones St., New York 10014; or telephone (212) 242-4106. the Light” (March 13-April 12,1998), exhibition January 17, 1998, entry deadline of candlesticks, lamps, lanterns and sconces. Ju­ Chicago, Illinois, and Oconomowoc, Wisconsin ried from slides and 1 actual piece. No entry fee. “Teapots, Fun, Funky and Functional” (February For prospectus, send SASE to Cambridge Artists 22-May 11, 1998). Juried from slides. For pro­ Cooperative, Attention: Light Show, 59A Church spectus, send business-sizeSASE to A. Houber- St., Cambridge 02138. bocken, Inc., PO Box 196, Cudahy, WI 53110. October 30 entry deadline March 6, 1998, entry deadline Brooklyn, New York “The Wedding” (Febru­ Lincoln, California “Feats of Clay XI” (May ary 1-28, 1998), open to works associated with 20-June 13, 1998). Juried from slides. Juror: weddings, such as goblets, cake stands, etc. Juried Clayton Bailey. Cash and purchase awards. For from slides. Entry fee: $10. For application, send prospectus, send legal-sizeSASE to Lincoln Arts, SASE to Brooklyn Artisans Gallery, Attention: The PO Box 1166, Lincoln 95648. Wedding Exhibit, 221A Court St., Brooklyn April 17, 1998, entry deadline 11201; or telephone (718) 330-0343. Laramie, Wyoming11 Second Annual Wyoming Philadelphia, Pennsylvania “Tools” (January Pottery Show” (May 1-30, 1998), exhibition 2-25, 1998). Juried from slides. No entry fee. For theme is teapots and pitchers. Juried from actual prospectus, send SASE to the Clay Studio, 139 N. works; up to 4 entries. Cash awards. For prospec­ Second St., Philadelphia 19106; for information tus, send SASE to Artisans Gallery, 213 S. Second only, telephone (215) 925-3453. St., Laramie 82070. October 31 entry deadlline Allentown, Pennsylvania “26th Juried Show” Fairs, Festivals and Sales (January 25-March 15, 1998). Juried from slides of up to 4 works. Fee: $25. Juror: Paul Master- September 12 entry deadline Karnik, director, de Cordova Museum and Sculp­ San Francisco, California “ACC Craft Show” ture Park, Lincoln, Massachusetts. For prospec­ (August 5-9, 1998, wholesale/retail). Juried from tus, send SASE to 26th Juried Show, Allentown Art 5 slides. Entry fee: $20. For application, contact Museum, Fifth and Court Sts., PO Box 388, American Craft Enterprises, 21 S. Eltings Corner Allentown 18105-0388; or telephone Wendy Rd., Highland, NY 12528; or telephone (800) Martin (610) 432-4333, ext. 32, fax (610) 434- 836-3470, fax (914) 883-6130. 7409. Atlanta, Georgia “ACC Craft Show” (March November 1 entry deadline 21-22, 1998, retail). Juried from 5 slides. Entry Lafayette, Louisiana “National Juried Compe­ fee: $20. For application, contact American Craft tition” of 2- and 3-dimensional art (March 17- Enterprises, 21 S. Eltings Corner Rd., Highland, April 23, 1998), open to clay, sculpture, photog­ NY 12528; or telephone (800) 836-3470, fax raphy, painting, jewelry, fiber and glass. Juried (914) 883-6130. from slides. Cash and merchandise awards. For Baltimore, Maryland*ACC Craft Show” (Feb­ prospectus, send #10 SASE to Lafayette Art Gal­ ruary 17-22, 1998, wholesale/retail). Juried from lery, 412 Travis St., Lafayette 70503; or telephone 5 slides. Entry fee: $20. For application, contact (318) 269-0363, fax (318) 269-9629. American Craft Enterprises, 21 S. Eltings Corner November 3 entry deadline Rd., Highland, NY 12528; or telephone (800) University Park, Pennsylvania “Holiday Orna­ 836-3470, fax (914) 883-6130. ment Juried Sale and Exhibition” (November 21- West Springfield, Massachusetts “ACC Craft 23), open to ornaments in all media weighing up Show” (June 18-21, 1998, retail). Juried from 5 to ½ pound. Juried from actual ornaments. Fee: slides. Entry fee: $20. For application, contact $10 for up to 10 ornaments. Commission: 40%. American Craft Enterprises, 21 S. Eltings Corner Award: one commission to create “Special Lim­ Rd., Highland, NY 12528; or telephone (800) ited Edition Ornament” for 1998. For entry form, 836-3470, fax (914) 883-6130. send SASE to True Fisher, Friends of the Palmer Saint Paul, Minnesota “ACC Craft Show” (April Museum of Art, Pennsylvania State University, 16-19, 1998, wholesale/retail). Juried from 5 University Park 16802-2507; or telephone (814) slides. Entry fee: $20. For application, contact 865-7672. American Craft Enterprises, 21 S. Eltings Corner November 10 entry deadline Rd., Highland, NY 12528; or telephone (800) Gatlinburg, Tennessee “Surface: New Forml 836-3470, fax (914) 883-6130. New Function” (February 26-April 11, 1998), Columbus, Ohio “ACC Craft Show” (June 28- open to works in all media. Juried from up to 3 30, 1998, wholesale). Juried from 5 slides. Entry slides per entry; up to 3 entries. Fee: $20. Juror: fee: $20. For application, contact American Craft Martha Stamm Connell, independent curator, Enterprises, 21 S. Eltings Corner Rd., Highland, author, owner of Connell Gallery/Great Ameri­ NY 12528; or telephone (800) 836-3470, fax can Gallery in Atlanta. For entry form, send SASE (914) 883-6130. to Billi R. S. Rothove, Gallery Coordinator, Arrow- October 1 entry deadline mont School of Arts and Crafts, PO Box 567, Gaithersburg, Maryland*Sugarloaf Crafts Fes­ Gatlinburg 37738. tival” (April 3-5, 1998). Juried from 5 slides, November 15 entry deadline including 1 of booth. Booth fee: $395-$465. No Montpelier, Vermont “Emerging Artists Exhi­ commission. For application, send 3 loose first- bition” (February 1-28, 1998), open to clay art­ class stamps (9 6€) for postage to Sugarloaf Moun­ ists who have exhibited their work less than 6 tain Works, Inc., 200 Orchard Ridge Dr., #215, times in galleries and/or educational environ­ Gaithersburg 20878; telephone (800) 210-9900. ments. Juried from slides. Entry fee: $10. For Timonium, Maryland*Sugarloaf Crafts Festi­ prospectus, send SASE to Vermont Clay Studio, 24 val” (April 24-26, 1998). Juried from 5 slides, Main St., Montpelier 05602; telephone (802) including 1 of booth. Booth fee: $465. No com­ 223-4220. mission. For application, send 3 loose first-class December 1 entry deadline stamps (96

74 CERAMICS MONTHLY September 1997 75 Call for Entries

17-19,1998). Juried from 5 slides, including 1 of booth. Booth fee: $425. No commission. For application, send 3 loose first-class stamps (96

76 CERAMICS MONTHLY September 1997 77 Call for Entries

(November 27-29, 1998). Juried from 5 slides, including 1 of booth. Booth fee: $425. No commission. For application, send 3 loose first- class stamps (96<£) for postage to Sugarloaf Mountain Works, Inc., 200 Orchard Ridge Dr., #215, Gaithersburg, MD 20878; telephone (800) 210-9900. Gaithersburg, Maryland"Sugarloaf: Crafts Fes­ tival” (November 19-22,1998, or December 11- 13, 1998). Juried from 5 slides, including 1 of booth. Booth fees vary. No commission. For application, send 3 loose first-class stamps (96<£) for postage to Sugarloaf Mountain Works, Inc., 200 Orchard Ridge Dr., #215, Gaithersburg 20878; telephone (800) 210-9900. Timonium, Mary land" Sugarloaf Crafts Fes­ tival” (October 9-11, 1998). Juried from 5 slides, including 1 of booth. Booth fee: $465. No commission. For application, send 3 loose first-class stamps (96

78 CERAMICS MONTHLY September 1997 79 day, place a table against the south wall and Testing glaze A with glaze B is a four-step Suggestions hang a backdrop from the framework. If yourprocess: dip one half in A and the other in B, From Readers work is glossy, hang white sheets or tarp in then dip the end quarter of the A side in B and front of yourself and the camera (leaving just the end quarter of the B side in A. a slit for the lens to poke through). The white In the same way, additional tiles are dipped Multiple Wedging Surfaces walls will diffuse the light, eliminating to test glaze A with glaze C, D, etc., and glaze Like porcelain, black clay should be wedgedreflections and shadows.—Sumi von Dassow, B with glaze C, D, etc. For example, if you on a table or board all its own. I made two- Golden, Colo. regularly use ten glazes, you will need 45 tiles sided wedging boards from ½- or ¾-inch- to test all overlap possibilities, and you will thick plywood cut 36 inches square for ease ofDecorating Bisqueware expand your glaze repertoire from 10 to 100 handling. Both sides were liberally brushed Painting stains directly on low-fire bisque (the original 10 plus 90 overlap possibilities). with carpenter’s glue and covered with heavy can literally be a drag. Try spraying it first Of course, not all overlaps will be useful, canvas. I then used a staple gun to tack down with clean water. Platters can be kept moist but you may be surprised at how many are. the end seams. Finally, I attached lx2-inch by working on a damp towel; vases can be The fired tiles can then be arranged in wood strips with screws to opposite sides of remoistened by spraying more water on the logical order and mounted on a board for easy each surface. These strips rest over the edge ofinside. Allow the ware to dry before glaz­ reference.—Harold Hart, Okemos, Mich. the worktable, keeping the wedging board in ing.—Irena Janus, Chicago place when in use. Two such wedging boards Wadding/Wash Savings would yield four worldng surfaces: one for Testing Glaze Overlaps Alumina hydrate is expensive, so when porcelain, one for black clay, one for buff and To test glaze overlap possibilities system­ mixing wadding for soda/salt/wood firing, one for brown.—Daryl Baird, Loveland, Colo. atically, make flat 2x8-inch test tiles scored at kiln wash, lid-flange wash, etc., ask your the mid and quarter points as shown (surfacessupplier for alumina oxide; it’s much cheaper Shoe Protection may also be stamped or textured). and does the same things.— Bill Van Gilder, Cover your shoes with plastic bags to keep Gapland, Md. them clean when you are throwing or mixing clay.—EarlineAllen, Huntington, W.Va. Extruder Cleaning To clean a studio/class extruder fast, cut a Outdoor Photo Booth piece of denim from an old pair of jeans about An outdoor booth canopy with white 2 inches larger than the circumference of the sidewalls can double as an effective outdoor plunger. As soon as the last clay is extruded photo booth. Set it up on a sunny, windless (before clay in the barrel dries), cover the

80 CERAMICS MONTHLY September 1997 81 Suggestions the slip, rejoin and smooth.—-Joyce Whitney, Blossom, Tex.

plunger with the denim and push it through Decorative Salt and Wood Wadding the barrel. Cleaning will be effortless. A number of potters use seashells with For mini-extruders, use the same tech­ wadding for decorative purposes on salt- and nique, but a thinner piece of fabric.—-Jeannie wood-fired ware, but it is also possible to Cole, Broomfield, Colo. shape the wadding in press molds to resist patterns instead of just blank circles.—Neely Smooth Bottoms Hachtel, Columbia, Mo. Save old/broken silicon carbide shelves to use as grinding stones for the bottom of Granite Source pots.—William Dunn, Tyler, Tex. Poultry grit (sold at farm supply stores) is a good source of granite. It comes in the form Wheeled Pallets for Bagged Clay of small pebbles, but can easily be reduced to I’ve been a potter for over 35 years and my a powder by ball milling.—Barbara Lewis, La back is not as strong as it used to be. To avoidPlata, Md. stress, I have made 18x40-inch dollies from ¾-inch-thick scrap plywood mounted on Floating Chamois swivel casters. Instead of having your chamois sink to the I now put a large black plastic garbage bagbottom of your water bucket, try attaching it on the pallet and stack my bagged clay in it. to a small fishing bobber. Simply press the This double bagging helps keep the clay bobber’s button to expose its wire hook and moist, and the wheeled pallet allows me to pierce the corner of your chamois. A 1-inch move the clay around easily—whenever I bobber works best.—Susan Denson Guy and want to clean the studio or work in a warmerEster Ikeda, Manhattan, Kans. location during the winter months.—Donald Adamaitis, Vancouver, Wash. Reclaiming Clay For potters living where the winter tem­ Stick-free Tile Template peratures dip below freezing, here’s how to To make a template for tiles that doesn’t easily and effectively reclaim the clay in your stick to the clay, draw the desired shape on theslurry bucket. Just put your slip into easy-to- back of foam mounting board (the kind withmove buckets, leaving about 3 inches of space peel-off adhesive backing). Cut out the shape at the top for freeze expansion. Then loosely with an X-acto knife, peel off the backing to cover the buckets to keep debris from falling expose the adhesive, attach a piece of cloth in; place them outside and allow the contents from an old sheet or other smooth cotton to freeze solid. fabric, then cut off the excess fabric. The Next, bring the buckets back inside and resulting template will not stick to the clay allow the contents to thaw. The ice crystals and can be reused many times.—-Judy Brager, will come to the top and allow the clay to fall Richland, Wash. to the bottom of the bucket. Carefully decant most of the water, then soak up the rest with Rolling-Pin Holder a sponge. Repeat this process as needed sev­ To keep my favorite rolling pin from eral times until the clay is ready for wedg­ rolling off the table and being dented, I use aing.— Albert Fisher, LaHarpe, Kans. 6-inch length of cove molding as a rolling-pin holder. The U-shaped molding is available at Texture Tool most lumberyards.—Karen Orsillo, Kittery An angel food cake knife (it has a serrated Point, Me. blade and long tines like a huge fork) works well as a texturing tool for handbuilt pieces; Storing Kiln Shelves it can also be used to score edges to be When leaning kiln shelves against one joined.—J. Melissas, Chicago another for storage, allow the kiln-washed sides to touch. This avoids the chance of the Dollars for Your Ideas shelves picking up kiln wash on their bottom Ceramics Monthly pays $10for each sugges­ sides, where it could fall onto a glazed surfacetion published; submissions are welcome indi­ during firing.—Van Moore, College Park, Md. vidually or in quantity. Include an illustration or photograph to accompany your suggestion Break Repair and we willpay $10 more if we publish it. Mail Acute breaks on leather-hard ware (the ideas to Suggestions, Ceramics Monthly, Post arm of a sculpture or a cup handle) can be Office Box 6102, Westerville, Ohio 43086- repaired with a slip that is 35% (by volume) 6102; fax to (614) 891-8960; or e-mail to paper pulp. Simply moisten the break, apply editorial@ceramicsmonthly. org

