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focus self critique

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Editorial [email protected] telephone: (614) 895-4213 fax: (614) 891-8960 editor Sherman Hall assistant editor Renée Fairchild assistant editor Jennifer Poellot technical editor Dave Finkelnburg publisher Charles Spahr Advertising/Classifi eds [email protected] (614) 794-5809 fax: (614) 891-8960 classifi[email protected] (614) 794-5866 advertising manager Steve Hecker advertising services Debbie Plummer Subscriptions/Circulation customer service: (800) 342-3594 [email protected] Design/Production design Paula John Editorial and advertising offices 735 Ceramic Place, Suite 100 Westerville, Ohio 43081 USA Editorial Advisory Board Linda Arbuckle; Professor, Ceramics, Univ. of Florida Tom Coleman; Studio Potter, Nevada Dick Lehman; Studio Potter, Indiana Meira Mathison; Director, Metchosin Art School, Canada Don Pilcher; Potter and Author, Illinois Bernard Pucker; Director, Pucker Gallery, Boston Phil Rogers; Potter and Author, Wales Jan Schachter; Potter, California Mark Shapiro; Worthington, Massachusetts Susan York; Santa Fe, New Mexico

Ceramics Monthly (ISSN 0009-0328) is published monthly, except July and September, by The American Ceramic Society, 735 Ceramic Pl., Suite 100, Westerville, Ohio 43081; www. ceramics.org. Periodicals postage paid at Westerville, Ohio, and additional mailing ofﬁces. Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The American Ceramic Society. subscription rates: One year $34.95, two years $59.95. Canada: One year $40, two years $75. International: One year $60, two years $99. back issues: When available, back issues are $7.50 each, plus $3 shipping/handling; $8 for expedited shipping (UPS 2-day air); and $6 for shipping outside North America. Allow 4–6 weeks for delivery. change of address: Please give us four weeks advance notice. Send the magazine address label as well as your new address to: Ceramics Monthly, Circulation Depart- ment, P.O. Box 2107, Marion, OH 43306-8207. contributors: Writing and photographic guidelines are available online at www.ceramicsmonthly.org. indexing: An index of each year’s feature articles appears in the December issue. You may also visit the Ceramics Monthly website at www.ceramicsmonthly.org to search an index of article titles and artists’ names. Feature articles are also indexed in the Art Index, daai (design and applied arts index). copies: Authorization to photocopy items for internal or personal use beyond the limits of Sections 107 or 108 of the U.S. Copyright Law is granted by The American Ceramic Society, ISSN 0009-0328, provided that the appropriate fee is paid directly to Copyright Clearance Center, Inc., 222 Rosewood Dr., Danvers, MA 01923, USA; (978) 750-8400; www.copyright. com. Prior to photocopying items for classroom use, please contact Copyright Clearance Center, Inc. This consent does not extend to copying items for general distribution, or for advertising or promotional purposes, or to republishing items in whole or in part in any work in any format. Please direct republication or special copying permission requests to the Publisher, The American Ceramic Society, 735 Ceramic Pl., Suite 100, Westerville, Ohio 43081, USA. postmaster: Please send address changes to Ceramics Monthly, P.O. Box 2107, Marion, OH 43306-8207. Form 3579 requested.

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AS 06 001_017.indd 4 7/13/06 6:48:35 PM AUGUST/SEPTEMBER 2006 / Volume 54 Number 7

MONTHLY

focus self critique

30 Green Wood by Tony Clennell An accidental discovery teaches an unexpected lesson and helps a potter better understand his aesthetic motivations. recipes Ash Celadon

34 Critical Care: The Art of Self Critique by Simon Levin With the help of two inﬂ uential teachers, an artist comes to realize that self critique is, well, critical to success.

features 39 A Cross-Disciplinary Collaboration The Archie Bray and Jentel Foundation Residency with essays by Melissa Post

42 Marcus O’Mahony by Michael Moore A potter uses his strong connections to his surroundings to create elemental pots. 46 Struggling to Understand (And the Rewards of Uncertainty) by Lucy Breslin

48 Peter Callas: Sculpture at the Edge by Dorothy Joiner Abstract sculptures reveal a close afﬁ nity with nature, and a respect for color, texture, design and material.

50 An Anagama and an Electric Kiln by Daryn Lowman A touch of commercial glaze and a turn in the electric kiln transforms duds from the anagama into gems.

52 Lee Akins by Rafael Molina-Rodriguez An artist unconsciously blends inspiration from one medium into another. recipes Low-Fire G lazes for Texture 52

cover: Vase, 20cm (8 in.) in height, thrown and faceted heavily grogged stoneware, with crackle and dry red slips, Shino liner glaze, ﬁ red to 1300˚C (2372˚F), 2005, C80 (US$101), by Marcus O’Mahony, Lismore, County 39 XX 30 Waterford, Ireland; page 42. 50 XXXX 30

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10 from the editor

12 letters from readers

14 answers from the CM technical staff

16 suggestions from readers 16 Tip of the Month: Quick-Change Artist

18 upfront reviews, news and exhibitions 56 call for entries 56 International Exhibitions 56 United States Exhibitions 58 Regional Exhibitions 58 Fairs and Festivals 60 new books 62 calendar 62 Conferences 62 Solo Exhibitions 62 Group Ceramics Exhibitions 68 Ceramics in Multimedia Exhibitions 70 Fairs, Festivals and Sales 72 Workshops 82 International Events 92 classiﬁed advertising 95 index to advertisers 96 comment Fire the Gods by Don Pilcher

online www.ceramicsmonthly.org current features, expanded features, archive articles, calendar, call for entries and classiﬁ eds 26 new online exclusive feature African Artistry in Clay Women Potters of the Folona Mali by Barbara Frank special listings Gallery Guide Where to see ceramics in the U.S. and abroad Residencies and Fellowships Full listing of professional-development opportunities

22 24

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AS 06 001_017.indd 9 7/13/06 7:00:35 PM from the editor

Our focus topic for this issue is criti- process—sort of a checks-and-balances ap- cism. Now, if you’re like me, you are about proach to looking at our ability to evaluate What Do You Think? to cower defensively into the corner of our work. We are presenting two authors Though every image in CM is subject to your studio at the sound of that word, in our focus features this issue who have critique, we understand that it is sometimes preparing to be told how your work is taken different approaches to this. Simon diffi cult to separate the person from the art, below par, what aesthetic stance you should Levin and Tony Clennell both make func- whether it’s your own or someone else’s. In adopt, and trying to fi gure out how not tional pots, but each has different, deeper, the interest of cultivating objective criticism, to laugh out loud at the hot new art buzz- more personal reasons for why they do this, word. Never fear! We will be talking about what they get out of it, how they evaluate self critique, so you are in control. their own work, and how they arrived at Consider the fact that criticism is understanding these things. It is one thing something we all do on a regular basis. We to assess your own work, and quite another continually evaluate our technique, forms, to articulate that process of discovery so methods, recipes, etc., and adjust in order that others can benefi t. to better our efforts. This is a crucial step So, in reading these articles, I hope you toward improvement and innovation; it’s will take away not only insight into the what keeps this field relevant and viable. If work of these artists, but an understanding done well, it’s what keeps us interested in of how we all can gain a deeper connection our own work. to, and a stronger grasp of, our own work. The intent of this focus, convoluted as it may sound at first, is to think critically this image is presented by an anonymous about criticism in ceramics and what role volunteer who is willing to subject their it does, could or should play. Criticising work to equally anonymous critique. This is criticism—why not? We think critically done in the spirit of inviting straightforward about all other aspects of our creative en- comments from you. E-mail your constructive deavors, so it doesn’t make much sense to critique to [email protected]. stop short of talking about our analytical Sherman Hall, Editor

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Clay and Cloth I’ve been potting on and off since 1973 screens and started to monoprint and shi- Your note in the Letters column [May and had always enjoyed masking and pat- bori (tie- and resist-dying) as well. issue] requesting information about other terning my pots, treating the surfaces like After a while, I felt the call of the clay materials potters use got me up out of my canvas in the round. But after a divorce again, and my approach to clay had been chair to do what I’ve been meaning to do in 1996, I felt a bit burned out, especially expanded by the time spent on surface for a while; send C eramics M onthly some since my ex had been my firing partner. I design on fabric. images of a show I had where I paired turned to textiles, took a screen printing When I was doing inlaid glaze work on dyed/printed textiles with each piece of course, retired from my “real” job, and raku pots, I eventually felt that the scale of pottery. The show featured anagama-fired began making and selling one-of-a-kind the pots was too small, or the method I was work from the kiln at Peter’s Valley, and wearable art. The expanse of space on using could not accomodate smaller details raku work and soda-fired work from my garment-scale cloth felt like a liberation that would fit the work better. The use of own kilns. after all those small pots. I developed large silk-screens in my fiber work showed me a new way to pattern pots, and I developed a way to use silk-screened glaze on round pots (which is another article I’ve been meaning to send to CM). I started experi- menting with seaweed thickener as a resist and used clay as a resist on textiles. I found that there were more similarities than dif- ferences between these two materials. In my studio, fabric printing tables, and my wheels and bisque kiln are on opposite

“Deep Breath,” anagama-ﬁ red stoneware vase with silk cloth dyed to match the ash rivulets on the pot, by Susan Kotulak, Clermont, New York.

sides of the same space. I starting feeling like the finished textiles and the pots were calling out to each other, so I started pair- ing them up. I had just completed an anagama firing and, while many of those pots had only natural ash glaze and flashing, I started using the colors and patterns from the fire to dye a textile response. And then there were pots where I had silk-screened oxides onto the surfaces before the firing. To dye the companion cloth, I used the same screen, but through color shifts and textures, tried to record and respond to how the kiln had colored/ changed those motifs. S usan K otulak, Clermont, NY

Read more Letters online at www.ceramicsmonthly.org/letters. Submit letters by e-mailing [email protected]. Include your full name and address. Editing for clarity or brevity may take place. Letters also can be mailed to Ceramics Monthly, 735 Ceramic Pl., Suite 100, Westerville, OH 43081. Ceramics Monthly August/September 2006 12

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AS 06 001_017.indd 13 7/14/06 12:15:39 PM answers From the CM Technical Staff

Q I n M ay 1 9 9 4 C M printed a C one 8 – 1 0 formula oxide.” The lower the amount of coloring oxides, Adding 5% more ball clay and 5.5% silica will

used by A ndrea F abrega called H oney G old. I ’ ve the easier it is to keep them in glazes under acidic raise the SiO2 and Al2O3 and make the glaze more used this glaz e, substituting strontium carbon- conditions. The other three rules are: Have enough stable (if it’s still well melted). I would suggest a ﬁ ve

ate for the barium carbonate at a 1 :1 ratio. T his silica (SiO2); Have enough alumina(Al2O3); Make part line blend with the original at one end and the y ields a gorgeous glaz e, but unfortunately it is sure the glaze is well melted. At Cone 8 or above, above modiﬁ cation at the other. unstable, breaking dow n w ith acidic foods. I ’ ve the glaze is probably melted enough, and it does R on R oy

tried a ratio of . 7 5 :1 , but the color is poor. I ’ d have enough SiO2 and Al2O3. It just has too much C eramics C onsultant dearly love to use this glaz e again for functional iron and manganese. If you are fi ring in reduction, B righton, O N , C anada dishw are. D o y ou see any possibilities for cor- the iron in this glaze becomes a fl ux, making the recting the problem? — A . G . glaze even less stable than it already is. The most iron that can usually be held in Word of the Month H oney G old solution in a cooling glaze is about 10%. When ( C one 8 – 1 0 ) Calcine an oxide cannot stay in solution, it crystallizes on B arium ( S trontium) ...... 5 . 5 4 % To heat a material, usually a powder or the surface, so it is in direct contact with acidic G erstley B orate ...... 3 . 7 5 other loose material, to a high temperature food. Such a glaze may change color and become without melting, in order to produce certain W hiting ...... 1 5 . 7 1 etched over time. physical or chemical changes. Calcination of G - 2 0 0 F eldspar ...... 3 7 .5 0 The good news is there is nothing toxic in this certain glaze ingredients such as zinc oxide B all C lay ...... 1 0 . 7 1 glaze, so it is not going to add to anyone’s toxic and kaolin is done to make the powders S ilica ( F lint) ...... 2 6 . 7 9 load. Manganese toxicity is related to dust and firing coarser and less fluffy, without changing their 1 0 0 . 0 0 % fumes (not ingestion), so I hope your kiln is properly chemical composition. This avoids excessive A dd: M anganese D ioxide ...... 3 . 5 7 % vented—a good policy under any condition. shrinkage and possible cracking, of wet glazes R ed I ron O xide ...... 9 . 8 2 % My suggestion is to do some line blends to during drying. B entonite ...... 1 . 7 9 % reduce the iron and manganese. Every reduction One of the four rules for making stable glazes, of these materials will result in a more stable glaze. If you have a question about this or any other ceramics topic, ask the CM experts at [email protected]. You also can mail ques- covered in my and John Hesselberth’s book M aster- Adding more alumina and silica may help, but I’m tions to Ceramics Monthly, 735 Ceramic Pl., Suite 100, Westerville, OH ing C one 6 G laz es, is “don’t add too much coloring sure the glaze will not be as acceptable. 43081; or fax to (614) 891-8960.

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Brush Maintenance be kept in a covered jar for re-use. It is also avail- surprising traction. The tube size is varied by I do a lot of onglaze painting with slips, able in bottles at health food stores.— N ausika the volume of air inside. The greenware grips which is hard on good-quality brushes. To R ichardson, D ix on, N M the rubber tube and stays in place well. help preserve my brushes, and to maintain Small tubes are their shape, I soak them in aloe vera gel for Grippy Trim Tube cheap, come in several five minutes at the end of my workday. I then I own a number of bats and chucks for sizes and may be found shape the bristles to the original form of the trimming greenware. Once in a while, there at lawn equipment brush with my fingers (this is good for my is an item that will not work well with any of stores. They are used hands) and allow them to dry. them. Making a chuck from new clay has its for small wagons and The gel will hold the shape until the brushes problems, not to mention the waste. other wheeled devices are ready to be used again. No more fuzzy brush For these items, I use a small tire inner tube. for yardwork. ends! The gel easily rinses off with water and can When used on a dirty bat, the inner tube has When shopping for a tube, try to find one where the valve stem extends at a right angle. When using the tube, point the valve stem down towards the bat, away from the claywork.— R ick Erickson, G reen B ay, V A

Tip of the Month Quick-Change Artist For throwing mugs and small bowls, I use a quick-change bat system. To make one, you need one square plastic bat that attaches to your wheel head with bat pins, PVC molding from the hardware store, PVC cement, and some commercial 6-inch-square terra-cotta tiles. Cut the PVC molding into two 5-inch lengths and two 4¼-inch lengths. Place one of the terra-cotta tiles in the center of the plastic

bat and dry-ﬁt the PVC molding around it, leaving two corners open to make it easy to remove the tiles. Glue down the molding with the cement and let it dry. Remove the tile from the assembly while it dries or you won’t get it out later. Once it’s dry, mount the plastic bat on your bat pins, insert a terra-cotta tile and throw your pot. You can quickly remove the tile and insert a fresh one for your next pot. A terra-cotta tile costs about 30 cents, so it makes a really cheap bat.

Congratulations to Sylvia Shirley of Pittsburg, Kansas. Your subscription has been extended by one year!

Share your ideas with others. Previously unpublished suggestions are welcome. Ceramics Monthly will pay $10 for each one published. Include a drawing or photograph to illustrate your idea and we will add another $10 to the payment. E-mail to [email protected]; mail to Ceramics Monthly, 735 Ceramic Pl., Suite 100, Westerville, OH 43081; or fax to (614) 891-8960 Ceramics Monthly August/September 2006 16

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18 Eva Zeisel Retrospective Exhibition by Lee Rexrode Eri e Art Museum, Eri e, Pennsylvania 20 Jim Robison: Large-scale Works by Judy Adams Rufford Craft Centre, Nottinghamshire, Engl and 22 A Passion for Pottery Clay and Paper, and the Painted Fish G allery, Dunedin, Florida 22 Best of 2006 Ohio Craft Museum, Columbus, Ohio 24 Third Biennale of Ceramics Savona, Italy 24 Life INsight Kentuc ky Museum of Art and Craft, Louisville, Kentuc ky 24 VII International Ceramics Biennial of Manises Museum of Ceramics, Manises, Spain 26 Lisa Nocentini G alleria L’Albero Celeste, Siena, Italy, and La Barbagianna House of Contemporary Art, Florence, Italy 26 New Directions Baltimore Clayworks, Baltimore, Maryland

Top: Four Mondrian pattern vases, platter, teacup/saucer, glazed earthenware, 1929–30, produced for Schramberger Majolika Fabrik, Schramberg, Germany. Middle left: Gobelin 8-pattern juice set and dessert plate, glazed earthenware, 1929–30, produced for Schramberger Majolika Fabrik, Schramberg, Germany. Middle right: Small vase, glazed earthenware, 1926, produced for Kispester Pottery, Budapest, Hungary. Bottom: Vases and jars, to 10¹⁄₂ in. (27 cm) in height, glazed porcelain, 1983, produced by Zsolnay Porcelain Factory, Pecs, Hungary in 1999. All pieces above designed by Eva Zeisel.

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AS 06 018_029.indd 18 7/13/06 7:08:40 PM Eva Zeisel’s “Baby Food Container,” 3 in. (8 cm) in height, glazed earthenware, designed for Red Wing Pottery in 1947; at the Erie Art Museum, Erie, Pennsylvania.

review: Eva Zeisel Retrospective Exhibition by Lee Rexrode

There are a handful of pioneer women in the ceramic arts. An extraordinary amount of lusterware showcases some of Women of this caliber from the U.S. who immediately come the most sophisticated forms and glazes found in the exhibi- to mind are Beatrice Wood, Karen Karnes and Betty Wood- tion. These porcelain works were designed by Zeisel in 1983 man. Hungarian artist Eva Ziesel can also be counted among and produced in 1999 by the Zsolnay Porcelain Factory in these legendary female ceramics artists as a primordial indus- Pecs, Hungary. One piece in particular boasts a spectacular trial designer. Zeisel worked for numerous industrial design blue luster glaze with an expressive rim that metaphorically companies such as Schramberger Majolika Fabrik in Germany, resembles a stop-action photo of a droplet of water landing and the Lomonosov and Dulevo factories in the Soviet Union, Bay splashing upward. Its rim is playfully varied atop an elegant, Ridge Specialty Company in New Jersey, Castleton China simple vase form. Company of Pennsylvania, Hall China Company of Ohio, and Zeisel’s “Baby Food Containers” were designed for Red the Orange Chicken of New York. Wing Pottery in 1947. At first glance they appear to be drinking The exhibition of Zeisel’s work on view through July 2007 cups, but in fact are sophisticated designs that ergonomically at the Erie Art Museum (www.erieartmuseum.org) in Erie, conform to the hand as a small dish. “Rabbit Syrup Pitchers” Pennsylvania, is not to be missed by design enthusiasts. The externalize the anthropomorphic relationship of nature, form exhibition houses more than 200 works, and spans the long and function. and prolific life of Eva Zeisel. Although the majority of the Ceramic mixing bowls have rims that flow from spout to exhibition is ceramics, other works in the show include wood, subtle handles humbly and delicately incorporated into the metal and glass. form. These transcend typical expectations and these designs The exhibition appears to cover Zeisel’s accomplishments sustain a sophistication that sustains critical analysis of today. and career quite well. It is immediately apparent that her These designs are not unlike the stacked bowls in silver pro- work stylistically evolved and reflected the period in which the duced in 1957. One might wonder if artists such as Elsa Rady art was made. Form, function and a sense of whimsy can be (see March 2006 CM) were influenced by this work. found in most of the table and cookware that was created over There is an extensive display of works from 1929–30 from many decades. Overall, Zeisel’s work embraces a minimalist the Schramberger Majolika Fabrik in Schramberg, Germany, Bauhaus sense of design in an accomplished manner. Later (“Futura” and “Mondrian” patterns) that reflect an Art Deco examples embody the streamlined designs found typically style, but the linear patterns are not intentionally as precise as during the 1950s. one would expect from this era. The “Futura” pattern is geo- Two of her very early works made at the Kispester Pottery metric, but the lines appear to be applied by a sponge leaving Company in Budapest are prized examples of the exhibition. a jagged edge which becomes an interesting variation of the The two vases are naïve in nature and presumably reflect her in- Deco style. terest in Hungarian folk art. They were produced in 1926, when Although Zeisel was born in Budapest Hungary in 1906 into Ziesel was a young, nineteen-year-old artist. Obviously, they are an upper-class, artistic family, her life was not without chal- experimental and appear to reflect the artist’s desire to search for lenges and turmoil. Her career began at the early age of nineteen a deeper truth in her work. In addition to her fascination with in a pottery studio she established at her parent’s house in 1926. Hungarian folk art, the pre-Columbian pottery she discovered In 1932, she moved to the Soviet Union and was appointed a in various museums also had an influence on her work. position at the Lomonosov Factory. In 1934, she began work at

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the Dulevo factory in Moscow, the second largest ceramic factory Following its run at the Erie Art Museum, the exhibition will in the world, and in 1935 became the art director of the China be available for travel. To learn more, contact the museum director, and Glass Industry for the entire Soviet Union. However, in 1936, John Vanco at [email protected]. Zeisel was accused of plotting to assassinate Stalin via inviting her moldmaker friend to the Soviet Union. Presumably, he was the in- Jim Robison: Large-Scale Works tended marksman. Zeisel was then imprisoned for sixteen months, by Judy Adams In his solo exhibition, which was on display through June 30 at Rufford Craft Centre (www.ruffordcraftcentre.org.uk) in Notting- hamshire, England, Jim Robison so effectively captured the mood of England’s northern landscape, with its brooding skies, windswept trees and sudden shafts of sunlight, that some may have found it surprising to learn that the ceramist was born and raised in Missouri. Robison does, however, know England well. The exhibition was a celebration of more than forty years in ceramics, around thirty of which were spent living and working in Yorkshire. He moved to the UK in the 1970s after a background that included training as a jet engine mechanic in the US Air Force, majoring in ﬁ ne art in Iowa, and completing postgraduate work in sculpture at Eastern Michigan University. In the 1960s, he was inspired by the work of Peter Voulkos, Daniel Rhodes and Paul Soldner, and was also inﬂ uenced by friendships with David Leach, Michael Cardew and other British potters. Rufford’s exhibition space forms part of Rufford Country Park which includes a ruined twelfth-century abbey, lake and woodland. Robison’s work was housed in the Apsidal Gallery and Orangery, a combination of interior and exterior space, enclosed by high

Eva Zeisel’s candlestick, 8½ in. (22 cm) in height, glazed porcelain, 1983, produced by Zsolnay Porcelain Factory, Pecs, Hungary in 1999.

mostly in solitary confinement. To her surprise, she was released from prison in 1938 assumably due to the influence of her family. She sought refuge in Vienna and then traveled to England where she married Hans Zeisel. Soon afterward, the married couple traveled to the United States, nearly penniless, where she began work for the Bay Ridge Specialty Company in Trenton, New Jersey. Her long and distinguished career includes teaching the first industrial ceramic design course at Pratt Institute in Brooklyn in 1939, designing the formal dinnerware for the Museum of Modern Art in the 1940s, teaching briefly at the Rhode Island School of Design in 1960, to receiving a senior fellowship from the National Endowment for the Arts in 1983. Zeisel was awarded two honorary degrees; one from the Royal College of Art, London, and the other from Parsons New

School in New York City. She has numerous awards and interna- Jim Robison’s “Planter, Bowl Top,” 76 cm (30 in.) in height, slab-built, tional exhibitions throughout her life. Eva Zeisel currently resides high-grog clay with slips and glazes, ﬁ red once to Cone 8, £400 (US$737). in New York City and will be 100 years old later this year. Zeisel once said, “I have rarely designed objects that were meant brick walls. The location gave full scope to view Robison’s work, a to stand alone. My designs have family relationships. They are either selection which ranged from platters and vases, to planters, garden mother and child, siblings or cousins. They might not have identical sculpture, seating and water features. What links all pieces, from lines, but there is always a family relationship.” small extruded vases to the large-scale, multisectioned sculptural

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form, was the underlying conﬁ dence. There is no hesitation in his forms, no fussiness in his decoration or ﬁ nishing touches, just a sure hand and years of experience. This combination allows him to exploit the vast potential of clay in order to show us what inspires him. In this exhibition, that inspiration was clearly landscape, in the raw and rolling horizons of Yorkshire’s hills and craggy cliffs, and in man’s tentative attempts to tame the landscape through enclosure, agriculture and industry. His planters demonstrated a satisfying attention to function too. On some, the bases were formed from two gently curved sheets of clay with torn openings. Above the bases sat a bowl, neatly and care- fully cradled. The pieces, around three feet high, were heavy enough to withstand a strong wind, but pierced to lessen resistance and add extra stability. Positioned outside the Apsidal Gallery and within the walled Orangery, the planters were spilling over with blooms. This was a welcome change from galleries’ usual reverential approach to ceramic display—spotlit pots on white plinths. Within the gallery, it

Katherine Mathisen’s “Red Urn,” 21 in. (53 cm) in height, earthenware, $325; at Clay and Paper and the Painted Fish Gallery, Dunedin, Florida.

tersburg), Gail Snively (Hope Sound), Peter Streit (Tampa), John Tilton (Alachua) and Glen Woods (Palm Harbor). Each potter will be exhibiting three to ﬁve pieces.

