2 C eramics Monthly William C. Hunt...... Editor

Ruth C. Butler...... Associate Editor

Robert L. Creager...... Art Director

Mary Rushley...... Circulation Manager

Mary E. Beaver. . . . Circulation Assistant

Jayne Lohr ...... Circulation Assistant

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., 1609 Northwest Blvd., Columbus, Ohio 43212. Second Class postage paid at Columbus, Ohio. Subscription Rates: One year SI8, two years $34, three years $45. 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 to: Ceramics Monthly, Circulation Office, Box 12448, Columbus, Ohio 43212. Contributors: Manuscripts, photographs, color separations, color transparencies (in­ cluding 35mm slides), graphic illustrations, texts and news releases dealing with ceramic art and craft are welcome and will be con­ sidered for publication. A booklet describing procedures for the preparation and submis­ sion of a manuscript is available upon re­ quest. Send manuscripts and correspondence about them to: Ceramics Monthly, The Ed­ itor, Box 12448, Columbus, Ohio 43212. Telecommunications and Disk Media: Ceramics Monthly accepts articles and other data by modem. Phone us for transmission specifics. Articles may also be submitted on 3.5-inch microdiskettes readable with an Ap­ ple Macintosh computer system. Indexing: Articles in each issue of Ceramics Monthly are indexed in the Art lndex\ on line (computer) indexing is available through Wilsonline, 950 University Ave., Bronx, New York 10452. A 20-year subject index (1953-1972), covering Ceramics Monthly feature articles, Suggestions and Questions columns, is available for $1.50, postpaid, from the Ceramics Monthly Book Department, Box 12448, Columbus, Ohio 43212. Additionally, each year’s articles are indexed in the De­ cember issue. Copies and Reprints: Microfiche, 16mm and 35mm microfilm copies, and xerographic re­ prints are available to subscribers from Uni­ versity Microfilms, 300 N. Zeeb Road, Ann Arbor, Michigan 48106. Back Issues: Back issues, when available, are $3 each, postpaid. Write for a list. Postmaster: Please send address changes to Ceramics Monthly, Box 12448, Columbus, Ohio 43212.

Copyright © 1988 Professional Publications, Inc. All rights reserved

April 1988 3 4 Ceramics Monthly Volume 36, Number 4 • April 1988

Feature Articles

European Tile Stovesby Gunther Gotte...... 25

Gillian Lowndes...... 28 Nice Cooling In this age of faster firing, potters are sometimes disappointed in the ACC Southeast Exhibition...... 30 resulting glaze effects. Utah potter John Neely (above) points out the cause of “ane­ mic” glazes is often not in the firing, but Summer Workshops 1988 ...... 31 in cooling. His work/research involves ex­ panding the typical firing cycle to include Boat Dreamsby Pete Kuentzel...... 36 reduction during cooling. See page 48. Woody Hughes by Jeff Cox...... 41 Selling: Six Success Stories by artist/ consultant Libby Platus (below) offers some Polychrome Slip Carvingby Joseph Godwin ...... 46 real examples of artists who have come up with their own unique ways of selling and by John Neely marketing to acquire free Nice Cooling ...... 48 publicity, investment back­ ing, higher regard for their Build a $75 Electric Wheel by Jolyon Hofsted...... 83 work, or more profitable pricing. This first article in Selling: Six Success Stories by Libby Platus...... 84 a two-part series begins on page 84.

Boat Dreams Florida artist Pete Kuent­ zel finds inspiration in boats of all kinds— Departments sailboats, fishing boats, freighters. “A boat can transport a person from one place to Letters...... 7 Comment: A Ceramics of Ideas another. It can be an adventure to travel Questions...... 9 physically or cerebrally. My best traveling by Richard Zakin...... 21 is in the construction of the forms.” See Where to Show ...... 11 Classified Advertising...... 86 page 36. Suggestions...... 15 Itinerary...... 17 Index to Advertisers...... 88 ACC Southeast Exhibition Every year southeast region members of the American Craft Council have a friendly get-together with workshops, lectures and an exhibition. Here’s a quick look at some of the ceramics News & Retrospect shown there; page 30. Karen Karnes/Robert Turner Sculpture in the Netherlands by Michael Rubin...... 57 by Marieke Koudstaal...... 69 The cover “Fireplug,” actual size, perlite Penland Residents Show...... 59 Alan Caiger-Smith and ball clay fired to Cone 8 in a saggar by Rosalyn Morrison...... 69 filled with vermiculite and copper, followed Couples at Greenwich House...... 59 A True Story of Aussies and Yanks by a Cone 06 glaze firing, multiple Cone John Kenny, 1899-1988...... 61 by Paula Malseed...... 71 017 china paint firings, a Cone 017 luster Rosso Fiorentino Majolica...... 73 firing and a final Guinness World Record...... 63 firing to Cone 018 Susan Stickney...... 65 Robert Ely...... 75 for melted glass de­ Indira Johnson...... 65 Neil Forrest tails, by Robert Shay by Michael Rubin...... 75 (left), faculty artist Joe Mariscal...... 65 Diverse Contemporary Ceramics...... 75 at the Ohio State Christine Mark...... 65 University, Colum­ Gordon McVay...... 87 bus. Photo: Elaine Hopi Fountain Paul Chaleff...... 87 by Karen Hebda...... 67 Shay. Nell Hazinski: Formal Play Ren wick Acquires Roloff Sculpture .... 67 by Douglas Gunn...... 88