82 CERAMICS MONTHLY September 1997 83 modations; or $100, includes meals. For further Calendar information, contact the Clay Connection, PO Events to Attend—Conferences, Box 3214, Merrifield, VA 22116-3214; or tele­ phone (703) 330-1173. Exhibitions, Workshops, Fairs France, Paris September 17—21 “Salon Interna­ tional de la Ceramique de Collection et des Arts du Feu” will include lectures on Delftware, ma­ jolica, porcelain, Vietnamese ceramics, etc. For Conferences further information, contact A.S.C.C., 169 Bd. St. Germain, 75006 Paris; or telephone (45) 48 46 Delaware, Winterthur October24—25 “Ceramics 53 or (40) 15 93 23. in America, 1640-1860: A Seminar in Celebra­ tion of the 25th Anniversary of the Ceramics in Solo Exhibitions America Winterthur Conference, 1972” will in­ clude papers presented by scholars about ceramics Alabama, Tuscaloosa September 5-28 Virginia from East Coast archaeological sites and the avail­ Scotchie, “Object Lessons”; at Sarah Moody Gal­ ability of English and French ceramics in the lery of Art, Garland Hall, University of Alabama. colonies. Telephone the Winterthur Museum, Arizona, ScottsdaleSeptember 4-30 James Lovera; (800) 448-3883 or (302) 888-4600. at Joanne Rapp Gallery/North Gallery, 4222 Maryland, Baltimore September 12-14 “How to North Marshall Way. Design Your Career Path” will include sessions on Arkansas, Little Rock through September 7Josiah product development, pricing, public relations, Wedgwood, “Experimental Potter”; at the Deco­ accounting, wholesaling/retailing, etc. Fee: $399, rative Arts Museum, Seventh and Rock. includes meals and lodging; or $299 without California, Berkeley October 25-November 30 lodging. Contact the Rosen Group, 3000 Chest­ Akio Takamori; at TRAX Gallery, 1306 Third St. nut Ave., Ste. 300, Baltimore 21211; telephone California, San Francisco October 30—November (800) 43-CRAFT or (410) 889-2933. 24 Eileen P. Goldenberg, porcelain; at In Sight Maryland, Easton October 24-25 “First Mary­ Gallery, 344 Presidio Avenue. land Clay Conference” will feature Peter D. Kaizer. California, Santa Monica September 6-October 1 Contact the Academy of the Arts, 106 South St., Viola Frey, plates. Beatrice Wood, vessels and Easton 21601; or telephone (410) 822-0455. figures. October 4—November 1 Toshiko Takaezu, Massachusetts, Springfield November 6—8 “A recent work. Christina Smith, teapots; at Frank Survey of American Ceramics” will be conducted Lloyd Gallery, 2525 Michigan Avenue, B5B. by Elaine Levin, plus pottery demonstrations, California, Santa Rosa through September 21 In­ tours of the museum and studio of three ceramists. stallation of clay and stonework by Mark Gordon; Contact the Museum School, Springfield Library at California Museum of Art, Luther Burbank and Museums, 220 State St., Springfield 01103; Center for the Arts, 50 Mark West Springs Rd. or telephone (413) 263-6800, ext. 382. California, West Hollywood October 27-Decem- New Hampshire, Portsmouth September 19—20 ber 13 Barbara Hashimoto; at Gallery Soolip, 550 Symposium on 18th- and 19th-century ceramics. Norwich Dr. Sponsored by the Historic Associates. Telephone Florida, Boca Raton September 18—November 2 (603) 436-1100 for information and reservations. Christine Federighi; at Boca Raton Museum of North Carolina, Asheville November 13—15 “Tra- Art, 801 W. Palmetto Park Rd. dition in Transition: Shapers of Clay,” National Illinois, Chicago September 5—October 11 Maria Council on Education for the Ceramic Arts Simon, ceramic sculpture; at Vale Craft Gallery, (NCECA) symposium, will include speakers Mary 230 W. Superior St. Barringer, potter, Shelburne Falls, Massachusetts; Kansas, Manhattan through September J^TMitch Donald Kuspit, critic, State University of New Lyons, “Clay Monoprints”; at Beach Museum of York, Stony Brook; Andrea Gill, educator, New Art, Kansas State University, 2323 Anderson Ave., York State College of Ceramics at Alfred Univer­ Ste. 258. sity. Plus roundtable discussion with these three Maryland, Baltimore September 6-27Chris Staley, and moderator George Kokis. Registration dead­ “Pots for the Nineties”; at Baltimore Clayworks, line: September 5. Fee: $265; NCECA member, 5706 Smith Ave. $215. Contact Regina Brown, Executive Secretary, Massachusetts, Boston October 4—November 10 NCECA, PO Box 158, Bandon, OR 97411. Brother Thomas, “Continuity and Renewal”; at Texas, Fort Worth March 25-28, 1998 “NCECA Pucker Gallery, 171 Newbury St. ’98—32nd Annual Conference.” For further in­ Massachusetts, Ipswich October 4—31 Bill Sax, formation, contact Regina Brown, Executive Sec­ flameware; at Ocmulgee Pottery and Gallery, 317 retary, NCECA, PO Box 1677, Bandon, OR; or High St.-Rte. 1A. telephone (800) 99-NCECA. Massachusetts, Northampton September 6—28 Texas, San Antonio October 23—26 “Tile Tradi­ Donna McGee, painted earthenware.October 4— tions in Texas” will include slide lectures, exhibi­ November 2 Michael Kline, wood-fired stone­ tions, tours, plus sale of historic and contempo­ ware; at Ferrin Gallery, 179 Main. rary decorative art tiles. Fee: $50; extra $50 for Michigan, Ferndale September 13-October 18 Ron chartered transporation and box lunches for tours. Nagle; at Revolution, 23257 Woodward Ave. Contact Art Tile Alliance co-chairs Susan Dunis Michigan, Pontiac September 5—27 Yun-Dong (210) 497-5787, or Susan Frost (512) 447-2575. Nam; at Shaw Guido Gallery, 7 N. Saginaw St. Virginia, Front Royal September 5-7 “Second New Hampshire, North Conway September 1— Virginia Clay Conference” with Lisa Naples, 30 Hideaki Miyamura, “Ancient Traditions”; at Donna Polseno and Ellen Shankin. Registration the League of New Hampshire Craftsmen Shop, fee: $150, includes meals and dormitory accom- 2526 Main St. New Hampshire, Wolfeboro Falls October 1—31 Send announcements of conferences, exhibitions, ju­ Hideaki Miyamura, “Ancient Traditions”; at the ried fairs, workshops and other events at least two League of New Hampshire Craftsmen Shop, 64 months before the month of opening (add one month Center St. for listings in July; two months for those in August) to New Mexico, Santa Fe October 3-17Bob Smith, Calendar, Ceramics Monthly, Post Office Box 6102, raku sculpture and vessels; at Kent Galleries, 130 Westerville, Ohio 43086-6102. Fax (614) 891- Lincoln Avenue. 8960; e-mail [email protected] New York, New York through November 2Toshi-

84 CERAMICS MONTHLY

21 artists; at Loveland Museum/Gallery, Fifth Calendar and Lincoln. Colorado, Manitou Springs October 24—Novem­ ber 25 “Latka Land Family Size,” functional earth­ ko Takaezu retrospective; at the American Craft enware by Jean Latka, extruded work by Tom Museum, 40 W. 53rd St. Latka and large slip-cast vessels by Nick Latka; at September 9-October 4 John McQueen. Edward Commonwheel Gallery, 103 Canon Ave. Eberle. October 7-November 1 Georges Jeanclos. Georgia, Dahlonega September 20-27Exhibition Tony Marsh; at Garth Clark Gallery, 24 W. 57th St. of ceramics by Gerry Williams and local potters; at September 11-October 11 Henk Wolvers, porce­ Nix Hall, North Georgia College and State Uni­ lain vases and bowls. October 16-November 15 versity. Jack Earl; at Nancy Margolis Gallery, 560 Broad­ Kentucky, Berea through September 14 “Clay/ way, Suite 302. Wood/Fire/Salt”; at Contemporary Artifacts Gal­ September 16-October 18 Kathy Butterly; at lery, 202 B North Broadway. Franklin Parrasch Gallery, 20 W. 57th St. Kentucky, Lexington September 2—28 “Coffee North Carolina, Chapel Hill through September and Tea: Interpretations in Maiolica,” exhibition 19 Mark Chatterley, sculpture. September 21— of ceramics by Stanley Anderson, Gina Bobrowski, October 24 MaryLou Higgins, sculpture and Steve Davis-Rosenbaum, Deirdre Daw, Deborah paintings; at Somerhill Gallery, 3 Eastgate, E. Groover, Phyllis Kloda, T erry Siebert and T riesch Franklin St. Voelker; at the Lexington Art League, Loudoun North Carolina, Raleigh October 16—December 7 House, 209 Castlewood Dr. Mark Hewitt; at the Visual Arts Center, North Maine, Portland September 11—October 2 “Wall Carolina State University. Forms—Sculptural Works in Clay ’97”; at the Ohio, Cleveland September 5-28 Kirk Mangus, Maine Artists’ Space, Danforth Gallery, 20-36 “Wood-fired Ceramics 1994-97”; at William Danforth St. Busta Gallery, 2021 Murray Hill Rd. Maryland, Baltimore October 3—November 15 Ohio, Findlay through September 26 “The Soft “Multiple Visions,” works by Clayworks member and Hard of It: A 20-Year Retrospective of George artists; at Baltimore Clayworks, 5706 Smith Ave. Hageman’s Ceramic Art”; at the Gardner Fine Art Massachusetts, Cambridge through December 28 Gallery, University of Findlay. “Fragments of Antiquity: Drawing upon Greek Oregon, Portland September 4-27 Patty Maly. Vases”; at the Fogg Art Museum, Harvard Uni­ October 2-November J Ted Vogel; at BonaKeane versity Art Museums, 32 Quincy St. Gallery, 205 Southwest Pine Street. Massachusetts, Ipswich through September 30 Pennsylvania, Philadelphia September 3-28 Etta “Raku and Celadon”; at Ocmulgee Pottery and Winigrad, ceramic sculpture; at Muse Gallery, 60 Gallery, 317 High St.-Rte. 1A. N. Second St. Michigan, Dearborn October 3 Invitational clay October 3-26 Jeff Kaller, resident artist; at the exhibition; at Henry Ford Community College. Clay Studio, 139 N. Second St. Minnesota, Minneapolis September 13-Novem- Pennsylvania, Pittsburgh through September 10 ber 2 “Tracing Tradition,” with works by Warren Joshua Green sculpture and vessels, “Ark.” Willem MacKenzie plus artists selected by him—Wayne Gebben, wood-fired stoneware, through October 8 Branum, Guillermo Cuellar, Barbara Diduk, Joan Tweedy, new work. September 12—November Shirley Johnson, Randy Johnston, Michael Simon, 5 Malcolm Davis, porcelain; at the Clay Place, Sandy Simon and Mike Thiedeman. “Tureen du 5416 Walnut St. Jour,” exhibition of soup tureens by 18 artists; at Texas, Houston October 5-November 9 V. Chin; Northern Clay Center, 2424 Franklin Ave., E. at Archway Gallery, 2013 W. Gray. Missouri, Pt. Lookout October 5—31 “Wood- Texas, Lancaster through September21 Jason Hess, fired Ceramics at Hard Work University,” works wood-fired stoneware and porcelain. October 20- by 26 artists; at Boger Gallery, College of the November 16 Adelaide Paul, soda-fired stoneware Ozarks. and porcelain; at Ceramics Gallery, Cedar Valley New Hampshire, Portsmouth through October College, 3030 N. Dallas Ave, E Bldg. 31 “Treasures to Trash: Early Ceramics of the Texas, Lubbock September 7-October 24 James Portsmouth Region”; at 15 historic house muse­ Watkins; at the ARTary, 4509 Clovis Hwy. ums. For brochure, telephone the Chamber of Vermont, Montpelier September 1—26 Thomas Commerce (603) 436-1118. Richard Wolfe, “From the Cave—Paintings on New Hampshire, Sharon through September 24 Clay”; at the Vermont Clay Studio, 24 Main St. “The Banquet,” works by New Hampshire Pot­ Wisconsin, Racine September 14-November 2 ters Guild members; at the Sharon Arts Center, “Margaret Ponce Israel: A Domestic Bestiary”; at Rte. 123, 4 miles south of Peterborough. Charles A. Wustum Museum of Fine Arts, 2519 New York, Alfred through September 25 “Con­ Northwestern Ave. spicuous Applications of Advanced Ceramics”; at Wyoming, Buffalo September5— October 4 George the International Museum of Ceramic Art at McCauley, ceramics, mixed media and installa­ Alfred, New York State College of Ceramics at tion. October 6—23 Lynn Munns; at Margo’s Pot­ Alfred University. tery and Fine Crafts, 26 N. Main. North Carolina, Asheville through September 6 “Hot/Ice II: A Tea Ceremony,” teapots and pitch­ Group Ceramics Exhibitions ers by 30 potters; at Blue Spiral 1, 38 Biltmore Ave. North Carolina, Charlotte through October 5“All Alabama, Florence September 8—October 17 That Is Bright and Beautiful: English Lusterware”; “Kennedy-Douglass Center for the Arts 1997 at Mint Museum of Art, 2730 Randolph Rd. Monarch National Ceramic Competition”; at Pennsylvania, Chester Springs September 13- Kennedy-Douglass Center for the Arts, 217 E. October 4“Pots ’97,” juried national exhibition of Tuscaloosa St. functional works by 30 artists. “Studio Days ’97,” California, San Francisco through October 11 works by 25 ceramists; at Chester Springs Studio, “Ware for the Japanese Tea Ceremony.” “Invita­ 1668 Art School Rd. tional Tea Bowl Exhibition”; at the San Francisco Pennsylvania, Easton October 3—November 2 Craft and Folk Art Museum, Landmark Building “Looking East: Art Potters and Asian Influences, A, Fort Mason. 1875-1935,” works by French potters inspired by Colorado, Loveland October 11-January 5, 1998 Asian art; at Lafayette College Art Gallery, Will­ “Contemporary American Ceramics,” works by iams Center for the Arts. Continued