Jim Robison’s “Garden Sculpture,” 228 cm (90 in.) in height, slab-built, Best of 2006 high-grog clay with slips and glazes, fi red once to Cone 8, £10,000 Ohio Designer Craftsmen (www.ohiocraft.org) is showcasing its (US$18,425); at the Rufford Craft Centre, Nottinghamshire, England. “Best of 2006” exhibition through August 27 at the Ohio Craft was disappointing to fi nd the smaller scale work trapped uneasily in glass cases, but as the Apsidal is unmanned, and Robison infi nitely collectable, there was probably no alternative. F or an ex panded version of this review along with more images of work in the ex hibition, visit our website www.ceramicsmonthly.org. the author J udy A dams is a freelance writer and ceramics artist based in L incolnshire, England. S he makes stoneware ceramics, selling through galleries in the U K , and has conducted workshops in a school for young people with learning diffi culties.

A Passion for Pottery “A Passion for Pottery III: Let’s Celebrate Florida Potters,” an invitational exhibition featuring the works of ten potters from Florida, will be on display through August 27 at Clay and Paper (www.claypaper.com) and the Painted Fish Gallery (www.paintedﬁshgallery.com) in Dunedin, Florida. Participating potters are Jack Boyle (San Antonio), Ira Burhans Elaine Lamb’s “Revealed,” 10 in. (25 cm) in height, thrown and altered (Palm Harbor), Ken Jensen (St. Augustine), Jason Lachtara (St. porcelain with handbuilt additions, with slip, sgrafﬁto, underglazes and Petersburg), Katherine Mathisen (Ocoee), Charlie Parker (St. Pe- colored glaze; at Ohio Craft Museum, Columbus, Ohio.

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Museum in Columbus, Ohio. The Best of 2006 features 101 works in glass, metal, fiber, clay and mixed media by 71 artists. Juror Gwen Heffner, ceramist, independent curator and information specialist at the Kentucky Artisan Center in Berea, Kentucky, selected the work from nearly 300 entries. “I was pleased to find that established artists within the field are continuing to challenge themselves and their materials, and even more pleased to find several new and emerging talents,” Heffner stated. “The best of these went beyond mastery of materials and technique, entered the realm of personal expression and communication, and created works that evoked emotion and mystery.” Third Biennale of Ceramics The “Third Biennale of Ceramics in Contemporary Art” is being held through September 10 in Savona, Italy. The Biennale is aimed

Russell Biles’ “Carousel of Life: Eight Seconds,” 18 in. (45 cm) in height, coil-built earthenware with underglaze, 2003; at Kentucky Museum of Art and Craft, Louisville, Kentucky.

ally chronicle our rites of passage,” stated Brown. “This exhibition was an opportunity to invite some of those who live life ‘out loud’ with an intimate, personal perspective relevant to our generic every- woman/man experience. . . . Some works are humorous, joyous and celebratory. Others are solitary and introspective. Others are profoundly heavy with critical concerns about today and the future. All contribute to an insightful picture of our shared humanity.” Guido Venturini’s “Little Pooper,” 24 cm (9 in.) in height, slip-cast ceramic; at Third Biennale of Ceramics in Contemporary Art, Savona, Italy. VII International Ceramics Biennial of Manises at developing the social and cultural assets of the Ceramic District The VII International Ceramics Biennial of Manises was held in the Province of Savona (Ligurian Riviera, Italy). recently at the Museum of Ceramics (www.manises-museo.org) in “To avoid dangerous falls, and consequently getting stuck in Manises, Spain. There were 394 works submitted to the competi- the family toilet, I created this comfortable cagheuse (poop house) for children,” said Guido Venturini. “I thought of enhancing the object by using a premium material like ceramic, fully aware of the extreme importance attributed to feces during the pre-verbal age and the years immediately following such a period (in these uncivil times it is customary to do it in a plastic container, that when it is scratched also retains germs and bacteria, with the imaginable consequences for hygiene!).” Life INsight “Life INsight: The Human Experience,” a national juried exhibition of contemporary crafts, is on view at the Kentucky Museum of Art and Craft (www.kentuckyarts.org) in Louisville, Kentucky, through November 4. Curated by Gail M. Brown, the exhibition includes craft objects by nearly 100 artists.

“Life INsight: The Human Experience, brings together works, Marc Verbruggen’s “Mirrors of My Actuality–Object IV,” 44 cm from a national body of artists of all levels of experience, which visu- (17 in.) in total width, porcelain with silk-screen decoration.

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asheville, nc 828.252.6033Ceramics www.highwaterclays.com Monthly August/September st.2006 petersburg, fl 727.553.9344 25

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tion by more than 200 artists. From these, jurors chose 58 works Siena, Italy, and from September 9–October 10 at La Barbagianna from 18 countries. House of Contemporary Art in Florence, Italy. The exhibition Spanish artist Myriam Jiménez Huertas was awarded the Presi- features Nocentini’s figurative sculpture, a shift from her focus on dent de la Generalitat Valenciana award, with a prize of C6000 functional pottery earlier in her career. (US$7650), for her work, “Jardin.” Marc Verbruggen of Belgium “Female birds and fisherwomen, nests and pillories, shoes, scales, was given the Diputació de València award, with an endowment and aquariums all seem to make perfect sense and have a proper place in the unusual world created by Lisa Nocentini,” said art critic Daria Filardo in a recent catalog of Nocentini’s work. “The bewilderment, which strikes us as we approach this imaginative world, is surprisingly offset by a solid affinity to reality—as if we could actually run into similar characters in real life. The earth is evoked through the use of soft, gentle materials and colors, as are the characters, whose very absurdity makes them possible.”

New Directions “New Directions: Baltimore Clayworks Resident Artists” was on view through July 9 at Baltimore Clayworks (www.baltimoreclayworks.org) in Baltimore, Maryland. The exhibition featured new works by the Left: Adrián Guerrero’s “Amar-Awar,” 83 cm (32 in.) in height, stoneware. Clayworks’ thirteen resident artists. Right: Myriam Jiménez Huertas’ “Jardin,” 11 cm (4 in.) in height, stoneware and porcelain engobe; at Museum of Ceramics of Manises, Manises, Spain. “Joining the resident community at Baltimore Clayworks opened the door for me professionally by providing opportunities of C3000 (US$3800), for his piece entitled “Mirrors of My Ac- for teaching, 24-hour access to a studio with gas kilns, a wood-ﬁre tuality–Object IV.” Mexican artist Adrián Guerrero was presented salt kiln, and access to a public gallery in which to sell my work,” with the Ciudad de Vénissieux award of C1800 (US$2300) for said Matt Hyleck. “Being a part of this active residency program his work “Amar-Awar.” Lisa Nocentini New works by Italian ceramist Lisa Nocentini will be on view through August 24 at Galleria L’Albero Celeste (www.alberoceleste.com) in-

Matt Hyleck’s “Horizon Caddy,” 5 in. (13cm) in height, stoneware with crackle Shino glaze, ﬁred to Cone 10 reduction, 2006.

provides me with a stimulating, critical and diverse environment in which to develop my work. The Clayworks community of artists, students, staff and board members are very supportive of my development as a working artist in the Baltimore region.” Lisa Nocentini’s “The Pantry,” 75 cm (30 in.) in height, handbuilt earthenware with stains, ﬁred to 940°C (1724°F), 2004, C2000 (US$2550); at Galleria L’Albero Celeste, “I have found that being surrounded by other creative artists Siena, Italy, and La Barbagianna House of Contemporary Art, Florence, Italy. and especially seeing and touching the diverse and innovative work

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setts. The exhibition included Living National Treasure Isezaki Jun, and Kakurezaki Ryuichi and Jeff Shapiro, who were mentored by Is- ezaki. Also included was Tim Rowan, who apprenticed Kakurezaki, and Isezaki Koichiro, who apprenticed Shapiro. “The exhibition is compelling for a number of reasons,” explained Lucy Lacoste. “It illustrates the crossover of cultural inﬂuences and shows the departure from those same elements. There is a tangent connecting the participants of the exhibition, but the breadth of the work reaches new and uncharted territory well beyond the parameters of tradition.”

Submissions to the Upfront column are welcome. We would be pleased to consider press releases, artists’ statements and images in conjunction with exhibitions or other events of interest for publication. Images should be high-resolution digital on CD, or original (not duplicate) slides or transparencies. Mail to Ceramics Monthly, 735 Ceramic Pl., Suite 100, Westerville, OH 43081. Collette Smith’s gravy boat with tray, 6 in. (15 cm) in height, thrown and altered porcelain, with celadon and ash glaze, ﬁred to Cone 10 reduction, 2006; at Baltimore Clayworks, Baltimore, Maryland.

produced is personally motivating and stimulating,” commented galleries in this issue Collette Smith. “We are here for each other when we need help American Museum of Ceramic Art, Pomona, California with problems or to get an instant critique or opinion. The program www.ceramicmuseum.org inspires all of us to [take more risks] and to grow as artists.” Baltimore Clayworks, Baltimore, Maryland Generational Crossroads www.baltimoreclayworks.org “Generational Crossroads: Bizen Evolution,” an exhibition of five Canton Museum of Art, Canton, Ohio Japanese and American ceramics artists, which traces the aesthetic www.cantonart.org lineage of the Isezaki family in Bizen, Japan, was on view recently Clay and Paper, Dunedin, Florida at Lacoste Gallery (www.lacostegallery.com) in Concord, Massachu- www.claypaper.com Erie Art Museum, Erie, Pennsylvania www.erieartmuseum.org Galleria L’Albero Celeste, Siena, Italy www.alberoceleste.com Kentucky Museum of Art and Craft, Louisville, Kentucky www.kentuckyarts.org La Barbagianna House of Contemporary Art, Florence, Italy Lacoste Gallery, Concord, Massachusetts www.lacostegallery.com Museum of Ceramics, Manises, Spain www.manises-museo.org Ohio Craft Museum, Columbus, Ohio www.ohiocraft.org Painted Fish Gallery, Dunedin, Florida www.paintedfi shgallery.com Pottery Northwest, Seattle, Washington www.potterynorthwest.org Rufford Craft Centre, Nottinghamshire, England www.ruffordcraftcentre.org.uk Terra Incognito Studios & Gallery, Oak Park, Illinois www.terraincognitostudios.com Wiessman Gallery, Chicago, Illinois Isezaki Jun’s “Big Flower Vase,” 22 in. (56 cm) in height, www.wiessmangallery.com handbuilt Bizen clay, wood fired, with natural ash deposits; at Lacoste Gallery, Concord, Massachusetts.

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AS 06 018_029.indd 29 7/13/06 7:20:00 PM G reen W ood byby Tony Tony Clennell

Bowl, 16 in. (41 cm) in diameter, thrown stoneware, with hacksaw decoration, crackle slip and ash celadon glaze, wood ﬁ red, $175, by Tony Clennell.

Sometimes we think that to be new and exciting we have to change everything about ourselves.

Two consecutive events contributed to the ash-glazed Celadon pots the makers? There were certain makers’ pots with which I am very that I am currently making and firing in our wood kiln: First, I at- familiar and could pick out of a police lineup with almost 100% tended the “The Naked Truth: International Wood-Fire Conference” certainty. The work of Linda Christianson comes quickly to mind; in Cedar Rapids, Iowa, in September 2004; then I was invited to the forms are the signature and not necessarily the heavily encrusted participate in “Ron Meyers and The Royal Canadians,” an exhibi- wood-fired surfaces. The surfaces I saw, I loved and lusted for; how- tion that opened in December 2005 at the Signature Gallery in ever, I felt the identity of the maker seemed somewhat secondary Atlanta, Georgia. to the surface created by the fire. In many cases, these surfaces were At the Naked Truth conference, I sat through slides and presenta- created by firing the pots for days, weeks and sometimes multiple tions of wood-fired pots from around the world, and saw surfaces firings of days and weeks. that were out of this world. I did, however, wonder if I mixed up Knowing that my wife and partner Sheila and I were not up to the the slides and showed them out of order, would I be able to identify task of days and days of firing, I wondered “why are we wood firing

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anyway?” There are a number of reasons, beginning with my love of fires and manual labor. Maintaining a wood-fired kiln has always been something I have done that few others around me did. So when wood firing became the “thing to do,” I switched to a train kiln that created heavily encrusted wood-fired pots in a relatively short period of time. But, attending the Naked Truth conference made me realize that the surfaces that I was creating (what I thought to be “nasty” crusty surfaces) looked like fine china compared to the surfaces I saw at the conference. My surfaces were fairly tame comparatively. If I wanted to make pots with that nasty surface, I’d need to be associated with a college or switch gears. I ended up switching gears. My friend Ron Meyers of Athens, Georgia, asked Sheila and me to be in Ron Meyers and The Royal Canadians. The exhibition had a line up of prominent Canadian potters including Bruce Cochrane, Walter Ostrom and Matthias Oster- mann, as well as Meyers. We wanted our work for the show to be wood fired so that it could be altered and enhanced by the power of the flame. I set out making a bunch of very loosely thrown, unglazed bottles and vases, and had two quite-nice wood firings. But when I sat down to really look at the work, I thought about what had occured to me at the Naked Truth conference. How would anyone know these pots were made by me? They could have been made by lots of different wood-fire potters. Where was my signature? My fellow Canadians’ pots would be easily identified and Ron’s animated images would certainly be instantly recognizable. Sheila had not panicked and was quietly working away making work that she was familiar with. She seemed content to make small refinements and was busy paying attention to details. Her work, to those familiar with it, would have her name written all over it. I realized that maybe the unglazed, crusty wood-fired surfaces just weren’t my signature. Although I loved to look at those rich surfaces I saw at the conference, they weren’t what I needed to make. Fearing that I might be the weakest link in the show, I returned to what I considered to be my signature piece: the jug and the clay handle. Handles have always been my signature and I decided to make work that showed them off. To best show off the forms and the handles, I picked a glaze that I have long loved for its ability to pool and run. I had abandoned the use of this glaze long ago because it often gave me trouble in the gas kiln by running too much and sticking to the shelves. I made the forms so that they had what I call a “European foot,” which acted like a saucer to catch

the glaze and ash as it cascaded down the exterior of “Large Beaked Jug,” 20 in. (51 cm) in height, thrown stoneware, with celadon- and the pots. True to my form of testing, I ﬁred the whole ash-glazed sections, wood ﬁ red, $450, by Tony Clennell.

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AS 06 030_041.indd 31 7/13/06 7:22:41 PM 75-cubic-foot wood kiln with this glaze on every piece. The pots were wadded underneath and, with my European foot, I figured Dear Nils, they would be fine. I have written this article for Ceramics Monthly Early in the firing, at about 1800°F (982°C), I added green wood explaining the phenomena of what I experienced to try to hold the kiln back. The kiln slowed down and demonstrated with green wood. At about 1800°F (982°C), I was signs of reduction with the green wood. Later on, the front of the having trouble holding the kiln back. It just kept kiln reached Cone 10 while the back of the kiln was quite cool. I rocketing ahead, and I was trying to establish a reduction atmosphere. As a last resort, I added green wood, which not only slowed the kiln but established strong signs of reduction. After two hours of green wood reduction, I fired as per schedule with dry wood until we hit Cone 10 in the front of the kiln. In order to hold the front of the kiln at Cone 10 while we sidestoked the back, I added green wood. Much to my surprise, the front started to rocket higher and higher. What’s goin’ on? Best, Tony

Dear Tony, In my opinion, the green wood has the added potential energy of having the water breaking down and releasing hydrogen at elevated temperatures above 2200°F (1204°C), which can then theoretically produce more Btus (British thermal units) and a reduction atmosphere as well. Your initial thought of green wood slow- “Square Box,” 6 in. (15 cm) in height, thrown and altered stoneware, crackle slip, ing down the temperature is natural common sense pattern and space detailing in black, wood fi red, $225, by Sheila Clennell. because that would likely happen in a wood stove environment with temperatures below 1800°F. It probably depends on the size of the wood with smaller, split decided that, in order to keep the front from overfiring while I stoked pieces releasing the water vapor more readily than the the back of the kiln, I would add green wood to the firebox again. larger logs. The anecdotal evidence that you have given My original thinking was that this would slow things down while seems to bear out the fact though that green wood everything caught up. Much to my surprise, the front of the kiln skyrocketed to temperatures of Cone 12 flat and more likely Cone can indeed work to increase the temperature. 14 plus. I thought the ash glaze would just run like a river all over Best regards, the shelves, but there was no turning back. We finished off the kiln Nils worrying about shelves warping and bending, and glazes pooling everywhere but on the pot. We are now firing our kiln with green wood at lower tempera- After an anxious two-day wait, we opened the kiln. The pots were tures (Cone 06) to obtain glaze reduction and also at higher tem- more than fine. In my mind, they were beautiful. Although the wood peratures to send heat to the back of the kiln in the form of steam kiln reached temperatures above Cone 14 in spots, it was slower and and to improve reduction. As for the use of ash in a glaze, it can be gentler. The glaze had a depth of surface to which I’m afraid my said that the simpler a material is, the more complex its molecular photographs can’t do justice. The additional ash from the wood kiln makeup. The fact that ash on its own makes a glaze suggests that it could be seen flowing down the windward or flame side of the pot. must be a very complex material. The use of a glaze that contains The cooler side of the pot was a soft satin matt. We unloaded the two or three materials suits my personality. Just altering these three kiln and I wrote in my kiln diary, “Green Wood?????!” Sheila’s pots, materials can make all the difference in the world. Since we work in although not all green, were spot on! Canada’s best-known wine region, we are very closely linked with To find out what was going on with this green wood, I sent the the wine industry and its way of thinking. A wine snob can tell the following message to my friend Nils Lou, author of The A rt of F ir- difference between a Beamsville Bench Chardonnay and a Napa ing, an experienced wood-fire potter and associate professor of art Valley one. The soil, the type of vines, the season and the overall at Linfield College in McMinnville, Oregon. climate of the region combined with the winemaker can produce a

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wine of a distinct nose, taste and quality. I would like to believe that the addition of local recipe materials to the ash celadon glaze makes it as distinctive to the Beamsville area where we live, as the one you might produce in your part of The glaze that I use is from A Potter’s Book by Bernard Leach, first published in the country. May 1940. It is the first book on pottery I ever purchased. The glaze, I believe, People new to ceramics often ask how is credited to Katherine Pleydell-Bouverie and called Bouverie Slip Glaze in the a potter comes up with their own identity Leach book. We call the glaze 221. and their own signature in their work. For 221 Glaze me, the answer with this green-wood work Ash ...... 40 % was the rediscovery of an old love; looking Feldspar ...... 40 at the things you love and the things you Ball clay ...... 20 do well and trying to pull that together into 100 % something that speaks of who you are. If I was The reason I like using this glaze is because of the ease with which I can alter its asked into another show, the first thing I’d do appearance. before throwing and firing two kiln loads of Change the kind of ash you use and it will be different. We have found very wood-fired pots is sit down and answer these subtle, but obvious changes in the glaze using oak ash versus hickory or mixed two questions: Who am I? What kind of hardwood. Additions of softwood ash such as pine or cedar would be great. Living work expresses best who I am? Sometimes we in wine country, we have contemplated using old Chardonnay vine ash for the think that to be new and exciting we have to white wine lovers and Cabarnet Franc vine ash for the red wine lovers. Change change everything about ourselves. the feldspar component; try nepheline syenite, cornwall stone, potash or soda The pot is the man, his virtues and vices feldspar. Change the ball clay; there are a number of different ball clays available are shown therein . . . no disguise is possible. (Kentucky OM 4, Bell Dark, etc.). —Bernard Leach. To add color to this glaze, I’m a bit of a fan of using a local red clay. We use Once again the wisdom of my old refer- a local red clay from a ditch above our pottery. We screen it through a window ence Bernard Leach has penetrated the gray screen first and then put it in the blender for a good mix. We use 5% local clay for matter of this brain of mine. The pots you the celadon. The iron in the body of your clay will color the glaze somewhat, but I make must be honest to who you are and you like the darker greens. I’m a fan of using the ashes from my burned firewood and can’t just change them like you were off to a the local clays for coloring because it is somewhat like the chef using local produce costume party. Unless of course, you see an for his or her cuisine. It can add a local flavor and a distinctiveness. invitational show as a costume party and not a representation of what you’d like to wear each and every day. After looking at photos of our work, one should hopefully see a respect for function. Our work is meant to be used. The pots ought to display strength, since I think a couple making craft in this century ought to possess inner strength. The pots ought to display skill and yet a relaxed, comfortable use of that skill. We have been making pots for several decades. The pots ought to have attention to small details. After all, it is the details that make the difference between a professional potter and an amateur. The pots ought to inform you of what colors we are most likely to be wearing today. If you guessed plain, drab or green you answered the skill-testing question. Finally, the pots ought to show a marriage, two people working together, similar but different. “Beaker with Tongue Piercing,” 6 in. (15 cm) in height, stoneware, with nichrome wire and ash celadon glaze, wood fi red, $125, by Tony Clennell, Beamsville, Ontario, Canada. Students achieving oneness will move ahead to twoness.—Woody Allen

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AS 06 030_041.indd 33 7/13/06 7:23:43 PM Critical Care: The Art of Self Critique by Simon Levin

“Neighborhood,” to 4¹⁄₂ in. (11 cm) in height, porcelains and stonewares, ﬁ red in an anagama, 2005. Levin says, “I was still locked in my assumptions of the houses as individual works until my three-year-old daughter started to arrange them into a city. Changing shapes and surfaces across many houses creates rhythms and even narratives. Grouping the houses allows me to consider the implications and how the results might feed my next series.”

I use one tool everyday, on every pot or sculpture, whether I made make sound judgments about my own work, and with which I can it or not. This pervasive tool is critical analysis, and I use it to assess harness my drive to make better work. the pot I am currently throwing, the work I made yesterday and In order to critique your own work, you have to have an intent the work I made years ago. Like a bite of the fruit from the tree of on which you can judge yourself successful or not. Through working knowledge of good and evil, having an understanding with which with Linda and Michael I came to see clay as a language. A good pot to assess pottery cast me out of the garden of blissfully bad pots into should be like a paragraph exploring an idea; each element of the the struggle of evolving a voice in clay. My work and view of pottery pot should be a sentence that rephrases the idea, adding nuance and has never been the same. depth while reiterating the theme. Like learning a new language, I Before I understood critical analysis, claims that all art is subjec- fi rst began to acquire vocabulary, slowly translating ideas into wet tive were used to counter any critique that was not complimentary. clay. In time, I became more fl uent in the language of clay. Eventually I had critiques such as: “Your work seems to have an Asian aesthetic, I had to decide what to say. and yet you are Jewish, why don’t you make pots with a Jewish Linda achieves that delicate mix of being totally affi rming and aesthetic.” I spent many soul-searching hours struggling with that totally honest. Her critiques center on elements in a pot that are en- comment. In the midst of this foggy thinking I met prophets of the joyable, and discuss how she responds to them. Then she points out pot—Linda Christianson and Michael Simon—who gave me my aspects that are untoward, unconsidered or detract from the articulate fi rst meaty critiques, which sent me back to the wheel energized elements. My fi rst critiques with Linda revealed the enormity of ele- with understanding and direction. They gave me that fi rst bite of ments in a pot. I would offer up a piece for critique and she would the apple and I am forever thankful. Their gift gives me a basis to say, “Oh, I am liking that exterior but I am not convinced about

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the interior.” I would return to the wheel attending to the interior Both Linda and Michael were passionate about taking responsibility as well as the exterior. Again, I would submit the next generation of for all the choices made in a pot. pots for review and Linda would applaud my efforts, but ask me to In deciding what I wanted my pots to say, I chose words that I consider the foot. To the wheel I would return with interior, exterior wanted my pots to embody; like soft, generous, full and kind. I found and foot in mind, and again back to Linda. Each time she would these words more approachable than ideas of revolutionary, anti- add elements to my to-do list, challenging me to consider relation- establishment, earth-shaking social commentary. Then, when I was ships between surface, rim, weight, texture, feel, glaze, color, stance, making a decision about the weight or shape of a lip, I asked, “Is that thickness, clay treatment, etc. a soft lip? Is it generous?” I let my intent guide my decisions, striving Through working with Michael, I came to understand that techni- to become aware of choices I had made without knowing. I worked cal skill had little to do with expression and emotive communication. in series, varying forms and elements, and changing relationships Michael’s critiques called into question assumptions about what between shapes and surfaces; all the while critically assessing the effect makes a pot good. Comments like “thinness is only one virtue” sent of each change and sum of the parts. The pots deemed most successful me exploring choices I made about vessel walls and weight of ware. were the ones that best captured the essence of the words.

Critique offers a process for growth. It is the natural selection mechanism for studio evolution. The plumped out house at right was the ﬁ rst generation. It is almost a foot tall, made from solid clay, and then hollowed and stretched from the interior. I was looking for rugged forms that could take repeated hits from wood and dramatic shifts in the temperature of the stoking aisle. I chose houses because of their timeless, universal qualities and the rich metaphors created by windows. I regret the static and uninteresting edges of this house. The window is skimpy and overworked. These houses needed so much handling that the process removed the gesture and energy I was seeking to create. The second generation of houses became much smaller (under 4 in.), and though the edges remained sharp, the planes and the lines of the houses became wandering and gestural. I was still locked in my assumptions of the houses as individual works until my 3-year-old daughter started to arrange them into a city. Her honest interaction with the pieces threw the work in a modular direction where I create relationships between houses. I can create neigh- borhoods such as the one on page 34. Changing shapes and surfaces across many houses creates rhythms and even narratives. I often ponder which house is the Boo Radley house of the neighborhood. G rouping the houses allows me to consider the implications and how the “Dream House Volume 3,” 12 in. (30 cm) in height, wire cut and hollowed stoneware, results might feed my next series. ﬁ red in an anagama with sand, 2004.