April 1988 5 6 Ceramics Monthly style. Any polished advertiser would publish November 1984 (page 20) and you will see a sharply focused photo; a tall, willowy mod­ Soldner with nothing on but a belt, and some el in a dress, leaning delicately or touching white paint drawn across his black body, and Letters lightly a spotless clay mixer. a spear in his right hand. But Paul Soldner has designed a short, Or perhaps you’d prefer to see him model squat, round (please look at the other photo the world’s smallest man’s bathing suit, front in the ad), heavy-duty machine. Now look view? (September 1984, page 10) Video Heat at Robin Fletcher. Doesn’t she look like that? There is one drawback for you if you de­ Perhaps the reviewers of “Tozan, A Sec­ Ok, I’ll let you readers disagree, but give her cide to get “turned on” by going through old ond Home” [January issue] are so accus­ 30 years! Soldner ads, ladies. You will have to be con­ tomed to popular “how to” approaches in Soldner is no dummy. The model has some tent with looking at the same man with “a ceramic films and videos that they are unablenice features: an intelligent-looking face and big nose, beady eyes, and a bald head! That’s to appreciate a thoughtful and artistic ren­ a beautiful right shoulder. the Soldner image.” (January 1983, page 14) dition of a serious project. Deborah Horrell says the model looks “short So, forget the December 1987 ad; you see Particularly offensive to this reader was on gray matter.” I disagree. She also says thata lot of things that aren’t there. Look at the the cavalier and offhand reference to the clas­ she thinks the ad may have been designed by old ones, get turned on, and put your money sical shakuhachi (Japanese flute) music. Mr. someone interested in “big-breasted” beau­ where your mouth is. Or, if you’re just a Ono, from Himeji City, Japan, played spe­ ties. Maybe, but he/she sure didn’t pick one weak, complaining female, go buy premixed, cifically at the kiln site, honoring both Yukio for the ad. To prove this, I suggest you do pugged clay from your ceramic supplier, and Yamamoto and the noborigama under con­ as I did. It’s called, “isolate the subject matter let the rest of us enjoy Soldner’s crazy ads. struction. It was from this performance that and analyze it.” Douglas Grimm the flute music was recorded and then used Take two small, plain pieces of paper, place Missoula, Mont. in the video. one over the top part of the photo and pull It would be advisable to view “Tozan, A it down until all the hair is covered. Place “On Collecting” Comment Second Home” a couple more times to pre­ the other paper over the bottom and slide it A creative piece of work [February issue] vent hasty and myopic judgments. Or better up until the navel is covered. Now look at though neither “deeply impassioned,” nor yet, perhaps the reviewers could visit the To­ what is left. Are you impressed? I’m not. “deeply informed” ... [it was] quite inter­ zan kiln and see the project themselves. Does it look like part of the anatomy of a esting. The big “but” comes through Richard Andy Iventosch centerfold model? Nope. What does it look Vine’s failure to mention that one of the big­ Tucson like? gest reasons people with the do re mi invest I see a bare arm, bare midriff, and a shirt-in art is profit. If you pick the right stock, it New Year, New Look covered chest. Thus isolated, it looks to me is one of the best returns for your money. A new year and a fresh cover design! My like a man’s chest. Deborah, I think you can Deborah LeSueur compliments on CM’s new layout. Keep the see things that aren’t there, or else the printer Graton, Calif. guts a-changing too. changed photos in my magazine. Brook LeVan Let’s compare Soldner’s model to center­ Kiln Rattling Comment Omaha fold models some more. After all, Robin Three cheers for William Hunt! And to Fletcher can only shoot me once, right? think the kiln rattling January Comment ar­ Soldner Ad Controversy, Part 3 Let’s look further at what Ms. Horrell ticle (page 19—worth remembering) came Regarding the comments [February Let­ refers to as the model’s “physical endow­ from the same editor who for all these years ters] about Paul Soldner, his model Robin ments.” The right thigh is so heavy it dom­ has put up with so much conceptual ceramics Fletcher, and the Soldner mixer ad in the inates the photo. The knee: any centerfold and the ego verbiage that goes with it. Let’s December 1987 issue (page 6): I suggest you photo would have to have this part of the get comments like that from CM on a regular reevaluate the ad by first going to a libraryanatomy touched up with an airbrush. Only basis. and looking at a few females displayed in thethe model’s ripped cut-offs have more wrin­ Rick Urban centerfold magazines. First of all, their pho­ kles. The arm: it’s so skinny it doesn’t look Dillsboro, N.C. tos are in full color, the lighting is even, and like it could center 5 pounds of clay. Any the mammary glands are noticeably devel­ woman who uses a Soldner mixer should look Morrison Kudos oped. like she comes from good, sturdy peasant stock. Peachblow Pottery wishes to thank Jens By my estimation, Soldner, or in Deborah Those arms definitely belong to a centerfold Morrison for his time, thoughts and com­ Horrell’s words, some “male ... in the dark model, Deborah, and the face, too. But the ments [February Letters] on an issue that has ages” who designed the ad, failed on every rest, no way. needed attention for some time. We agree point, and many others, which I will point Now for my last point, Deborah Horrell wholeheartedly. out. and Lynn Maszer. You both feel that Paul Gail Russell and Tom Turner In Soldner’s photo, the model is both over- Soldner should give you equal time. You both Peachblow Pottery and underexposed. To you non-photogra- want to see a “hunk” or a “well-hung male” Delaware, Ohio phers: I am not talking about the amount of in future ads. Ladies, look at all his old ads! bare skin you can see. The left cheek (on her You’re entitled! Soldner has had half-draped More on Canada face) is quite overexposed. The right arm is males in his ads for years. Where have you May we please see more articles on Ca­ so underexposed that it has turned black. been? nadian artists/craftspeople? I am an Amer­ The hair is totally lacking in highlights and For instance, if you’re interested in little ican living in Canada and I find a great dif­ the eyes are almost lost in shadow. boys, look at the Soldner ad in the January ference in our attitudes. Walter Ostrom or Now for the photo’s cropping: The right 1981 issue (page 12). Bruce Cochrane would be great to start with, hand has been cut off at the wrist. How awk­ Want to see Voulkos stripped? See the and there are lots more on the West Coast. ward! The left leg has been cut off almost Summer 1983 issue (page 2). Deborah, if Amy Huppler-Poliak vertically through the knee, then the right you’re a “sentient” art history buff, and I use Nelson, B.C. foot has been cropped vertically at the ankle. the term “buff” loosely, look at Summer 1981 The photo is truly an abomination and (page 16). Two undraped men, and a woman Share your thoughts with other readers. All done with all the crassness of many Soldner in a long, white gown in a pose that reminds letters must be signed, but names will be ads. me of a painting called “Luncheon on the withheld on request. Address: The Editor; I guess, Deborah, you could call that the Grass.” Ceramics Monthly, Box 12448, Columbus, artist’s, or in this case, the manufacturer’s, If you prefer dark skinned men, look at Ohio 43212. April 1988 7 8 Ceramics Monthly Add: Rutile...... 5.9% Tin Oxide...... 3.5% Cobalt Oxide...... 2.4% Questions Copper Oxide...... 2.4% Select only one of these additions for tan, Answered by the CM Technical Staff white, blue or green, respectively.