86 CERAMICS MONTHLY September 1997 87 Barbara Chadwick, Nick deVries, Kate Inskeep, Utterberg Collection”; at the Seattle Art Mu­ Calendar Phyllis Kloda, Paul McCoy and Matt Wilt; at seum, 100 University St. Urban Artifacts Gallery, 5507-D FM 1960 W. Texas, Lancaster September 22-0ctober 19 Exhi­ Ceramics in Pennsylvania, Erie September 6-October 3 “On/ bition of works by Davis Gibson and Michael Off the Wall II”; at Potscape Gallery, 3901 W. Miller; at Ceramics Gallery, Cedar Valley Col­ Multimedia Exhibitions 26th St. lege, 3030 N. Dallas Ave., E Bldg. Arizona, Scottsdale September 4-30 “Just Add Pennsylvania, Haverford September 26-October Vermont, Montpelier through October 31 “Ver­ Water”; at Joanne Rapp Gallery/North Gallery, 21 “Clay Today,” juried national exhibition; at mont Clay Studio Faculty Exhibit,” works by 4222 N. Marshall Way. Main Line Art Center, Old Buck Rd. and Lan­ past, present and upcoming instructors, through Arkansas, Little Rock September 14—October 12 caster Ave. November 28 “Vermont Clay Studio: The Super “Arkansas Artists: Selections from the Permanent Pennsylvania, Pittsburgh October 10-December Bowl Show,” small and large bowls made by New Collection”; at the Decorative Arts Museum, Sev­ 3 Betty and Donn Hedman, “Big Work”; at the England potters; at the Vermont Clay Studio, 24 enth and Rock. Clay Place, 5416 Walnut St. Main St. California, Montrose through September27Group Texas, Dallas through September 26* Contempo­ Virginia, Alexandria September 2-28 “A Gather­ exhibition including ceramics by Patrick Crabb; rary TX Clay,” juried exhibition; at Dallas Visual ing of Pots”; at Scope Gallery, Torpedo Factory, at the Village Square Gallery, 2418 Honolulu Art Center, Front Gallery, 2917 Swiss Ave. 105 N. Union St. Ave., C Ste. Texas, Houston September 1-October 4 “Annual Washington, Seattle through November 2 “Ko­ California, Pomona September 11-28 “A Sense of Clay Invitational,” with works by Margaret Bohls, rean Ceramics of the Koryo Dynasty: The Humor,” includes ceramics by Betty Spindler; at Millard Sheets Gallery, Los Angeles County Fair and Exposition Complex. California, Sacramento October 2—November 1 “50th Anniversary CSU Sacramento Alumni and Faculty”; at Solomon Dubnick Gallery, 2131 Northrop Ave. California, San Francisco October 2—November 13 “Second Annual Best in America,” works by 26 craft artists who have participated in one of several top craft shows throughout the U.S.; at Stones Gallery, 55 Third St. October 19-February8,1998“L’ Chaim! A Kiddush Cup Invitational,” including cups by 21 clay artists; at the Jewish Museum, 121 Steuart St. California, San Luis Obispo October 3-Novem- ber 2 “ARTernatives”; at Space 31, 321 Ma­ donna Rd. California, Ukiah through September 21 “Parallel Paths—Separate Visions,” four-person exhibition including ceramics by Kazuko K. Matthews and Sara Mann; at the Grace Hudson Museum, 431 S. Main St. Connecticut, Brookfield through September 7“The Environmental Bead”; at Brookfield Craft Cen­ ter, 286 Whisconier Rd. Connecticut, Westport through September 5 “Scents and nonScents ’97,” stoppered contain­ ers; at Signature, 48 Post Rd., E, at Main St. D.C., Washington through October 19“Treasures from Tervuren: Selections from the Belgian Royal Museum for Central Africa”; at the National Museum of African Art, Smithsonian Institution. September 20-April26,1998 “J apanese Arts of the Meiji Era (1868-1912)”; at the Freer Gallery of Art, Smithsonian Institution. Georgia, Athens September 12-November5 “Gold, Jade, Forests: Costa Rica”; at Georgia Museum of Art, University of Georgia, 90 Carlton St. Hawaii, Honolulu September 6—28 “Hawai i Craftsmen’s 30th Annual Statewide Exhibition”; at the Academy Art Center, Linekona. Illinois, Rockford September26— October27*GOB­ LETS!”; at Gallery Ten, 514 E. State St. Kentucky, Louisville through September 13 “My ‘New’ Old Kentucky Home”; at Kentucky Art and Craft Gallery, 609 W. Main St. Maine, Deer Isle through October 1 Works by Haystack faculty, including ceramics by Christine Bertoni, Betsy Brandt, Syd Carpenter, Catharine Hiersoux, Randy Johnston and Suze Lindsay; at Blue Heron Gallery, Rte. 15. Maryland, Baltimore October 12-January 18, 1998 “A Grand Design: The Art of the Victoria and Albert Museum”; at the Baltimore Museum of Art, Art Museum Dr. Massachusetts, Boston through September 5 “Scents and nonScents ’97,” stoppered contain­ ers; at Signature, 24 N. St., Dock Sq. Massachusetts, Chestnut Hill through September 5 “Scents and nonScents ’97,” stoppered contain-

88 CERAMICS MONTHLY September 1997 89 Pennsylvania, New Castle October 5-November 8 Calendar “1997 Hoyt National Juried Art Show”; at the Hoyt Institute of Fine Arts, 124 E. Leasure Ave. Tennessee, Chattanooga through May 1998 ers; at Signature, 165 Boylston St., the Mall at “1997-98 Sculpture Garden Exhibit”; at River Chestnut Hill. Gallery, 400 E. Second St. Massachusetts, Mashpee through September 5 Tennessee, Knoxville September 27-January 4, “Scents and nonScents ’97”; at Signature, 1998"The Spirit of Ancient Peru: Treasures from Mashpee Commons, 10 Steeple St. the Museo Arqueologico Rafael Larco Herrera”; Massachusetts, Williamstown through September at the Knoxville Museum of Art, 1050 World’s 7 “Theatre: The Age of Garrick: English Mezzo­ Fair Park Dr. tints from the Collection of the Hon. Christopher Texas, Dallas through November 16 “Fables for Lennox-Boyd and Bow Porcelain from the These Times”; at the Dallas Museum of Art, 1717 Yarbrough Collection”; at the Sterling and N. Harwood. Francine Clark Art Institute, 225 South St. Vermont, Burlington September 19-October 27 Mississippi, Ocean Springs September 13-Octo- “The Ubiquitous Bowl III”; at Vermont State ber 19 “ CrossCurrents”; at Walter Anderson Mu­ Craft Center/Frog Hollow, 85 Church St. seum of Art, 510 Washington Ave. Vermont, Manchester through September 9 Missouri, Springfield September 26-October 25 “Woodlands.” September 19-November 1 “Put a “Metals/Clay Invitational,” with ceramics by Linda Lid on It”; at Vermont State Craft Center/Frog Ganstrom, Elaine O. Henry, Howard Koerth, Hollow, Historic Route 7A. Ron Kovatch, Ron Meyers and JoAnn Schnabel; Vermont, Middlebury September 12—November 2 at Art and Design Gallery, 301 S. Jefferson/Down- “Folk Expressions”; at Vermont State Craft Cen­ town Hall, Southwest Missouri State University. ter/Frog Hollow, 1 Mill St. Montana, Browning through September30" 14th Washington, Bellingham through October26^.- Annual Summer Sales Exhibit”; at the Museum of hibition of selected works from the “17th Annual the Plains Indian. Northwest International Art Competition”; at Montana, Helena through October 26" AN A 26,” Whatcom Museum of History and Art, ARCO national juried exhibition; at Holter Museum of Exhibition Gallery, 206 Prospect St. Art, 12 E. Lawrence St. Wisconsin, Appleton through September 27 “Let Nevada, Reno October 16-18 “Meanwhile, Back the Games Begin.” October 3-Dec ember 13 “The at the Ranch”; at the Western Heritage Interpre­ Native American Experience”; at Appleton Art tive Center, Bartley Ranch Regional Park. Center, 130 N. Morrison St. New York, New York through September 21 Part two of “Masterworks” examines work from the Fairs, Festivals and Sales 1980s and ’90s; at the Bard Graduate Center for Studies in the Decorative Arts, 18 W. 86th St. Arizona, Phoenix September 5-7" 1997 Harvest New York, Rochester through September 7“56th Festival”; at the Phoenix Civic Plaza. Rochester-Finger Lakes Exhibition”; at Memorial California, Los Angeles October 24—26 " 1997 Art Gallery, University of Rochester, 500 Univer­ Harvest Festival”; at the Los Angeles Convention sity Ave. Center. New York, Staten Island through January 4, 1998 October 24—27 “Artexpo”; at the Los Angeles “Staten Island Biennial Juried Craft Exhibition”; Convention Center. at Staten Island Institute of Arts and Sciences, 75 California, Ojai October 11-12 “Annual Ojai Stuyvesant PI. Studio Artists Tour.” Fee: $15 in advance; $20 North Carolina, Asheville through September 6 on-site. For further information, contact Ojai Two-person exhibition with ceramics by Michael Valley Chamber of Commerce, (805) 646-8126. Sherrill. September 12—November 8 “Fall Color VII: California, Pleasanton October 17—19 “1997 The Harvest”; at Blue Spiral 1, 38 Biltmore Ave. Harvest Festival”; at Alameda County Fairgrounds. through September 28 “Annual Members’ Exhibi­ California, Riverside September 19—21" 1997 Har­ tion”; at the Folk Art Center, Milepost 382 on the vest Festival”; at Riverside Convention Center. Blue Ridge Parkway. California, Sacramento October 3-5 “1997 Har­ Ohio, Columbus through October 18 “Yet Still vest Festival”; at Sacramento Convention Center. We Rise: African-American Art in Cleveland and California, San Diego October 10-12 and 17-19 Columbus 1920-1970”; at Riffe Gallery, Vern “ 1997 Harvest Festival”; at San Diego Concourse. Riffe Center, State and High, downtown. California, Ventura October 3-5 “1997 Harvest through April 1998 “118th Student Exhibition”; Festival”; at the Ventura County Fairgrounds. at the Columbus College of Art and Design, Florida, Jacksonville September 6-7 “26th Annual Canzani Center, 60 Cleveland Ave. Riverside Arts Festival”; at Riverside Park. September 24—October 10 “Visiting Artists/New Florida, Tampa September20"Art for Life,” art sale Faculty Exhibition,” including ceramics by to benefit Tampa AIDS Network; at the Tampa David Alban; at Hopkins Hall Gallery, Ohio Convention Center. State University. October 25—26" CraftArt ’97 Premiere Festival”; October 5-26 Exhibition including ceramics by at Plant Park, University of Tampa, downtown. Kaname Takada; at the Columbus Cultural Arts Georgia, Atlanta September 5—21" 1997 Arts Fes­ Center, 139 W. Main St. tival of Atlanta”; downtown. Ohio, Lancaster through September 6Two-person Illinois, Chicago October 16—19 “SOFA Exposi­ exhibition including ceramics by Sarah Jaeger; at tion”; at Navy Pier. the Gallery at Studio B, 140 W. Main St. Indiana, Columbus September 20-21 “Chau­ Ohio, Lima October3—November 1 ^“Hunger”; at tauqua of the Arts”; at Mill Race Park. ArtSpace/Lima, Center for the Visual Arts, 65-67 Maryland, Gaithersburg October 17-19 “22nd Town Sq. Annual National Craft Fair”; at the Montgomery Oklahoma, Norman September 6-October 5“Fac- County Fairgrounds. ulty Exhibit: Mixed Media”; at the Firehouse Art Maryland, Timonium October 3-5 “Sugarloaf Center, 444 S. Flood. Art Fair”; at the Maryland State Fairgrounds. Pennsylvania, Hazleton October 18-31 “Hazleton Maryland, Worman’s Mill (Frederick) September Art League 42nd Open Juried Exhibition ofWorks 6—7 “Autumn Fest”; on the Village Green. in Clay, Glass, Wood and Metal”; at the Hazleton Massachusetts, Lincoln September 14 “Artisans’ Art League, 225 E. Broad St. Fair of Crafts”; at Codman Estate. Continued