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AS 06 030_041.indd 35 7/13/06 7:24:25 PM The Suck Factor

In a hotel room one night preparing to give a slide lecture, I decided to graph my pottery career. On fi rst glance, it looks as though my career has been one of steady decline, but let me explain. I needed a unit of measurement to plot. I thought back to my early pots—the ones that were trying to be novel for the sake of original- ity—and how much those pots sucked. It seemed natural to graph the amount my pots have sucked over time. Hence, the birth of the Suck Factor Unit or SFU. The next decision was to set the parameters of the suck factor, how much, or how little, can a pot actually suck? It occurred to me that a pot can suck all the way around; therefore the maximum is 360° . The graph then charts milestones where the suck factor changes course. Starting around 350°, the pots started to become better in 1991 with my introduction to wood fi ring. This is not to say that wood fi ring makes pots suck less, but my being connected to the process of making helped to reduce the SFU in my pots. Looking at the chart, you can see the SFU plummet when Linda Christianson and Michael Simon became my teachers. My understanding of clay as a form of communication, my own critical analysis and attention more. This continued for the year after grad school when I didn’t to detail are all due to their teachings. You can see a rise in suck have access to a kiln. Since building my own kilns in 1999 and trust- factor during graduate school. Trying new things, the infl uences of ing my graduate training and self assessments, the pots have be- many voices and outside pressures all served to make my pots suck come more my own and the SFU has decreased to around 80°.

I am a sucker for a good wood-fi red surface. I fell in love with the ash and fl ash of the process. The drama of runny ash is seductive. The more I live with wood-fi red pots though, it is the synergy created between form, surface and effect that really holds my attention. I am forced to ask myself if a bottle like the one at the far left becomes a generic canvas to showcase fi ring effects. The subtlety of this bottle form seems antithetical to the activity of the surface. The combination of surface and form of the bottle on the right is more successful. The bottle is soft and lush. It tells the tale of the fi ring but in a much more coy way. The surface is velvety and soft, and the curves of the fl ame path are more akin to the lines of the form. This bottle is a bit static; the walls lack some of the movement and life that enriches a good pot.

Left: “Busy Bottle,” 14 in. (36 cm) in height, thrown porcelain, ﬁ red in an anagama, 2006. Right: “Helmar Bottle,” 13 in. (33 cm) in height, thrown porcelain, with dried slip, ﬁ red in a noborigama, 2005.

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AS 06 030_041.indd 36 7/13/06 7:25:17 PM focus self critique

Today I still work in the same manner, though, like a poet chang- so honest in my assessments of my own work. In an effort to become ing a single word, the permutations seem less extreme and more about more honest, I try to demystify myself and my processes. nuance. I seek to create relationships in my pottery that reiterate not Critical analysis makes us better artists because it focuses our only linguistic ideas, but also formal elements. I love when a handle attention on aspects of the work we might otherwise gloss over. echoes the width of a spout or trim lines have a similar width or feel While critique is a part of an artistic educational experience, it is as throwing lines. I despair when I miss opportunities to emphasize lacking from our magazines and conferences. Critical analysis is not the best parts. Often critical analysis serves as a reminder of what to something we clay artists practice in public. The NCECA (National do better next time. Council on Education for the Ceramic Arts) conference, though full Occasionally I become enamored with some aspect of clay and it of great shows and interesting panels, is usually one big congratula- blinds me to the actual effect of the whole piece. Like a good gim- tory hug. Afﬁ rmation, though addictive, is not instructive. I ache for mick, it enthralls my eye, obfuscating the lack of substance. I strive a good critique now and again. It occurred to me that the best way for objectivity in my critiques, but like everyone I often fail. There to initiate a critical dialog would be to critique my own work here. are small truths I discover when I am working on the wheel. Little I do it daily, why not publicly? things are revealed in the process, like the telling rip of short clay When things are at their best in the studio, I wake in the morning when you trim a foot, or the burnished quality of clay when it is hungry to get back to the wheel. I am motivated when the conversa- trimmed past leather hard. I ﬁ nd clay to be a very honest medium, tion with the work is full of questions and direction. Critical analysis unforgiving in its sensitivity as a recorder of information. I hope to be provides feedback to the questions posed by making work. A good

I love how fat and full this pitcher is. It swells so generously with lift and heft from a small base. It has an almost comical austerity. I also enj oy the puckered liplike quality of the spout; it reinforces the humor of this swollen birdlike form. Looking at the detail below, I really respond to the round- ness of the handle. I like the relationships created between the width of the handle and the width of the spout. The curve of the handle connections beautifully mimic the opening of the pitcher. But the side of the handle creates an edge that is unlike anything else on the pot. It is a clean sharp line that distracts from all the other things this pitcher communicates.

“Blowﬁ sh Pitcher,” 10 in. (25 cm) in height, thrown and plumped stoneware, ﬁ red in an anagama with sand, 2004.

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AS 06 030_041.indd 37 7/13/06 7:26:01 PM critique leaves you with a next step.

After graduate school, I began to rely I have been making these large on my own assessments of my work, thrown j ars for several years now and I discovered a perpetuating dialog and they have evolved nicely. I am of creation and critique. drawn to how the swelling surface As potters, we are really good at is accented by lines that broaden and fl atten toward the widest affirming each other, concentrating point and narrow at the neck and on strong elements in the work and foot. I use a dry slip technique nurturing almost to the point of mol- to soften the effects of shiny ash lycoddling. How honest are we when we and I love the misty movements of don’t offer our insights both laudatory fl ame path across the side of this j ar. The suggestion of symmetry in and critical? I have had the honor to the form gives the vessel breath have been taught by some very insightful and life, and makes me want to teachers. But the ones who have made take the j ourney around it. The the greatest impact on my life and my weak point for me is the lip. The work were those who were courageous edge of the lip is a nice echo of enough to be honest with me and to the wandering edge on the foot, but the point at which the texture teach me to be honest with myself. I ends is muddy and unclear. I need challenge the writers, thinkers, speakers to fi nd a clear way to think about and publishers in our community to the rims of these j ars, but because “Combed Jar,” 14 in. (36 cm) in height, create public space for criticism, ignor- they are an anachronistic form I thrown and plumped stoneware, with dry slip, ing the fragility of egos and trusting the struggle to j ustify direction. fi red in an anagama, 2006, $350. benefi ts of honest appraisal.

“Swiss Mug,” 3¹⁄₂ in. (9 cm) in height, thrown porcelain, ﬁ red in an anagama, 2005.

I am disappointed with the edge of the lip of the cup above. The handle is full, the belly swells nicely but the lip is so sharp. The handle also fails to continue the line created by the belly. The mug to the right offers a much better relationship between handle and lip treatments. The wad mark on the side is a nice echo of the negative space of the handle. The soft ﬂ ashing is like the wandering lines of lip and foot, yet the bottom half of the handle “Lush Mug,” 3¹⁄₂ in. (9 cm) in height, thrown and altered porcelain, feels thin and rigid. Imagine if it were more plump. ﬁ red in an anagama, 2005, by Simon Levin, Gresham, Wisconsin.

Ceramics Monthly August/September 2006 38

AS 06 030_041.indd 38 7/13/06 7:26:40 PM A Cross-Disciplinary Collaboration The Archie Bray and Jentel Foundation Residency

The Archie Bray Foundation in Helena, Montana, and the Jentel time at the Bray to experience this environment, which simultane- Foundation in Banner, Wyoming, teamed up in recent years to ously encourages and challenges the individual. support the development of more informed and thoughtful criti- The few weeks at the Bray are followed by time at Jentel to focus, cal writing about the ceramic arts. The resulting shared residency to develop material and to produce essays about the Bray fellowship program (now in its fourth year) does just that. artists. The essays are published in a catalog that accompanies the Bray resident director Josh DeWeese believes that the Archie Bray’s artists’ solo exhibitions at the close of their residencies. environment of free exchange and experimentation is ideal for an Melissa Post, curator at the Mint Museum of Craft + Design in interested writer to explore, inquire and learn about the ceramic arts, Charlotte, North Carolina, participated in the program this past and gain a more complete knowledge of materials and the intuitive spring. The following are excerpts from the essays she produced science involved in creation. The annually awarded residency includes during her residency.

Deborah Schwartzkopf: Blossoming Geometries

Deborah Schwartzkopf has created a unique ceramic vocabulary of blossoming geometries. Exuding presence and personality, her sophisticated, sculpturally utile vessels initiate a dialog between the interior and the exterior, the object and the user. Familial relationships, education and the environment frame her distinctly Constructivist aesthetic. The daughter of two talented craftspeople, she views patterns as both a welcome point of departure and a source of technical constraint. This interest was augmented during her undergraduate studies at the University of Alaska Anchorage. Graduate studies at Penn State perpetuated her desire to reﬁ ne her ideas about form and surface, concepts and color, conﬁ rming her career aspirations. From the cambered shadows of the low-lying fences lining her

pathway home, to Frank Gehry’s organic architectural geom- “Oil Pourer,” 6 in. (15 cm) in height, thrown and handbuilt porcelain, salt fi red etries, a broad array of infl uences converged in Schwartzkopf’s to Cone 10 in oxidation. Schwartzkopf, the current Lilian Fellowship recipient, work and became the foundation for her signature style of said, “I found talking with Melissa Post to be comfortable and interesting. elegant yet vigorous forms. She has seen the world from a side I have never known and her knowledge is apparent in the questions she asks. Explaining how I work in depth to a The subtlety of the oxidation salt-fi red pastel surfaces stranger was intimidating at fi rst, but her warmness and knowledgeable disguises the complexity of Schwartzkopf’s constructions, a curiosity turned it into a true learning experience. Our discussions challenged combination of wheel thrown, handbuilt and altered parts. me to articulate sources and inspirations for my pottery. I realized again the Layering underglazes and glazes, she fi res her work for a full support I have received from family, mentors and teachers.” day to Cone 10 in an oxidation/salt atmosphere. Schwartzkopf is driven by her diverse interests in botany, From tightly rendered mugs to gracefully attenuated vases, her science, philosophy and literature, as well as a fi erce work ethic work exudes a synthesis of infl uences, whose essence she has framed by a clear sense of purpose, priorities, and expectations. distilled into her own. Deborah Schwartzkopf articulates her Taut arcs and counter arcs defi ne Schwartzkopf’s three-division of functional pottery, nurturing and developing a ceramic mensional canvases, whose dapples and swathes of color elicit language defi ned by its organic geometry, and enriching the emotions ranging from the contemplative to the dramatic. tradition for the future.

Ceramics Monthly August/September 2006 39

AS 06 030_041.indd 39 7/13/06 7:27:31 PM Melissa Mencini: Private Parts

Prep space, wheel, laptop and shelves—moveable and immov- bowls, which morphed into “tools for measuring large circles” able. A typical studio with an atypical twist. For, although and cultivating interests in medicine, tools and assemblage, Melissa Mencini’s library occupies only one shelf of her studio, Mencini transitioned from functional ceramics to implicitly its contents—including titles such as A ntique M edical Instru- functional ceramic sculpture. ments, P hotographic A tlas of C ivil W ar Injuries, P rofessional Formal beauty and an enigmatic presence characterize G uide to D iseases and D isorders, and A nomalies and C uriosities her work. From crude contraptions to highly sophisticated of M edicine— speak volumes. From these source materials, implements, Mencini immerses herself in a world of intensive Mencini derives inspiration, cultivating her uncanny interests independent inquiry. and translating them into uncommonly beautiful, exquisitely Her fascination lies in discovering the simple solutions rendered sculptural objects, which straddle the line between achieved with seemingly primitive instruments. Formaldehyde literal and conceptual. disinfectors, toothkeys and scarifi cators are among Mencini’s Rooted in functionalism, Mencini’s relationship with clay repertoire of antique medical instruments, which reveal as began at Ohio’s Bowling Green State University. Pursuing her much about her own interest in their successful design and M.F.A. at Southern Illinois University at Carbondale, there- utility, as they do about her empathy towards others, their fear after, Mencini developed her sculpting skills, broadened her of doctors, of being naked and vulnerable. Viewer becomes knowledge of art history and her teaching abilities. Abstracting voyeur when examining her dilators and retractors. Navigators of hidden canals and conduits for viewing secret chambers, they offer the promise of being privy to parts unseen. Scaling her immense photorealistic forms from actual tools, Mencini constructs her work by throwing most of the individual segments, coiling, altering, trimming and fi lling their joints with coffee- or tea-stained pig intestines. Mixing her own colorants and infusing her glazes with metallic pigments, she renders surfaces sterile, shiny, rusting or patinated. Her moveable parts grind like metal against metal. Transforming ceramic into metal—visually, tac- tually and aurally—Mencini is an alchemist. Abnormalities, oddities and curiosities, from hermaphrodites and conjoined twins to shape shifters, science fi ction and sideshow happen- ings are among Mencini’s keen interests. Her work illustrates her intense fascination with the idea of the Doppelganger or double, and her successful translation of concepts, from human to object, from literal to conceptual. Mencini intends for her work “to elicit a physical reaction, whether it is cringing, questioning “One of Four Humors: Scarifi cator,” 10¹⁄₂ inches (27 cm) in height, earthenware. “Working with or smiling.” With her Precisionist sculptural Melissa Post was an enlightening experience,” said current Lincoln Fellowship recipient Melissa renderings, Mencini honors the history of the Mencini. “There was an immediate connection between us. She helped me make realizations medical object, medicine and medical advances, about my work that I had not yet considered. There was a depth to our discussions that helped me confront concepts within my work, that as an artist, is sometimes diffi cult to look at and infusing us with a profound sense of curiosity contemplate further.” and wonderment.

Ceramics Monthly August/September 2006 40

AS 06 030_041.indd 40 7/13/06 7:28:05 PM Koi Neng Liew: Character Development

Born in 1975, the Year of the Rabbit, Koi Neng Liew was raised in Singapore in a close-knit, traditional Chinese family. Family, schooling and the army framed his life experiences, which alternated between imposed periods in authoritarian environments to self-chosen periods in progressive environments. Assuming the role of observer, Liew shaped a stable world of his own. During his youth, Liew pursued arts, crafts and drawing, escaping an otherwise austere environment by immersing himself in the world of comic books, Japanese animation, Hong Kong kung fu and the martial arts. The discovery of a muscle man drawing on a school desk triggered his interest in the idea of humans as characters. Liew served his mandatory two and a half years in the army, and rather than being held captive by army, he captured his fellow soldiers through sketches and drawings. They became his friends and source material. Returning to school, Liew resumed his lines of aesthetic inquiry, exploring the ideas of segmentation and fragmenta- tion, developing his functional work and installation skills, and refi ning his ideas. The underpinnings of his academic drawings resurfaced in his successive studies at New York State College of Ceramics at Alfred University and the University of Nebraska–Lincoln. Unlike the breathy responses evoked by the flawless marble surfaces, harmonious proportions and impassive expressions of his classical precedents, Liew’s rugged, dramatically stylized beings provoke visceral reactions. Seeking disorder “Shi Se—Rabbit Girl with Umbrella,” earthenware, 5 feet (1.5 m) in height, 2004. “I met with Melissa Post for a week when she was visiting at the Archie and a looser style, Liew says he leaves the “imperfections on Bray Foundation. I really enjoyed our interaction. Melissa was approachable the surface,” illustrating that they “have nothing to hide.” and we had comfortable, intelligent conversations. She spent a good deal Coarsely textured skin, massive hands, cinched waists, rip- of time with us, and I respected her aesthetic and her keen sense of quality. pling muscles, and considerable appendages characterize his Her intuitive eye and intelligent questions created a dialog that surpassed the usual surface of work for a more in-depth discussion. It was a pleasure to have Mannerist aesthetic. her visit and I look forward to talking with her again,” states Koi Neng Liew, Monstrous yet vulnerable, crude yet tender, Liew’s for- current Taunt Fellowship recipient. midable fi gures challenge our judgmental tendencies. From meticulously detailed visages to the more loosely rendered compositions. Perhaps their metamorphoses are metaphors for root structures that ground them, the fl eeing “Grasshopper his own metamorphosis? Man,” surreptitious “Mantis,” and predatory “Fire Ant Lady” Liew’s oeuvre celebrates the triumph of the human spirit over are among the current cast of characters. Hewn by shaping, adversity. His powerful personae are mediums through which slicing, hollowing and drying the segments to leather hard, he processes his experiences and by which he has unwittingly the work is then fused, fi red and sculpted into one piece. emboldened himself. Liew is taking risks, and in so doing, Working on several fi gures simultaneously, Liew creates his redefi ning our contemporary aesthetic sensibilities.

The full tex t of these essays can be found in a catalog published in conjunction with the “ Taunt, L ilian, and L incoln F ellowship Ex hibition,” at the A rchie B ray F oundation for the C eramic A rts, H elena, M ontana, A ugust 1 0 – 2 5 . F or information, see www.archiebray.org.

Ceramics Monthly August/September 2006 41

AS 06 030_041.indd 41 7/13/06 7:28:42 PM Marcus O’Mahony by Michael Moore

Vase, 20 cm (8 in.) in height, thrown and altered stoneware, with crackle and orange tan slips, salt ﬁ red on its side on shells to 1300˚C (2372˚F), 2005, E110 (US$139).

Ceramics Monthly August/September 2006 42

AS 06 042_055.indd 42 7/13/06 7:30:33 PM Marcus O’Mahony was once described as Ireland’s best- kept secret. Jim Dennison, head of design at the Limerick School of Art and Design (LSAD) in Ireland made these comments at the opening of O’Mahony’s pottery in County Waterford in 1998. Born in London in 1952, O’Mahony studied Ceramics at LSAD during the 1970s, a period for Irish ceramics described by Michael Robinson, retired curator of the Ulster Museum in Belfast, as “The Age of the Pot.” Throughout his career O’Mahony has not sought to mass produce pottery. Working on the wheel, bottles, jars, bowls and teapots are produced for wood and salt-glaze firings. Often raw fired, local ashes coat these pots, and Coillte, the Irish Forestry Board, supplies fuel in the form of kiln-dried local oak. Indeed, much of O’Mahony’s practice has a distinct feel of the elemental, the local and indigenous. Even the grog brings its own unique and local character, supplied by a friend from the riverbanks of County Wick- low. The Wicklow granite adds a coarse and blistering quality to the surface of O’Mahony pots. Recently, he has been considering the work of Canadian Les Manning and, like Manning, has begun to blend his stoneware and porcelain within the one form. With that sense of closeness to nature, brought by the use of local and idiosyncratic materials, combined with the Jeckyll-and-Hyde practice of switching from one material—fine porcelain—to a distinctly and characteristically different one—coarsely grogged stoneware—one must consider the location of O’Mahony’s studio. Immediately to the north are the rolling foothills of the Knockmealdown Mountains. Indeed the most direct route from Dublin to the studio is over the Knockmealdown Mountains pass known as the Vee with its remote and stunning landscape. Immediately to the south lies the Atlantic Ocean, not ten miles away. He found the studio by traveling the lanes of County Waterford, spied a derelict house and barn, found the nearest house and asked if the site was for sale. Within two months, Glencairn Pottery was born. The barn became the studio and the house was renovated for living quarters. More recently, O’Mahony built a second house and now

Above right: Lidded jar, 15 cm (6 in.) in height, thrown and faceted stoneware, with tan slip and temmoku liner glaze, wood and salt ﬁ red to 1300˚C (2372˚F), 2005, E80 (US$101).

Right: Teapot, 20 cm (8 in.) in height, thrown and faceted stoneware, with Orange/tan Slip and Shino liner glaze, and temmoku glaze, which was bleached when salt ﬁ red to 1300˚C (2372˚F), 2005, E130 (US$164).

Ceramics Monthly August/September 2006 43

AS 06 042_055.indd 43 7/13/06 7:31:46 PM Squared dish, 15 cm (6 in.) square, thrown and cut stoneware, with sgrafﬁ to and crackle slip, with black stain detail, salt ﬁ red to 1300˚C (2372˚F), 2005, E50, (US$63).

runs wood-fire and salt-glaze courses during the summers where influence on his work. Architecture is also an influence and referenc- participants have full accommodation onsite. ing the magnificent Gothic Cathedral of Bourges, he says, “Form is So what does O’Mahony make? “A lot of the things I make are huge, paramount, in terms of inspiration.” humble objects,” he explains. True, there are obvious associations The range of objects O’Mahony makes is diverse, not only in of function, as these pots pour perfectly, but O’Mahony cites polar material but also in scale and form. From small cups, teabowls, influences of both the British Leach tradition and the Otis group in teapots, platters and flasks, to large collared bottles. Here again is a the United States. Marveling at the can-do attitude of the Americans, very positive contradiction, as these large bottles measuring up to 40 such as Voulkos, Soldner and Shapiro, perhaps it is no surprise then centimeters (16 inches) in height, when lifted, feel exceptionally light. that he can switch so readily from one clay so fine, to another so It seems O’Mahony has the ability to truly challenge the plasticity of brutal, during a day in the studio. his clays to the limit in what appears to be effortlessly calm throwing. Faithfully traveling at least once a year to charge his creative Indeed he can spend as much time standing on top of his potter’s juices, O’Mahony cites contemporary and historical pots as a major wheel as he does sitting at it, limited only by his own physiology in

Ceramics Monthly August/September 2006 44

AS 06 042_055.indd 44 7/13/06 7:32:16 PM terms of the scale of his wheel-based work. Standing like this also creative decisions. Certain pots will go in certain places, depending allows him to see the form as it evolves on the wheel. on scale and the flow of the flame. O’Mahony is equally passionate and physical about one small With local fuel and Wicklow granite all imposing their person- bowl or one large vessel, again reflecting the polarity one finds alities, perhaps O’Mahony is simply the conduit through which both in his choice of materials and the location of his studio. These all these individual qualities flow and materialize into functional objects spend time on and off the wheel before they are set aside and distinctive objects. When one meets Marcus O’Mahony it is for decoration and firing. Therefore, these pieces evolve in batches, impossible not to remark on his passion for ceramics and his talent with very little turning involved. Many of O’Mahony’s pots receive as a potter. Ireland’s best kept secret? Perhaps. He certainly is one of no turning at all and are completely finished after one sitting at the Ireland’s most innovative makers. wheel. This may be the key to what instills his pots with an individual To see more works by M arcus O ’M ahony, and to fi nd out more distinction, perhaps like the uniqueness of handwriting. The fluid about the workshops he offers at G lencairn P ottery in L ismore, C ounty calligraphic quality of O’Mahony’s throwing is thoroughly connected W aterford, Ireland, see www.marcusomahony.com. to his decorative methods. A simple crackle slip adorns the interior of his open vessels, with only a random and minimal speckle of one or two dots of black stain on the exterior. Pots are dampened, dipped with a smooth slip and then sometimes sprinkled with local ash. All of these decisions are made with the immediacy and confidence of a mature potter revelling in the play of abstraction and function. Everything about O’Mahony’s practice exudes deceptively simple spontaneous fluidity that only comes from years of expertise. It all appears so effortless until one of O’Mahony’s students tries to do the same thing. The simple flick of a brush loaded with slip or a tiny speckle of stain reveals a minimalist level of control and that rare understanding of knowing when to stop. Perhaps from an impression that O’Mahony is constantly thinking ahead, his decoration comes from years of experience of knowing what happens inside kilns. For him, the kiln is not where the creative process ends. “I love how the creative act continues into the firing,” he explains. Using the firewall as a location for some pots, stacking both his gas- and wood-fired kiln is entwined in his creative thinking. As all potters come to realize, O’Mahony believes when to

reduce, when to introduce salt and Vase, 25 cm (10 in.) in height, thrown and altered stoneware, with cut feet, applied hakeme and brown slip, wood ﬁ red when to cool his kiln are all key to 1300˚C (2372˚F), 2005, E120 (US$152), by Marcus O’Mahony, Lismore, County Waterford, Ireland.

Ceramics Monthly August/September 2006 45

AS 06 042_055.indd 45 7/13/06 7:33:06 PM Struggling To Understand (And the Rewards of Uncertainty)

“Summer Song #13,” 10 in. (25 cm) in height, white earthenware, ﬁ red to Cone 04, by Lucy Breslin, South Portland, Maine.