WHITE GLAZE (Cone 5-6) Dolomite ...... 13.04% Wollastonite...... 21.74 Nepheline Syenite...... 43.48 Q Recently I bought a nice, utilitarian pot Kaolin...... 21.74 of probable pre-Columbian origin at a flea market. The piece is crusted-over with min­ 100.00% eral deposits, trails of plant roots, etc., but Add: Zinc Oxide...... 3.26% underneath you can see the hint of slip dec­ A Heidi Guthmann Brick recipe. oration on terra sigillata. I would like to re­ OFF-WHITE SATIN MATT GLAZE store this piece myself; would you suggest ap­ (Cone 5-6) propriate materials for cleaning the pot Barium Carbonate...... 5.2% including removing organic material and ce­ Whiting...... 19.5 mentlike white deposits?—H.S. Custer Feldspar...... 53.5 We’d like to see you take the piece to a Kaolin...... 16.0 good art museum for an evaluation before Flint...... 5.8 attempting to clean it yourself. Most collec­ 100.0% tors feel a larger responsibility to protect works Add: Zinc Oxide...... 8.9% in their possession for the future—you Rutile (milled) ...... 5.2% wouldn’t want to use amateur cleaning skills Also try this without the rutile. on a significant work. And should the work be an important one, the museum may be WHITE GLAZE WITH MARKINGS able to direct you to a restoration profes­ (Cone 5-6) sional. Cryolite ...... 8.09% If the work is not a significant one, and Lithium Carbonate...... 8.09 knowledgeable museum personnel are not too Whiting...... 6.76 horrified by your interest in cleaning it your­ Kaolin...... 30.00 self, then standard restoration techniques are Flint...... 47.06 to first soak the piece for a few hours in 100.0% distilled water and scrub it with a mild de­ Add: Titanium Dioxide...... 13.38% tergent. Generally, mineral deposits don’t yield Zinc Oxide...... 33.68% to this rather gentle process, but one wants to start with the least aggressive method and WHITE MATT GLAZE (Cone 5-6) increase from there. Lithium Carbonate...... 11.45% Should that method not be sufficient, add Whiting...... 5.19 a quantity of water softener to distilled water Kaolin...... 28.10 (both available from a grocery store) and soakFlint...... 55.26 the pot in this solution for a week or two. 100.00% Scrub the piece thereafter. This will gener­ Add: Titanium Dioxide...... 8.12% ally remove most of the mineral deposits. Zinc Oxide...... 25.03% Anything remaining may be selectively and very carefully ground down with a small MATT PATTERNED GLAZE (Cone 5-6) grinding tool (such as a Dremmel tool), fi­ Lepidolite...... 50.3% nally removing the last calcified layer next Whiting...... 19.9 to the terra sigillata using a cotton swab dippedFlint...... 29.8 in full-strength hydrochloric acid (which reacts 100.0% with calcium), thereafter soaking the pot in Add: Bentonite...... 2.0% water or an alkaline solution for a few hours in order to neutralize the acid. GLOSSY WHITE GLAZE (Cone 5-6) These techniques depend on the piece being Barium Carbonate...... 10.0% in rather good condition, relatively hard fired, Gerstley Borate...... 15.0 with good structural integrity. Lithium Carbonate...... 5.0 Talc...... 5.0 Q I am interested in obtaining some recipes Whiting...... 10.0 for white glazes firing in the Cone 5-6 range. Nepheline Syenite...... 30.0 Do you have any favorites?—F.A. Kaolin ...... 5.0 Try mixing experimental batches of the Flint...... 20.0 following recipes. Perhaps one of these will 100.0% suit your purposes:

Subscribers' inquiries are welcome and those WHITE BASE GLAZE (Cone 5-6) of general interest will be answered in this Wollastonite...... 35.3% column. Due to volume, letters may not be Kona F-4 Feldspar...... 35.3 answered personally. Send questions to Tech­ Kentucky Ball Clay (OM 4)...... 29.4 nical Staff, Ceramics Monthly, Box 12448, 100.0% Columbus, Ohio 43212. April 1988 9 10 CERAMICS MONTHLY and Joann Hayakawa. Fee: $5 per entry. Contactetc., is juried from a resume and slides or photo­ Grove Gallery, UCSD, La Jolla 92093; or phone graphs of work completed within the past 20 years. (619) 534-2637. Contact the Harrison Museum of Art, Utah State Guilford, Connecticut “Container Exhibit” (May University, Logan 84322; or phone (801) 750-1412. Where to Show 4-24) is juried from 3-5 slides. Fee: $10. Cash July 29 entry deadline Exhibitions, Fairs, Festivals and Sales awards. SendSASE to Container Exhibit, Guilford Lancaster, California “Ninth Annual Desert West Handcrafts, Inc., Box 589, Guilford 06437; or phone Juried Art Exhibition” (October 15-November 13) (203) 453-5947. is juried from slides of up to 5 entries. Entry fee: Chautauqua, New York “Chautauqua 31st Na­ $10 for 1 entry; $15 for 2 ; and $20 for 3-5 entries. International Exhibitions tional Exhibition of American Art” (June 26-July $1100 in awards. For prospectus sendSASE to Des­ April 15 entry deadline 24) is juried from slides of. up to 3 entries. Fee: ert West Application, Lancaster City Hall, 44933 Brussels, Belgium “Cafe Noir: The European $5 per entry. Awards. For prospectus send SASE N. Fern, Lancaster 93534; or phone (805) 948- Coffee Cup” (September 23-October 8) is open to to William Waite, CAA, Box 1365, Department 8655. residents of the 12 European Community member 9, Chautauqua 14722. September 30 entry deadline states. Juried from up to 3 slides. Entry fee: BF700 April 24 entry deadline Highland Park, Illinois “The Evocative Place- (approximately SI7.50). Approximately $3557 in University Park, Pennsylvania “Crafts 22” (July setting” (February 4-March 11, 1989) is juried awards. Shown concurrently with the European 4-31), sponsored by the 22nd Central Pennsyl­ from 1 slide per entry of up to 5 entries. Send SASE competition exhibition will be an invitational fea­ vania Festival of the Arts, is open to craft artists to Martha Schneider Gallery, 2055 Green Bay turing 12 coffee cups by American ceramists. Those 18 years or older. Juried from 3 slides (different Rd., Highland Park 60035; or phone (312) 433- interested in participating in the invitational may views) of up to 2 entries. Juror: Arturo Sandoval. 4420. submit up to 3 slides for consideration. For further Entry fee: $10. Cash awards. Contact Cindi Mor­ rison, 102 Visual Arts Building, Pennsylvania State information about the competition and invitational Regional Exhibitions exhibition, contact Cafe Noir: The European Cof­ University, University Park 16802. fee Cup, Nils Koch, 3, rue Jean d’Ardenne, 1050 April 30 entry deadline April 25 entry deadline Brussels. Lincoln, California “First Annual Feats of Clay” Chicago, Illinois “The Second Annual Great April 19 entry deadline (June 4-July 1) is juried from slides of functional Lakes Show 1988” (June 17-July 31) is open to Golden, Colorado “The North American Sculp­ and nonfunctional ceramic works not exceeding all artists residing in the states and provinces that ture Exhibition” (June 19-August 31) is open to 24 inches in any direction. Juror: Ron Nagle. Fee: border the Great Lakes (Illinois, Indiana, Mich­ residents of the United States, Canada, and Mex­ $10 per entry. $1000 in awards. For prospectus igan, Minnesota, New York, Ohio and Pennsyl­ ico. Juried from slides of up to 3 entries. Jurors: send SASE to Ray Gonzales, Lincoln Arts, Box vania; and Ontario and Quebec). Juried from slides K. Eloul and B. Lekburg. Fee: $10 per entry. $6000 1166, Lincoln 95648; or phone (916) 645-9713. of sculptural or functional clayworks completed in awards. Contact the Foothills Art Center, 809 Shelburne, Vermont “Envisioned in a Pastoral within the past year. Juror: David Middlebrook. 15th St., Golden 80401; or phone (303) 279-3922. Setting” (October 1-9) is juried from slides of work Purchase and gallery exhibition awards. For pro­ April 30 entry deadline completed within the past 3 years. Entry fee: $10. spectus contact Lill Street, 1021 W. Lill, Chicago Stafford, England “Hats and Accessories” (Sep­ Contact Shelburne Farms, Art Exhibition, Shel­ 60614; or phone (312) 477-6185. tember 13-November 5, then touring) is juried burne 05482; or phone (802) 985-9585. April 26 entry deadline from slides. Contact John Rhodes, Stafford Art May 1 entry deadline Las Cruces, New Mexico “A Show of Hands” Gallery, Lichfield Rd., Stafford ST17 4ST; or phone Saint Louis, Missouri “5/10/15” (September (May 1-27), collaborative works by potters and (078) 557303. 1-30) is juried from a resume and slides of works weavers, is open to residents of Arizona, Colorado, Nyon, Switzerland “Triennale de la Porcelaine” not exceeding 15 inches or less than 5 inches in New Mexico, Oklahoma and Texas. Juried from (June 1-October 31) is open to all porcelain art­ height, nor exceeding 10 inches in diameter. Con­ hand-delivered or shipped works. Entry fee: $5. ists. Juried from slides. For dossier contact Sec­ tact Barbara Jedda, Craft Alliance, 6640 DelmarContact Branigan Cultural Center, 106 W. Hadley retariat de la Triennale de la Porcelaine, OfficeBlvd., Saint Louis 63130; or phone (314) 725- at Water St., Las Cruces 88001; or phone (505) du Tourisme, 7 ave. Viollier, 1260 Nyon; or phone 1151 or 725-1177. 