90 CERAMICS MONTHLY September 1997 91 Calendar Northern New Mexico Community College cam­ New York, Setauket, Long Island September 20- pus, 2100 N. Onate Dr. 21 “32nd Annual Outdoor Art Show”; at Gallery New Mexico, Los Alamos September27—28 “Los North, 90 N. Country Rd. Alamos Artists Studio Tour”; throughout town. New York, Snug Harbor October 3-5 “Snug Michigan, Novi October 24—26 “Sugarloaf Art Maps available at Fuller Lodge Art Center, Los Harbor 1997 Crafts Fair”; at the Snug Harbor Fair”; at the Novi Expo Center. Alamos Visitor’s Center, White Rock Visitor’s Cultural Center, 1000 Richmond Terr. Missouri, Clayton September 5—7 “Saint Louis Center and artists’ studios. New York, Sugar Loaf October 11-13 “25th Art Fair”; downtown. New York, Greenwich September 12—14 “The Annual Fall Craft Fair”; in town. New Jersey, Morristown October 24—26 “21st 21 st Annual Adirondack Mountain Craft Fair”; at New York, Tuxedo weekends, through September Annual Morristown CraftMarket”; at National the Washington County Fairgrounds. 14 “20th Annual New York Renaissance Faire”; at Guard Armory, Western Ave. New York, New York September 6—7 “Washing­ Sterling Forest. New Jersey, Somerset September26-28 “Sugarloaf ton Square Outdoor Art Exhibit”; in Greenwich North Carolina, Asheville October 9-12 “Indian Art Fair”; at the Garden State Exhibit Center. Village. Summer Art and Craft Show”; at Asheville Mall. New Mexico, Abiquiu October 11—12 “Abiquiu September 6-7and 13-14 “ 12th Annual Autumn October 16—19 “The Craft Fair of the Southern Studio Tour”; maps available at local businesses. Crafts Festival”; at Lincoln Center for the Per­ Highlands”; at the Asheville Civic Center. For further information, telephone (505) 685- forming Arts. North Carolina, Brasstown October 4-5 “24th 4548. New York, Roslyn Harbor September26—28 “The Annual John C. Campbell Folk School Fall Festi­ New Mexico, Espanola October 4—5 “Twelfth Art of Craft Festival”; at the Nassau County val”; on the John C. Campbell Folk School cam­ Annual Espanola Valley Arts Festival”; on the Museum of Art, 1 Museum Dr. pus, 1 Folk School Rd. Ohio, Archbold September 27 “Art and Craft Festival,” including guest clay artist David Cayton; at the Sauder Farm and Craft Village, Rte. 2. Ohio, Bowling Green September 5—7 “Black Swamp Arts Festival”; downtown. Ohio, Canal Fulton September 6-7, 13-14 and 20-21 “Yankee Peddler Festival”; at Clay’s Park Resort. Ohio, Dublin September 6-7 “Dublin Women’s Club Festival of the Arts”; at Coffman Park. Ohio, Oberlin September 19—20 “Uncommon Objects ’97”; at the New Union Center for the Arts, 39 S. Main St. Pennsylvania, Fort Washington October 31-No- vember 2 “Sugarloaf Art Fair”; at the Fort Wash­ ington Expo Center. South Carolina, Greenville October 2—5 “Ap­ palachian Autumn Art and Craft Show”; at Haywood Mall. Tennessee, ChattanoogaOctober 4—5 “Celebra­ tion of Fine Crafts”; at Riverfront Pkwy. Tennessee, NashvilleSeptember 26—28 “TACA Fall Crafts Fair”; at Centennial Park. Texas, Dallas October 31-November 2 “17th An­ nual Fall Fair”; at Addison Conference Center, north of the beltline. Texas, New Braunfels October 25—26 “Fifth An­ nual T exas Clay Festival”; on the grounds of Buck Pottery, Gruene Historical District. Texas, San Antonio October 26Sale of contempo­ rary and historic decorative art tiles (in conjunc­ tion with tile symposium, see Conferences). Con­ tact the Southwest Craft Center, (210) 224-1848. Vermont, Manchester October 3-5 “The Sixth Annual Hildene Foliage Craft Festival”; at Hildene Meadows. Vermont, Montpelier October 9 “Fourth Annual Vermont Clay Studio Keep the Plate Dinner, Winter Fund Raiser.” Tickets: $50; telephone (802) 223-4220. Vermont, Stowe October 10—12 “The 14th An­ nual Stowe Foliage Craft Fair”; at Topnotch Field. Virginia, Manassas September 5—7“Sugarloaf Art Fair”; at the Prince William County Fairgrounds. Washington, Bellevue September 19-21 “Bellevue Showcase of Fine Crafts”; at the Meydenbauer Center. Washington, Spokane October 24—26 “Inland Craft Warnings”; at the Crescent Court, down­ town. Wisconsin (southwest) October 17-19 “Fall Art Tour.” For map and list of demonstration times, contact Story Pottery, 9 Fountain St., Mineral Point, Wisconsin 53565; or telephone (608) 987- 2903. Workshops California, Berkeley October 25 A session with AkioTakamori. Fee: $50. Contact TRAX Gallery,

92 CERAMICS MONTHLY September 1997 93 California, Santa Ana September 20 Workshop Alexander, Arvada Center for the Arts and Hu­ Calendar and lectures with West German artists Fritz and manities, 6901 Wadsworth Blvd., Arvada 80003; Vera Vehring. Fee: $35. Contact Santa Ana Col­ or telephone (303) 431-3080, ext. 3109. lege, 17th and Bristol sts., Santa Ana 92706; or Colorado, Snowmass Village September 1—19 1306 Third St., Berkeley 94710; or telephone telephone Patrick Crabb (714) 564-5613. “Studio Intensive: Pottery” with Doug Casebeer, (510) 526-0279. California, Santa Maria September 20 “Hand­ James Danisch and Santa Kumar Prajapati; fee: California, Dorrington September Weekly work­ building Plus,” demonstration/hands-on session $690. “Sculpture Studio Intensive” with Brad shops focusing on throwing, handbuilding sculp­ with William Shinn, surface techniques, use of Miller and Frank Nadell; fee: $710. Contact Annie ture, pit and raku firing. Fee: $350, includes press and drape molds, tool making, repairing, Somerville, Registrar, Anderson Ranch Arts Cen­ materials, firing and lodging. For further informa­ photographing, packaging/shipping. September 21 ter, PO Box 5598, Snowmass Village 81615; or tion, contact Dorrington Barn Ceramic Camp, “Extruding,” demonstration/hands-on session telephone (970) 923-3181, fax (970) 923-3871. PO Box 4543, Dorrington 95223; or telephone with William Shinn. Fee: $30 per session. Partici­ Connecticut, Brookfield October 4—5 “Clay (209) 795-5625. pants should bring own tools; clay provided. Con­ Monoprints” with Mitch Lyons. October 11—12 California, Napa October 6-12 A session with tact Bill Todd, Workshop Coordinator, 645 “Salt Glazing” with Doug Signorovitch.October Shiro Otani, throwing, handbuilding, glazing, Caudill St., San Luis Obispo, CA 93401; or 18—19 “Raku Firing” with Penelope Fleming. loading and firing an anagama. Limited registra­ telephone (805) 543-7487. November 1 “Cups, Mugs and Pitchers” with tion. Camping facilities available. Contact Rich­ Colorado, Arvada September 6— 7“The Clay Nar­ Angela Fina. Contact Brookfield Craft Center, ard Carter Studio, 901 A Eighth St., Napa 94559; rative” with Elyse Saperstein. All skill levels. Fee: PO Box 122, Rte. 25, Brookfield 06804; or tele­ or telephone (707) 224-1951. $110, includes materials and firing. Contact Bebe phone (203) 775-4526. Connecticut, Guilford September 20—21 “Glaze Workshop for Potters” with Angela Fina. Contact the Guilford Handcraft Center, PO Box 589,411 Church St., Guilford 06437; or telephone (203) 453-5947. Connecticut, New Canaan September 6-7 “Throwing, Raku Kilnbuilding and Firing Work­ shop” with Steven Branfman. Fee: $250. Contact Silvermine School of Art, 1037 Silvermine Rd., New Canaan 06840-4398; or telephone (203) 966-6668 or (203) 866-0411. Connecticut, New Haven October 18-19 “Tile- Making Workshop” with Jilaine Jones. Fee: $100; members, $90. November 7—9 Slide lecture, dem­ onstration and hands-on session with Kristin Doner, emphasizing glazing and raku firing. Fee: $125; members, $113. Contact the Creative Arts Workshop, 80 Audubon St., New Haven 06510; or telephone (203) 562-4927. D.C., Washington October 4—5 A session with Woody Hughes. November 8—9 A session with Randy Johnston. Contact Hinckley Pottery, 1707 Kalorama Rd., NW, Washington, DC 20009; or telephone (202) 745-7055. October 5 “American Craft,” symposium will in­ clude lectures and a panel discussion entitled “American Craft Today.” Participating artists in­ clude ceramist Mark Leach. Contact the Renwick Gallery, Pennsylvania Ave. at 17th St., NW, Washington, DC 20560; or telephone (202) 357-2700. Florida, Coral Gables October 27—31 “Residual- Salt-Glazed Porcelain” with Paul Dresang. Fee: $200; or $50 per day; free to University of Miami students. Limited enrollment. Contact Ceramics Area, University of Miami, Department of Art and Art History, 1300 Dickinson Dr., Coral Gables 33124; or telephone (305) 284-5470. Florida, Key West December 13—14 Slide presen­ tation/demonstration with Tom Coleman and Patrick Horsley. Contact Lisa, Plantation Potters Gallery, (305) 294-3143. Florida, Pensacola September 15-20 or October 20-25 “Studio Architectural Ceramics Workshop” with Peter King. Fee: $550 per session. Limited enrollment. For further information, contact Nancy Lauck, Stone Haus, 2617 N. 12th Ave., Pensacola 32503; telephone (904) 438-3273 or fax (904) 438-0644. Georgia, Atlanta September 27—28 Slide lecture/ demonstration of handbuilding techniques with Joe Bova. October 25-26 Slide lecture/demon- stration of slab building, extruding and press molding with Mark Derby. Fee/session: $85; members, $75. Contact Spruill Center for the Arts, 5339 Chamblee Dunwoody Rd., Atlanta 30338; or telephone (770) 394-3447, fax (770) 394-6179. Georgia, Dahlonega September 26-27 Lecture and demonstration with Gerry Williams. For fur-