Whenever I’m asked to speak about my work, I think of a tag from Many artists speak to the cultivation of seeing. Marguerite a teabag taped to my refrigerator, “When your work speaks for itself, Wildenhain, a potter and Bauhaus expatriate said, “To see is very don’t interrupt.” Words of wisdom that are easy to escape into. Yet difficult; to see not like a camera, but with a feeling heart, with a over the years, artists have taught me much through speaking about bright brain, with more than average sensitivities, what everybody else their work, so I’m forced to acknowledge merit in the process. And could see, if they knew how to look.” How does one see a leaf with because I’m constantly asking my students “So, what’s this about?”, one’s heart and one’s brain? Perhaps to see it with one’s heart means it’s important to turn the question on myself every once in a while. to experience its connectedness with all life and to see it with one’s Although I’ve been making work of a similar manner for years, the brain means to understand the life processes which birthed it. answer to that question remains somewhat elusive. I’d much rather Shoji Hamada, the deified Japanese potter, talked about how he be asked technical questions. The answers are so direct and uncom- was criticized for painting the same broken sugar cane on thousands plicated. I use a white earthenware, start on the wheel and end up of pots. “It’s not the same,” he explained, “my brush is connected handbuilding, fire to Cone 04, and so on. While the making of the to my arm and my arm is connected to my heart. Therefore it can work presents definite challenges, the telling of the processes can be never be the same.” broken down into small chunks of information easy to share. Another artist, writer Flannery O’Connor, said, “. . . there’s a But the bigger questions don’t capsulate so easily; “Why am I certain grain of stupidity that the writer of fiction can hardly do making this?” seems to elicit a more atmospheric answer than does without, and that is the quality of having to stare, of not getting “How am I making this?” On the most simplistic level, I would ad- the point at once. The longer you look at one object, the more of dress the fascination with seeing, the mystery of transformation, the the world you see in it . . . .” One can easily substitute visual artist elusiveness of beauty and the pleasures of making. for writer of fiction. But seeing is just the beginning. Next comes

Ceramics Monthly August/September 2006 46

AS 06 042_055.indd 46 7/13/06 7:34:11 PM the mystery of transformation. In ceramics, this mystery occurs on several levels. Moist, amorphous, unarticulated clay when shaped and ﬁred becomes hardened, somewhat brittle and permanently deﬁned. Pulverized rocks and minerals mixed with water, when trusted to the

flame or radiance of heat, are made molten only to reemerge shining, MARK JOHNSON PHOTOS: chromatic and solid again. But the more magical transformation is that which takes place in all art: when the artist attempts to give form to mysteries half-glimpsed, incompletely understood and yet so veritably experienced. As for my own work, the elusiveness of beauty teases and coaxes me. Throughout time, beauty and the essence of beauty have challenged philosophers, aestheticians, artists and scientists, among others. At times, beauty has been equated with, but not limited to, truth, goodness, harmony, the sublime, the tubercular, the scintillating, the flawless, the embellished and even the grotesque. Once, one of my colleagues, while researching in Africa, asked a chief she knew to choose which he thought was the most beautiful mask from those present. Slowly he turned each one over and studied them all for a while. Then he pointed to one. She was puzzled and asked him how he had decided. He then explained that the one most worn was the one most beautiful. For me, beauty is about the fullness of the moment. It occurs rarely and unexpectedly. When it does occur every part of me is alive and overflowing, desiring nothing, complete with wonder. Sometimes these moments seem to disappear before they have arrived. Other times these moments assume a more tidal nature, rising and ebbing, washing away everything but saturating joy held in brief interlude. This beauty has no goal that I am aware of and cannot be acted upon or willed. In the past, it has sometimes presented itself while walking the beach or cross-country skiing, while holding someone dear, while reading a poem, and a few times, but only a few times, on removing a piece from the kiln. Perhaps because I have not yet been successful in resuscitating, let alone bringing about, these moments of beauty in my life, I try to give them form in my work. If the work can at least hint at this fullness, this wonder, then I am pleased. As for the pleasure of making, I borrow a phrase from the much- quoted Ellen Dissanayake. She talks about the sheer enjoyment of making. She eschews the word “art” and chooses instead to address how humans, since earliest man, have been attracted to the extraordinary as a dimension of experience, and how humans have been moved to engage their deepest feelings and concerns when making objects that function in both daily activities and celebratory rituals. As a cultural anthropologist, and a Darwinian, she argues that, “Pleasure in handling is hardwired into human nature for good reason; it predisposes us to be tool users and makers.” She believes that our human ancestors proclivity toward making utilitarian objects special helped some survive better than others. She also believes that the joy which goes into “making special,” as she calls it, has an indisputable effect on the world. All this said, I might never understand my work or why I make it. The answer has been playing with me now for twenty years. And while all questions beg answers, there’s also a sense of comfort in knowing that not everything can be explained. In fact, not knowing isn’t really so bad, as long as the quest to understand continues. “Coral Vase,” 24 in. (61 cm) in height, white earthenware, fi red to Cone 04.

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AS 06 042_055.indd 47 7/13/06 7:34:28 PM Peter Callas Sculpture at the Edge by Dorothy Joiner

In 1883, Claude Monet moved to Giverny, southwest of Paris, near the Epte River, a tributary of the Seine. There he created a plein-air (open-air) studio where he painted for more than four decades until his death in 1926. He hung Japanese prints wall to wall in his house, planted color-saturated flowers in parallel rows of the Clos Normand (Cottage Garden), fashioned an Oriental water garden lined with weeping willows, and had gardeners rake the water lilies into patterns on his pond. He thereby fashioned an ambience in which the Japanese aesthetic and a profound love of nature were interwoven. Drawn from these sources, Monet’s later work at Giverny is now seen as a forerunner of twentieth-century Abstract Expressionism. Sharing the French painter’s predilection for the Asian sensibility and his passion for the natural world, American ceramist Peter Callas offers an intriguing analogue to Monet. Callas has lived for the past twenty years on three acres in New Jersey in an 1812 Ger- man Moravian farmhouse on the Pequest River. His home is in the midst of a radiant, blossom-filled garden bathed with a dappled light. Wildflowers line the river running through his property, inviting the occasional visit of a blue heron. A botanical arboretum with an Asian flair boasts rare species, chosen for their varied hues. Nearby, a 50-acre orchard supplies peaches and apples. These Edenesque surroundings, together with extensive travel and study both at home and abroad—Europe, Australia, South America, Asia and particu- larly Japan—have informed Callas’ work for the past thirty years. Combining these influences with a very American dynamism, he is now making large-scale sculptures that reflect the past at the same time that they plunge ahead into an energetic expressionism. “Where there is no passion,” he asserts, “there is no backbone.” For Callas, life in his own exquisite setting is exhilarating. A self- proclaimed “horticulture bug,” he tends flower beds boasting over 200 varieties, spies on root systems, and notes colors and textures, the strengths of tree trunks, and the marvelous vitality of swelling buds. Callas’ empathy with nature parallels that of the Japanese, whose animistic Shinto traditions hold that spirits inhabit the natural world—mountains, trees, rocks—lending these a numinous quality. This reverence for natural phenomena fosters in turn a heightened awareness of and respect for color, texture, design and material. Nature for the Asian is less a juxtaposition of objects than a hal- lowed field of energies. Callas’ impassioned identification with nature, which simultaneously destroys and regenerates, leads him, like his Japanese “Zao,” 36 in. (91 cm) in height, slab-built stoneware, counterparts, to eschew Western “perfection” in favor of surfaces once-fi red in an anagama, with natural glaze, 1994. that are deliberately coarsened and shapes that deny the symmetri-

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AS 06 042_055.indd 48 7/13/06 7:35:00 PM cal and the concentric. He prefers, instead, forms that are gnarled, Rosenberg, as “an arena in which to act—rather than as a space in wrenched and warped, evoking nature’s raw, transformative powers which to reproduce, redesign, analyze or express an object, actual or and breathtaking splendor. imagined.” They maintained, furthermore, that the very intensity of Also allying Callas to both Japanese traditions and to natural their “action” touched and, in a way, harnessed those dynamic, and processes is his commitment to wood firing, almost universally rec- largely unconscious, archetypal forces controlling the outside world ognized as aleatory and edgy. But, according to Callas, the rewards as well as the human psyche. Their skills finely honed with years are at the edge. Admittedly anachronistic and downright inefficient, of practice, the “action” painters were thus able to temper freedom wood firing nonetheless produces a timeless beauty, and seemingly “accidental” glazes resulting from the interaction of clay, ash and atmosphere. Difficult to control and apparently fortuitous, these glazes effect a wide range of textures and colors. In a wood-fired kiln, the artist can harness and reproduce, as it were, the earth’s fiery diurnal processes, those millennial metamorphoses that erupt as volcanoes. Just as clay undergoes a PHOTOS: CRAIG PHILLIPS, BRETT SZEMPLE CRAIG PHILLIPS, BRETT PHOTOS: physical transformation in the kiln, so do the earth’s tectonic plates change chemically as they cast against each other and are subjected to intense, prolonged heat cycles. “Wood firing,” he says, “is high drama, a powerful metaphor of nature.” After having earned international recognition for vases, double-necked vessels, flasks, platters and cer- emonial tea wares, Callas has, during the past decade, focused on nonfigurative sculpture. Bringing to this medium his characteristic gestural energy, he fashions plurifacial, tuberous configurations rising out of stable, yet fluid bases that harmonize the rough, smooth and sharp. Swirling masses of molten material are solidified, gouged and scored, calling attention to the malleable quality of the clay itself. Concavities often jagged, sometimes more regular, intimate the sombrous mystery of caves. Holes, reminiscent of Henry Moore and Barbara Hepworth, reveal a concern for the void, connecting, in Moore’s words, “one side with the other,” resulting in greater three-dimensionality. Slabs branch out from the core, extending into space, as though denying restrictive contours, underscoring the subtle tension between mass and border. Other passages, like double images, hint at the animate, perhaps the features of a human visage or the outline of an animal face. In a deep, resonant palette due to the elevated temperatures of the firing, the pieces range from grayed blues to more roseate colorations. The parallels to Callas’ “wrenched” and “eroded” aesthetic are provocative: Monet’s late dreamlike, almost calligraphic natural forms; and the nonfigurative, gestural paintings of the Abstract Expressionists during the “Exodus,” 36 in. (91 cm) in height, slab-built stoneware, once-fi red in an anagama, with natural glaze, 1999, by Peter Callas, Belvidere, New Jersey. ’50s. These painters believed that art’s ability to embody human experience is independent of representation. Art divorced from description could, they declared, convey universal, very with control, inspiration with discipline. Translating a similar vitality human themes. Committed to vestigial shapes, abstract arabesques into clay, Callas makes sculptures that intersect nature’s accidental, and cascading lines, they saw the canvas, in the words of Harold divergent side—those characteristics favored by the Asian mind.

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AS 06 042_055.indd 49 7/13/06 7:35:45 PM An Anagama and an Electric Kiln by Daryn Lowman

Lowman likes to use organic qualities in conjunction with hard lines, or linear architecture, as shown in this stoneware platter, which is 17 in. (43 cm) square. The piece was initially wood fi red, then low-fi re glazes were brushed on, and it was refired in an electric kiln, 2003.

In the last twenty years, wood-ﬁred ceramics has gained momentum. It has been ten years since my introduction to kiln construction at Currently, in the United States, the ceramics department at any given the University of Alaska Fairbanks (UAF). The ceramics department college or university does not only boast the quality of its facilities there was an energizing place. People gathered there because pots are just in the number of electric kilns or the size of car kiln, but also social; they gathered because it was cold; but mostly they gathered with the representative atmospheric kiln. The emergence of outdoor because it was fun to make pots. kilns—be they wood, salt or soda—in ceramics programs is continu- As happens when most individuals become entranced with the ing and these processes maintain an evolutionary course. processes of making ceramics, wood ﬁring has a way of taking over all

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AS 06 042_055.indd 50 7/13/06 7:36:18 PM your time. In graduate school this commitment to a specific process of the incredible layers of ash and color it becomes apparent that can be absorbed, but in life, time is gobbled up by so many tasks. showing restraint is sometimes the right decision. In many cases, the Spending months stacking wood, making work, loading kilns, firing drawings on the pots were enough of a separation from the loose kilns puts a lot of pressure on the work produced. forms and the active surface. However, there also were pieces on When considering the quality of wood firing, what is the standard which fire and ash had not sufficiently left their marks, and these that establishes success? For me a successful wood-fired pot emits pieces forced me to consider another layer. a certain energy. It may be the effect of ferocious flames, heat and It became interesting to find certain lines and shapes drawn on labor on the surface of a simple coffee cup, or the interior of a platter. the surfaces, remaining intact and sustaining their crisp freshness. However, there are pieces that this labor-intensive process creates that In others the drawings were intact, but only as a residual marking, have qualities that are not desirable including unmelted ash, uneven subtle and ghostly. temperatures within the kiln and ineffective flame patterns. That’s Taking these pieces back into the studio meant the process contin- wood firing for you. ued. I installed a layer that included tiny brushes, little containers of Sometimes pieces that don’t appear successful at first can become commercial glazes, and a completely different sensibility and touch the “desirables” upon later encounters. Most often, however, the work than the pot had seen thus far. that simply does not make the cut will sit around and maybe find In the electric kiln, earthy colors become more crisp, the Shinos its way back into the tumultuous environment of flame and ash for richer and the commercial glazes brighter! The wood-fired pot that is another go around. refired in an oxidized atmosphere still emits the energy of flame and When I found it difficult to let go of the “undesirable” or wait wood, but also is enhanced by the oxygen-rich atmosphere. for the next kiln load, I inadvertently began considering the idea The additional layer to this process allows the surfaces of old and of continuing the process, but this time without flame and with a new, used and cherished to coexist. By combining retro with mingei different application. and a touch of art deco with wabi-sabi, my intention has been to While in graduate school at the University of Minnesota, I be- further consider the finality of a work. came increasingly interested in mid-century design and also the work of English painter Ben Nicholson. Colors were straight out of the bucket, the lines crisp and clean, but also, the surface was intriguing. Surface that gave reference to weathering, touch and time. The surfaces drew me back to rural architecture and the aging qualities of wood and paint; surfaces that contained stories. In the evolution of developing form in my work, I looked toward Korean Yi and Shilla Dynasty wares, American folk pottery, and to landscapes of rural Minnesota. Integrating these values of process into my own work created many prototypes and discoveries. Initially using soda/salt kilns to play with the mixture of temperatures and to create the first melted layer of information, I quickly found that the glassy uniformity on these surfaces did not develop the desired tensions in textures. In formulating my work habits, I used the soft, organic qualities of clay, slip and glazes along with crisp, hard lines drawn into the surface. In a sense, I began wrap- ping the pots with a linear architecture, and utilizing iconographic drawings and shapes to break up the surface. Within the commitment to any idea or vision there exist levels of restraint and

thoughts of reconsidering. In removing a Teapot, 9 in. (23 cm) in height, stoneware, with low-ﬁ re glazes, pot from an anagama and taking notice wood ﬁ red, 2003, by Daryn Lowman, Minneapolis, Minnesota.

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AS 06 042_055.indd 51 7/14/06 11:18:50 AM Lee Akins by Rafael Molina-Rodriguez

Dallas, Texas, ceramist and educator Lee Akins successfully balances a teaching career with an active studio life. His work in clay is os- tensibly sculptural in nature, but upon closer inspection it reveals its vessel structure. The forms reference the human figure; the surfaces are inspired by natural and man-made objects. Akins grew up in Taiwan. He says, “It was a strong influence on my aesthetic; on my life. Having that as a beginning point made a big difference.” While there, he developed a keen interest in the arts, especially ceramics and photography. “I enjoy photography,” Akins continued. “My photographs are of nature and other subjects. Photographic images serve as a source, an idea and an inspiration. I never look at a photograph to make a piece, but there’s some connection. It’s surprising to see them match up so closely after the fact.” After finishing high school in Taiwan, Akins moved back to the United States to attend college. He received a B.F.A. from the College of the Dayton Art Institute in Ohio, and an M.F.A. from Southern Methodist University in Dallas. Since 1988, Akins has been a professor of art at Collin County Community College in Plano, Texas. He teaches courses in ceramics and sculpture. Akins cites Henry Moore and Hans Coper as two artists whose works influence him greatly. It’s no surprise then when he says, “My PHOTOS: LEE AKINS, RAFAEL MOLINA-RODRIGUEZ AKINS, RAFAEL LEE PHOTOS:

A piece of weathered wood from Lake Katherine in New Mexico is just one of many natural surfaces that inspire Akins’ work.

“Torso Lidded Jar,” 20 in. (51 cm) in height, coil-built terra cotta, with Peeling Paint Glaze, ﬁ red to Cone 01 in oxidation, motivated by a wall and boards seen in the Philippines.

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AS 06 042_055.indd 52 7/13/06 7:37:44 PM “Round Jar,” 17 in. (43 cm) in height, coil-built terra cotta, with copper oxide, ﬁ red in oxidation, inspired by a red wall in Portland, Oregon.

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AS 06 042_055.indd 53 7/13/06 7:38:25 PM work seeks to combine figurative imagery with the format of the traditional clay vessel.” Akins’ work is anthropomorphic in form. The shapes and proportions suggest human characteristics for inanimate objects. In Akins’ view, “The vessel has historically been a powerful metaphor for the body, with each part of the pot being named for a corresponding area of the body. A full lip, a gentle curve of the neck, a rotund belly or a broad shoulder all combine to provide animation to the pot. Some are male, some are a synthesis of male and female, but most are female forms.” The forms also find precedence in prehistoric sculptures. Akins describes his work as, “. . . inspired by fertility figures found in most early cultures. The Venus of Willendorf and stone carvings of the Cycladic culture are some of the most powerful to me.” Looking at utilitarian pottery for inspiration, Akins’ most recent work includes pitchers and covered jars. The covers or stoppers give the impression of a face or head. Moreover, this series attempts to work with the figure in a more gestural way, implying the way a body moves. Before forming an object, Akins generates ideas by sketching with graphite on paper and making maquettes. These miniatures are quick clay sketches that are pinched and modeled.

Left: “Green Jar,” 19 in. (48 cm) in height, coil-built terra cotta, with Scotchie Crackle Slip and copper oxide, ﬁ red to Cone 01 in oxidation, by Lee Akins, Dallas, Texas. The surface of this piece was inspired by a cave wall in Gunung Kawai, Indonesia, shown above.

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AS 06 042_055.indd 54 7/13/06 7:39:01 PM They are valuable aids in working out designs for pieces that are later recipes made to scale. “Earthenware clay,” says Akins, “gives warmth to the colors, yet allows a wide choice of finishes.” Scotchie Crackle Slip Messenger Crawl Akins’ constructs his figurative ves- (Cones 04–01) (Cones 06–01) sels using coils. Although proficient Gerstley Borate ...... 25 % Borax ...... 4 % with other ways of working, in- Kaolin ...... 50 Gerstley Borate ...... 46 Silica (Flint) ...... 25 Magnesium Carbonate ...... 31 cluding wheel throwing, he prefers 100 % Kaolin ...... 19 forming by hand in lieu of assisted Use on leather-hard clay. 100 % technologies. Akins says, “My pieces Add: Zircopax ...... 5 % are coil built. Coiling allows me to Piepenburg Patina (Cones 04–01) control the form.” Lichen Glaze Bone Ash ...... 33 % The surfaces of Akins’ work are (Cones 06–01) Gerstley Borate ...... 45 very intricate. The texture, pattern, Gerstley Borate ...... 50 % Nepheline Syenite ...... 22 color and value are the result of tool Magnesium Carbonate ...... 50 100 % marks, ceramic media, and firing 100 % processes. The texture is derived Textured Ash Engobe Peeling Paint from Akins’ conscious effort to leave (Cones 04–7) (Cones 08–01) Alumina Hydrate ...... 20 % marks of the forming process, rather Gerstley Borate ...... 80 % Gerstley Borate ...... 10 than covering them up. Addition- Titanium Dioxide ...... 20 Unwashed Wood Ash...... 50 ally, some marks are from stamps 100 % Kaolin ...... 20 (found and made) and others are 100 % For Green from textured paddles. Add: Copper Carbonate ...... 3–5 % Color in Akins’ work is the Add: Fine Grog...... 15 % product of stains and glazes as well For Blue as the firing atmosphere. One of Add: Cobalt Carbonate ...... 3 % his favorite colorants to work with Dry White Crackle is copper carbonate. “Painting cop- (Cones 01–6) For Black Bone Ash ...... 90 % Add: Cobalt Carbonate ...... 5 % per on and wiping it away is one Ferro Frit ...... 10 Red Iron Oxide ...... 5 % of my favorite techniques. It’s very 100 % Black Stain ...... 10 % simple, yet very effective. Earthen- ware seems to take on a sheen with copper,” Akins explains. To develop a patina, Akins uses commercial underglazes layered with oxides. They give a strong, intense color and bring out the tex- oxidizing and reducing atmospheres. Most of his current work is ture. In oxidation firing he glazes and layers more. He elaborates, “It’s fired in an electric kiln; however, a few pieces are fired in a fuel- more like painting on a piece. Many times I’ll build up by putting a burning kiln. material on and sanding it off. I’ll then apply another one and dust Akins looks forward to evolving as an instructor and artist. “I it off. Finally, I’ll apply another one unevenly.” find if I don’t continue exploring, I rely on the same thing. There Traditionally, earthenware is fired to Cone 04 (1971°F). The are several themes that I return to, but I keep trying to find new and temperature range at which Akins’ work is fired is Cone 01 (2080°F) exciting forms and surfaces.” to Cone 1 (2109°F). “Firing higher affects the color. It also affects the clay. It’s harder and more vitrified. When struck it has a nice the author Rafael Molina-Rodriguez is an associate professor of art at ring to it,” he says. During his career, Akins has fired his work in Tarrant County College Southeast Campus in Arlington, Texas.

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AS 06 042_055.indd 55 7/13/06 7:39:46 PM Museo Franz Mayer, Av. Hidalgo 45, Centro Histó ri- Biennial E xhibition— Old Currents, New Blends: A call for entries co, Mexico City 06300; www.franzmayer.org.mx. Distillation of Art and G eography” (March 14–June Deadlines for Ex hibitions, Fairs and Festivals September 26 entry deadline 23, 2007). Juried from digitals. Fee: $30; NCE CA Wayne, Pennsylvania “ Craft Forms 2006, 12th members, $15; for two works. Jurors: Syd Carpen- See call for entries online at www.ceramicsmonthly.org International Juried E xhibition of Contemporary ter, Silvie G ranatelli and Nick K ripal. Purchase and Craft” (December 1, 2006–January 24, 2007). Juror: merit awards. Museum to retain 30% commission. International Exhibitions G retchen K eyworth, director/chief curator Fuller Craft For further information, contact NCE CA, 77 E rie Museum. Fee: $25. Awards: $3000. For prospectus, V illage Square, Ste. 280, E rie, CO 80516-6996; send SASE to Wayne Art Center, 413 Maplewood www.nceca.net. August 14–October 6 entry deadline Ave., Wayne 19087; www.wayneart.org. September 15 entry deadline Icheon, Republic of Korea “ Fourth World Ceramic September 29 entry deadline Baltimore, Maryland “ 100 Teapots 3” (January Biennale 2007 K orea (CE BIK O)” (April 28–June 17, Alexandria, Virginia “ Mixed Messages” (December 13–February 25, 2007), open to ceramic teapots. 2007), open to works in two categories: ceramics 6, 2006–January 14, 2007), open to work made Juried from slides or digitals. Juror: Julia G alloway, for use and ceramics as expression. Juried from from two materials. Juried by slides or CD. Juror: associate professor of ceramics at the School for slides or digitals. Cash awards; grand prize K RW V eena Singh, owner of Sansar G allery. Fee: $30 American Crafts at RIT. Fee: $15 for up to 5 en- 60 million (US$55,000). Contact Shinhee Park, for 3 images. For prospectus, send SASE to Target tries. For prospectus, send SASE to Forrest Snyder, Curatorial Department, World Ceramic E xposition G allery, Torpedo Factory Art Center, 105 N. Union Baltimore Clayworks, 5707 Smith Ave., Baltimore Foundation, 467-020, San 69-1, G wango-dong, St., Alexandria 22314; www.torpedofactory.org; 21209; www.baltimoreclayworks.org; tel (410) Icheon-si, G yeonggi-do; www.wocef.com or tel (703) 838-4565 x4. 578-1919 x18. www.worldceramic.or.kr; tel (82) 31 631 6572. Chicago, Illinois “ A Holiday Happening” (No- August 19 entry deadline United States Exhibitions vember 15, 2006–January 15, 2007), open to all Philadelphia, Pennsylvania “ Ashes to Art” (October media with holiday theme. Juried from up to 2 15–November 3), open to urns made from any craft August 15 entry deadline works. Fee: $25. For prospectus, send SASE to Joan media. Juried from digitals. Fee: $25 for 1–3 images; Portland, Oregon “ The G ame Show” (November Houlehen, A. Houberbocken, Inc., PO Box 196, $5 per extra image. Awards: purchase; best-in-show, 18, 2006–January 8, 2007), open to all media with Cudahy, WI 53110. $2500; people’s choice, $1000. Sales commission: a game theme. Juried from slides or CD. Jurors: October 1 entry deadline 40% . For prospectus, contact Funeria, 2860 Bowen E lizabeth Shypertt, Bill Will, Namita Wiggers. Fee: $15 Brockton, Massachusetts “ Pulp Function” (May 19, St., # 23, PO Box 221, G raton, CA 95444-0221; for up to 3 images. Sales commission: 40% . Awards: 2007–January 6, 2008), open to work made with www.funeria.com; tel (707) 829-1966. best-in-show, $500. Contact Contemporary Crafts paper, including paper clay. Juried from slides or August 25 entry deadline Museum & G allery, 3934 S.W. Corbett Ave., Portland digitals. Contact Fuller Craft Museum, 455 Oak Brooklyn, New York “ First International Juried Clay 97239; www.contemporarycrafts.org/gameshow; St., Brockton 02301; www.fullercraft.org; tel (508) E xhibition” (October 3–28). Juried from slides or tel (503) 223-2654. 588-6000. CD. Fee: $35 for up to 3 entries. Sales commission: September 1 entry deadline October 6 entry deadline 50% . For prospectus, send SASE to G loria K ennedy Paducah, Kentucky “ BLUE grassCLAYnational” Raleigh, North Carolina “ Fine Contemporary Crafts” G allery, 111 Front St., G allery 222, Brooklyn 11201; (November 4–December 30). Juried from up to (November 18, 2006–January 13, 2007). Juried www.gkgart.com/gkgart/movies/prospectus.swf; tel 5 slides. Juror: John Utgaard. Fee: $25. Awards: from slides. Juror: Susan Brandeis. Fee: $25. Cash (718) 858-5254. $1500. For prospectus, send SASE to Blue Clay, awards. For prospectus, send SASE to Artspace, 201 August 31 entry deadline Yeiser Art Center, 200 Broadway St., Paducah 42001; E . Davie St., Raleigh 27601; www.artspacenc.org; Mexico City, Mexico “ Third Biennial of Utilitarian www.yeiserartcenter.org; tel (270) 442-2453. tel (919) 821-2787. Ceramics” (March 8–June 3, 2007), open to artists in September 4 entry deadline October 15 entry deadline Mexico. Juried from 5 slides. Cash awards. Contact Louisville, Kentucky “ NCE CA 2007 Clay National Riverhead, New York “ Art in Clay” (November 25, VIDEO WORKSHOPS FOR POTTERS Now on DVD! Form and Function Ceramic Aesthetics and Design My highest recommendation for anyone interested in learning about form and structure, all the parts and details of good pots as well as how to make specific forms. Bill Hunt, Ceramics Monthly Editor, 1982-94