524-1422. (4122) 61 62 61. May 11 entry deadline May 5 entry deadline May 6 entry deadline Pittsfield, Massachusetts “The Craft of Con­ Baton Rouge, Louisiana “Made in the Shade” Auckland, New Zealand “The Fletcher Chal­ tainment: Vessels in All Media” (July 22-September (July 24-August 12) is open to all artists residing lenge Pottery Award 1988” (June 4-19) is open 18) is juried from 2 slides of up to 3 entries. Entry in Alabama, Arkansas, Florida, Louisiana, Mis­ to all potters. Juried from works. NZ$10,000 in fee: $5. Contact the Berkshire Museum, Craft of sissippi and Texas. Juried from slides of up to 3 awards (approximately $6942). Contact Leo King, Containment, 39 South St., Pittsfield 01201; or entries. Entry fee: $15. For prospectus contact the Competition Organiser, Auckland Studio Potters phone (413) 443-7171. Louisiana Crafts Council, Box 1287, Baton Rouge Centre, 95 Captain Springs Road Extension, Te May 13 entry deadline 70821; or phone (504) 928-1980. Papapa, Auckland 6; or phone (09) 643-622. Mesa, Arizona “Ego Amigo” (September Kingston, Rhode Island “Rhode Island Earth­ May 14 entry deadline 9-October 1) is juried from slides of self-portraits. works ’88” (May 12-28) is open to past and pres­ Freiburg, West Germany “The Second Elisa­ For prospectus contact Ego Amigo, Galeria Mesa, ent residents of Rhode Island. Juried from hand- beth Schneider Competition and Award” (Septem­ Box 1466, Mesa 85211; or phone (602) 834-2242. delivered works of up to 6 entries. Juror: Chris ber 24-December 11) is open to all ceramic artists. June 10 entry deadline Gustin. Entry fee: $5 per entry. Awards. Contact Juried from photographs not to exceed approxi­ Jackson, Wyoming The “1988 Artwest Open Susan Caswell, Helmhouse Gallery, Kingston mately 11x16 inches (30x42 cm) of up to 5 en­ Competition and Tour” (September 2-28) is juried 02881; or phone (401) 783-2195. tries. Awards and cash prizes. Contact Galerie from 3 slides per entry. Juror: Gordon McConnell. May 6 entry deadline Schneider, Wilhelmstrasse 17, D-7800 Freiburg; Entry fee: $18; $6 per additional entry. SendSASE Los Alamos, New Mexico “Fifth Biennial Juried or phone (0761) 38 24 48, 29 4 06. to Judy Sensintaffar, Box 822, Jackson 83001. Craft Exhibition” (June 17-July 31) is open to May 26 entry deadline June 13 entry deadline residents of Arizona, Colorado, New Mexico, New York, New York “Annual International Art Mesa, Arizona “Chroma-Zone” (October Oklahoma, Texas and Utah. Juried from slides. and Craft Competition” (August 8-25) is juried 7-November 5) is juried from slides of works fo­ $800 in awards. Send SASE to Fuller Lodge Art from slides. Jurors: Carl Little, Cusie Pfeiffer, Sa­ cusing on the expressiveness of color. For pro­ Center Biennial, Box 790, Los Alamos 87544. bine Rewald and Janet Satz. $6000 in cash and spectus contact Chroma-Zone, Galeria Mesa, Box 1466, Mesa 85211; or phone (602) 834-2242. purchase awards. Contact I.A.C., Department PRR, Fairs, Festivals and Sales Box 245, Eastchester, New York 10709; or phone June 30 entry deadline (914) 699-0969. Wichita, Kansas “The Wichita National All April 1 entry deadline June 1 entry deadline Media Crafts Competition” (September 11-October Mount Vernon, Illinois The “12th Annual Ce- Faenza, Italy “The Second International Quad- 9) is open to artists 18 years or older. Juried from darhurst Craft Fair” (September 10-11) is juried riennal Competition: Ceramics in the Urban Set­ slides of up to 3 entries of original works completed from 5 slides. Entry fee: $5. Booth fee: $125 for ting” (March 15-May 15, 1989) is divided into within the past 2 years. Student work produced a 10x15-foot space. Contact Dawn Gibson, 5 two categories: proposals for future use of ceramics under supervision not eligible. Juror: Jack Lenor Fairway Dr., Mount Vernon 62864; or phone (618) in an urban setting; and works already existing. Larson. Entry fee: $15. Cash and purchase awards. 242-1236. Juried by the Mayor of Faenza (or his delegate) For prospectus contact Glenice Lesley Matthews, Clinton, Iowa “Art in the Park” (May 14-15) and six experts in architecture and ceramics. Wichita Art Association, Inc., 9112 E. Central, is juried from 5 slides. Awards. Fee: $40 for a 28,000,000 lire in awards (approximately $19,600). Wichita 67206; or phone (316) 686-6687. 10x12-foot space. Contact Carol Glahn, Clinton Contact Competition Secretariat, Assessorato July 15 entry deadline Art Association, Box 132, Clinton 52732; or phone all’Urbanistica del Comune di Faenza, Via Za- Logan, Utah “Possessions” (January 7-February (319) 259-8308. nelli, 4-48018 Faenza; or phone (0546) 28790. 19, 1989), an exhibition of clay images, charms, Arkansas City, Kansas The “25th Anniversary amulets, ritual paraphernalia, talismen, fetishes, River Valley Arts Festival” (June 4-5) is juried from 5 slides. Entry fee: $39. For further infor­ National Exhibitions Send announcements of juried exhibitions, fairs, mation contact Coordinator, River Valley Arts April 1 entry deadline festivals and sales at least four months before the Festival, 525 N. Fourth, Arkansas City 67005; or La Jolla, California“Tca. for Two” (May 17-June entry deadline to The Editor, Ceramics Monthly, phone (316) 442-5895. 