94 CERAMICS MONTHLY ther information, telephone Dawson County Arts Missouri, Pt. Lookout October 6-7A session with with Rick Berman. Participants must bring bisqued Council, (706) 216-ARTS. Don Reitz. Fee: $20. Location: College of the pots. Fee: $125. Contact Coleman Clay Studio, Illinois, Crystal Lake September 19—20 A session Ozarks. Contact Jeff Johnston, ceramics instruc­ 6230 Greyhound Ln., Ste. E, Las Vegas 89122; or with Robin Hopper. Sponsored by Clay Worker’s tor, (417) 334-6411, ext. 4467. telephone (702) 451-1981. Guild of Illinois and Great Lakes Clay and Sup­ Missouri, St. Louis November 1-2 “Single-fired New Jersey, Loveladies September 1-5 “Ceramic, ply. For further information, telephone (815) Stoneware” with Steven Hill. Fee: $90. Contact Sculpture and Pottery Workshop” with Matt 455-8697; to register with Visa or MasterCard, Tom Schiller, (816) 453-0708. Burton (Mon.-Fri., 9:30 AM-noon; Wed., 1- telephone (815) 455-8588. Montana, Helena September 4-7 “Wood-fire 3:30 PM). All skill levels. Fee: $90. September 13- Illinois, Evanston September 8-12 “Sculptural Workshop” with McKenzie Smith and Jeanette 14 A session with Bennett Bean, exploring pit- Ceramic Workshop” with Indira Freitas-Johnson. Rakowski. Participants must bring bisqueware. firing and postfiring decoration. Participants must Fee: $280, includes materials and firing. Begin­ Intermediate through professional skill levels. Fee: bring bisqueware. Fee: $100. Contact Meg ning through advanced skill levels. Limited to 15 $165, includes glazes and firing. Contact Josh Mathews, Long Beach Island Foundation of the participants. Contact Native Soil, (847) 733-8006. DeWeese, Archie Bray Foundation, 2915 Coun­ Arts and Sciences, 120 Long Beach Blvd., Maryland, Baltimore September 6 Throwing dem­ try Club Ave., Helena 59602; or telephone (406) Loveladies 08008; or telephone (609) 494-1241. onstration with Chris Staley. Fee: $60; members, 443-3502. New Mexico, Abiquiu October 26—November 1 $50. September 13-14 “Wood Firing for Stu­ Nevada, Las Vegas October25-26“Surface Deco­ “Traditional Micaceous Pottery” with Camilla dents” with Sarah Barnes. Fee: $90; members, ration on Porcelain” with Tom Coleman, plus Trujillo, slab and coil building, pit firing. Instruc­ $80. For further information, contact Baltimore demonstration of incising porcelain with Elaine tion in English and Spanish. All skill levels. Lim­ Clayworks, 5706 Smith Ave., Baltimore 21209; Coleman. Fee: $100. November 15-16“ Raku” ited to 10 participants. Fee: $ 140, includes lab fee. or telephone (410) 578-1919. Maryland, Frederick September 12, October 25, November 22 and December 20 or September 19, October 17, November 21 and December 19 “Mas­ ter Series” with Joyce Michaud, focusing on ad­ vanced throwing skills. Fee: $185. September 20 “Spiritual Journeys” with Susan Greenleaf. Fee: $60. September 27“Innovative Techniques Using Soft Slabs” with Lana Wilson. Fee: $75. October 24 “Ceramic Restoration” with Colin Knight- Griffin. Fee: $30. November 1 “Ceramic Tool- making Workshop” with Colin Knight-Griffin. October3-5 and 18 “Playing with Words—Paint­ ing with Fire” with Patrick Timothy Caughy, raku workshop. Fee: $195, includes 25 lbs. of raku clay and firing. Contact Hood College Ceramics Program, 401 Rosemont Ave., Frederick 21701; or telephone (301) 696-3456 or (301) 698-0929. Massachusetts, Gloucester through October Six interrelated but independent workshops on Afri­ can clay digging and preparing, handbuilding, decorating, firing, and dipping techniques with Hazel Mae Rotimi. Fee: $ 15—$35 per session. Contact Minor Miracles African Pottery, 179R Washington St., Gloucester 01930; or telephone (508) 281-6578. Massachusetts, Plymouth September26-28 “ 17th- Century English Slipware Pottery” with Irma Starr. Fee: $270; members, $260; includes mate­ rials. Limited to 15 participants. Location: Plimoth Plantation. For reservations, telephone Program Services (508) 746-1622, ext. 359; for informa­ tion on course content, telephone Debbie Mason (617) 837-4263. Massachusetts, Stockbridge October 18-19 “Re­ interpreting Glaze” with Kathy Butterly. Fee: $150. Contact Interlaken School of Art, PO Box 1400, Stockbridge 01262; or telephone (413) 298-5252. Massachusetts, Williamsburg October 12—14 “Tiles: For Large Installations or Small Projects” with Sandy Farrell. Contact Horizons, 108-P N. Main St., Sunderland, MA 01375; telephone (413) 665-0300, fax (413) 665-4141, e-mail [email protected] or website http:// www.Horizons-art.org Michigan, Dearborn October 3 “Michigan Mud IV,” including workshops with Susan Beiner, Caroline Court, Tom Frank, Elizabeth Lurie, Angelica Pozo, John Stephenson, Henry Tanaka, Joe Zajac and Von Zenhuesen. Sponsored by Michigan Potters’ Association. Fee: $5. Contact Annette Siffen (313) 747-9821. Minnesota, Duluth October 12-18 “Wood-fire Workshop” with Dick Cooter, glazing, preparing the wood and firing. Participants must bring bisqued work (Cone 10). Contact Linda Hebenstreit, Duluth Art Institute, 506 W. Michi­ gan St., Duluth 55805; or telephone (218) 733- 7560.

September 1997 95 Calendar Kolinski, Canton Museum of Art, 1001 Market Ave., N, Canton 44702; or telephone (330) 453- 7666 . Pennsylvania, Bryn Mawr September 25 Lecture Contact Program Office, Ghost Ranch, HC 77 with Judy Moonelis. Free. Location: Bryn Mawr Box 11, Abiquiu 87510; or telephone (505) 685- Trust Company. Contact Main Line Art Center, 4333. (610) 525-0272. New Mexico, Albuquerque to Santa Fe Septem­ Pennsylvania, Farmington September 5— 7“Raku ber 9-16“Clay into Spirit” with Anita Griffith. Kilnbuilding” with Stephen Murdock. Fee: $ 145, Contact Horizons, 108-P N. Main St., Sunderland, includes materials. Contact Debbie Moore, Touch­ MA 01375; telephone (413) 665-0300, fax (413) stone, RD 1, Box 60, Farmington 15437; tele­ 665-4141 or e-mail [email protected] phone (412) 329-1370 or 329-1371, or e-mail New Mexico, La Madera September 1-6 “Amer­ [email protected] ican Indian Pottery Experience” with Felipe Texas, Houston November 7—8 Slide lecture and Ortega, digging and processing local clay, hand- demonstration with Josh DeWeese. Fee: $30. building with coil-and-scrape method, sanding, Limited space; preregistration required. Contact burnishing with stones, and pit firing. Fee: $200; Roy Hanscom, Art Dept., North Harris College, or $425, includes meals and lodging. Contact 2700 W. W. Thorne Dr., Houston 77073; or Owl Peak Pottery Studio, PO Box 682, La Madera telephone (281) 443-5609. 87539; telephone (505) 583-2345 or e-mail Texas, Lancaster September 5-6 Slide lecture and [email protected] demonstration with Jason Hess. Contact Con­ New Mexico, Santa Fe September 12 Lecture and tinuing Education, Cedar Valley College, 3030 demonstration with Stephen Kilborn on slip trail­ N. Dallas Ave., Lancaster 75146; telephone (972) ing and other decorative techniques.October 10 860-8210 or Rafael Molina-Rodriguez (972) Lecture and demonstration with Bob Smith on 860-8046. raku. Contact Kent Galleries, 130 Lincoln Ave., Texas, Lubbock September27-28"Smoke on the Santa Fe 87501; or telephone (505) 988-1001. Water” with John Barr, sawdust, saggar and pit New Mexico, Taos September 7-13 “Traditional firing. Contact Carol Fowler or Jana Hill (806) Coil Handbuilding Techniques” with Sharon 798-7722. Dryflower Reyna. Fee: $385, includes materials Vermont, Bristol September 12—15 “Experienc­ and firing. For further information, contact Judith ing the Fire” with Robert Compton, firing a salt, Krull, Associate Director, Taos Institute of Arts, raku, sawdust, pit, and multichambered climbing Box 5280 NDCBV, Taos 87571-6155; or tele­ wood kiln. Intermediate. Fee: $495, includes phone (505) 758-2793. materials, firing and meals. Contact Robert New York, New York September 11 “The Influ­ Compton Pottery, RD 3, Box 3600, Bristol 05443; ence of the Japanese Pottery Tradition on Amer­ or telephone (802) 453-3778. ican Ceramics” with Gerry Williams. September Virginia, Arlington September 13—14 A session 18 “Inspired by the Japanese Tradition: A Discus­ with Don Reitz. Fee: $90. September 27“Ameri­ sion with Three Artists” with Rob Barnard, James can Ceramic Tiles of the Late 19th and Early 20th Makins and Mary Roehm. Fee per session: $10; Century,” lecture with James Massey. Fee: $15. American Craft Museum/Japan Society mem­ For further information, contact the Lee Arts bers, $8. Location: Japan Society. Contact the Center, 5722 Lee Hwy., Arlington 22207; or American Craft Museum, (212) 956-3535. telephone (703) 358-5256. October 18 “Japanese Tool-Making Workshop” Wisconsin, McNaughton September 5—7 “Fast- with Keiko Ashida and Bill Gundling. Fee: $90; fire Wood Kiln Workshop,” includes glazes, wood- members, $75. November 7—8 “Alternative Sur­ ash effects and hands-on firing. Contact River faces” with Sana Musasana. Fee: $165; members, Run Pottery, (715) 277-2773. $ 150. Contact the Craft Students League, YWCA/ NYC, 610 Lexington Ave., New York 10022; or International Events telephone (212) 735-9731. North Carolina, Asheville September26-27Slide Belgium, Brasschaat September 13—October 25 presentation/demonstration with Ron Meyers and “International Ceramic Exhibition”; at Atelier Michael Simon, throwing and handbuilding. Fee: Cirkel, Miksebaan 272. $95, includes continental breakfast and lunch November 29—30 “Throwing Large Pots/Forms” each day. Contact Odyssey Center for the Ce­ with Jan Winkels. For further information, con­ ramic Arts, PO Box 18284, Asheville 28814; or tact Atelier Cirkel, Miksebaan 272, B2930 telephone (704) 285-0210. Brasschaat; telephone (32) 36 330 589 or fax (32) North Carolina, Bailey October 31-November 2 36 636 665. and 9 A session with Ben Owen III, throwing, Belgium, Torhout October 11-12 “Kerathor,” glazing, loading, firing and unloading an anaga- ceramics fair; at Groenhove, Bosdreef 5. ma. Fee: $125, includes materials, firing, some Canada, British Columbia, Victoria October 4—5 meals. Participants should bring 4 bisqued pieces “Redefining Functionality” with Tom Coleman. (Cone 10-12) plus 1 bisqued pot for pit firing Fee: Can$100 (approximately US$72), includes (optional). Contact Dan Finch, Finch Pottery, lunch. Contact Meira Mathison, RR#1 Pearson PO Box 699, Bailey 27807; telephone (919) 235- College, Victoria V9B 5T7; telephone (250) 391 - 4664. Or contact Jackie Allen, 8306 Penny Road, 2420 or (800) 667-3122. Raleigh, NC 27606; telephone (919) 859-6847. Canada, Ontario, Don Mills October 25 “FU­ North Carolina, Brasstown September7-13"Ash- SION: The Ontario Clay and Glass Association Glazed Porcelain and Stoneware” with Marcia 10th Annual Silent Auction”; at the Civic Garden Bugg. September 14-20 “Throwing Large Forms” Centre, Edwards Gardens, 777 Lawrence Ave., with Leon Nichols. October 5-11 “Pottery Deco­ East. Tickets: Can$12 (approximately US$9) on ration” with Barbara Joiner. October 24-Novem­ VISA before October 17; at door, Can$15 (ap­ ber 1 “Wood Firing” with Darrell Adams. Contact proximately US$11); telephone (416) 438-8946. the John C. Campbell Folk School, 1 Folk School Canada, Ontario, Toronto October 2—5 Juried Road, Brasstown 28902; or telephone (800) sale of ceramics; at CBC Broadcasting Centre, FOLK-SCH. Barbara Frum Atrium, downtown. Ohio, Canton October 4 Slide presentation/ Canada, Quebec, Montreal through September 14 demonstration with Tom Radca. Fee: $45. Regis­ “Cones Sur Toile et Sur Ceramique (Painted tration deadline: September 26. Contact Laura Tales),” exhibition of works byFrancoiseGosselin,