Making Marks Ceramic Surface Decoration [These videos] are detailed, comprehensive, intelligent, high-quality productions. Richard Aerni, Studio Potter Network

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AS 06 056_061.indd 57 7/13/06 7:45:32 PM tion” (March 31–May 5, 2007). Juried from slides. Regional Exhibitions call for entries Fee: $25 for up to 3 entries. For prospectus, send SASE to Juried Art Show, Museum of Outdoor November 1 entry deadline Arts, 1000 E nglewood Pkwy., E nglewood 80110; 2006–January 14, 2007). Juried from slides or digitals. Irving, Texas “ U Dallas Regional Ceramics Competi- www.englewoodarts.org. Juror: Amei Wallach, art critic. Fee: $15 for up to 5 tion” (January 27–March 4, 2007), open to residents January 8, 2007, entry deadline entries. For prospectus, send SASE to Art Sites, 651 W. of Arkansas, Colorado, K ansas, Louisiana, Missouri, Lexington, Massachusetts “ The State of Clay” (April Main St., Riverhead 11901; [email protected]. New Mexico, Oklahoma or Texas. Juried from 1–29, 2007), open to current and former residents October 20 entry deadline slides. Juror: V al Cushing. Fee: $25 for 3 entries. of Massachusetts. Juried from digitals. Juror: Chris Awards: merit; best-in-shows receive solo exhibi- Pineville, North Carolina “ Third Annual Funk-tion G ustin. Fee: $30 for up 3 entries. Cash awards. Con- tions. For prospectus, send SASE to University of National Juried Ceramics E xhibition” (November 17, tact Lexington Arts & Crafts Society, 130 Waltham Dallas, Haggerty G allery— U Dallas Regional, 1845 2006–January 31, 2007), open to weird, altered, St., Lexington 02421; www.lexingtonma.org.lacs; E . Northgate Dr., Irving 75062; www.udallas.edu; nontraditional or wild ceramics. Juried from slides or tel (781) 862-9696. tel (972) 721-5316. j pegs. Juror: Priscilla Hollingsworth, associate profes- February 15, 2007, entry deadline sor of art, Augusta State University. Fee: $25 for up Monticello, Arkansas “ Second Annual National Fairs and Festivals to 3 entries. Cash and purchase awards. Contact Juried Cup Show” (April 6–May 11, 2007). Juror: Stretch G allery, 10726 Pineville Rd., Pineville 28134; Matt Long. Fee: $20. For prospectus, send SASE to September 1 entry deadline www.stretchgallery.com; tel (704) 552-5678. Scott Lykens, Cup Show, c/o University of Arkansas Cranford, New Jersey “ Fall Nomahegan Park Fine November 15 entry deadline Monticello Ceramics Department, PO Box 3460, Art and Crafts Show” (September 30–October 1), Englewood, Colorado “ National Juried Arts E xhibi- Monticello 71656; [email protected]. open to all handcrafted work. Juried from 3 slides/ photos of work; 1 of booth. Booth fee: $305 for 10×12-foot space. Contact Rose Squared Produc- tions, Inc., 12 G alaxy Ct., Hillsborough, NJ 08844; www.rosesquared.com; tel (908) 874-5247. Upper Montclair, New Jersey “ Fine Art and Crafts Show at Anderson Park” (September 16–17), open to all handcrafted work. Juried from 3 slides/ photos of work; 1 of booth. Booth fee: $305 for 10×12-foot space. Contact Rose Squared Produc- tions, Inc., 12 G alaxy Ct., Hillsborough, NJ 08844; www.rosesquared.com; tel (908) 874-5247. September 13 entry deadline New York, New York “ Celebrating Women’s Cre- ativity” (November 8–26), open to women artists. Juried from slides or actual work. For prospectus, send SASE to the Pen & Brush Inc., 16 E . 10th St., New York 10003; www.penandbrush.org; tel (212) 475-3669. September 8 entry deadline Boston, Massachusetts “ Craftboston” (March 30–April 1, 2007), open to all craft media. Ju- ried by digitals. Fee: $70; online, $35. Contact Craftboston, 175 Newbury St., Boston 02116; www.craftboston.org; (617) 266-1810. September 19 entry deadline Indian Wells, California “ Indian Wells Arts Festival” (March 30–April 1, 2007). Juried from 3 slides of work; 1 of display. Fee: $25. Booth fee: $250–$500. Sales commission: 90% . Contact Indian Wells Arts Festival, Dianne Funk E nterprises, Inc., PO Box 62, Palm Desert, CA 92261; www.iwaf.net. October 1 entry deadline Montclair, New Jersey “ Fall Brookdale Park Fine Art and Crafts Show” (October 14–15), open to all handcrafted work. Juried from 3 slides/photos of work; 1 of booth. Booth fee: $305 for 10×12-foot space. Contact Rose Squared Productions, Inc., 12 G alaxy Ct., Hillsborough, NJ 08844; www.rosesquared.com; tel (908) 874-5247. October 15 entry deadline Miami Beach, Florida “ Coldwell Banker Miami Beach Festival of the Arts” (February 10–11, 2007), open to all media. Juried from 4 slides; 1 of booth. Fee: $40. Cash awards. Contact North Beach Develop- ment Corp., 210 71st St., Miami Beach 33141; www.gonorthbeach.com; tel (305) 865-4147. October 20 entry deadline Greenville, South Carolina “ Artisphere, The Inter- national Art Festival of G reenville, South Carolina” (April 20–22, 2007). Juried from slides. Fee: $20. Awards: $10,000. For prospectus, contact Liz Run- dorff, Artisphere, 16 Augusta St., G reenville 29601; www.artisphere.us; tel (864) 271-9355.

For a free call for entries listing, submit information on juried events at least four months before the entry deadline. Add one month for listings in July, and one month for listings in September. Regional exhibitions must be open to more than one state. Submit online at www.ceramicsmonthly.org; mail to Call for Entries, Ceramics Monthly, 735 Ceramic Pl., Suite 100, West er ville, OH 43081; e-mail [email protected]; or fax (614) 891-8960.

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AS 06 056_061.indd 59 7/13/06 7:46:26 PM Y ork, N Y 1 0 0 1 2 ; www.scalapublishers.com; tel ( 2 1 2 ) 4 7 7 -0 7 4 8 . D istributed by A n- new books tique C ollectors’ C lub L td., Eastworks, 1 1 6 P leasant S t., Easthampton, M A 0 1 0 2 7 ; www.antique-acc.com; tel ( 4 1 3 ) 5 2 9 -0 8 6 1 G eorge O hr, A rt P otter or ( 8 0 0 ) 2 5 2 -5 2 3 1 . The Apostle of Individuality by Robert A. Ellison, Jr. This beautifully illustrated book chron- C lay icles the eccentric life and work of George The History and E volution of E. Ohr (1857–1918). Working in Biloxi, Humankind’s Relationship with E arth’s Most Primal E lement Mississippi, at the turn of the twentieth century, Ohr was known as the “Mad Potter by Suzanne Staubach As ceramics artists and enthusiasts, most readers of C eramics M onthly would agree that clay is a remarkable material. In this new book, Suzanne Staubach goes beyond clay’s myriad artistic applications and explains how the material we love has played a profound role in the progress of civilization. Staubach explains how ceramic materials are crucial to the computer and space industries, bio- technology, publishing, and a wide range of manufacturing processes. With the invention of pottery came cooking and storage vessels, the discovery of alcoholic beverages, the oven, irrigation for agriculture, vast trade networks, plumbing, sanitation, and an incredibly

of Biloxi” because of his unconventional forms and idiosyncratic personality. “By his mid-thirties, George Edgar Ohr had been working at the potter’s wheel for a little over a decade,” writes Ellison, a longtime collector of Ohr’s work. “Around this time, he concocted a highly unusual vision for ceramic form; his conceptual breakthrough involved altering perfectly thrown pots while still in their plastic state. In many instances, the symmetry from the wheel was totally obscured, resulting in a sculptural form rather than a traditional pot. This approach was unprecedented in the history of ceramics. This is what the fuss over Ohr’s work is all about . . . .” The book includes more than 300 previously unpublished images of Ohr’s work, durable building material. The book is an including works that were pulled from the interesting look at how, from the primordial ooze to modern miracles, this most humble of rubble after a ﬁre destroyed his studio in substances continues to shape our world 1894. Ellison covers the evolution of Ohr’s In addition to exploring how clay af- art from his art pottery to his novelty work; fects the lives of each and every human from his elaborate scroll-like handles to his being, Staubach includes an appendix on integrated handles; and from his mostly how to make a pinch pot, as well as a list of symmetrical work to his purely abstract museums with large ceramics collections. sculptural vessels. In addition, he outlines 272 pages including appendixes, notes, the various artist marks that Ohr used to bibliography and credits. 33 black-and- identify his work, attaching dates to each white photographs and illustrations. $23.95 mark. 176 pages including index. 192 color ISBN 0-425-20566-5. P ublished by The B erk- and 18 black-and-white photographs. $65. ley P ublishing G roup, a D ivision of P enguin ISBN 1-85759-425-8. P ublished by S cala G roup ( U S A ) Inc., 3 7 5 H udson S t., N ew Y ork, P ublishers, 1 4 1 W ooster S t., S te. 4 D , N ew N Y 1 0 0 1 4 ; www.penguin.com.

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AS 06 056_061.indd 60 7/13/06 7:47:10 PM Jonathan Kaplan and Annie Chrietzberg of Ceramic Design Group in Steamboat Springs, Colorado with a Viking-28 Paragon kiln. It features an easy-access switch box that opens forward, mercury relays, heavy duty elements, and 3” bricks. UL Listed to U.S. and Canadian safety standards. “I used to be Paragon’s worst critic” —Jonathan Kaplan onathan Kaplan bought one of Paragon’s ler I have ever used. It’s easy to program and what I need and I know what works,” said Jon- Jfirst digital kilns. Six years ago he posted a very accurate. The brickwork is superb, and the athan. list of complaints about his Paragon kilns on extra 2” of solid brick at the top eliminates Call now or visit www.paragonweb.com for the Internet. breakage when you’re lean- a free catalog and the name of a local Paragon "My hands were bruised ing into the kiln. distributor. from replacing relays in a “The counter-balance lid confined space,” said Jona- is effortless, and the sectional than, “and I was frustrated design of the Paragon trying to work on the wiring Viking makes it easy of our early Paragon Kilns. I to move and assem- thought of ways to improve ble,” said Jonathan. 2011 South Town East Blvd. access to the wiring as well as “I've been making Mesquite, Texas 75149-1122 upgrade the electronics. Par- my living with kilns 800-876-4328 / 972-288-7557 agon listened. for thirty-plus years. I know Toll Free Fax 888-222-6450 “The Paragon Sentry 2.0 www.paragonweb.com is the best electronic control- CeramicsCeramics MonthlyMonthly August/SeptemberAugust/September 20062006 [email protected] 61

AS 06 056_061.indd 61 7/13/06 7:47:37 PM Phalle, “ Niki in the G arden” ; at the Atlanta Botanical September 23–October 28 Sarah Lindley; at G reen- calendar G arden, 1345 Piedmont Ave., NE . wich House Pottery, 16 Jones St. Conferences, Ex hibitions, Workshops, Fairs G eorgia, D ecatur through August 5 Niel Hora. October 31, 2006–January 31, 2007 “ Clé ment August 12–26 Barry G regg. September 16–October Massier: Master of Iridescence” ; at Jason Jacques See calendar online at www.ceramicsmonthly.org 14 K im Dryden, “ Oh Shino” ; at MudFire Clayworks & G allery, 29 E . 73rd St., # 1. G allery, 175 Laredo Dr. N ew Y ork, P ort C hester September 1–25 Lily Schor, Conferences I llinois, C hicago through August 9 Lindsay Feuer. “ Hot Flashes.” October 1–29 Heather Houston, “ Horses August 11–September 6 Helen Otterson. September in Midstream” ; at Clay Art Center, 40 Beech St. 8–October 27 Steve Hansen; at Function + Art, 1046 N orth C arolina, P ineville August 11–October 9 Indiana, Indianapolis September 13–16 “C lay Ex - W. Fulton Market. Sculptural teapots by Meryl Ruth. September 15–No- pressions, Surface Decoration Hits the Midwest Region,” through August 24 Lisa Merida-Paytes; at the vember 9 Alyssa Wood, “ Housekeeping” ; at Stretch includes lectures, demos and exhibitions. Contact Pot- Woman Made G allery, 2418 W. Bloomingdale Ave. G allery, 10726 Pineville Rd. ters Council, 735 Ceramic Pl., Ste. 100, Westerville, OH I ndiana, B loomington October 6–November 18 O hio, C leveland through August 13 V iktor 43081; www.potterscouncil.org; tel (614) 794-5827. Malcolm Mobutu Smith, “ Rigamarole” ; at Prima G al- Schreckengost, “ Animals in Art: Clay Creatures” ; at M innesota, M inneapolis September 13–17 lery, 109 E . Sixth St. the Cleveland Z oo, 3900 Wildlife Way. “ Tiles of the Northern Plains: Building on Tradition,” O hio, C olumbus September 2–30 Todd Camp. includes tours, lectures, demos, workshops and ex- October 2–31 Leigh Taylor Mickelson; at Sherrie G al- hibitions. Contact Tile Heritage Foundation, PO Box lerie, 694 N. High St. 1850, Healdsburg 95448; www.tileheritage.org or O regon, P ortland August 3–September 3 Lisa www.handmadetileassociation.org. Conway, “ Succulent” ; at Oregon College of Art & N ew M exico, A lbuq uerq ue, C orrales and Craft, 8245 S.W. Barnes Rd. S anta F e October 18–22 “ Contemporary Arts of August 5–September 17 Rain Harris, “ Splendor” ; New Mexico,” includes museum and studio tours, at Contemporary Crafts Museum & G allery, 3934 demos, lectures, exhibitions. Contact Contemporary S.W. Corbett Ave. Art Tours/Professional Travel Inc., 25201 Chagrin Blvd., P ennsy lvania, Erie through June 1, 2007 E va Z eisel; Ste. 390, Beachwood, OH 44122; [email protected]; at the E rie Art Museum, 411 State St. tel (800) 945-4461 x109. P ennsy lvania, P hiladelphia September 1–24 T exas, H ouston October 19–21 “ Shaping the Fu- Myung Jin Choi. Andy Brayman; at the Clay Studio, ture of Craft, 2006 National Leadership Conference,” 139 N. Second St. includes panels, lectures, museum and gallery tours. T exas, D allas September 8–October 14 Marla Contact American Craft Council, 72 Spring St., Sixth Fl., Z iegler; at Craighead G reen G allery, 1011 Dragon St. New York, NY 10012-4019; www.craftcouncil.org. T exas, El P aso through October 27 Isabella G on- W ashington, S eattle September 7–10 “ 40 Years zales, “ Crosscurrents” ; at Stanlee and G erald Rubin of Clay Celebration,” includes exhibitions and auc- Center for V isual Arts, University of Texas E l Paso, 500 tion, workshops by Sam Chung, Deb Schwartzkopf, “Montgomery Creek Falls” by Palul; at Redding City W. University Ave. Terry Siebert. Fee/workshop: $100. “ G ang of E ight Hall Gallery, Redding, California. W ashington, A nacortes through August 6 Allen Workshop,” Frank Boyden, Doug Jeck, Beth Cavener Moe; at John L. Scott Focus G allery, Commercial Ave. Stichter, Paul Soldner, Akio Takamori, Tip Toland, I ndiana, K okomo September 1–23 Richard Weber; W ashington, T acoma through October 2 Akio Jamie Walker, Patti Warashina. Fee: $150. Contact at K okomo Fine Arts Center, 212 E . Rickets. Takamori, “ Between Clouds and Memory” ; at Tacoma Pottery Northwest, 226 First Ave., N, Seattle 98109; I ow a, I ow a C ity August 4–24 Allison McG owan. Art Museum, 1701 Pacific Ave. www.potterynorthwest.org; tel (206) 285-4421. Sam Taylor. September 1–21 Julie Johnson. Jay Jensen. W isconsin, M adison October 21–November 10 D enmark, S kæ lskø r August 21–25 “ Clay InDust- October 6–26 K athryn Finnerty. Charity Davis-Wood- Bruce Breckenridge: at DeRicci G allery, E dgewood Try,” includes lectures, panels and workshops. Fee: Dkr ard. October 27–November 16 Josh DeWeese. Rosalie College, 1000 E dgewood College Dr. 1900 (US$323); students and members, DK r 1500 Wynkoop; at Akar, 257 E . Iowa Ave. W isconsin, R acine October 29, 2006–March 18, (US$255); per day, DK r 550 (US$93); includes lunch and M ary land, B altimore through August 23 Jessica 2007 Akio Takamori, “ Between Clouds and Memory” ; dinner. Contact G uldagergå rd, International Ceramic Broad, “ Personal Mythologies” ; at Baltimore Clay- at Racine Art Museum, 441 Main St. Research Center, Heilmannsvej 31 A, 4230 Skæ lskø r; works, 5707 Smith Ave. www.ceramic.dk; tel (45) 5819 0016. M assachusetts, L enox through August 13 Jason H ungary , K ecskemé t November 7–10 “ Critical Group Ceramics Exhibitions Walker. through August 20 Michael K line, “ Studio Studies . . . Contemporary Writing for the Ceramic Pottery” ; at Ferrin G allery, 69 Church St. A riz ona, T empe through August 5 “ A Ceramic Arts,” lectures and presentations by G abi DeWald, M issouri, K ansas C ity through August 19 “ Z ia: Legacy: Selections from the Sté phane Janssen and Dr. Ichi Hsu and Janet Mansfield. Fee: 50,000 HUF Off the Rim” ; at Sherry Leedy Contemporary Art, R. Michael Johns Collection” ; at ASU Art Museum (US$235), includes lunch. Contact International Ce- 2004 Baltimore Ave. Ceramics Research Center, Arizona State University, ramics Studio K ecskemé t, K á polna u. 11, K ecskemé t M ontana, B oz eman August 11–September 6 Mill Ave. and Tenth St. H-6000; [email protected]; tel (36) 76 486 867. Rachel Deist. September 8–October 11 K ristin Pavelka; C alifornia, P acifi c P alisades through September Solo Exhibitions at Michelle G antt Ceramics G allery + Studio, 111 S. 4 “ The Colors in Clay: Special Techniques in Athenian G rand Ave., # 108. V ases” ; at the G etty V illa, 17985 Pacifi c Coast Hwy. M ontana, H elena August 15–October 15 Marcia C alifornia, P omona through September 2 “ Musical A labama, B irmingham October 6–November 10 Selsor; at the Carroll College Art G allery, 1601 N. Mud.” September 9–November 4 “ Color Counts— Wood-fi red ceramics by Scott Meyer; at Red Dot G al- Benton Ave. G ladding McBean, California Commercial Pottery lery, Pepper Pl., 2810B Third Ave. S. M ontana, R ed L odge August 4–31 G ertrude 1930–1950” ; at AMOCA, 340 S. G arey Ave. A riz ona, S cottsdale October 1–31 K ina Crow, G raham Smith; at Red Lodge Clay Center, 123 S. C alifornia, P asadena September 2–October 21 “ Whimsical Sculptures in Clay” ; at LK G Contemporary, Broadway Ave. “ Covering the Surface,” Tom and E laine Coleman; at 7171 Main St. N ew J ersey , C linton through August 20 Toshiko X iem G allery, 1563 N. Lake Ave. A riz ona, T empe through August 5 “ Ceramic Art Takaezu; at Hunterdon Museum of Art, 7 Lower C alifornia, T opanga through August 20 “ The Way of R. Michael Johns” ; at ASU Art Museum Ceramics Center St. of Clay: Ceramic Invitational” ; at Topanga Canyon Research Center, Arizona State University, Mill Ave. N ew J ersey , S urf C ity through August 9 Susan G allery, 120 N. Topanga Cyn Blvd., # 109. and Tenth St. Beecher. August 12–September 6 Liz Q uackenbush; D . C . , W ashington through September 9 “ Serve C alifornia, R edding through October 27 Palul, at m.t. burton gallery, 1819 Long Beach Blvd. it Forth,” Rebecca Cross, Judy K ogod, Tom Radca, “ Art in City Hall” ; at Redding City Hall G allery, 777 N ew M exico, S anta F e August 4–20 Diego Romero, Sam Wallace; at cross mackenzie ceramic arts, 1054 Cypress Ave. “ Neo-Mimbres Pottery” ; at Robert Nichols G allery, 31st St., NW. C alifornia, S acramento through October 8 James 419 Canyon Rd. through January 1, 2007 “ Freer and Tea: Raku, Lovera, “ Craters from Fire” ; at Crocker Art Museum, September 22–October 27 Mitch Lyons; at Read-John- Hagi, K aratsu” ; at Freer G allery of Art, Smithsonian 216 O St. son Contemporary Art, 1807 Second Ave., Unit 34. Institution, Jefferson Dr. at 12th St., SW. C alifornia, S an F rancisco October 18–November N ew Y ork, L ong I sland C ity through August 18 F lorida, S t. P etersburg October 7–21 “ Architec- 18 Bean Finneran; at the Braunstein/Q uay G allery, James Brown; at G arth Clark G allery’s Proj ect Space, tural Imaginings,” Peter K ing and X inia Marin; at St. 430 Clementina. 45-46 21st St. Petersburg Clay Company, 420 22nd St. S. F lorida, S t. P etersburg September 15–October N ew Y ork, N ew Y ork through August 18 Anthony October 7–December 31 “ From the Fire: Contem- 31 “ Brian Ransom: Harmonic Resonances” ; at Florida Caro; at G arth Clark G allery, 24 W.57 St., Ste 205 porary K orean Ceramics” ; at the Museum of Fine Arts, Craftsmen, K lein Family G allery, 501 Central Ave. September 7–October 7 Shida K uo; at Nancy Mar- 255 Beach Dr. NE . G eorgia, A tlanta through October 31 Niki de Saint golis G allery, 523 W. 25th St. G eorgia, A thens August 25–October 14 “ Univer-

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AS 06 062_096.indd 63 7/13/06 7:52:26 PM from the Forest to Metropolis” ; at the Mud Factory, October 7–November 12 “ World Women: On the calendar 1200 W. 35th St. Horizon” ; at Baltimore Clayworks, 5707 Smith Ave. group exhibitions I llinois, W oodstock August 25–October 1 “ Shades M assachusetts, C oncord September 7–28 “ Nat- of Autumn” ; at Jailhouse Potters, 103 N. Johnson St. ural Wonders,” Leslie Ferst, Lindsay Feuer, Linda Huey, sity of G eorgia G raduate Student Ceramic Show” ; at October 5–November 12 “ Clayworkers’ G uild of Al Jaeger, Stephen Robison and K athleen G uss, Rob Lyndon House Arts Center, 293 Hoyt St. Illinois Annual Members Show” ; at the Old Courthouse Sieminski, and Meng Z hao; at Lacoste G allery, 25 G eorgia, W atkinsville August 26–September 14 Arts Center, 101 N. Johnson. Main St. “ Perspectives 2006; at Oconee Cultural Arts Founda- I ndiana, I ndianapolis September 5–29 “ ClayFest M ichigan, D etroit September 8–November 3 tion, 34 School St. 2006” ; at University of Indianapolis, Christel DeHaan “ Tooth and Claw: An Ark of Animals Reimagined” ; H aw ai‘ i, H onolulu through October 8 “ Trade, Fine Arts Center, 1400 E . Hanna Ave. at Pewabic Pottery, 10125 E . Jefferson. Taste and Transformations: Jingdezhen Porcelain for I ow a, I ow a C ity August 4–24 “ Legacy of Warren M innesota, M inneapolis through August 27 Japan, 1620–1645” ; at Honolulu Academy of Arts, MacK enzie,” Wayne Branum, Randy Johnston and “ RAW: Unﬁ red Clay Installations,” Walter McConnell, 900 S. Beretania St. Sandy Simon. September 1–21 Malcolm Davis, K aren K risten Morgin, Clare Twomey. September 22–Octo- I llinois, C hicago “ Casas G randes through August 13 K arnes, Joe Singewald and Mikhail Z akin. October 6–26 ber 29 “ Six McK night Artists,” E dith G arcia, Audrius and the Ceramic Art of the Ancient Southwest” ; at Art G eorge McCauley, Ron Meyers and Norm Schulman. Janu˘ sonis, Maren K loppmann, Paul McMullan, Anita Institute of Chicago, 111 S. Michigan Ave. October 27–November 16 “ Legacy: Chris Staley” ; at Powell and Tetsuya Yamada; at Northern Clay Center, October 7–November 4 K atie Biderbost, Ryan G reen- Akar, 257 E . Iowa Ave. 2424 Franklin Ave., E . heck, Tom Hoffman and Manemitsu Taguchi; at Lillstreet M ary land, B altimore through August 19 “ Lyrics M ississippi, J ackson through September 10 “ From Art Center, 4401 N. Ravenswood Ave. & E xcerpts,” Michael Anthony and David Milburn; at the Fire: Contemporary K orean Ceramics” ; at the Mis- October 14 “ Being to Being: A Dialogue with Clay Meredith G allery, 805 N. Charles St. sissippi Museum of Art, 201 E . Pascagoula St. M issouri, K ansas C ity August 31–September 30 “ Divergence: 4 High Fire Potters,” Doug Casebeer, Peter Olsen, Hide Sadohara and Lynn Smiser Bowers; at Red Star Studios Ceramic Center, 821 W. 17th St. September 17–30 “ V iva la Terra: celebrating life . . . in clay” ; at K C Clay G uild, 200 W. 74th. M issouri, S t. L ouis September 8–October 15 “ Likeness/the Human Form in Clay” ; at X en G allery, 401 N. E uclid Ave. M ontana, H elena through August 6 “ The Yixing E ffect: E choes of the Chinese Scholar” ; at Holter Museum of Art, 12 E . Lawrence. August 10–25 “ Taunt, Lilian and Lincoln Fellow- ship E xhibition,” K oi Neng Liew, Melissa Mencini and Debrah Schwartzkopf; at Archie Bray Foundation for the Ceramic Arts, 2915 Country Club Ave. N ebrask, L incoln September 1–October 28 “ Ce- ramic Teapot Invitational” ; at Lux Center for the Arts, 2601 N. 48th St. N ew H ampshire, M anchester October 13–Novem- ber 13 “ Ceramics Biennial E xhibition 2006” ; at New Hampshire Institute of Art, 148 Concord St. N ew J ersey , S urf C ity September 9–October 11 “ Artists of the Baltimore Clayworks,” Mary Cloonan, Bernadette Curran, Malcolm Davis, Tina G ebhart, Matt Hyleck, Leigh Taylor Mickelson, Collette Smith, Lars Westby; at m.t. burton gallery & 19th Street Ceramic Studio, 1819 Long Beach Blvd. N ew M exico, S anta F e August 4–September 2 “ China Response.” September 8–October 7 Jeff Oestreich and Mark Pharis. October 13–November 11 “ Surface to Surface,” Meredith Brickell, Ayumi Horie, K ari Radasch and E lizabeth Robinson; at Santa Fe Clay, 1615 Paseo de Peralta. N ew Y ork, A lfred through September 29 “ Re- ceptive V olumes” ; at the Schein-Joseph International Museum of Ceramic Art, NY State College of Ceramics at Alfred University. N ew Y ork, D ix H ills through August 13 “ Pat- terns in Clay” ; at the Art League of Long Island, 107 E . Deer Park Rd. N ew Y ork, N ew Y ork through August 18 “ Body and Mind” ; at G arth Clark G allery, 24 W.57 St., Ste 205 N ew Y ork, R ochester September 19–October 20 “ History in the Making” ; at G enesee Pottery, 713 Monroe Ave. N ew Y ork, T roy September 1–October 1 “ Ceram- ics Faculty of The Arts Center of the Capital Region,” JoAnn Axford, Doug K lein, Colleen O’Sullivan, Darren Prodger, Richard Reiner and John V issar. September 8–October 29 “ Clay Workshop Artists 2006–2007,” Posey Bacopoulos, Mary Barringer, Mark Shapiro and Jeff Z amek. September 8–December 31 “ Circular Reasoning, Regional Ceramics E xhibition.” “ Slipped Away: The Story of Albany Slip Clay and 19th-Century Stoneware of the Capital District” ; at the Arts Center of the Capital Region, 265 River St. N ew Y ork, W ater M ill through August 14 “ Masters of the Art,” Tony Clennell, David Crane and Lucinda Piccus. August 18–September 4 “ Ceramic Sculpture,” Rae Lapides, Marsha Lipsitz, Diane G iardi. September