18), sponsored by the University of California San Box 12448, Columbus, Ohio 43212; or phone (614) Morristown, New Jersey The 12th annual Diego, is juried from slides of up to 3 entries (max­ 488-8236. Add one month for listings in July and “Morristown Craft Market” (October 7-9) is ju­ imum of 2 views per entry). Jurors: Ron Carlson two months for those in August. ried from 5 slides. Jurors: Thomas Farrell, Jan April 1988 11 12 Ceramics Monthly to Gale Svenson, Chautauqua Crafts Festival ’88,Waterfront Art Show, Box 608, Taws City 48764; ... Where to Show Box 89, Mayville, New York 14757. or phone (800) 555-8297. Lima, Ohio “Square Fair” (August 5-7) is ju­ June 25 entry deadline Gilmor, Robert Kasnak, Patricia Malarcher, Wil­ ried from 3 slides. Booth fee: $50. $1225 in awards. Dillon, Colorado “12th Annual Craft Fair” (July liam McCreath, Cindy Spolek and Bibi Stein. En­ Contact Patty Burton, Council for the Arts, Me­ 16-17) is juried from 3 slides or photographs. En­ try fee: $15. Contact Michael and Barbara Feno, morial Hall, Box 1124, Lima 45802; or phone try fee: $40 for a 10x10-foot space. Contact Lake Box 2305-R, Morristown 07960; or phone (201) (419) 222-1096. Dillon Arts Guild, Box 1047, Dillon 80435; or 263-8332. Philadelphia, Pennsylvania “The 12th Annual phone (303) 468-0035. Dayton, Ohio The 21st annual “Art in the Park” Philadelphia Craft Show” (November 10-13) is June 30 entry deadline (May 28-29) is juried from 3 slides. Booth fee: juried from 5 slides. Jurors: Andrea Gill, Harvey Mobile, Alabama The “24th Annual Outdoor $50-$80. For prospectus contact Don Webb, Art Littleton, Albert Paley, Darrel Sewell and Rick Arts and Crafts Fair” (September 24-25), spon­ in the Park, Riverbend Art Center, 1301 E. Sie- Snyderman. Entry fee: $20. Booth fees: $400-$500 sored by the Art Patrons League of Mobile and benthaler Ave., Dayton 45414; or phone (513) 236- for a 10x 10-foot space. Cash and purchase awards.the Fine Arts Museum of the South, is juried from 7746 or 228-1115. Contact Terry Hoff, Women’s Committee of the slides. Entry fee: $10. Booth fee: $75. $6500 in April 8 entry deadline Philadelphia Museum of Art, Box 7646, Phila­ awards. Contact Fine Arts Museum of the South, Evanston, Illinois “Ninth Annual Fountain delphia 19101; or phone (215) 787-5448. Outdoor Arts and Crafts Fair, Box 8426, Mobile Square Arts Festival” (June 25-26) is juried from May 7 entry deadline 36698. slides. $3000 in cash and purchase awards. For Evergreen, Colorado The “22nd Annual Ever­ Northfield, Minnesota “The 27th Annual further information contact Evanston Chamber of green Arts & Fine Crafts Show” (August 8) is Northfield Arts Guild Fine Arts and Crafts Fes­ Commerce, 807 Davis St., Evanston 60201; or phone juried from slides. Approximately $1100 in awards. tival” (September 10-11) is juried from slides. En­ (312) 328-1500. Contact Evergreen Artist’s Association, Inc., Fine try fee: $45-$90. Contact Kathy Peterson, North­ Garrison, New York The “19th Annual Arts and Arts Fair, Box 1511, Evergreen 80439. field Arts Guild, Box 21, Northfield 55057; or Crafts Fair” (August 20-21) is juried from slides. Marietta, Ohio The 29th annual “Indian Sum­ phone (507) 645-8877. Entry fee: $5. Booth fee: $150 for a 10X 10-foot mer Festival ’88” (September 16-18) is juried from July 1 entry deadline space. Send SASE to Garrison Art Center, Box 4, 5 slides. Jurors: Suzy Chesser, Tim Mather and Havre de Grace, Maryland “Havre de Grace Garrison 10524; or phone (914) 424-3960. Geraldine Plato. Entry fee: $75 for a10X 10-foot Art Show” (August 20-21) is juried from slides or Salem, Oregon The “39th Annual Salem Art space. Cash awards. Contact Indian Summer Fes­ photographs. Cash awards. Contact Art Show, Box Fair & Festival” (July 15-17) is juried from 6 tival, Box 266, Marietta 45750; or phone (614) 174, Havre de Grace 21078; or phone (301) 879- slides. Booth fee: $60 fora 10X 10-foot space. Send 373-8027. 4404 or 939-3303. SASE to 1988 Prospectus, Salem Art Fair & Fes­ May 15 entry deadline Cincinnati, Ohio “Cincinnati Crafts Affair” tival, 600 Mission St., SE, Salem 97302. Saint Paul, Minnesota “Lowertown’s New All (November 25-27) is juried from slides. Entry fee: April 11 entry deadline Pottery Fair and Festival” (June 10-12) is juried $5. Booth fee: $205. For further information con­ Fort Wayne, Indiana “The 20th Annual Festival from slides. Entry fee: $50. Contact Charleen Ba- tact Harold Stevens, Ohio Designer Craftsmen, Arts and Crafts Show” (July 9-10) is juried from cigalupo, Suite 304, 372 Saint Peter, Saint Paul 2164 Riverside Dr., Columbus, Ohio 43221; or 5 slides (4 of work and 1 of booth display). Fee: 55102; or phone (612) 222-5889. phone (614) 486-7119. $40. $1000 in cash awards. Contact Three Rivers Sandusky, Ohio “Arts in the Park” (July 30-31) Columbus, Ohio “Columbus Winterfair” (De­ Festival, Betty Newton, 1707 Kensington Blvd., is juried from slides. Booth fee: $50 (indoor spaces cember 1-4) is juried from slides. Entry fee: $5. Fort Wayne 46805. available). Contact Amy Krick Frank, Box 332, Booth fee: $270. For further information contact April 15 entry deadline Sandusky 44870; or phone (419) 627-8791. Harold Stevens, Ohio Designer Craftsmen, 2164 Louisville, Kentucky “Waterside: Kentucky Art May 16 entry deadline Riverside Dr., Columbus 43221; or phone (614) and Craft Summer Fair” (July 15-17) is open to New York, New York “WBAI Holiday Crafts 486-7119. all craft artists from Illinois, Indiana, Kentucky, Fair” (December 2-4, 9-11, and 16-18) is juried Dayton, Ohio The fifth annual “Dayton Art Expo Ohio, Missouri, Virginia and West Virginia. Ju­ from 5 slides. Entry fee: $20. Booth fee: $690-$725. ’88” (November 4-6) is juried from 3 slides. Juror: ried from 5 slides. Booth fee: $125. $2500 in cash Send SASE to Matthew Alperin, WBAI Crafts Fair, Marty Kalb. Entry fee: $60. Cash and purchase awards. Contact Water Tower Art