96 CERAMICS MONTHLY Genevieve Jost, Barbara Salsa, Claire Salzbergand October 14-19 and 21-26“Chelsea Crafts Fair”; Miyuki Tanobe; at Stewart Hall, Pointe-Claire at Chelsea Old Town Hall, King’s Rd. Cultural Center, 176 Lakeshore Road. England, Oxford October 20-November 19Two- Denmark, Kolding through September 12 Exhibi­ person exhibition with ceramics by William tion of ceramics, paintings and graphics by Peter Newland; at Oxford Gallery, 23 High St. Carlsen. September 13—October 3 “Ruin,” exhibi­ France, Dunkerque September 20—January 20, tion of ceramics and paintings by Ursula Reuter 1998 Exhibition of ceramics by Betty Woodman; Christainsen; at Franz Pedersens Kunsthandel, at Musee d’Art Contemporain. Haderslewej 12. France, Mulhouse through November 2 Exhibi­ through September 20 Exhibition of ceramics by tion of ceramics by Philippe Bouttens, Tjok Alev Siesbye; at Galleri Elise Toft, Lasbygade 58. Dessauvage, Jose Vermeersch and Rik Vermeersch; through October 18 “Ceramic Dishes.”October at Maison de la Ceramique, 25, rue Josue Hofer. 24-December 73“Ceramic Jugs”; at Galleri Pagter, France, Saint-Martin through September 11 Adelgade 3. Daphne Corregan; at Art Cafe Kiss Me Not, 13 through October 26 “Second Danish Ceramics Quai Clemenceau. Triennial,” works by 20 artists; at Trapholtmuseet, France, Sevres September26-December28“ Ropes iEhlehaven 23, Strandhuse. of Fire: A Thousand Years of Japanese Pottery through November 23 Exhibition of ceramics and from Bizen”; at the Musee National de Ceramique, silver by Thorvald Bindesboll, 1846-1908. Place de la Manufacture. “Keramik in Kolding.” “Tableware 1797-1897- France, Treigny through September 15 “Fourteen 1997”; at Museet PA Koldinghus, Postboks 91. Contemporary Ceramists,” exhibition of works September 6— October 26 “Ceramic Innovations,” by Colette Biquand, Nicole Crestou, Robert works by six ceramists; at Galleri en Face, Deblander, Richard Dewar, Jean-Michel Doix, Banegardspladsen. Philippe Dubuc, Gilles Duru, Jean-Marie Foubert, Denmark, Middelfart through November30*The Alain Gaudebert, Laure Gaudebert, Haguiko, Contemporary Teapot,” exhibition of teapots by Marie-Pierre Meheust, Joelle Paillot and Brigitte artists from 18 countries; at the Grimmerhus Sabatier; at Maison du Chanoine, Le Chaineau. Museum of Ceramic Art, Kongebrovej 42. Greece, Evia through SeptemberOnz- or two-week October 4-November 30 “1000 Years of Funen sessions on various aspects of ceramics, including Pottery”; at Middelfart Museum, Algade 4. working with paper clay, pit and raku firing. England, Bolton September 13-November 75 “As Instructor: Alan Bain. All skill levels. Fee: £300 Clear as Clay,” exhibition of ceramics by Jim (approximately US$478) per week, includes ma­ Malone; at Bolton Museum and Art Gallery, le terials, firing, meals and field trips. Contact Alan Mans Crescent. and Schoniad Bain, Kalamoudi, 34005 Limni, October 24 “Good Enough to Eat From,” studio Evia; or fax (22) 77 11 01. pottery workshop, including demonstration by India, Nepal January 30-February 20, 1998 “Ex­ various artists. For further information, contact ploring with the Potters of Nepal” with Doug Bolton Museum and Art Gallery, le Mans Cres­ Casebeer, Judith Chase, James Danisch and Santa cent, Bolton BLIISE; telephone (12) 04 52 23 11, Kumar Prajapati. Fee: $3500. Full payment due extension 2. by November 14,1997. Contact Anderson Ranch England, Chichester September 19-21 Pottery Arts Center, PO Box 5598, Snowmass Village, workshop for beginners with Alison Sandeman. CO 81615; or telephone (970) 923-3181, fax October I2-I7Handbuilding and throwing work­ (970) 923-3871, e-mail [email protected] shop with Alison Sandeman. For further informa­ Italy, Faenza September 5—6* Mondial Tornianti tion, contact the College Office, West Dean Col­ XVIII Edizione,” pottery competition; at Piazza lege, West Dean, Chichester, West Sussex P018 del Popolo. 0QZ; or telephone (243) 811301. September 20—November 9 “From the Raku Mu­ England, Hundon September 2-6Hands-on hand­ seum in Kyoto: A Dynasty of Ceramists from the building and smoke-firing workshop with Jane Origin to Kichizaemon RakuXV.” September20— Perryman. Contact Jane Perryman, Wash Cot­ December 8 “International Competition of the tage, Clare Road, Hundon, Suffolk CO 10 8DH; Ceramic Arts”; at the International Ceramics Mu­ telephone or fax (440) 786 228. seum. England, Ipswich FallTwo-week sessions on salt Japan, Kutani October 3—12 “Kutani Interna­ glazing with Deborah Baynes. Intermediate tional Decorative Ceramics Fair ’97”; at the through professional skill levels. Fee: £575 (ap­ Komatsu Dome. proximately US$950), includes materials, firing, Mexico, Oaxaca September 17—25*From Zapotec lodging and meals. Contact Deborah Baynes Pot­ Tradition and Beyond” with Nancee Meeker. tery Studio, Nether Hall, Shotley, Ipswich, Suf­ Contact Horizons, 108-P N. Main St., Sunderland, folk 1P9 1PW; or telephone (473) 788 300, fax MA 01375; telephone (413) 665-0300 or fax (473) 787 055. (413) 665-4141. England, London through September 11 Exhibi­ Netherlands, Deventer through September27*Por­ tion of 500 pinched porcelain bowls by Priscilla celain 2,” with works by Edmund de Waal, Charles Mouritzen. September 17-October 9 Two-person Hair, Nicolas Homoky, Kevin White, Henk exhibition with ceramics by David Leach; at Galerie Wolvers and Masamichi Yoshikawa. October 5— Besson, 15 Royal Arcade, 28 Old Bond Street. 30 Exhibition of raku by Haguiko and Jean Pierre through September 14 “Summer Show,” three- Viot; at Loes and Reinier, Korte Assenstraat 15. person exhibition, includes ceramics by Morgen Netherlands, Oosterbeek October 5-November 2 Hall. September 16-October 19 Three-person ex­ Exhibition of ceramic sculpture by Maggi Giles; at hibition, includes ceramics by Judith Gilmour. Galerie Amphora, van Oudenallenstraat 3. October 21-November 16 Exhibition of ceramics Switzerland, Carouge September 27-November by Christie Brown; at Crafts Council Shop at the 30 “International Ceramic Competition”; at Victoria &: Albert Museum, S. Kensington. Musee de Carouge. September 4-October 5 Two-person exhibition Switzerland, Geneva through September 22 Paul including ceramics by Carol McNicoll; at the Bonifas, “Ceramist of Purism”; at Ariana, Swiss Crafts Council Gallery Shop, 44a Pentonville Museum of Ceramics and Glass, 10, Ave. de la Paix. Rd., Islington. Wales, Aberystwyth through November 1 “The September 7-23 “Earth Up,” exhibition of ceram­ Kecskemet Collection,” show of 80 works from ics and photography; at Candid Art Gallery, 3 the International Experimental Ceramic Studio Torrens St. in Hungary; at Aberystwyth Arts Centre, Penglais.

September 1997 97 runny, throw in a handful of kaolin. Test a in the day and they shut off automatically at Questions little of the glaze in each firing and continue night.—B.E. Answered by the CM Technical Staff adjusting until it is just right. White clay bodies at this temperature— In the old days, we called these hash or both plastic bodies as well as casting bodies— scrap glazes; they usually incorporated the are usually compounded from one or more remains in an unidentified glaze bucket as ball clays, perhaps some PV clay and talc. The Q How do potters dispose of glaze waste that well as the scrapings from the glaze booth. nature of fluxes at this temperature exclude may include toxic materials, including copper, Our solution was to add 5% iron oxide and feldspars and the main glass former, flint. cobalt and chrome?—M. U. make a dark brown to black glaze. Of course, Talc is a wide-temperature-range flux and There are three acceptable methods of we were never able to repeat the results. very useful in the Cone 06 to Cone 04 range, disposing of hazardous glaze materials. The W. Lowell Baker although these bodies can be fired higher. first relies on your local waste-disposal facil­ University of Alabama The downside of a talc-based body at this ity. To use this, you would need to dry the Tuscaloosa, Ala. temperature is that it is quite open and not materials, package them in a plastic bucket, fully vitrified; absorption problems, such as mark the contents of the bucket and deliver Q We make production slip-cast whiteware, delayed moisture crazing, could be a problem it to a regional hazardous-waste-disposal site. which is bisquefired to Cone 06 and glaze fired for tableware unless the piece is glazed over­ A listing of those sites can be obtained from to Cone 04 in an electric kiln. Our glazes are all, then stilted during the glaze firing. your county officials. mostly a combination of no-lead frit (85%— Glaze adhesion, as you indicated, is prob­ Within the context of the studio, the 90%), Edgar Plastic Kaolin (10%—15%), ben­ lematic in that at a higher bisque tempera­ safest method of disposing of glaze wastes is tonite (2%) andflint (5 %), plus coloring stains ture, the body does indeed begin to vitrify. to mix them with between 5% and 15% or oxides. Lately, we are having problems with But you also mentioned “splotches,” and this borax, place in a large bisqued bowl and fire bubbles forming in the glaze. indicates to me that the problem could be until the mixture has melted. This consoli­ We ve been told the cure is bisquing to a higher caused by “hot spots” resulting from im­ dates the material in a glass matrix and ren­ temperature than the glaze firing, but when proper casting technique. Casting should be ders it nearly insoluble. we’ve tried that, the bisqueware absorbs the done in a controlled manner, avoiding splash­ My personal favorite is to mix all leftover glaze strangely—splotches (seen in the raw glaze ing on the sidewalls of the molds as well as glaze materials for use on nonfunctional sur­ state and later on the fired product) and poor avoiding continuous slip impingement on faces. Apply the mixture to a test tile, then fire adhesion. Is there any other solution? one section of the mold. A simple revision of at your standard glaze temperature. Often If control in the glaze-firing cycle is recom­ your casting methods may help significantly. this leftover glaze will work as is. If it is too mended, please suggest a device to monitor the I would also suggest that you bisque to the dry, throw in a handful of borax. If it is too cycle, because we usually turn the kilns on late higher temperature (Cone 04), then glaze fire

98 CERAMICS MONTHLY

Questions

at the lower temperature (Cone 06), moni­ toring your bisque firings for peak tempera­ ture as accurately as possible. Most ball clays are laden with impurities, specifically lignite and other offending particulate. It is impor­ tant to select cleaner-burning ball clays when­ ever possible, and to make sure that your bisque firings do indeed burn off these impu­ rities, both from a temperature as well as a time perspective. It is also important to screen your slip before casting, as this will remove the larger offending materials. A 50- or 60-mesh screen should be adequate, but remember that any particulates that pass through the sieve need to have sufficient time to burn off in the bisque firing. Your glaze problem may also have some­ thing to do with using Gerstley borate; al­ though a good source of boron, it also contributes a host of impurities to the glaze melt. A combination of frits along with some clay for suspension may be all that you need for a highly compatible and workable glaze. I would recommend a controller for your electric kilns for many reasons. The current offerings provide a variety of programmable functions—for example, soak or hold peri­ ods, delayed starts to take advantage of lower electric rates, etc.—that can help eliminate many of the problems you describe Even with a programmable controller, you should always use cones to monitor time and temperature relationships. It maybe that you need to restructure your firing cycle so that the kilns turn on at about midnight, then are ready for monitoring when you arrive in the morning. While many different brands of control­ lers are currently available, they are all binary devices, and their programmable functions are similar. Add-on controllers require that the kiln be plugged into the controller, then the controller is wired into the kiln service. Make sure you select the proper rate control­ ler for your kilns and have a certified electri­ cian do the installation. Jonathan Kaplan Ceramic Design Group Steamboat Springs, Colo. Q I have been working with stoneware for a longtime, and am thinking about adding non­ functional low-fire cast pieces to my inventory. I will be using a Cone 05—04commercial white casting slip, and need glaze recipes for a matt black and an eggshell white that I might add stains to. Any suggestions?—C. O. You may want to try the following reci­ pes—I have used the first two, while the other

100 CERAMICS MONTHLY September 1997 101 Questions

(from the Anderson Ranch glaze book) looks like it should work: Woody’s Satin Glaze #1 (Cone 04) Gerstley Borate...... 12.63% Whiting...... 11.58 Zinc Oxide...... 4.21 Frit 3124 (Ferro) ...... 37.90 Kona F-4 Feldspar...... 33.68 100.00% Woody’s Satin Glaze #2 (Cone 04) Talc...... 13% Frit 3124 (Ferro) ...... 80 Edgar Plastic Kaolin...... 7 100% Anderson Ranch #12 Glaze (Cone 06-04) Barium Carbonate...... 14% Gerstley Borate...... 20 Whiting...... 12 Zinc Oxide...... 4 Custer Feldspar...... 40 Flint...... 10 100% Add: Bentonite...... 2 % If you already have a transparent glaze that fits your clay body, you could also try adding 4% zinc to it for a satin matt. Since these pieces will not be functional, you could also underfire the transparent glaze, though you may have to adjust your bisque tempera­ ture higher. Underfiring the following recipe to Cone 07-06 yields a nice satin matt: Woody s Transparent Base Glaze (Cone 04) Gerstley Borate...... 26 % Lithium Carbonate...... 4 Frit 3124 (Ferro) ...... 30 Nepheline Syenite...... 20 Edgar Plastic Kaolin...... 10 Flint...... 10 100% Once you have chosen a glaze recipe, stains and/or oxides can be added to achieve the colors you wish. Woody Hughes Potter/Adjunct Professor, Dowling College Wading River, New York

Subscribers’ questions are welcome and those of general interest will be answered in this column. Due to volume, letters may not be answeredperson­ ally. Address the Technical Staff, Ceramics Monthly, Post Office Box 6102, Westerville, Ohio 43086-6102; fax (614) 891-8960; or e-mail editorial@ceramicsmonthly. org.

