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William C. Hunt.......................................... Editor Barbara Tipton.......................... Associate Editor Robert L. Creager............................ Art Director Ruth C. Butler................................... Copy Editor Valentina Rojo......................... Editorial Assistant Mary Rushley..................... Circulation Manager Connie Belcher............. Advertising Manager Spencer L. Davis................................... Publisher Editorial, Advertising and Circulation Offices 1609 Northwest Boulevard, Box 12448, Columbus, Ohio 43212 (614) 488-8236 Ceramics Monthly (ISSN 0009-0329) is published monthly except July and August by Professional Publications, Inc.—S. L. Davis, Pres.; P. S. Emery, Sec.: 1609 North­ west Blvd., Columbus, Ohio 43212. Second class postage paid at Columbus, Ohio. Subscription Rates: One year SI6, two years $30, three years $40. Add $5 per year for subscriptions outside the U.S.A. Change of Address: Please give us four weeks advance notice. Send both the magazine wrapper label and your new address toCe­ ramics Monthly, Circulation Office, Box 12448, Columbus, Ohio 43212. Contributors: Manuscripts, photographs, color separations, color transparencies (in­ cluding 35mm slides), graphic illustrations and news releases dealing with ceramic art are welcome and will be considered for pub­ lication. A booklet describing procedures for the preparation and submission of a manu­ script is available upon request. Send man­ uscripts and correspondence about them to The Editor, Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Indexing: Articles in each issue ofCeramics Monthly are indexed in Art Index. A 20- year subject index (1953-1972) coveringCe­ ramics Monthly feature articles, Suggestions and Questions columns is available for $1.50, postpaid from the Ceramics Monthly Book Department, Box 12448, Columbus, Ohio 43212. 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All rights reserved May 1983 3 4 Ceramics Monthly Ceramics Monthly Volume 31, Number 5 May 1983 Feature Articles Dennis Gallagher ....................................................... 24 Pewabic Exhibition.....................................................25 Onta Folk Potters by Brian Moeran......................................................... 27 Anagama—The Fiery Brush by Jack Troy............................................................... 34 Robert Rauschenberg Ceramics...............................39 Philip Jameson by Cheryl McLean...................................................... 42 The Ultimate Cookie Jar............................................45 Clay Architecture 46 A Rammed Earth Studio by Marcia Selsor...................................................... 51 Two Production Potters by Jennifer Hewko...................................................... 54 Departments Letters to the Editor.................................................. 7 Where to Show 13 Questions.................................................................... 15 Itinerary 17 Suggestions 21 Comment: Two Energy Scenarios by R. Clayton Baker................................................... 23 News & Retrospect 67 Classified Advertising 86 Index to Advertisers 88 The Cover A West African woman sgraffitoes a traditional pat­ tern around the doorway of her clay house, a project that takes place every spring in the desert community of Oualata, Mauritania. For a larger view of clay architecture from West Africa and Southwest Asia, see the article beginning on page 46. May 1983 5 6 Ceramics Monthly Letters Modern Japanese Pottery he has been reproducing in paintings and Moeran states that the “university professors, I found the CM four-part series “Survey lithographs decade after decade. Chagall museum curators, civil engineers, amateur of Modern Japanese Pottery” (October is recognized and loved the world over. archaeologists and so on” who “judge pottery 1982-January 1983) very interesting. I en­ But because his paintings have become vir­ shows and write in the numerous publica­ joy and look forward to more comments on tual copies of themselves, does he as well earn tions on Japanese pottery” are “a motley ceramic criticism and aesthetics. CM is too the objectionable criticism of being un­ band. ... in a way a bit like Robin Hood’s afraid to criticize. Please be aware of how original? merry men.” As a lecturer in the Department fast ceramics is changing—from a “how-to” Part 3 of Moeran’s survey ends with: “ .. of Anthropology and Sociology at the Uni­ to real thought. Japanese pottery is technically light years versity of London, and under the sponsorship Mary Seyfarth ahead of what most of us produce in the of the Social Science Research Council of Winnetka, 111. West. The question is whether technical skill Great Britain, Brian Moeran can thus per­ is the only criterion by which pottery should haps expand this motley band of merry men Japanese Rebuttal be judged.” He suggests more bluntly in the to include himself. I have been living in Japan for eight years last sentence of Part 4 that the Japanese may Amanda Kobayashi and for the last five in a rural community, have something to learn from the more “spir­ Fukui, Japan studying pottery. I am in no position to con­ itual” approach to pottery in the West. What test the statistics in Brian Moeran’s four-part makes this summarization wonderfully iron­ Restoring Function (October 1982 through January 1983 CM) ic is that after the conclusion of Part 3, what I just finished having the carpal tunnel “Survey of Modern Japanese Pottery.” I have follows is an extraordinary 16-page array of operation on both hands (a 3-inch incision conducted no national surveys. And yet while full color photographs of prizewinning ex­ on the left and a 4-inch on the right) follow­ Moeran contends that potters in Japan today amples of pottery today in the Western world. ing an examination for impedance of elec­ are “more or less divided into two camps”: After learning from Brian Moeran all about trical impulses down the nerve pathways of those who contribute to Nitten and those who what isn’t good pottery (i.e. pottery being both arms. Despite the casts and prickly contribute to Dento Kogeiten; in my expe­ made today in Japan), is this then what is? stitches, improvement in function is imme­ rience, among the 10 or 12 potters I am on In discussing Japan’s relatively recent shift diate: no numbness, no snapping electricity regular speaking terms with, there is not one of emphasis from potteries to potters, three in joints. I can’t wait to get back to clay. who belongs to either one of these “two camps.” men are mentioned: Arakawa, Nakazato and I can take any amount of publishing about And of the additional 30 or 40 other potters Kaneshige. They are introduced as being specific clays, glazes, history of techniques in the area whose names and work I am among a number of potters who “began de­ and their application. The News & Retro­ acquainted with, I know of three who con­ voting themselves to the imitation of tech­ spect article on E. H. Wheeler (January) tribute annually to the Nitten, and five who niques practiced during the 16th and 17th was delicious. The “Survey of Modern Jap­ participate in Dento Kogeiten. centuries.” The word imitation bears strong anese Pottery” was important. Like ’Lil Au­ In the conclusion of Part 3 of his survey, implications. And there is nothing in the word drey, I laughed and laughed about Walter Moeran states that modern ware in Japan, or in further words to give one any idea why Zurko (January, page 77). And so keep on created with the idea of exhibiting in mind, these three potters also happen to be three keeping on. has become very large, with one potter stick­ of the biggest names in the history of modern Frances Limberg Stearns ing to one pattern. Without reservation, he Japanese pottery. If these three are depicted Globe, Ariz. concludes the reason for this is so that the only as having devoted themselves to imitat­ judges will notice the ware, and critics will ing and attempting to reproduce certain styles A Corner on the Market immediately recognize the “one-pattern” pot of the past, in a comparable survey of modern After 12 years with my hands in clay (6 as “belonging to a certain name, and pass it American Indian pottery, does one introduce years full time), I am still amazed to run accordingly—regardless of quality.” Can the Maria Martinez only as a woman who de­ across potters who think they have a corner reason be so certain, when working big and voted herself to the imitation of techniques on the market (Betty Bell in the March Let­ working in one pattern are trends not only practiced by the Pueblo Indians of previous ters). in Japanese pottery, but in Western pottery centuries? In a survey of modern British pot­ My first experience with this annoying as well; trends not only in pottery, but in all tery, are Leach and Cardew introduced only phenomenon happened with a close friend crafts;

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