Association, 3005 Box 889, Times Square Station, New York 10108; awards. For further information sendSASE to Car­ Upper River Rd., Louisville 40207; or phone (502) or phone (212) 279-0707. ole Shoemaker, Dayton Art Expo ’88, 346 But­ 896-2146. Williamsburg, Virginia The 20th annual “An terfly Dr., Beavercreek, Ohio 45385; or phone (513) Oklahoma City, Oklahoma “1988 Festifall” Occasion for the Arts” (October 2) is juried from 426-1576. Or phone Doris Zimmerman (513) 299- (September 9-11) is juried from 6 slides per me­ 3 slides. Fee: $5. Approximately $20,000 in cash 2212 . dium (5 of work and 1 of booth display). Entry and purchase awards. Contact Bly Bogley Straube, July 13 entry deadline fee: $5 per medium. Booth fee: $200 for a 10x10- 6 Valentine Court, Newport News, Virginia 23606; Pittsburgh, Pennsylvania The 18th annual “A foot space. Contact Lucy Fraser, Festifall Coor­ or phone (805) 595-1610. Fair in the Park” (September 9-11) is juried from dinator, 400 W. California, Oklahoma City 73192; May 23 entry deadline 5 slides. Entry fee: $5. Booth fee: $90. Contact the or phone (405) 236-1426. Muskego, Wisconsin “Civil War Days and Art Craftsmen’s Guild of Pittsburgh, Box 10128, April 20 entry deadline Festival” (July 23-24) is juried from 3 slides or Pittsburgh 15232. Greensburg, Pennsylvania “Westmoreland Arts photographs. Entry fee: $50. Contact James Lang, July 15 entry deadline and Heritage Festival” (July 1-4) is juried from W185 S 9550 Parker Dr., Muskego 53150; or Baton Rouge, Louisiana The “13th Annual Fall slides or photographs of up to 4 entries. Fee: $20. phone (414) 679-0606. Crafts Festival” (September 21-23) is juried from $9000 in cash and purchase awards. Contact OlgaMay 25 entry deadline slides. Booth fee: $110; members $100. Cash and Gera, Westmoreland Arts and Heritage Festival, Pittsburgh, Pennsylvania “Shadyside Summer purchase awards. For prospectus sendSASE to Riv­ Department of Recreation, Box 203, R.D. 12, Arts and Jazz Festival” (July 29-31) is juried from er City Festivals Association, 427 Laurel St., Ba­ Greensburg 15601; or phone (412) 537-7627. slides. Contact Art ’88, Box 10139, Pittsburgh ton Rouge 70801; or phone (504) 344-3328. April 27 entry deadline 15232; or phone (412) 681-2809. July 23 entry deadline Sheboygan, Wisconsin “18th Annual Outdoor May 31 entry deadline Dillon, Colorado The “16th Annual Art and Arts Festival” (July 16-17) is juried from 5 slides. Richfield, Ohio Blossom Music Center’s “Last Music Festival: A Fine Arts Show” (August 6-7) Entry fee: $35. $2000 in awards. Contact John Rose of Summer Art Show” (September 23-25) is juried from 3 slides or photographs. Entry fee: Michael Kohler Arts Center, 608 New York Ave., is juried from slides. Booth fee: $15. Purchase $40 for a 10X 10-foot space. Contact Lake Dillon Sheboygan 53081; or phone (414) 458-6144. awards. Contact Carol Raab, Box 533, Richfield Arts Guild, Box 1047, Dillon 80435; or phone April 30 entry deadline 44286; or phone (216) 659-3476. (303) 468-0035. Central Falls, Rhode Island “The 1988 Summer June 1 entry deadline July 29 entry deadline in the Park Artists’ Market” (June 17-19) is ju­ Richmond, Virginia The 13th annual “Rich­ Dillon, Colorado “Third Annual Summitfest ’88” ried from 5 slides. Entry fee: $5. Space fee: $15. mond Craft Show” (November 19-22) is juried (August 6-7) is juried from 3 slides or photo­ Send SASE to R. L. Anderson, Summer in the Park, from slides. Fee: $10. Contact Linda Smalley, Hand graphs. Entry fee: $40 for a 10x10-foot space. Channel One, 507 Broad St., Central Falls 02863; Workshop, 1812 W. Main St., Richmond 23220; Contact Nancy Nolan, AMC Cancer Research or phone (401) 728-7891. or phone (804) 353-0094. Center Summitfest, 1600 Pierce, Lakewood, Col­ May 1 entry deadline June 10 entry deadline orado 80214. Dubuque, Iowa The tenth annual “DubuqueFest” Aurora, Illinois “Sixth Annual Autumn Fine Arts August 1 entry deadline (May 21-22) is juried from 3 slides or color pho­ Showcase” (October 8-9) is juried from slides. En­ Ormond Beach, Florida “The 26th Annual Hal­ tographs. Fee: $50 for a 10X 10-foot space. Awards. try fee: $5. Booth fee: $50. Cash and purchase ifax Art Festival” (November 5-6) is juried from Contact DubuqueFest, 422 Loras Blvd., Dubuque awards. For further information contact Anna 3 slides per medium. Entry fee: $70. $10,500 in 52001; or phone (319) 588-9751. Trotter, Aurora Art League, 1975 Liberty Street awards. For further information contact Halifax Saint Joseph, Michigan “Saint Joseph’s 27th Road, Aurora 60504. Art Festival, Box 2038, Ormond Beach 32074; or Annual Outdoor Art Fair” (July 9-10) is juried June 15 entry deadline phone (904) 253-3772. from slides. Entry fee: $65 for a 20x20-foot space. Oak Park, Illinois “The Village Art Fair” (Sep­ August 15 entry deadline For further information contact Krasl Art Center, tember 11) is juried from 6 slides. Booth fee: $30. Herkimer, New York The “13th Annual Her­ 707 Lake Blvd., Saint Joseph 49085; or phone Cash awards. Contact the Village Art Fair, Boxkimer County Arts and Crafts Fair” (November (616) 983-0271. 483, Oak Park 60303. 12-13) is juried from 5 slides. Entry fee: $5. Booth Chautauqua, New York “Chautauqua Crafts Taws City, Michigan “Taws Bay Waterfront Art fee: $85 for a 10x6-foot space. Cash and purchase Festival ’88” (July 2-4) is juried from 4 slides per Show” (August 6-7) is juried from 3 slides. Booth awards. Contact Grace McLaughlin, HCCC, medium. Entry fee: $5. Booth fee: $85. Send SASE fee: $30. For further information contact Taws Bay Reservoir Rd., Herkimer 13350.