102 CERAMICS MONTHLY September 1997 103 Building a Budget-Conscious Fiber Kiln by Roger Honey

^Jne glorious fall day, I decided it was time to build a medium-sized, natural- gas kiln to supplement the two smaller kilns huddled in a meager shelter of reclaimed building materials outside the ceramics lab at Principia College in Elsah, Illinois. Never one to squander funds (bud­ get) on ready-mades, I resolved to in­ vestigate the possibility of embarking on a fiber-kiln construction adventure by contacting Ken Barnett, owner of Mississippi Mud Pottery in nearby Alton, Illinois. Ken, as it so happens, had built such a kiln a few years ago and fires it twice a week for his Cone 10 production ware. “Its all about weld­ ing,” he advised, “and sticking to a work­ able size for your needs, starting with the hardbrick floor plan.” I decided on an internal working space of 42 cubic feet, two stacks of 24x12-inch shelving (this allowed for plenty of shelf overhang and space be­ tween the doors and burner ports), two center-hinged opposing doors, and four vertical burners. The college welder (a remarkable fel­ low of some pig-farming expertise) cre­ ated the kilns steel framework from my rough drawings in the early hours of his morning (my night) prior to his regular college work and after the hogs had been fed. Once the frame had been duly delivered to the studio by Bobcat, the task of lining it with ceramic fiber began in earnest. Prior to that point, a little fiber re­ From rough drawings, a framework of angle iron search, somewhat comparable to space- and wire mesh was welded together. shuttle technology, was necessary. For the hot face, I purchased 1-inch-thick (2600°F, 8-pound) blanket, while the middle layer is 2-inch-thick (2300°F, 8-pound density) and the backing is 2-inch-thick (1800°F, 4-pound) blan­ ket. Shopping around is essential, as fiber insulation is expensive. Attaching the fiber to the expanded- metal sides of the kiln was the next Wire threaded through hurdle. Not wishing to purchase expen­ the stems of wheel-thrown mushroom-shaped buttons sive devices, I threw numerous mush- would attach the fiber room-shaped buttons, each 3 inches in to the framework. diameter with 2-inch-long stems pierced

104 CERAMICS MONTHLY to secure the fiber in place with Inconel high-temperature wire. With good advice from local potter Ken, I removed the doors and experi­ mented laying the fiber before tackling the kiln frame itself. After lining the doors with heavy-duty aluminum foil, I First the laid down the three layers of fiber, over­ framework and the doors were lapping the hot face around the edges coated with to eliminate fraying. rustproof, heat- I quickly discovered that common resistant paint. sense, practical ingenuity and a sharp kitchen knife was the way to go. Joint gaps were overcome by alternating the fiber direction. Attaching the “mushroom buttons” through the fiber, foil and wire mesh was a hit-and-miss affair, with a sturdy knitting needle, a piece of doweling and much cursing. The Inconel wire was easily pulled tight and twisted around the metal mesh. The kiln was no prob­ lem, once I found I could rotate the frame and keep the fiber a continuous strip, attaching it with my thrown but­ tons before gravity took over. The flue—yes, the flue! Ken had warned me to keep at least 6 inches of fiber protruding through the flue aper­ ture (14x14 inches) to tie in with the Next, the doors were lined with heavy-duty aluminum foil, outside bricks, remembering that I had and three layers of fiber. 5 inches of fiber thickness all around the opening in the kiln frame. A broken kiln shelf was installed as a damper. The height of the chimney was of no concern because of the forced-air burner system. Burners, I quickly discovered, are basic plumbing, and I decided upon a 1 ½-inch-diameter pipe to match up with my existing ready-made blowers, torch tips, etc. Vertical burners allowed for good circulation and eliminated the need for bagwalls. All in all, our new fiber kiln is ex­ tremely efficient to the point of being overzealous in the early stages of firing. Cooling also is fairly rapid because of the no-heat-retaining walls. Obviously, I have not detailed every The broad “caps” aspect of my adventure with fiber, but of the mushroom as in every recorded project, a little left buttons hold the to the imagination is a good thing. I do, fiber in place.

September 1997 105 however, strongly suggest careful re­ search, shopping around, making do, protective clothing and a good respira­ By the Numbers tor to avoid inhaling any fiber dust dur­ ing construction. Once the project is 1. Draw every step. complete, a warm sense of satisfaction should permeate ones being, not to 2. Decide on frame size (based mention any ceramic ware that finds its on a whole brick floor plan, way into the kiln. ▲ no cutting). 3. Weld frame to determine measurements. Side view of completed kiln with both 4. Throw a good number of doors installed and burners in place. mushroom-shaped buttons, dry and fire. 5. Paint all raw steel with rustproof and heat- resistant paints. 6. Research sources of fiber and heat-resistant wire. 7. Attach fiber to doors first. 8. Attach fiber to kiln, rotating frame if possible. 9. Install burner system (check safety devices). 10. Hook up gas supply (check all joints with soapy water).

A metal sewer pipe through the shelter roof extends the brick chimney.

106 CERAMICS MONTHLY Etched Porcelain by John R. Guenther

“Funerary Urn,” 101/4 inches in height, wheel-thrown and etched porcelain, with black slip and Verdigris Glaze, $300.

It was during a recent trip to France, Familiarity with printmaking and a ing no residual marks. I tried masking while I was on a one-semester sabbati­ new series of wheel-thrown porcelain with latex house paint, pure liquid la­ cal from Indiana University Southeast, vessels provided the background and tex, water-based wax resist, varnish, and that I saw a fascinating vessel at the basic forms for my research. Since most finally settled on orange shellac. The Musee de Unterlinden in Colmar. Its printmaking techniques involve the use shellac did the best job of protecting the surface appeared to be deeply etched or of some sort of masking material that clay surface, was the easiest to apply somehow eaten away. I was intrigued will protect the upper surface of the (and see), and dried quickly on bone- by the strong textural and “relief” qual­ plate, stone or screen from the acids dry porcelain. ity of that stoneware form and, shortly and inks, I knew I would have to find a Several years earlier, after a lot of after my return home, began experi­ comparable material that was water­ experimentation, I had settled on a por­ menting with etching techniques to re­ proof, tough, easy to apply and would celain body that I was confident would create the effect. burn off during the bisque firing, leav­ support the etching process; however,

September 1997 107 you may want to try your own porce­ lain recipe before going to the trouble of mixing the following: Porcelain Body (Cone 9-10) Potash Feldspar (Custer or Norfloat) ...... 25 % Bentonite...... 5 Grolleg Kaolin...... 53 Flint (325 mesh) ...... 17 100% To bone dry, this body exhibits a 6% shrinkage rate. Ware fired to Cone 9— 10 (oxidation or reduction) will have a total shrinkage rate of 15%. It yields a dense, almost pure white when fired to Cone 10 reduction. All of the work produced for this etched porcelain project was fired to Cone 10 in a 39- cubic-foot, LP gas, downdraft kiln. My clay body should be mixed rather Shellac patterns were brushed on the dry porcelain wet, using hot water (this is important), then dried out on plaster bats (or a clean, dry, cement floor) for use. Do not wedge in any dry ingredients and ex­ bowls or the foot area of compote studio sink and spraying with a garden pect to have much luck. What you will shapes) to protect them from whatever hose, but finally I settled on plain old get are pockets of dry material through­ etching method I would eventually use. elbow grease—using plenty of water and out the clay. Take your time, measure To etch the ware, I tried sandblast­ rubbing with a good quality sheepswool and mix the ingredients well, then al­ ing, holding under running water at the sponge until I got the relief depth I was low the bats to pull the excess moisture seeking. The shellac did a remarkable from the clay. If possible, allow the batch job of protecting the pieces raised sur­ to age several months before attempt­ face and even provided extra dry strength ing to throw large forms. I am currently as I (sometimes) roughly washed away working from a barrel of this clay that is the exposed clay. Once the etching three years old, but recently tried an­ process was complete and the clay again other batch that is only three months thoroughly dry, the pieces were ready old; there is a big difference between for bisque firing. the two. After the bisque, I wash each piece at But let s get back to the etching pro­ the sink to remove any clay and shellac cess. While I was waiting for the early dust. I usually allow the washed ware to pieces in the series to thoroughly dry, I dry 24 hours before doing whatever mixed several small batches (20 pounds waxing of lids and pot bottoms that is or less) of the same porcelain body col­ required and spray glazing with one or ored with Mason and DeGussa ceramic more of the following: stains. These would be used later for Shaner Clear Glaze handles, lids and inlaying. I also mixed (Cone 9-10, oxidation or reduction) several quarts of colored slip (using the Dolomite...... 5.1% same porcelain body and stains) with a Whiting...... 16.3 kitchen blender. Potash Feldspar (Norfloat)...... 31.0 As soon as the first pieces were dry, I Bentonite...... 2.9 began experimenting with various meth­ Edgar Plastic Kaolin...... 13.7 ods of etching the vessel surface. I used Flint...... 31.0 the shellac to paint various patterns, Slip-decorated etched porcelain teapot, with seven-strand copper 100.0% remembering that wherever it was ap­ handle, 12 inches in height, $200. plied, the surface would be protected Do not mix thick; spray, dip or pour for and become the “highest” part of the good results. Cobalt carbonate, red iron design. I also applied shellac to undeco­ oxide or rutile washes look good brushed rated areas (for example, the interiors of over the raw glazed surface.

108 CERAMICS MONTHLY Rubbing with plenty of water and a sponge removed the exposed clay.

R.M. Cream Glaze Mix this glaze on the medium to slightly rounded by white-gray to peach-blos- (Cone 9-10, reduction) thick side. For an overall blood red, som color. Red iron oxide mixed in a Dolomite...... 30.0% spray. You can dip or pour, but do not rutile wash will give nice gold-tan Volcanic Ash...... 40.0 apply heavy. If you double dip or pour, blushes. A medium-strong cobalt car­ Edgar Plastic Kaolin...... 30.0 the result will be red veins often sur- bonate wash also works well when 100.0% brushed over the raw glaze, developing a deep blue to purple. Mix to medium thickness. Apply by spraying, dipping or pouring—all good Verdigris Glaze results. Red iron oxide brushed over the (Cone 9-10, oxidation or reduction) raw glaze works well. Bone Ash...... 1.98% Dolomite...... 18.77 Blue Celadon III Glaze Talc...... 1.26 (Cone 9-10, oxidation or reduction) Whiting...... 6.45 Dolomite...... 21.74% Custer Feldspar...... 9.65 Potash Feldspar (Custer)...... 52.17 Nepheline Syenite...... 25.02 Edgar Plastic Kaolin...... 1.74 Edgar Plastic Kaolin...... 20.03 Flint...... 24.35 Flint...... 16.84 100.00% 100.00% Add: Spanish Red Iron Add: Tin Oxide...... 5.00% Oxide...... 0.87% Copper Carbonate...... 2.00% Mix to medium thickness. Spray, dip or Spray, dip or pour. For an overall even pour—but for best results on large forms surface, spraying is best. In a strong (platters, globes, etc.), spray. Cobalt, red reduction atmosphere, the glaze will iron oxide and rutile washes look good blush from green to red-purple. Black when brushed over raw glazed surfaces. slip works well underneath, causing a Copper Red #18 Glaze red-brown matt. In oxidation, it is a (Cone 9-10, reduction) nice white matt with a hint of pink and Gerstley Borate...... 8.13% Copper-red-glazed teapot with seven- a smooth surface. This is a good glaze to Whiting...... 12.70 strand copper handle, 11½ inches in experiment with, particularly in combi­ height, wheel thrown and etched, $200. Potash Feldspar (Custer)...... 79.17 nation with other glazes. 100.00% The decorative possibilities of lay­ Add: Tin Oxide...... 1.00% ered glazes and etched surfaces are un­ Copper Carbonate...... 0.30% limited and definitely worth trying. ▲

September 1997 109 Betty Spindler’s Full Harvest by Lisa Crawford Watson

Hlave you ever really looked Spindler soon began pro­ at an eggplant? Felt the mois­ ducing representations of the ture beading up against seal- items around her, inspired by like skin, contemplated the their convention as well as color purple? For California their simplicity of line and ceramist Betty Spindler, its form. “I go for geometric the merging of royal blue and shapes,” she explained, “sim­ black that fools the eye with plicity and clean lines. I don’t the essence of purple, just as like complex shapes. Arti­ its a simmering of warm chokes are as complicated as hues, like tomato soup over a I get. I think the appeal lies fire, that makes us see red. in not having to worry about Spindler has studied an what it is or what it means. eggplant; has, in fact, thor­ It’s a tomato, an onion, a car­ oughly examined most forms rot. It is what it is. It’s art.” of produce and other famil­ Working with “live” mod­ iar objects around her els, she handbuilds each piece Oversized garlic and tomato, each approximately 6 inches kitchen, recognizing the in height, slab built, brushed with under- and overglazes. over a newspaper armature, beauty and substance of form adding and subtracting, among the common. Therein pressing and smoothing the lies her subject matter. She thick clay with her hands un­ creates art out of the life that til she has achieved the au­ surrounds her, because art is thentic shapes and textures not a representation of life; it of produce or other objects. is life. And life is art. “When I show my work “I am often asked to ex­ in places that house a lot of plain my work,” she said. really accomplished artists,” “This is somewhat confusing she said, “mine seems so to me, as there is little to ex­ simple. And yet that’s exactly plain. My sculptures are still what I strive for, capturing lifes. They are the objects I the essence of what it is, with­ am sculpting; a bowl of fruit out sacrificing the character or a bunch of vegetables, a that is my signature.” window with curtains or a Her forms are bisqued at bath towel hanging from a Cone 04 in one of two large rack. They are common items kilns, then underglazed and from daily life.” glazed and returned to the Spindler was not always kilns for a Cone 05 or 06 an artist, or likely she was, but it went as had, on two previous occasions, taken firing, depending upon the commercial unrecognized as the learning disability an English class, but these were not glazes used. that plagued both her self-esteem and successful. In the art classes, a strange “The glaze is the risky part for me,” her academic progress. Yet she was al­ thing happened; my art really took off. she said. “I mix a lot of colors and ways creative, a quality that gave her the I was doing very creative things, learn­ brands to achieve a painterly quality in coping slcills to circumvent a system ing how to express myself in totally new my work, experimenting first on vari­ designed for people who could learn and exciting ways. Because of this suc­ ous test tiles to see what I’ve done.” and manifest knowledge through tradi­ cess, one of my art teachers suggested I Sometimes, though, she’ll “just go tional channels. work toward an associate degree.” for it, putting the glaze on without tests, Once her daughters had outgrown After earning a degree with distinc­ no longer afraid of what I might lose. their dependence, she decided to enroll tion, she went on to the University of My garbage men love to sort through in an art class at the local community California at Santa Cruz, where she re­ my trash for experiments.” college, just for fun. “Art classes only,” ceived a Bachelor of Arts degree in ce­ Most of the color is achieved with she said, “that’s all it was going to be. I ramics with an emphasis on oil painting. underglazes, covered by clear glaze; how-

110 CERAMICS MONTHLY ever, she also applies overglazes to create depth and texture. “Using overglaze,” she noted, “gives it life, like a gray rock submerged in water, exposing all lands of colorful secrets.” Her work on view at Winfield Gal­ lery in Carmel, California, is represen­ tational, not just of her subjects, but of her collectors and the objects they can easily relate to. “I find that people like to make up their own still lifes with my work, creating their own arrangements of fruits and vegetables.” Her repertoire also includes domes­ tic scenes, such as garnished fish on a plate. “When I compose pieces,” she said, “I start to see relationships be­ tween the individual elements. They begin to talk to one another, kind of have their own conversation on a plate. “I don’t try to interpret my work and I don’t title it. When I look at artwork, I never read the title. I like my art to communicate its own sense of self. I would like to see it viewed with humor and familiar thoughts; beyond that, I think the viewer should decide what it is without academic direction from Crumpled newspaper lends support to the artist. Besides, my things simply are The slab(s) are rolled and pressed slab walls during forming and drying. what they are.” ▲ around the newspaper armature.