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8–October 2 “ Obj ects,” Mae Mougin, Nancy Robbins, Betsy Smith and Hong Ling Wee. October 28–November 5 “ Young People’s Ceramics” ; at Celadon, A Clay Art G allery, 41 Old Mill Rd. N orth C arolina, B oone September 19–November 10 “ Architectural E choes in Clay” ; at Appalachian State University, Catherine Smith G allery, 733 Rivers St. N orth C arolina, C harlotte through November 12 “ Buncombe County Pottery from the Leftwich Collection.” through December 10 “ G ifts from the Delhom Service League and the Mint Museum Auxil- iary.” August 5–November 5 “ North Carolina Pottery from the E lizabeth and Leo K ohn Collection” ; at Mint Museum of Art, 2730 Randolph Rd. N orth C arolina, C reedmoor through September 10 “ Fresh Catch,” Alan and Rosemary Bennett; at Cedar Creek G allery, 1150 Fleming Rd. N orth C arolina, H endersonville September 19– November 10 “ Architectural E choes in Clay” ; at Center for Craft, Creativity and Design, 1181 Broyles Rd. N orth C arolina, R aleigh October 1–November 30 “ Bulldog Pottery E xhibition,” Bruce G holson and Samantha Henneke; at North Carolina Museum of Natural Sciences, 11 W. Jones St. N orth C arolina, S eagrove September 1–November 25 “ Fork Mountain Pottery: The Work of Suze Lindsay and K ent McLaughlin; at North Carolina Pottery Center, 250 E ast Ave. O hio, C incinnati through September 10 “ Dark Jewels: Chinese Black and Brown Ceramics from the Shatzman Collection” ; at Taft Museum of Art, 316 Pike St. O hio, C olumbus through August 31 “ Weapons and Torches,” Andi and Robert Moran; at Sherrie G allerie, 694 N. High St. P ennsy lvania, P hiladelphia September 1–24 “ 2D/3D,” Thom Bohnert, K im Dickey, Paul McMullan, K irk Mangus, Anat Shiftan and Catherine White; at the Clay Studio, 139 N. Second St. P ennsy lvania, P ittsburgh August 25–September 30 “ WAD Clay Institute Juried Clay Annual” ; at WAD Clay Institute, 2100 Mary St. T exas, El P aso through September 23 “ Multi- plicity: Contemporary Ceramic Sculpture,” Shawn Busse, Marek Cecula, Bean Finneran, K ay Hwang, Denise Pelletier, Jeanne Q uinn, G regory Roberts and Juana V aldes; at Stanlee and G erald Rubin Center for V isual Arts, University of Texas E l Paso, 500 W. University Ave. T exas, H ouston August 1–31 “ HPG CAME O E merg- ing Artists” ; at Houston Potters G uild Clay Arts Museum & E ducational Organization, 840 E . 28th St., Apt. A. V ermont, B urlington August 4–31 “ Fastidious,” Shane M. K eena, Josh LeMay and Shoshona Snow; at Ice Coast G allery, 113 Church St. V irginia, A lexandria through August 6 “ Tea Time.” August 7–September 3 “ Before & After.” September 4–October 1 “ Two of a K ind.” October 2–29 “ Strictly from Nature” ; at Scope G allery, Torpedo Factory, 105 N. Union St. V irginia, F redericksburg September 7–October 22 “ Nickel and Detwiler: 25 Year Retrospective,” Joseph Detwiler and Lorene Nickel; at University of Mary Washington, duPont G allery, 1301 College Ave. V irginia, R ichmond through September 24 “ Traditions in Miniature: The Louise Westbrook Col- lection of Chinese Ceramics” ; at the University of Richmond Museums, Lora Robins G allery of Design from Nature. W ashington, K irkland through August 29 “ Clay? ” ; at K irkland Arts Center, 620 Market St. W isconsin, R acine through November 25 “ Treasure Hunt: Teapots” ; at the Charles A. Wustum Museum of Fine Arts, 2519 Northwestern Ave. W isconsin, V erona October 9–November 17 “ Bruce Buddies Show” ; at Sugar River G allery, V erona Area High School, 300 Richard St. C ontinued

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AS 06 062_096.indd 67 7/14/06 10:03:16 AM including ceramics by Jane Burton and K athy V enter; F lorida, D eL and through September 3 Three-per- calendar at Sculpturesite G allery, 201 Third St. son exhibition including ceramics by Steve Howell; at multimedia exhibitions C alifornia, S anta C ruz through November 26 DeLand Museum of Art, 600 N. Woodland Blvd. “ Wild Outside Worlding Art: Local Portraits by R.R. F lorida, S t. P etersburg through September 1 “ Heat Ceramics in Multimedia Jones and Mattie Leeds” ; at the Museum of Art & of the Moment,” including ceramics by Sang Roberson; Exhibitions History, the McPherson Center, 705 Front St. at Florida Craftsmen, 501 Central Ave. C alifornia, S anta M onica through August 31 F lorida, T allahassee August 28–September 24 A riz ona, P hoenix through August 13 “ Mid-Cen- “ Omage: Artists, Designers and Writers of Otis Col- “ Combined Talents Annual Juried E xhibition” ; at the tury Modern: Native American Art in Scottsdale” ; at lege of Art and Design” ; at Track 16 G allery, Bergamot Florida State University Museum of Fine Arts, 8347 the Heard Museum, 2301 N. Central Ave. Station, 2525 Michigan Ave., C1. Summerdale Ln. C alifornia, O ntario through September 10 “ 2006 C alifornia, W alnut C reek through September 10 F lorida, T ampa through October 1 “ What does this Ontario Invitational Art E xhibition,” including ceram- “ By Hand: A National Juried E xhibition of Traditional and Mean? The Narrative Tradition” ; at Tampa Museum of ics by Twyla Wardell; at Museum of History and Art, Innovative Craft” ; Bedford G allery, 1601 Civic Dr. Art, 600 N. Ashley Dr. 225 S. E uclid Ave. C olorado, F ort C ollins through August 19 “ Rocky I llinois, C hicago through January 1, 2007 “ Tutank- C alifornia, S acramento August 3–26 “ V iews of Mountain Biennial 2006” ; at Fort Collins Museum of hamun and the G olden Age of Pharaohs” ; at the Field the Landscape,” including ceramics by Celeste Welch; Contemporary Art, 201 S. College Ave. Museum, 1400 S. Lake Shore Dr. at exploding head gallery, 924 12th St. D . C. , W ashington through January 1, 2007 “F re- September 1–30 “ Hand Harvested: Our Future C alifornia, S an F rancisco through August 5 “ Body er—A Taste for Japanese Art”; at Freer G allery of Art, in G enetic E ngineering” ; at Toj o G allery, 1418 W. Language— Figurative Works by 5 Women Sculptors,” Smithsonian Institution, Jefferson Dr. at 12th St., SW. Division St. K entucky , L ouisville through November 4 “ Life InSight: The Human E xperience” ; at K entucky Museum of Art and Craft, 715 W. Main St. M aine, D eer I sle August 4–September 10 “ Color On and Off the Wall” ; at Dowstudio, 19 Dow Rd. M assachusetts, C ambridge through June 30, 2007 “ The Moche of Ancient Peru: Media and Messag- es.” through September 1, 2007 “ Imazighen! Beauty and Artisanship in E veryday Berber Life” ; at Peabody Museum, Harvard University, 11 Divinity Ave. M assachusetts, L enox August 26–September 24 Three-person exhibition including ceramics by Debra Fritts and Red Weldon Sandlin; at Ferrin G allery, 69 Church St. M innesota, D uluth through January 7, 2007 “ Across Space, Time and Meaning” ; at Tweed Mu- seum of Art, University of Minnesota Duluth, 1201 Ordean Ct. M innesota, M inneapolis through September 3 E xhibition including ceramics by Susan Feigenbaum; at G allery 360, 3011 W. 50th St. N ew M exico, S anta F e through August 26 “ Celebrating 25/20,” including ceramics by Richard Devore and Ruth Duckworth; at Bellas Artes, 653 Canyon Rd. N ew Y ork, B rookly n through December 31 “ Beau- ty Beyond Words: Calligraphy in Asian Traditions” ; at Brooklyn Museum of Arts, 200 E astern Pkwy. N ew Y ork, B uffalo September 16, 2006–Janu- ary 7, 2007 “ Craft Art Western New York 2006” ; at Burchﬁ eld-Penney Art Center, Buffalo State College, 1300 E lmwood Ave. N ew Y ork, N ew Y ork through August 5 “ Anything U Can Do I Can Do Better” ; at K athleen Cullen Fine Arts, 526 W. 26th St. through September 3 “ A Passion for Asia: The Rockefeller Family Collects” ; at Asia Society, 725 Park Ave. through October 29 “ Feeding Desire: Design and the Tools of the Table, 1500–2005; at the Cooper-Hewitt National Design Museum, 2 E . 91st St. N orth C arolina, C hapel H ill through August 26 “ Aquatica,” including ceramic sculpture by Mark Chatterley; at Somerhill G allery, 3 E astgate, E . Franklin St. N orth C arolina, C harlotte through August 6 “ Crosscurrents: Art, Craft and Design in North Caro- lina.” through November 26 “ Mint Menagerie: Crit- ters from the Collection” ; at Mint Museum of Craft + Design, 220 N. Tryon St. O hio, C leveland through August 20 “ The Per- sistence of G eometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art” ; at the Museum of Contemporary Art Cleveland, 8501 Carnegie Ave. O hio, K ettering September 11–October 6 Two-person exhibition including ceramics by Petra K ralickova; at Rosewood G allery, 2655 Olson Dr. O hio, T oledo through September 3 “ 88th Annual Toledo Area Artists E xhibition” ; at Toledo Museum of Art, 2445 Monroe St. O regon, S alem October 3–28 “ The Other,” in-

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cluding ceramics by Marlene Miller; at Mary Lou Z eek G allery, 335 State St. P ennsy lvania, P hiladelphia September 30–De- cember 31 “ Treasures/Tesoros/Tesouros: The Arts in Latin America, 1492–1820” ; at Philadelphia Museum of Art, 26th St. and the Benj amin Franklin Pkwy. W ashington, S eattle through August 6 “ Surface Stances,” including ceramics by Lars Husby; at Nordic Heritage Museum, 3014 N.W. 67th St. through August 18 “ Nature’s Wonders,” including ceramics by Adrian Arleo, Baba Wague Diakite, Mar- garet Ford, Carol G outhro, Ronna Neuenschwander and John Woodward; at Pacini Lubel G allery, 207 Second Ave. S. W isconsin, L a C rosse through August 19 “ The Art of the Doll” ; at Pump House, 119 K ing St. W isconsin, M ilw aukee September 16, 2006–Janu- ary 1, 2007 “ Biedermeier: The Invention of Simplicity” ; at Milwaukee Art Museum, 700 N. Art Museum Dr. W isconsin, R acine through October 15 “ Treasure Hunt: Works from RAM’s Storage” ; at Racine Art Museum, 441 Main St. Fairs, Festivals and Sales

C alifornia, B everly H ills October 15–16 “ The Af- faire in the G ardens” ; at Beverly G ardens Park, Santa Monica Blvd. at Rodeo Dr. C alifornia, L aguna B each through September 1 “ Annual Festival of Arts” ; at Irvine Bowl Park, 650 Laguna Canyon Rd. F lorida, W inter P ark August 18–19 “ Showalter Hughes Community College— Cup-A-Thon X X II” ; at Crealdé School of Art, 600 St. Andrews Blvd. G eorgia, A thens September 10 “ Athens Area Pot- ters Studio Tour.” For map, www.ocaf.com. G eorgia, W atkinsville September 4 “ Oconee Coun- ty Potters Studio Tour.” For map, www.ocaf.com. I llinois, B arrington September 23–24 “ Art in the Barn 2006” ; at G ood Shepherd Hospital, 450 W. Hwy. 22. Cobalt Wholesaler I llinois, Evanston August 25–27 “ 22nd American Tin Oxide Call for Pricing Craft E xposition Beneﬁ ting Breast and Ovarian Cancer Research at E NH” ; Northwestern University E vanston, Cobalt Oxide $29** Henry Crown Sports Pavilion, 2311 Campus Dr. $19** I llinois, O ak P ark September 10 “ 20th-Century Cobalt Carbonate Art and Design Auction” ; at John Toomey G allery, Chrome Oxide $4/lb. 818 North Blvd. M aine, B lue H ill, D eer I sle, B rooksville, S edg- Silver Nitrate $15/25g w ick, S tonington and S unset October 6–9 “ Penin- Zinc Oxide $2.50/lb. sula Potters Sale and Studio/G allery Tour.” For map, [email protected]; tel (207) 348-5681. Nickel Oxide $7/lb. M ary land, B altimore August 31–September 3 Copper Carbonate $4/lb. “ 28th Annual Baltimore Summer Antiques Show” ; at Bats the Baltimore Convention Center, 1 W. Pratt St. M ary land, G aithersburg October 13–15 “ Sugar- Undrilled–Formica surface loaf Crafts Festival” ; at Montgomery Co. Fairgrounds, 12" diameter, $2.85 each 16 Chestnut St. 14" diameter, $3.25 each M ary land, T imonium October 6–8 “ Sugarloaf 17" - 20" bats available. Call for pricing. Crafts Festival” ; at Maryland State Fairgrounds, 2200 All bats discounted with bulk purchase. York Rd. FREE pound of Tin Oxide with the M assachusetts, N orthampton October 8–10 “ Paradise City Arts Festival” ; at Three County Fair- purchase of 100 12" Bats! grounds, Rte. 9. Please add UPS shipping charge M assachusetts, S tockbridge August 26 “ Family to your order. Day and Summer’s E nd Celebration” ; at IS183 Art School of the Berkshires, 13 Willard Hill Rd. ANYBODY KNOWS IT'S M ichigan, D etroit August 13 “ Antique & Con- temporary Art Tile Fair” ; at Pewabic Pottery, 10125 THE SERVICE! E . Jefferson. Westerwald Chemicals M ichigan, N ovi October 20–22 “ Sugarloaf Crafts 40 Pottery Lane Festival” ; at Rock Financial Showplace, 46100 G rand River Dr. Scenery Hill, PA 15360 M innesota, M inneapolis September 8–10 “ Ameri- Tel: 724-945-6000 can Pottery Festival” at Northern Clay Center, 2424 Fax: 724-945-5139 Franklin Ave., E . 15% Restocking Charge September 16 “ 5th Annual 2006 Minnesota Tile Fes- **We will match any competitors prices tival” ; at American Swedish Institute, 2600 Park Ave.

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AS 06 062_096.indd 71 7/13/06 7:56:05 PM “ Fine Art and Crafts Show at Anderson Park” ; at An- N ew Y ork, R osly n H arbor September 29–October calendar derson Park, N. Mountain and Bellevue aves. 1 “ 10th Annual Craft as Art Festival” ; at Nassau County fairs, festivals, sales N ew M exico, T aos September 16–17 “ Art Along Museum of Art, 1 Museum Dr. E l Camino Real Norte Historical G allery and Studio N ew Y ork, W ater M ill October 7–8 “ Potter’s N ew J ersey , C ranford September 30–October 1 Tour.” www.taosartretreat.com. Market” ; at Celadon G allery, 41 Old Mill Rd. “ Fall Nomahegan Park Fine Art and Crafts Show” ; at N ew Y ork, B rookly n October 14–15 and 21–22 N ew Y ork, W hite P lains October 20–22 “ Thir- Nomahegan Park, Springﬁ eld Ave. “ 1st Annual Craft as Art Festival” ; at the Brooklyn teenth Annual Westchester Craft Show” ; at the N ew J ersey , L ay ton September 29–October 1 Museum, 200 E astern Pkwy. Westchester County Center, 198 Central Ave. “ 36th Annual Peters V alley Craft Fair” ; at Peters V alley N ew Y ork, C az enovia August 19–20 “ 26th An- N orth C arolina, C harlotte September 9 “ 2nd An- Craft Center, 19 K uhn Rd. nual Pottery Fair” ; in Stone Q uarry Hill Art Park, Stone nual Potters Market Invitational” ; at the Mint Museum N ew J ersey , M ontclair “ Fall October 14–15 Q uarry Hill Rd. of Art, 2730 Randolph Rd. Brookdale Fine Art and Crafts Show” ; at Brookdale N ew Y ork, N ew Y ork September 2–4 and 9–10 N orth C arolina, P enland August 11–12 “ Penland Park, Wachtung Ave. “ Washington Square Outdoor Art E xhibition” ; on School of Crafts Annual Beneﬁ t Auction.” For reserva- N ew J ersey , M orristow n October 20–22 “ Mor- University Pl. from 12th St. to 3rd St., and Washington tions, www.penland.org; tel (828) 765-2359, x45. ristown CraftMarket” ; at National G uard Armory, Pl. from Washington Sq. E to Mercer St. N orth C arolina, W ake F orest October 7–8 430 Western Ave. September 9–10, 16–17 “ 21st Annual Autumn “ 2006 Wake Forest Area Artists’ Studio Tour.” N ew J ersey , S omerset October 27–29 “ Sugarloaf Crafts Festival” ; at Lincoln Center, 140 W. 56th St. www.artistsstudiotour.com Crafts Festival” ; at G arden State E xhibit Center, 50 October 6–11 “ The International Art + Design Fair, O hio, C ambridge August 11–13 “ 38th Annual Atrium Dr. 1900–2006” ; at the Seventh Regiment Armory, Park Salt Fork Arts and Crafts Festival” ; at Cambridge City N ew J ersey , U pper M ontclair September 16–17 Ave. at 67th St. Park, E ighth St. P ennsy lvania, L ancaster September 1–4 “ Long’s Park Art & Craft Festival” ; in Long’s Park, Harrisburg Pike. P ennsy lvania, P hiladelphia October 15 “ Mas- tery in Clay 2006 Auction” ; at Clay Studio, 139 N. Second St. T exas, N ew B raunfels October 28–29 “ 14th Annual Texas Clay Festival” ; at Buck Pottery, 1296 G ruene Rd. V irginia, M anassas September 8–10 “ Sugarloaf Crafts Festival” ; at Prince William Co. Fairgrounds, 10624 Dumfries Rd. W ashington, A nacortes August 4–6 “ Anacortes Arts Festival” ; downtown. W est V irginia, J acksonville September 1–4 “ Stonewall Jackson Heritage Arts and Crafts Jubilee” ; at Jackson’s Mill, Jackson’s Mill Rd. W isconsin, R iver F alls October 14–15 “ 2006 Western Wisconsin Pottery Tour.” www.mrpots.net. Workshops

C alifornia, L ancaster August 5–9 Architectural ceramics workshop with Mary Harper. Fee: $575. Contact Mary Harper, Serene Fascinations, 1414 K errick St., Lancaster 93534; tel (661) 547-4319 or (661) 951-1445. C alifornia, P alo A lto September 4–8 Clay printing with Mitch Lyons. Contact Paciﬁ c Arts League, 68 Ramo- na St., Palo Alto 94301; www.paciﬁ cartleague.org. C alifornia, S anta C lara November 3–5 “ Portrait Class” with Philippe Faraut. Contact Matt Hoogland, Clay Planet, 1775 Russell Ave., Santa Clara 95054; [email protected]; tel (408) 295-3352. C alifornia, S olana B each October 7–8 “ Architec- tural Decorative Pillars in Clay” with Irene De Watteville. Fee: $195. Contact Sheila Menzies, Tile Heritage Foundation, PO Box 1850, Healdsburg, CA 95448; www.tileheritage.org; tel (707) 431-8453. C alifornia, S unny vale September 16–17 “ Master- ing G lazes” with Ron Roy. Fee: $90; OV CAG , ACG A and ME CAC members, $70. September 23 “ Beachball Babylon” with Phyllis Lee. Fee: $65; OV CAG , ACG A and ME CAC members, $60. Contact Mother E arth Clay Center, 790 Lucerne Dr., Sunnyvale 94085; www.mamasclay.org; tel (408) 245-6262. C olorado, A rvada August 26–27 “ Potter’s E r- gonomics” with Joyce Michaud. Fee: $150. Contact Arvada Ceramic Arts G uild, 5870 Olde Wadsworth Blvd., Arvada 80003; www.arvadaceramicarts.org; tel (303) 423-0448. C olorado, B oulder August 26–31 “ Anagama Wood-Firing Workshop.” Fee: $312; residents, $250. September 2–3 Weekend workshop. Fee: $156; residents, $125. Instructors/session: Sam Hoffman and Hi- roshi Ogawa. Tel Nancy Utterback (303) 441-3446. September 15–17 Workshop with Sam Chung. Fee: $75; after August 25, $85. Contact Todd Redmond, Boulder Potters’ G uild, PO Box 19676, Boulder 80308; tel (303) 427-6068. C olorado, L oveland August 15–17 “ Portrait Class”

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with Philippe Faraut. Contact K aren Dreith, Sculpture Depot, 418 E ighth St., SE Unit B, Loveland 80537; [email protected]; tel (800) 260-4690. C olorado, S now mass V illage September 9–22 “ Developing Your Pottery V oice” with Doug Casebeer, Alleghany Meadows, Aysha Peltz and David Pinto. Fee: $1100, includes studio fee. Contact Anderson Ranch Arts Center, PO Box 5598, Snowmass V illage 81615; www.andersonranch.org. C olorado, V allecito L ake August 7–11 “ Holding your Sake, Sushi and More” with June Szaj ko G etford. Fee: $340, includes materials. All skill levels. Contact Blue Spruce Recreational Park, 1875 County Rd. 500, V allecito Lake 81122; www.bluesprucervpark.com; tel (888) 884-2641. C onnecticut, B rookfi eld September 8–10 “ Col- ored Clay” with Naomi Lindenfeld. September 22–24 “ West African Handbuilding” with Barbara Allen. September 29–October 1 “ Textures for PMC” with Linda K aye-Moses. October 6–9 “ Plaster and Latex Molds” with Barbara Allen; or “ Cone 6 G laze and Clay with Jeff Z amek; or “ Wood Firing” with Roger Bauman; or “ PMC Lockets” with CeCe Wire. October 27–29 “ E astern Coil” with Joyce Michaud. Contact Brookfi eld Center, PO Box 122, Brookfi eld 06804; www.brookfi eldcraftcenter.org; tel (203) 775-4526. C onnecticut, G uilford August 12–13 “ Lidded V essels” with David MacDonald. Intermediate through professional. Contact Lisa Wolkow, G uilford Art Center, 411 Church St., G uilford 06437; tel (203) 453-5947; www.guilfordartcenter.org. D elaw are, W ilmington October 7 Clay printing with Mitch Lyons. Contact Delaware Center for the Contemporary Arts, 200 S. Madison St., Wilmington 19801; www.thedcca.org; tel (302) 656-6466. F lorida, S t. P etersburg September 23 “ Sound- ing Sculptures” with Brian Ransom at E ckerd College Ceramics Dept. Fee: $45; members, students, $35. October 2–7 and/or 9–14 “ The International Archi- tectural Ceramics Symposium,” building and installing workshop with Peter K ing and X inia Marin, plus Rudy Autio, Stan Bitters, G wen Heeny, John Mason, John Donovan and Ben G illiam. Fee: 2 weeks, $1500; students, $1400; 1-week, $795; students, $745. Novem- ber 11–17 “ Atmospheric Firing Methods” with Chuck Solberg. Fee: $350; students, $300. February 24–25, 2007 Workshop with Tom and E laine Coleman. Fee: $225; students, $195; bring ware to carve. Contact Jennifer Lachtara, St. Petersburg Clay Company, 420 22nd St. S, St. Petersburg 33712; www.stpeteclay.com; tel (727) 896-2529. F lorida, W inter P ark October 14–15 Workshop with Ron Meyers. Contact the Crealdé School of Art, 600 St. Andrews Blvd., Winter Park 32792; www.crealde.org; tel (407) 671-1886. G eorgia, A tlanta September 23–24 “ Line G esture with Functional Pottery” with Matt Long. Fee: $110. Contact G lenn Dair, Callanwolde Fine Arts Center, 980 Briarcliff Rd., Atlanta 30306; [email protected]; tel (404) 874-9351. G eorgia, D ecatur September 16–17 “ Thrown and Altered Maj olica” with Posey Bacopoulos. Fee: $125. October 7–9 “ Dreaming in Clay with Metal” with Lisa Clague. Fee: $275. November 3–5 “ Ornament and Abstraction” with Liz Q uackenbush. Fee: $275. Con- tact MudFire Clayworks, 175 Laredo Dr., Decatur 30030; www.mudfire.com; tel (404) 377-8033. G eorgia, R abun G ap September 18–22 “ K ohiki, K aki and Shino Workshop” with Akira Satake. Fee: $325, includes registration and materials. Limit of 14. Contact Hambidge Center for Creative Arts and Scienc- es, Box 339, Rabun G ap 30568; www.hambidge.org; tel (706) 746-5718. G eorgia, W atkinsville August 26–27 Workshop with Sam Chung. Fee: $125, includes lunch. Contact OCAF Art Center, 34 School St., Watkinsville 30677; www.ocaf.com; tel (706) 769-4565. C ontinued