The completed forms are dried, then bisqued and brushed with commercial underglazes and clear glaze; overglazes are also applied for depth and texture.

To achieve a painterly quality, Spindler mixes colors and brands, experimenting first on test tiles to evaluate results.

September 1997 11 Letters Continued from page 10

or paint or computer graphics.” Maybe it would be a good idea to think of visual art as we do a good mystery novel. To enhance the experience of readers yet to come, we should keep silent. Hadley Allen, Hoboken, N.J.

Pursuit of Quality I really get tired of the grousing over traditional!functional vs. the other stuff. It hasn’t changed in the 29 years since I first sat down at a potter’s wheel. The only things that seem to change are the names of the people writing CM to spout off. I finally sat down with the JunelJulyl August CM and gave it a going over in July. Perhaps I was just in the right frame of mind or something, but let me congratulate every­ one involved on an outstanding issue. There were so many things that made it great: Having worn out my copy of The Invis­ ible Core: a Potter's Life and Thoughts by Marguerite Wildenhain, I was pleased to read the article about her. She is responsible for much of how I look at clay and pottery. The Shiho Kanzaki article was inspiring as well—particularly the quote on page 64: “When you get to a certain level of quality, you are satisfied for the moment. But if the next firing brings only pots of equal quality, since you have already enjoyed that achieve­ ment before, they will not be as satisfying as before. As artists, it is our responsibility to always pursue a better thing. I need to grow, to be better than before. Likewise, my pots need to grow, to be better each time.” Whether traditional potters or the other, if we follow the craft with the dedication and commitment of a Marguerite Wildenhain or a Shiho Kanzaki, then our work and lives will be of value. Earl Brunner, Las Vegas, Nev.

Say What? Regarding “An Elemental Journey” in the JunelJulylAugust issue, Oplease tell me what this article has to do with pottery, past or present? Spare me! Kathleen Siddall, Franklin, Tenn.

Moments of Being Janet Lever’s “An Elemental Journey” united all artists of all time through her well- written article about the basics of the art spirit in the caves of France. Her comments on early man’s joyful experience of ochers, oxides and even “the friendly smell of well- aged clay” convey the sacredness with which Paleolithic cave artists approached life and art. For them, there were no separations dividing the inspiring imagination, the mate­ rials and the doing. The feel of the clay was

112 CERAMICS MONTHLY for them synonymous with what was in their hearts. Lever’s articulate account is an affirmation and recognition of us all—pot­ ters, writers, sculptors, painters—who live in the images spilling from our hands through the materials we have chosen to use to express what Virginia Woolf called our “moments of being” on this planet. Lever gives us in her article a liminality that coalesces two worlds: the inner and the outer, the surface world of sunlight and the depths of cave-darkness, the conscious and the elemental Edenic. Frank La Rosa, San Diego

Inspirational Inlay I really appreciated the article and photos of the slip-inlay work by Phoebe Gardener in the May issue, as well as Thivo’s nerikomi vessels and the mishima work by Roger Corsaw. Thanks so much for inspiring us with their innovative, beautiful creations. It’s beautiful when artists such as Phoebe Gardener share their personal experiences and struggles working with the clay medium. Edifying encouragement is beneficial to any artist. Again, thanks! Evelyn Carnes, Willis, Mich.

Proper Credit Kate Bonansinga’s article “Thomas Orr’s Ceramic Paintings” (June/July/August CM) leads the reader to believe that the palette of glazes used in Orr’s work was of his own development. However, the Chartreuse Glaze recipe shown in the article was in fact devel­ oped by Lana Wilson. This recipe has been previously published as Lana’s Chartreuse Moss Glaze—see “Layered Cone 6 and Cone 06 Glazes” in the JunelJuly/August 1995 Ceramics Monthly and in her book Ceramics: Shape and Surface. It often takes several years of testing (not to mention blood, sweat and tears) to create a glaze that works. Whenever possible, proper credit should be given to those who have labored and succeeded in their efforts. Sherri Eskesen, Encinitas, Calif.

An upside of contemporary studio ceramics is potters * willingness to share trade secrets a downside is that attribution is sometimes lost when recipes come from “a friend of a friend. ” Thomas Orr does not recall the source of the recipe in question, nor does the text claim he developed it—only that he develops color by layering a variety of slips and glazes.—Ed.

Correction The colorants for the black version of the Lizard Glaze recipe published in conjunction with the article “Thomas Orr’s Ceramic Paintings” (June/July/August CM, page 57) were inadvertently dropped. For black, add 2.7% chrome oxide and 31% copper carbon­ ate to the base recipe.

September 1997 113 114 CERAMICS MONTHLY September 1997 115 Comment

A Ruin of Gold Coins by Delia Robinson

If you have trained yourself to listen with ters, but found next to nothing. To ferret half an ear for the footsteps of the out such opportunities requires searching MacArthurs approaching your door, give both pamphlets and massive reference it up. It seems the John D. and Catherine books, duplicated in part on the Internet, T. MacArthur Foundation has never given with titles like The Foundation Grants a single “genius award” (up to $357,000) Index or National Guide to Funding in to a clayworker. Arts and Culture. In this last volume, only For some, this will hit very hard. Me, nine separate entries for awards of over for instance. A few years ago, the head­ $10,000 in ceramics were listed for 1996, line in the local paper read “Wisdom all to excellent projects such as the Clay Gets Genius Award,” Wisdom being the Studio’s mobile clay bus in Philadelphia. actual surname of the award recipient. I None were given to individuals, and many begged my husband to change our last were tied to specific geographic locations name to Bimbo for an even better head­ or projects. line, should the MacArthurs decide to Some individual grants are given, bite, but he didn’t think it would be worth though—an ad in American Ceramics the trouble, knowing my work. In reality, magazine announced the winner of the a headline read- 1996 award from ing “Potter Wins the Virginia A. Genius Award” Iyearned to discover a long list of Groot Founda­ would be just as tion, which offers unexpected as foundations offering nice little nest up to $25,000 “Bimbo...,” since eggs for potters, butfound next to annually to sculp­ clayworkers have tors and ceramics not yet been no­ nothing ...I was amazed at the sculptors. For ticed by the Mac­ enormous variety offoundations and some reason, it Arthur Founda­ did not appear in tion nominators. how few are interested in the most a library search, If you are day­ interesting of substances—clay implying that dreaming about even learning of the MacArthur, the existence of but find the “genius” component anxi­ some of these organizations is a victory. ety-provoking, just recall Thomas Edison. Overall, I was amazed at the enormous He believed that genius is 99% perspira­ variety of foundations and how few are tion and 1 % inspiration. By this reckon­ interested in the most interesting of sub­ ing, legions of us qualify. stances—clay. In all honesty, there are many brilliant Since the National Endowment for clayworkers, each one simply loaded with the Arts is almost dried up, free public inspiration and sweating from hard work. money is not easy to find. Each state still Surely in so rich a field, one little award has a small amount available through its could be granted. But no, not only has arts council, which can be tapped for the award never gone to a ceramist, to special projects, often relatively quickly. date it has only been given to four If a workshop has caught your interest craftspeople, three in book-related arts but you lack the money, you can apply and one to a woodworker. for state funding. Put yourself on the So what else is available to those of us mailing list of your state’s arts organiza­ who wouldn’t mind being given thou­ tions so you will be informed of commis­ sands for just being ourselves and doing sions, grants and other opportunities. our work every day as we do anyway? I Pottery competitions with awards yearned to discover a long list of founda­ abound, but they require a willingness to tions offering nice little nest eggs for pot­ toss money to the wind. Rising entry

116 CERAMICS MONTHLY September 1997 117 Comment

fees, up to $30 in many cases, put these contests beyond many budgets. I can only enter those that are free or nearly free and that also happen to give monetary awards. Then at least I have a chance of recoup­ ing some of the losses such competitions can represent. Additionally, these organizations are beginning to insist that the slide repre­ sent the actual piece you plan to show and that the piece be for sale. This makes it tricky if you are planning to use dupli­ cates of that slide for multiple show en­ tries. Such stipulations require you pull that piece from your pool of salable work, sometimes for months, while the show is juried. Add on the cost of professional slides—don’t even think of sending a homemade job—to the cost of mailing the piece to the show if you get in (the prepaid return as well as the handling fee in some cases), and you will be muttering that the $50 merit award you finally man­ age to snag is not quite as marvelous as it first appeared. So what else is out there? You may find information on residency programs in Ceramics Monthly and other maga­ zines. The book Artists and Writers Colo­ nies, Retreats, Residencies and Respites for the CreativeMindby Gail Hellund Bowler presents several possibilities, though only a small percentage include ceramics— “all media” usually meaning all media except pottery. All residency and artist-in-residence programs provide work space, some pro­ vide room and board, and most, the like­ lihood of stimulating company. Some expect payment; some are free; some are astonishingly generous, providing a sti­ pend as well as housing, food, studio and equipment. Some are in stunning loca­ tions like Anderson Ranch in Snowmass Village, Colorado, or Banff in Alberta, Canada. Sometimes, as at John Michael Kohler Center for the Arts in Wisconsin, technical assistance and equipment be­ yond imagination are available. Slip piped under pressure to each artist’s studio, car kilns, and amazing industrial technolo­ gies are free and at one’s fingertips. It could only be a thrilling experience. The downside to these programs, as opposed to having money plopped in

118 CERAMICS MONTHLY September 1997 119 Comment Auction houses and galleries are capital­ wall between “art” and “craft,” which is izing on an evolving interest in contem­ especially obtrusive and detrimental to us porary vessels. After decades of hot dis­ potters in all areas discussed here, will your lap, is that all require major life cussion, many museums are deciding that become more permeable. disruptions. Provisions are rarely avail­ a pot does not have to be carbon-14 These are not words to inspire imme­ able for families and pets. Abandoning dated to get in the door. Contemporary diate joy if you were anticipating a rain of the spouse, the kids and Fido is usually pottery is suddenly visible, shown in con­ gold coins. Many of us would like to an insurmountable obstacle, making some cert with paintings and sculpture, not duplicate the experience of Japanese of the longer residencies feasible for only tucked away in alcoves. printmaker Shiko Munakata. On the oc­ the fancy-free. casion of his first major sale, Additionally, things are run he was flushed by a sense of pretty close to the bone at Pottery is going places. Auction houses and galleries aregathering Buddhas, which he some residencies. After a cer­ identified as the “Enlighten­ tain number of hours devoted capitalizing on an evolving interest in contemporary ment of Cash!” to your own work, you are vessels. After decades of hot discussion, many museums In pursuit of such enlight­ expected to teach pottery, en­ enment, how single-minded gage in community outreach, are deciding that a pot does not have to be carbon-14 do we need to be? Should the donate work, clerk at the shop, dated to get in the door. MacArthur be sensibly rel­ serve as kiln sitter, sometimes egated, along with Ed Mc­ for pitiful remunerations, Mahon and the lottery, into sometimes at your own expense, and of­ Paralleling and probably inspired by the category called “will never happen” ten not even a pillow provided to rest this, collectors of pottery are everywhere. or is it permissible to hang on to a little your weary head. Possibly, these programs Photos of exquisite homes lard the flashy crumb of happy delusion? Either way, could be more easily considered after win­ architectural journals, and in almost ev­ remember Edison—work hard, let inspi­ ning the genius award, when rent, both ery photo, ceramics are prominently dis­ ration delight you, break the rules, sign at your home and at the place of resi­ played. More surprising, the names of your work and seek the best markets. dency, would no longer be a worry. the potters are starting to be included in Good things will surely come. Even though most of the above op­ the photo captions, just as painters have tions are speculative or mixed with deb­ always been. The author A frequent contributor to CM, its, there is definitely one area of expand­ Individual recognition for potters is Delia Robinson maintains a studio in Mont­ ing promise. Sales. Pottery is going places. finally happening. With it perhaps the pelier, Vermont.

Index to Advertisers

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