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Ceramics Monthly August/September 2006 75

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I llinois, C ry stal L ake October 6–7 Demo with Lana Wilson. Contact Molly Walsh, McHenry ZDUGEXUQHUFRP %DOO9DOYHV.LOQ&RQWUROOHUV5DNX.LOQV3\URPHWHUV%$629DOYHV%ULFN )LEHU5HJXODWRUV%XUQHU3DUWV1HHGOH9DOYHV3URSDQH+RVH County College, 8900 Rte. 14, Crystal Lake 60012; www.clayworkersguild.com; tel (815) 455-8697. M aine, D eer I sle September 3–9 “ Collaborations: 32%R[ E xploring Form” with K aren K arnes and Mark Shapiro. Fee: $365. Contact Haystack Mountain School of Crafts, 'DQGULGJH71 PO Box 518, Deer Isle 04627; www.haystack-mtn.org; tel (207) 348-2306. M ary land, B altimore September 16–17 “ Parts and Pieces: Throwing and Assembling Sculptural Forms on the Wheel” with V irginia Scotchie. October HPDLOLQIR#ZDUGEXUQHUFRP 6–10 “ Wood-Fire Workshop” with Janet Mansﬁ eld. Fee: $300; members, $280, includes ﬁ ring; bring bisqueware. October 28–29 Workshop with Lydia Thompson. Fee (unless noted above): $180; members, $160. Contact Baltimore Clayworks, 5707 Smith Ave., Baltimore 21209; www.baltimoreclayworks.org; tel (410) 578-1919 x18. M ary land, F rederick September 9–10 “ G laze Application” with Joyce Michaud. Fee: $170. Sep- tember 16 “ Understanding Pottery G lazes” with Phil Berneburg. Fee: $85. September 23–24 “ Decorative Techniques with Porcelain” with X iaosheng Bi. Fee: $170. October 7–8 “ Photographing Ceramics” with Joyce Michaud. Fee: $185. October 13–16 “ Wood Firing“ with K evin Crowe. Fee: $250. October 14–15 “ Properties of Clay” with Phil Berneburg. Fee: $170. October 20–22 “ Firing Theory” with Peter Pinnell. Fee: $250. November 3–5 “ Composite Throwing” with Tony Clennell. Fee: $185. November 9–12 “ Properties of G laze” with Phil Berneburg. Fee: $250. Contact Hood College, Ceramics Program, 401 Rosemont Ave., Frederick 21701; www.hood.edu/academic/art; tel (301) 696-3456. M assachusetts, B everly August 19 and 26 “ Teapot Workshop.” Contact Redbrick, 95 Rantoul St., Beverly 01915; www.redbrickarts.com. M assachusetts, M onson August 5 “ Annual Raku Workshop” with Rick E pstein. Fee: $85. Con- tact Juliet Rose G allery and Studio, 191 Reimers Rd., Monson 01057; www.j ulietrosegallery.net; tel (413) 596-9741. M assachusetts, T ruro September 4–8 “ Raku, Smoke & Pit” with Ron Dean. September 11–15 “ The Marriage of Form and Surface” with Mary Barringer. Fee/session: $450. Contact Truro Center for the Arts Castle Hill, 10 Meetinghouse Rd., Box 756, Truro 02666; www.castlehill.org; tel (508) 349-7511. M assachusetts, S tockbridge September 30–Octo- ber 28, Sat. “ Introduction to Working on the Wheel” with Alex Watson. Fee: $140, includes materials. Be- ginner. Contact IS183 Art School of the Berkshires, 13 Willard Hill Rd., Stockbridge 01262; www.is183.org; tel (413) 298-5252 x100. FKHFNRXWRXUZHE M assachusetts, W illiamsburg August 10–13 VLWHIRUUHJXODU “ Wheel Throwing and Ancient Firing Techniques” with Bob G reen. Fee: $385. August 13–19 “ Sculpting the ´ZHEVSHFLDOVµ Human Figure” with Harriet Diamond. August 20–26 and/or October 22–28 “ Multifaceted World of Clay” with Bob G reen. September 2–4 “ Make It/Mold It: Ceramic Mold Making” with Ruth O’Mara. Fee: $295. September 17–23 “ Working with Porcelain: Design and Decoration” with Phoebe Sheldon. September 24–30 “ Ceramic Tile Making: From Trivets to Floors” with Sharon Pollock. October 9–15 “ Sculpting the Human Figure” with Judith Abraham. October 22–28 “ The Multifaceted World of Clay” with Bob G reen. Fee (unless noted above): $360. Contact Snow Farm: the New E ngland Craft Program, 5 Clary Rd., Williamsburg 01096; www.snowfarm.org; tel (413) 268-3101. M ichigan, A nn A rbor August 5–6 “ Salt K iln Cone 10 Firing” with Laura K orch and I.B. Remson. Fee: $115; members, $105; includes lab fee. Must bring bisqueware. Limit of 12. Contact Janet Torno, Ann Arbor Art Center, 117 W. Liberty, Ann Arbor 48104;

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Ceramics Monthly August/September 2006 76

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M ichigan, D etroit August 18 or 20 “ Tabletop Tile Workshop,” Fee: $125; members, $100; table included. Contact Pewabic Pottery, 10125 E . Jefferson, Detroit 48214; www.pewabic.org; tel (313) 822-0954. M ississippi, N atchez October 14 “ Basic G laze Mix- ing Workshop Part 1” with Conner Burns and Lindsay Rogers. Fee: $75. Contact Burns Pottery, 209 Franklin St., Natchez 39120; tel (601) 446-6334. M issouri, K ansas C ity November 4–5 Workshop with Sam Chung. Fee: $125. February 3–4, 2007 Work- shop with Ron Meyers. November 3–4, 2007 Workshop with Linda Christianson. Contact Red Star Studios Ceramic Center, 821 W. 17th St., K ansas City 64108; www.redstarstudios.org; tel (816) 474-7316. M ontana, H elena September 29–October 1 “ New Directions and E ndless Manipulations” with Doug Casebeer and E ddie Dominguez. Fee: $350, includes materials and firing. Limit of 15. Contact the Archie Bray Foundation for the Ceramic Arts, 2915 County Club Ave., Helena 59602; www.archiebray.org; tel (406) 443-3502. N ew H ampshire, M anchester August 14–18 “ Sculptural Ceramics” with Mary Ann Fleming. Fee: $175. Contact Currier Museum of Art, 180 Pearl St., Manchester 03104; www.currier.org; tel (603) 669-6144. N ew J ersey , D emarest October 21 “ In Pursuit of a Sculptural Dynamic” with Mikhail Z akin. Fee: $115. Contact Lorraine Z aloom, the Art School at Old Church, 561 Piermont Rd., Demarest 07627; www.tasoc.org; tel (201) 767-7160. N ew J ersey , L ay ton September 2–4 “ Alterna- tive Mold Processes” with Lynn Munns. Fee: $340; includes materials and firing. September 8–10 “ In- novative Handbuilding Techniques” with Lana Wilson. Fee: $320, includes materials and firing. Beginning through advanced. Contact Jennifer Brooks, Peters V alley Craft Center, 19 K uhn Rd., Layton 07851; www.petersvalley.org; tel (973) 948-5200. N ew J ersey , S urf C ity August 12 “ The Decorated Form” with Liz Q uackenbush. September 9 “ Wheel- Centered Altering: Focus on Function & Movement” with Tina G ebhart. Contact the m.t. burton gallery & 19th Street Ceramic Studio, 1819 Long Beach Blvd., Surf City 08008; www.mtburtongallery.com; tel (609) 494-0006. N ew M exico, El P rado August 7–11 “ Throwing Large Raku V essels” with Mark Wong. August 14–18 “ Wood K ilnbuilding” with John Bradford. Contact Taos Clay Studio & G allery, 1208 Paseo de Pueblo Norte, E l Prado, NM 87529; www.taosclay.com; tel (505) 770-6563. N ew Y ork, K atonah August 13 “ Raku Firing Workshop. August 20 “ Clay Silver Workshop” with David Hughes. Fee: $125. Contact Sarah Miller, K atonah Art Center & G allery, 77 Bedford Rd., K atonah 10536; www.katonahartcenter.com; tel (914) 232-4843. N ew Y ork, N ew Y ork September 15 “ A One Day Taste of PMC” with V era Lightstone. Fee: $305; members, $265; includes materials. Contact JCC in Manhattan, 334 Amsterdam Ave., New York 10023; tel (646) 505-5708. September 8–10, November 3–5 and/or December 1–3 “ PMC Connection Artisan Certifi cation. Fee: $550, includes book, tools, fi ring, silver and PMC G uild membership. September 9–10, October 1–2, November 4–5 and/or December 2–3 “ Techniques in Precious Metal Clay.” Fee: $285, includes materials, tools and fi ring. September 22–24 “ Precious Metal Clay Certifi cation Level Two.” Fee: $565, includes materials. Instructor/session: V era Lightstone. Contact V era Lightstone, 347 W. 39th St., New York 10018; www.silverclay.com; tel (212) 947-6879. N ew Y ork, O akdale November 3–4 “ Thrown and Altered Maj olica” with Posey Bacopoulos. March 31–April 1, 2007 “ Altering Forms for Functional Pots” with Susan Beecher. Fee/session: $185, includes lab

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fee. All skill levels. Contact Patricia Hubbard-Ragette, Dowling Institute/Dowling College, Idlehour Blvd., Oakdale 11769; [email protected]; tel (631) 244-3420. New York, Port Chester August 9–10 “Outdoor Animals: Sculpture for your Garden” with Susan Halls. Fee: $175. Contact Clay Art Center, 40 Beech St., Port Chester 10573; tel (914) 937-2047. New York, Troy October 20 “Old Pots/New Pots: American Stoneware from the 19th Century to the Present,” lecture by Mark Shapiro. October 21–22 “The Past in the Present: History as Inﬂ uence” with Mark Shapiro. November 4 “Albany Slip and Cone 6 Glazes” with Jeff Zamek. Contact Kyra TePaske, the Arts Center of the Capital Region, 265 River St., Troy 12180; www.artscenteronline.org; tel (518) 273-0552. New York, Water Mill September 16–17 “Raku” with Bill Shillalies. Fee: $275, members $200. October 14–15 “Tile Making” with Frank Giorgini. Fee: $325; members, $250. Workshops at Celadon Gallery. Con- tact Clay Art Guild of the Hamptons, 51 Round Pond Ln., Sag Harbor, NY 11963; [email protected]; tel (631) 899-3599. North Carolina, Asheville September 8–10 “Movin’ On” with Cynthia Bringle. Fee: $200, includes registration. September 22–24 “Everything in the Glaze Kitchen” with Peter Pinnell. Fee: $200, includes registration. Contact the Odyssey Center for the Ceramic Arts, 236 Clingman Ave., Asheville 28801; www.highwaterclays.com; tel (828) 285-0210. North Carolina, Bailey November 4–5 “Forming and Decorating Functional Pots” with Cynthia Bringle and Bill van Gilder. Fee: $175. Contact Finch Pottery, 5526 Finch Nursery Ln., Bailey 27807; tel (252) 235- 4664; www.danﬁnch.com. North Carolina, Brasstown September 3–9 “Scottish-Inspired Pottery” with Pamela Kohler-Camp. September 10–17 “World of Japanese Ceramics” with Rebecca Floyd. Fee: $610. September 24–30 “Hand- made Tiles” with Jeanie Daves. October 8–14 “Big Pots—No Sweat” with Mary Hearne. October 15–21 “Form for Functional Pots” with Caroline Montague. October 29–November 4 “Wheel, Glazes and Firing” with Rob Withrow. November 5–11 “Folk Pottery.” November 12–19 “Setting the Table.” Fee: $375. www.japanpotterytools.com November 26–December 2 “The Magic of Mosaics” with Pam Brewer. December 3–9 “Throw Pots in One Day” with Mike Lalone. Fee (unless noted above): $412. Contact John C. Campbell Folk School, One Folk School Rd., Brasstown 28902; www.folkschool.org; tel (828) 837-2775. North Carolina, Creedmoor September 9–10 “An Investigation of Special Effects Glazes and Their Uses on Ceramic Surfaces”; with Alan Bennett. Fee: $140, includes breakfast and lunch. Bring bisqueware. Con- tact Jennifer Dolan, Cedar Creek Pottery, 1150 Fleming GEILKILNS Rd., Creedmoor 27512; www.cedarcreekgallery.com; Started the tel (919) 528-1041. Downdraft Revolution! North Carolina, Durham September 23–24 “Handbuilding Images” with Dina Wilde-Ramsing. Fee: $150, includes lunch. Contact White Oak Pottery, 3915 Rivermont Rd., Durham 27712; www.whiteoakartworks.com. October 13 (slides)–15 “Pots and Possibilities” with Nick Joerling. Fee: $140; slides only, $6. January 3–6, 2007 “Making and Thinking About Pots” with Julia Galloway. Fee: $350, due December 12. Limit of 15. Contact Leonora Coleman, Claymakers, 705 Foster St., Durham 27701; www.claymakers.com; tel (919) 530-8355. North Carolina, Oakridge September 16–17 Workshop with Ben Owen” at David Cole’s Studio. Fee: $75; members, $55. Contact Molly Lithgo, Carolina Clay Guild, www.carolinaclayguild.com; tel (336) 275-1202. North Carolina, Seagrove September 15–16 “Two Approaches to Function” with Suze Lindsay and Kent

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McLaughlin. Contact the North Carolina Pottery Center, 250 East Ave., Seagrove 27341; tel (336) 873-8430; www.ncpotterycenter.com. North Carolina, Wentworth September 30–Oc- tober 1 “Hands-On Handbuilding and Colored Porcelain Workshop” with Chris Campbell at Rock- ingham Community College. Fee: $75; members, $55. Contact Molly Lithgo, Carolina Clay Guild, www.carolinaclayguild.com; tel (336) 275-1202. Oklahoma, Oklahoma City October 21–22 Work- shop with Steven Hill. Fee: $150. Contact Classen Street Potters, 809 N. Classen Blvd., Oklahoma City 73106; www.classenstreetpotters.com; tel (405) 235-3322. Pennsylvania, Farmington August 7–12 and 14–19 “Wheel-Thrown Pottery” with Valda Cox. Au- gust 20–27 “Carbon-Trapping Shino” with Malcolm Davis. Fee: $750. August 28–September 2 “Surface Decoration Techniques” with Yoko Sekino-Bove. Fee: $480. Fee (unless noted above): $495, includes materials and studio fees. Contact Touchstone Center for Crafts, 1049 Wharton Furnace Rd., Farmington 15437; www.touchstonecrafts.com; tel (800) 721-0177. Pennsylvania, Philadelphia August 5 “Porcelain Techniques & Tricks” with Brad Johnson. August 8 “Sculptural Forms” with Myung Jin Choi. August 9–30, Wed. “Throw, Alter, Carve” with Kathryn Narrow. Fee: $115; members, $105. August 15 “Brush Decoration on Clay” with Janice Merendino. Fee (unless noted above): $35; members, $30. Skill requirements vary. Contact the Clay Studio, 139 N. Second St., Philadelphia 19106; www.theclaystudio.org; tel (215) 925-3453. Texas, Dallas September 8 (lecture)–10 Hands-on workshop with Linda Christianson. Contact Craft Guild of Dallas, 14325 Proton Rd., Dallas 75244; tel (972) 490-0303; www.craftguildofdallas.com. Texas, Longview October 13–15 “Portrait Class” with Philippe Faraut. Contact Renee Hawkins, Mu- seum of Fine Art, 215 E. Tyler St., Longview 75601; [email protected]; tel (903) 753-8103. www.flatrockclay.com Clay, Glazes Wisconsin, Verona October 26–27 “Bruce Bud- O Tools, Books dies,” demos and slide shows by Don Bendel, Brian 479-521-3181 UDI Equipment Bolden, David Dahlquist, David Gamble, Karen Koblitz, ST Raw Materials CK Workshops Karen Massaro, Don Reitz, Bob Shay. Contact Randy RO ES Becker, Verona Area High School, 300 Richard St., LAT PLI Verona 53593; www.brucebuddies.org; tel (608) F P SU 2oo2 South School 845-4455. Mon-Fri 9-6 Y LA Fayetteville, ARkansas 72701 Virginia, Arlington September 15–17 “Over- Sat 9-1 C view of Cone 10 Glazes” with John Britt. September 30–October 1 “Creative Critters” with Patricia Uchill Simons. October 21–22 “Exploring the Organic Ob- ject” with Leigh Taylor Mickelson. Contact Darlene Tsukamoto, Lee Arts Center, 5722 Lee Hwy., Arlington 22207; www.arlingtonarts.org/leearts.htm; tel (703) 228-0558. GEILKILNS International Events Real Professionals Do Know the Difference! Australia, Sydney through August 24 Jennifer Lee; at Liverpool Street Gallery, 243A Liverpool St. Belgium, Brasschaat October 14–15 “Silk-Screen Printing on Ceramics” with Ivo Nijs. Fee: C125 (US$150). November 18–19 “Slip Casting with Bone China” with Sasha Wardell. Fee: C125 (US$150); or “Painting with Smoke” with David Roberts. Fee: C135 (US$160). Each includes materials and meals. Intermediate through professional. Contact Patty Wout- ers, Atelier Cirkel, Miksebaan 272, 2930 Brasschaat; www.ateliercirkel.be; tel (32) 36 33 05 89. Canada, British Columbia, Vancouver August 3–September 4 Gordon Hutchens. September 7–Oc- tober 2 Clive Tucker, “A Sting in the Tail.” October 5–30 “Ceramic Musical Instruments,” Keith Lehman, Ron Robb, Jinny Whitehead; at Gallery of BC Ceramics, 1359 Cartwright St., Granville Island. Canada, Ontario, Aurora September 16–17 “Ornately Functional: Form & Surface” with Kristen Kieffer. Fee: CAN$107 (US$94); members, CAN$85.60

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(US$75). Contact Fusion: Ontario Clay & Glass Associa- tion, Cedar Ridge Creative Centre, 225 Confederation Dr., Toronto, Ontario M1G 1B22; [email protected]; tel (416) 438-8946. Canada, Ontario, Burlington through September 17 Susan Collett, “Impluvium”; at Burlington Art Centre, 1333 Lakeshore Rd. Canada, Ontario, London August 2–30 “Matter of Clay II—Repeats and Occasional Pots”; at Jonathon Bancroft-Snell Int., 258 Dundas St. Canada, Ontario, Toronto through August 12 Peter Powning, “clay : bronze : glass”; at Sandra Ainsley Gallery, 55 Mill St., #32. through October 9 “Jean-Pierre Larocque: Clay, Sculpture and Drawings”; at the Gardiner Museum, 111 Queen’s Park. September 9–30 Robert Archambeau and Bruce Cochrane; at Prime Gallery, 52 McCaul St. October 21, 2006–January 7, 2007 “Italian Arts & Design: The 20th Century”; at the Royal Ontario Museum, 100 Queen’s Park. Canada, Ontario, Waterloo through September 3 “Rankin Inlet Ceramics”; at Canadian Clay & Glass CONTEMPORARY CERAMIC Gallery, 25 Caroline St. N. Canada, Québec, Val-David through August 13 FORMULAS “1001 Pots”; at 2435 rue de l’Église. John W. Conrad Denmark, Copenhagen through August 19 “11 Re-released now as a paperback. Danish Ceramists.” “Home from Damascus,” Christian 149 clay, 25 leadless earthenware, 37 Buur Bangsgaard, Anne Fløche and Marianne Nielsen; at Galleri Nørby, Vestergade 8. refractory, 88 single fire, 52 raw stain, 121 Denmark, Hasle September 8–October 22 “Euro- stoneware, and 66 aventurine, crystal, and pean Ceramic Context 2006—Young Ceramists Under crystalline matt formulas. “The price of the 30”; at Grøbechs Gård, Grøbechs Gård 4. book is worth the section on crystal glazes Denmark, Gudhjem September 8–October 22 ¹⁄₂ × “European Ceramic Context 2006—Established alone.” 165 pages, 8 " 11". Ceramics Elite”; at the Art Museum of Bornholm, $21.60 contact your distributor Helligdommen, Rø. FALCON COMPANY Denmark, Rønne September 8–October 22 “Eu- P.O. Box 22569, San Diego, CA 92192 ropean Ceramic Context 2006—Industrially Manufac- tured Ceramic Design”; at Hjorth’s Factory Bornholm, Museum of Ceramics, Krystalgade 5. Denmark, Skælskør September 18–22 “Media Hybrids” with Brian Bolden and Colby Parson-O’Keefe. Fee: DKr 1900 (US$312); members, DKr 1700 (US$279); students, DKr 1200 (US$197). October 7 “Creativity GEILKILNS as Play” with Sandy Brown. Fee: DKr 350 (US$58); From Shino to members/students, DKr 200 (US$33). October 23–27 “Vitriﬁed Print III” with Paul Scott. Fee: DKr 1900; Copper Red Every Time! members, DKr 1700; students, DKr 1200. Contact Guldagergård, International Ceramic Research Centre, Heilmannsvej 31 A, 4230 Skælskør; www.ceramic.dk; tel (45) 5819 0016. England, Bovey Tracey, Devon through August 28 “Raku,” Tim Andrews, Rob Sollis, Elizabeth Rae- burn. through September 10 “Summer Exhibition.” September 9–October 11 Malcolm Law. September 23–November 5 “Interface, Concept to Reality”; at Devon Guild of Craftsmen, Riverside Mill. England, Leeds August 5–October 28 Slip-cast raku by Elena Blunsum; at the Craft Centre & Design Gallery, City Art Gallery, The Headrow. England, Liverpool through August 26 “Go Figure,” Judith Davies, Pauline Hughes and Mari Ruth CHARLOTTE, NC Oda; Bluecoat Display Centre, College Ln. England, London through September 3 “The Road Setting up a studio? to Byzantium: Luxury Arts of Antiquity”; at Hermitage Your full-service pottery supplier Rooms, South Bldg., Somerset House. featuring clays by through September 10 “From Jean Arp to Louise Standard, Highwater and Laguna; Bourgeois: Modern Artists at Sèvres”; at the Wallace kilns, glazes, chemicals and equipment. Collection, Hertford House, Manchester Sq. School orders welcome! through October 31 “Poet’s Choice,” Gordon Baldwin, David Garland, Ewen Henderson, Bryan Illsley, Gillian Lowndes, Jim Malone, Sara Radstone and Sidney CAROLINA CLAY Tustin; at Anthony Shaw Collection, 11 Billing Pl. CONNECTION through December 22 “The Ming Vase: Decon- structing an Icon.” through December 24 “Ming 704/376-7221 Colors: Polychrome Porcelain from Jingdezhen”; at e-mail: [email protected]

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Percival David Foundation of Chinese Art, School of Oriental and African Studies, 53 Gordon Sq. September 14–October 4 Two-person exhibition including ceramics by Elspeth Owen; at Hart Gallery, 113 Upper St. September 17–30 “Pottery and Archaeological Tour of Southwest England,” museum, gallery and pottery tours with Alan and Gillian McMillan. Fee: CAN$5695 (US$5056), includes lodging and most meals. Limit of 12. Contact Bestway Tours & Safaris, 8678 Greenall Ave., Ste. 206, Burnaby, British Columbia V5J 3M6 Canada; tel (888) 280-6890; www.naturalheritagetours.com. October 8–29 Phil Rogers; at Harlequin Gallery, 68 Greenwich High Rd. England, Newark October 21–November 5 Jim Soldner Clay Mixers Malone; at Thoresby Gallery, Thoresby Park. by Muddy Elbow France, Cordes sur Ciel September 3–9 “Throwing Manufacturing and Raku” with Frank Theunissen. Fee: C395 (US$474), includes materials, ﬁring and meals. Instruction in Dutch, English, French and German. Beginning through advanced. Contact Frank Theunissen, LaCéramique, La Plaine, Cordes sur Ciel 81170; www.laceramique.com; tel (33) 5 63 53 72 97. 310 W. 4th KS • 67114 Newton, (316) 281-9132 Phone/Fax [email protected] soldnerequipment.com

“Retour de Chine” by Christine Fabre; at Galerie Capazza, Nançay, France.

France, La Borne through August 9 Christian Destieu; at Centre Créaton Céramique, La Borne. France, Limoges through October 30 “White Spirit, Contemporary White Ceramics”; at Fondation, d’Enterprise Bernardaud, 27 ave. Albert Thomas. GEILKILNS France, Lot et Garrone September 4–9 “Paper Fires Even and Easy! Clay” with Karin Heeman. Fee: C250 (US$299), includes materials, ﬁring and lodging. Instruction in Dutch, English, French and German. Contact Centre de Céramique International, Château de Barry, Aura- dou, Lot et Garonne 47140; tel (33) 5 53 40 64 88; www.karinheeman-ceramics.com. France, Manosque October 2–31 Raku by Georges Peyrano; at Galerie Voghera, 4 rue du Tribunal. France, Nançay through September 24 Four-person exhibition including ceramics by Yoland Cazenove and Etiyé Dimma Poulsen. October 7–December 10 Three- person exhibition including ceramics by Christine Fabre; at Galerie Capazza, Grenier de Villâtre. France, Quimper through October 20 “Un Oeuvre de Faïence”; at Musée de la Faïence, 14 rue Jean- Baptiste Bousquet. France, Saint-Quentin-la-Poterie through Septem- ber 7 Dany Jung, “Voyageurs de l’Espace.” Catherine Venter, “L’Esprit du Geste.” through January 7, 2007 “Pichets Extraordinaires.” September 10–November

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AS 06 062_096.indd 87 7/14/06 12:17:54 PM calendar 8290 N. DIXIE DR. international events DAYTON, OHIO 12 Catherine Chaillou, “Bestiaire du Sud”; at Terra 45414 mudsh rk Viva Galerie, rue de la Fontaine. (937) 454-0357 studios, LLC France, Uzès August 5–October 5 Violette Adjiman; at Galerie 21, 21 rue du Dr Blanchard. France, Vallauris through August 31 “China Feel- ings I,” Philippe Barde and Jacques Kaufmann. Huang Yong Ping, “Le Tatou sur la Table de Napoleon III”; at Musée National Picasso, Place de Liberation. through August 31 Marie-Laure Gobat-Bouchat. September 1–November 20 Kristin McCurdy; at Espace Grandjean, Boulevard des deux vallons. through November 20 “Contemporary Ceramics model and mold making International Biennial”; at Musée Magnelli, Musée de la Céramique, Place de Liberation. ceramic production services through November 20 “China Feelings II,” Philippe The Olsen Kiln Kits are designed, Barde and Jacques Kaufmann. “Monographic Exhibi- product consulting tion,” Laurent Esquerré; at Chapelle de la Miséricode, patented, and built Place J. Lisnard. by Fredrick Olsen through November 20 “Contemporary Ceramics author of International Biennial Guest of Honor Country Exhibi- tion—China”; at Salle Eden, Place de Liberation. "The Kiln Book" through November 20 “Un Possible Dialogue?”; at Write for a Free Brochure Salle Jules Agard, Avenue Gerbino. through November 20 “40 Years of the Ceram- ics Biennial, Overview of a Collection”; at Salle de l’AVEC, Rue Sicard. Olsen Kiln Kits Germany, Berlin-Charlottenburg through August 7 “New Acquisitions.” “Ceramics from Buergel” through 60520 Manzanita #205 Brett Binford October 2 “Teabowls and Ceramic Tea Equipment”; at Mountain Center, CA 92561 Chris Lyon Keramik-Museum Berlin (KMB), Schustehrusstr. 13. Telephone 760-349-3291 Germany, Frauenau August 3–19 “Dream Vessels” 971.645.8611 with Heidi Kippenberg. Fee: C420–500 (US$504–600). www.mudsharkstudios.org Contact Reinhard Mader, Bild-Werk Frauenau, Pf. 105, Frauenau D-94258; www.bild-werk-frauenau.de; tel (49) 9926 180 895. Germany, Goettingen October 15–November 12 AMPSHADES Australian Glass and Ceramics”; at Galerie Rosenhauer, L K.-Adenauer-Str. 34. NEW! HANDMADE PAPER Germany, Hamburg through August 13 “Voices: 1-800-622-3050 Annies Mud Contemporary Ceramics from Sweden. through August 27 “From Art Nouveau to Modern Style—Glass and www.lampshadesforpotters.com Pie Shop Ceramics from a Private Collection in Hamburg”; at Museum für Kunst und Gewerbe, Steintorplatz. Hungary, Kecskemét September 6–28 “Narrative • Ceramic Supplies Sculpture” with James Tisdale. Contact International Ceramics Studio Kecskemét, Kápolna u. 11, Kecskemét & Equipment H-6000; [email protected]; tel (36) 76 486 867. Standard Clays, Skutt, Italy, Certaldo (Florence) September 4–9 “Soda Firing” with Terry Davies. Contact La Meridiana, Loc. GEILKILNS AMACO, Brent, Orton, Bagnano 135, 50052 Certaldo; www.lameridiana.fi.it; Buy Once, Buy a Geil! North Star, Kemper, tel (39) 0571 660084. Giffin Tec, Aftosa, Italy, Faenza through November 30 Biancini Angel, Spectrum, L&L, “Sculptures and Ceramics from Year Thirty to the Post- Mid South War Period”; at International Museum of Ceramics Faenza, Via Campadori 2. Italy, Marsciano August 12–15, September 2–3, • Raw Materials 9–10, 16–17, 23–23, 30–October 1, 7–8, 14–15, 21–22 and/or 28–29 “Stages of Raku Ceramics—Arts and • Classes Holidays.” Fee: 4 days, C430 (US$516); 2 days, C200 (US$240); includes materials and firing. Meals: C15/ • School Discounts meal (US$18). Lodging: C35/day (US$42). Instruction (Unified Purchase Approval) in English and Italian. Beginning through advanced. Contact Elisabetto Corrao, La Fratta Art-House, Vocabolo Fratta 157, Marsciano; www.lafratta.it; tel • Open 6 days a week! (39) 075 8785111. (Closed Thursday) Italy, Pontassieve (Florence) September 9–Octo- ber 10 Sculptures by Lisa Nocentini; at La Barbagianna, House of Contemporary Art, via di Grignano 24. Italy, San Gimignano (Siena) through August 24 Earthenware sculptures by Lisa Nocentini; at Galleria 3180 Wasson L’Albero Celeste, Via Marconi 1. Italy, Savona through September 10 “Third Bien- Cincinnati, OH 45209 nale of Ceramics in Contemporary Art-2006”; at City Call Toll Free Art Gallery, Palazzo Gavotti, P.zza Chabrol. 1-866-GET-CLAY (438-2529) through September 10 “Third Biennale of Ceramics (410) 235-5998 www.anniesmudpieshop.com in Contemporary Art-2006”; at Parfi ri Art Space, Villa www.clayworkssupplies.com Groppallo, Vado Ligure. Continued

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AS 06 062_096.indd 89 7/13/06 8:09:41 PM The Only Kiln calendar Venting System international events that Removes through September 10 “Third Biennale of Ceramics in Contemporary Art-2006”; at Manilo Trucco Ceramic Heat and Fumes Museum, c.so Ferrari 191, Albisola Superiore. through September 10 “Third Biennale of Ceramics 3-year in Contemporary Art-2006”; at Villa Jorn, Casa Jorn, via D’Annunzio 8, Albissola Marina. Warranty Japan, Gifu through October 16 “European Noble Wares”; at Museum of Modern Ceramic Art, Gifu, 4-2-5 Higashi-machi, Tajimi-shi. Japan, Shigaraki through September 24 “594 Ceramics Artists Who Came to Shigaraki—The Legacy of the Artist in Residence”; at the Museum of Contem- porary Ceramic Art, 2188-7 Shigarakicho-Chokushi. Mexico, Valle de Guadalupe November 11–13 “South of the Border Talavera Tile Painting Retreat” with Ivette Vaillard. Fee: $350. Limit of 10. Contact Sheila Menzies, Tile Heritage Foundation, PO Box 1850, Healdsburg, CA 95448; www.tileheritage.org; tel (707) 431-8453. Netherlands, Amsterdam through October 22 • Removes heat, reducing chance “Wonders of Imperial Japan: Meiji Art from the Khalili Col- of setting off overhead sprinklers lection”; at Van Gogh Museum, Paulus Potterstraat 7. • Removes fumes at their source September 10–October 1 Anita Manshanden; at Galerie Carla Koch, Prisengracht 510 sous. • Adjustable, overhead design Netherlands, Den Haag through November 5 “A conforms to OSHA Decorative Delight: Dutch Ceramics 1880–1940”; at Gemeentemuseum Den Haag, Stadhouderslaan 41. Netherlands, Deventer through August 12 “Three British Potters,” Tony Laverick, Mary Vigor, Sasha Wardell; at Loes & Reinier, Korte Assenstraat 15. Toll Free: 877-876-8368 Netherlands, Leeuwarden through August 27 Fax: 716-876-4383 Sonja Landweer, “A Life’s Work.” Mariëtte van der E-mail: [email protected] Ven, “No ID.” through September 17 “Mysterious Celadon.” September 10, 2006–February 12, 2007 Visit us at www.ventakiln.com Marja Hooft”; at Princessehof Leeuwarden, Grote Kerkstraat 11. Netherlands, ‘s-Hertogenbosch through Septem- GEILKILNS ber 10 “Free Spirit, Contemporary Ceramics of Native Real Professionals America.” October 8, 2006–January 7, 2007 “Avec Plaisir: Ceramics by Pablo Picasso”; at Sm’s - Stedelijk Fire in a Geil! ‘s-Hertogenbosch, Magistratenlaan 100. Netherlands, Tegelen through September 30 “Na- ked Clay, The Beauty of Clay Without Glaze”; at Kera- miekcentrum Tiendschuur Tegelen, Kasteellaan 8. South Korea, Gyeongsangnam-do through October 1 “International Architectural Ceramic Exhibi- tion”; at Clayarch Gimhae Museum, 358, Songjeong-ri Jillye-myeon, Gimhae-si. Spain, Argentona (Barcelona) August 4–6 “In- ternational Ceramics and Pottery Fair”; at Museu de Cántir D’Argentona, Plaça de l’Església 9. Switzerland, Geneva through August 20 “The Fascination of Ceramics—Contemporary Japanese Ceramic Masterpieces of the Gisela Freudenberg Col- lection”; at Collections Baur, Art Museum of the Far East, 8 rue Muier-Romilly. through October 1 Betty Woodman, “Théâtres”; at Musée Ariana, 10 ave. de la Paix. Turkey, Istanbul, Cappadocia, Ankara September 14–October 5 “Turkey 2006 Excursion,” hands-on workshop including handbuilding, colored porcelain and decals with Mehmet Kutlu, then hands-on workshop with Erdogan Gulec, tours, and studio visits. Fee: 16 C.F. West Coast CAN$4685 (US$3975), includes airfare, lodging, break- West fast; without airfare, CAN$2935 (US$2500). Contact Denys James, Discovery Art Travel, 182 Welbury Dr., Coast Kiln Salt Spring Island, British Columbia V8K 2L8 Canada; www.denysjames.com; tel (250) 537-4906. For free info, U.S. Virgin Islands, St. Thomas October 20–No- vember 9 “Fireworks”; at Mango Tango Gallery, 6501 write Red Hook Plaze, Ste. 201. P.O. Box 2152 For a free listing, submit announcements at least two months Lucerne Valley, before the month of opening. Add one month for listings in July and one month for listings in September. Submit listings online CA 92356 at www.ceramicsmonthly.org; mail to Calendar, Ceramics Monthly, 735 Ceramic Pl., Suite 100, Wester ville, OH 43081; e-mail 714-778-4354 [email protected]; or fax (614) 891-8960.

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AS 06 062_096.indd 91 7/13/06 8:10:24 PM classified advertising Ceramics Monthly welcomes classifieds in the following categories: Buy/Sell, Employment, Events, Opportunities, Per- opportunities sonals, Publications/Videos, Real Estate, Rentals, Services, Travel. Accepted advertisements will be inserted into the first available print issue, and posted on our website (www.ceramicsmonthly.org) for 30 days at no additional charge! Resident position. Available in January, See www.ceramicsmonthly.org/classifieds.asp for details. spring and fall. Large new facilities, wood, salt, gas and electric kilns. Ongoing application. www.cubcreek.org; or (434) 248-5074. BLUEGRASSCLAYNATIONAL (November buy/sell Production potters: full-time, year-round positions 4–December 30, 2006). Deadline for entries, for skilled potters who are serious about throw- September 1. Juror: John Utgaard. Fee: $25 for Clay and casting shops—pugmills, mullers, ing salt-glazed production ware. Benefits. Send up to 5 slides. $1500 in awards. For prospectus, ribbon blenders, constant feeder, dust collector, résumé to Salmon Falls Stoneware, PO Box 452, send SASE to BLUE CLAY, Yeiser Art Center, pneumatic clay cutter, packing table, taping Dover, NH 03821-0452; or [email protected]. 200 Broadway St., Paducah, KY 42001; or visit and stapling machines, automatic carton taping We’re located 90 minutes north of Boston. www.yeiserartcenter.org. machine, stainless casting tanks, lightning mix-

ers, production vibrating sieve for slip or glaze, Excellent opportunity for exploring wood fi ring Call for artists: Valdosta State University Fine in a natural Ozark forest setting. Studio assistant glaze mixer, small ball mills. Cheap. All or part. Arts Gallery accepting proposals for 2007–08 desired in exchange for room, board, small sti- Jack D. Wolfe Co. (718) 495-2065. season. Deadline September 15, 2006. All me- pend, studio space and kiln space—anagama, dia, insurance, no sales commission. Send 20 Retiring. Ceramic inventory must go. Gerstley noborigama. For details, contact Joe Bruhin slides/jpgs, résumé, artist statement, letter, SASE borate in original bags, huge variety of frits. Expen- (870) 363-4264. to VSU Fine Arts Gallery, Department of Art, 1500 sive zircopaxes, cheap! Kiln shelves and posts N. Patterson St., Valdosta, GA 31698-0105; e-mail galore, tons of ceramic stains, old time porcelain events [email protected]. enamels and fi ndings, sponges—sea wool, cos- metic, mediterranean fl atheads, more. Kilns, new Pottery course Spain: Seth Cardew and Simon Multiaward-winning Australian manufacturer and used. Decorating wheels. Tools. Professional Leach team up to teach from the wheel. Great of gravity-fed stoneware water purifi ers looking rolling pins, plaster modeling tools, brick. More. Spanish experience! Also at the pottery, a fully for small number of franchise or license arrange- First come, fi rst served. (718) 495-2065. furnished 4-bedroom house is available to rent ments with overseas potteries. Million dollar by the week. www.cardew-spain.com; or e-mail opportunity even for a small operation. Southern For sale: Olympic 7-cubic-foot gas kiln: updraft— [email protected] for details. Cross Pottery, 14 Caba Close, Boambee, NSW never used—includes shelving and post, $1100. 2450 Australia; phone/fax +61 (0) 2 6658-1110; Axner wheels: 2 available, great wheels—used Workshop—Jayne Shatz Pottery: “Positive Ap- e-mail [email protected]; website only a handful of times—with splash pan, $475 proaches to Marketing Your Art,” August 12, $100. www.southerncrosspottery.com.au. each. Contact Sean at (740) 816-5242. Columbus, [email protected]; www.jayneshatzpottery.com Ohio, area. Production potter—full time, must have skills in “First Annual Illinois Regional Potters Exhibi- throwing, mold making, glazing and fi ring. E-mail Ceramic art tile business for sale. Well-es- tion, Part 1—Northwest.” Featuring functional résumé to [email protected] or tablished, 18 years, national distribution. Three pottery by the “Twenty Dirty Hands Group”: Ken send résumé to Sheepscot River Pottery, 34 Rt. full decorative lines well developed with fi elds Bichell, Paul Eshelman, Charles Fach, Bill Farrell, 1, Edgecomb, ME 04556. and decorative tiles. Ceramic relief, glass and Delores Fortuna, Ron Hahlen, Kent Henderson, mosaic. Equipment includes 60-ton Ram press, Doug Reynolds, Adrienne Seagraves and Stepha- Graduated from college with a clay degree? dies, extruder, 500-gallon slip casters, extensive nie O’Shaughnessy. August 28–September 30, What now? Stretch Gallery & Studios is looking glazes and much more. Owner retiring. Call for 2006. Northern Illinois University Art Museum. for you. Located in Charlotte, North Carolina, I details, (773) 368-4978. www.vpa.niu.edu/museum; (815) 753-1936. am searching for a part-time weekend person to help with all aspects of ceramics including Wanted: Laguna Pro V glaze spray booth. Call Kilnbuilding workshop, November 2006, Pottery teaching, gallery, studio assistant and basi- (505) 737-9640. West, Las Vegas, Nevada. Tom Coleman and Don cally be a studio “rat.” Are you dependable, Bendel will build a train wood-fi re kiln. Contact fl exible, professional and usually sober? Let’s For sale: Bluebird stainless model 24S clay Amy at (702) 987-3023 for complete details. talk, [email protected]. mixer. Used only one year. An older model but in excellent shape. $1900. Western Massachusetts. Pat Horsley workshop, September 23 and 24. Potter’s retreat. Tucson, Arizona. Furnished cot- Contact Patrick, [email protected]. Pottery West, Las Vegas, Nevada. Contact Amy tages for rent on a private estate. Share a large Kline at (702) 987-3023 for complete details. ceramics studio, kilns, pool and spa. The Humming- Home and studio for sale. Quitting business. bird House. Call (520) 742-3969; or toll free (877) 2000-square-foot home with 1000-square-foot Wood-fi re workshop—3-chamber Noborigama. HUMMING; www.hummingbirdhouse.com. apartment and 1100-square-foot fully equipped Loading October 13–15. For more information, studio. New carport attached to studio. $330,000 for www.cubcreek.org; or (434) 248-5074. Study with master potter Tom Turner in a one- all. E-mail [email protected] for photos. to-one teaching and learning experience. Infor- Anagama fi ring with John Rezner and Mark Rigsby at Rezner Pottery in Fairhope, Alabama. Septem- mation is available at www.tomturnerporcelain. employment ber 1–4. Loading August 30–31. Unload Septem- com; e-mail [email protected]; phone ber 11. $150 for 10 cubic feet. (251) 928-6406; (828) 689-9430. Studio manager/instructor: The Art Association www.groundhogkiln.com; www.facejugs.com. of Jackson Hole is seeking a creative individual products whose primary responsibilities include managing “Fireworks” group show on St. Thomas in the all aspects of a busy community ceramics studio, U.S. Virgin Islands. October 20–November 9 at Ceramics/bisque, going out of business sale. teaching ceramics classes, managing other art Mango Tango Art Gallery. Potters include Kim- Everything must go, building sold! Approximately studios within the facility, assisting with gallery. berly Young, Lynn Paccassi-Berry and Mandy $60,000 in inventory—pennies on the $. Ap- College degree minimum, M.F.A. preferred. For Thody among others. www.clayfi reworks.com; proximately 8000 molds—$1 each. Auburndale, more information, visit www.artassociation.org. or [email protected]. Florida. Phone (863) 207-2509.

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This book is about a truly remarkable transforma- chambered ocarinas and ceramic bagpipes. In- tion: how the simplest of materials—clay or mud— depth profiles explore a number of today’s artists, can be used to make tools for producing one of the their work, and their inspirations. most complex human expressions—music. With a All instrument families are represented: percus- history reaching back to ancient times, creating sion, winds, strings, and even unique hybrids.For ceramic musical instruments is a vibrant pursuit for each type of instrument, special construction tech- many innovative artists today.This book explores niques specific to clay are explained. In addition, the vast array of ceramic musical instruments, from there’s a chapter providing detailed, step-by-step their historical traditions in world cultures to their instructions showing how to build several ceramic modern variations and innovations. Hundreds of instruments.Acompanion audio CD contains 43 color photos present the work of artists from diverse tracks of ceramic instrumental music rang- around the world spanning the last three millennia, ing from the refined melodic strains of Vivaldi and List Price: ...... $59.95 from ancient Peruvian water whistles and Tchaikovsky to the earthy, primal wailings of bizarre INTRODUCTORY PRICE: $48.00 Mesopotamian rattles to contemporary seven- pre-Columbian wind instruments. Order Code: ...... CA30 Whether you areamusician, ceramist, or just a fan of art and music, you’re invited to embark on an incredible journey ...from mud to music! Ceramics Monthly August/September 2006 To Order, go to www.ceramics.org/music93 classiﬁed advertising

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AS 06 062_096.indd 95 7/14/06 4:27:57 PM Comment ﬁ re the gods by Don Pilcher

In 1946, I was four years old. My family In all these years, I only had one kiln blow gods eventually gave them an exotic patina lived in southern California where my fa- up upon ignition. Of course, it happened of respectability. (Black smoke everywhere ther was employed by Gladding, McBean, when I was demonstrating how to light an was a common sign of reduction firing, the the maker of the famous line of Franciscan Alpine kiln for my sophomore ceramics only kind you wanted.) Other people, more earthenware patterns known as Desert students. I don’t recall the exact sequence involved and artful, would festoon their gods Rose and Desert Apple. My father, without but the door blew open and knocked me on with spent cones and kiln rubble for greater having finished high school, was a glaze my ass. I got it going on the second attempt. expression. Talent was never fully hidden in technician at the Los Feliz plant and, in More luck. these figures and, during my time in school, that capacity, he did a considerable amount My formal instruction in kiln firing Ralph Bacerra always made the best. of kiln firing. came from two of the very best; Vivika and Fast forwarding to this decade, past cat- Occasionally, a kiln ran late; he would Otto Heino. They left nothing to chance. enary kilns, train kilns, envelope kilns, cast- miss his bus and so my mother and I Every firing was done by visual observa- able refractories and insulating fiber blanket, would pick him up at work. Holding we arrive at a bifurcated period regarding her hand, we entered a huge corrugated kilns and firing. The first is the stone- metal building that housed a beehive kiln, Every once in a age, labor-intensive and endlessly sexy nearly as large. The only illumination in anagama. The second is the space-age, the room came from the many gas burn- while, we create digitally controlled microwave in a stain- ers around the kiln’s perimeter. My father less steel jacket. It seems that the practice sat in a corner of the building and we all something beyond of kiln gods is limited to the former and waited for the cones to go down. unthinkable with the latter. During those years, with WWII just our understanding. This morning I loaded my program- over in the Pacific, he would entertain me mable electric kiln and started it with with hours of play on the living room carpet. tion, coordinated with warning cones and a my own digit, the first one on my right We enjoyed something like “Victory at Sea,” pyrometer. An hourly log noted damper set- hand. Program, segments, ramp, temps, with used cone packs serving as destroyers tings, gas pressure and weather conditions. press, press, press—REDI, press and now and battleships. Those with the most cones Detailed note taking recorded the stacking it’s on the way to another perfect firing. As down represented the enemy and the others, and unloading. As a rule, every kiln was Otto Heino has often said, “Kiln’s working, with more cones up, the American fleet. It unloaded “on the big table” and all work in I’m resting.” was not until I took my own children to the studio came to a halt while Vivika taught I still use a little lead carbonate. I still watch cones in my own kilns that I con- us how to read the results. Application, pin- vent by opening a door, but there is no nected with the fact that I had become a holing, dunting, crawling: you name it, we adjacent work space, just the horizon all the potter not entirely by chance. studied it. It was a ceramic autopsy. way to Indiana. And I don’t use kiln gods, It’s just a little shocking to realize that I Yet even with all that methodology, kiln but not because I don’t believe. On the con- fired my first kiln 48 years ago. It was a Den- gods were required. The significance (or trary. I’ve come to see that our faith in kiln ver Fire Clay updraft muffle kiln of about 8 strangeness) of that duality (something like gods works best when their potent repute is cubic feet. It had a counterweight lid and it a preflight check and a prayer) didn’t occur invested in the work itself. That “potent re- sat on the north wall of the ceramic room at to me until years later with the arrival of the pute” is the heat, all those liberated calories. Hoover High School. That kiln was vented Occupational Safety and Health Admin- They have an ineffable but transformative only when we opened a window. Most of our istration (OSHA) and the Environmental power. When we fire, we assume the role of glazes contained white lead carbonate as the Protection Agency (EPA). God in the universe—all elements melting, primary flux and I can’t explain why I’m still Because of the Constitution and its all molecules in motion and all of us caught here to recall this. Maybe it was the required provisions for a separation of church and up in that Adam/atom thing. Every once kiln gods we fashioned. We thought they state, I presumed the Feds were not about in a while we create something beyond our blessed the firing; perhaps they blessed the to accept the power of kiln gods to protect understanding. It is better to worship that fireman. Or maybe I’m just lucky. potters at work—this in spite of the fact experience and intensify our participation In that day, ignition was provided by that kiln gods were used everywhere, almost than to make some do-da which is parked a rolled up newspaper. Gas pressure was religiously. You could tell a lot about people outside the kiln. Idolatry can be a diversion. measured by a water gauge. Continued igni- by their kiln gods. The marginally faithful or In the end, that do-da just collects carbon tion and flame safety were monitored by the modestly talented kept them pretty simple and then expires as the last detritus of “the sound of the burners or the smell of raw gas. but accumulated carbon deposits on the world’s most fascinating hobby.”

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AS 06 062_096.indd 96 7/13/06 8:13:55 PM “We bought our first Brent® wheel In1972. It still runs perfectly. Now we have 50!”

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