April 1988 13 14 Ceramics Monthly However, I recently tried refiring filigree were left on the greenware shelf for the next planters with hairline cracks caused during firing. These would then be loaded on the careless packing for shipment and, to my de­ bottom shelf of the kiln, surrounded by kiln Suggestions light, they emerged ringing true. shelving to create a proper, refractory saggar, from our readers Obviously, pots on the verge of falling apart and the remainder of the kiln loaded and should not be refired in case they come apart fired as usual. and damage other ware. But it’s worth ex­ Through such saggar “prep,” the firings perimenting with less acute cases.—Susan are better organized and students can par­ Level Trimming on a Chuck Bennett, London ticipate more completely in the process.—Pat When trimming pots on a clay chuck it is Wehrman, Sonora, Calif. easier to position the pot by using a round Reclaiming Lumpy Soda Ash bubble level like the ones used to adjust ster­ To dissolve stubborn lumps of soda ash, Carpet Padding for Shipping eo turntables. Any good stereo shop should mix equal amounts of water and ash in a Because about 95% of our pottery is shipped have them. Before using the level on the chuck, plastic or glass container, and microwave via a parcel service, adequate packing is a just make sure that your potter’s wheel is (uncovered) on high for approximately one must. A good source of free packing material level.—Laura Jacob, Waelder, Texas second per gram of soda ash. Because mi­ is the local carpet store, which lets us have crowave ovens vary in power, a few addi­ the used padding that would normally be Mold Release tional seconds may be necessary.—Theresa discarded. This is cut into variously sized Having trouble separating ware from Leatherwood, Charlotte, N.C. squares to wrap around pots, and is secured plaster molds? See your friendly neighbor­ in place with masking tape. Then the pot is hood dental supply house or dentist, and ask Easy Reduction Saggar Loading positioned in a shipping box so that 2-3 inches about their release medium. I like the one At our small community college, saggar of plastic “peanuts” surround it on all sides. made by Caulk Company because it swells firings used to be a hassle. Students were Since we began packing this way, shipping slightly when placed in hot water, making seldom around when the kiln was being load­ losses have been minimal.—Ed Schrock, Col­ the two pieces come apart easily.—J. F. ed (we generally fire saggars in a bisque kiln), orado Springs, Colo. Howell, D.D.S., Clarendon, Texas which left the preparation of the saggar up to an instructor or assistant. Aside from de­ Dollars for Your Ideas Refiring to Cure Minor Damage nying the students experience, that resulted Ceramics Monthly pays $10 for each sug­ In common with most potters, I inevitably in a lot of extra staff work—unless, of course, gestion published; submissions are welcome accumulate pots which are seconds. I prefer the kiln firer forgot the saggar altogether. individually or in quantity. Include an illus­ to give those pots away to help raise money Our instructor, Dale Bunse, solved this tration or photo to accompany your sugges­ for causes dear to my heart, rather than smashproblem by having students each pack their tion and we will pay $10 more if we use it. them up. work in cardboard box “saggars,” with the Send your ideas to CM, Box 12448, Colum­ Cracks occurring before bisque or glaze appropriate reduction materials placed in­ bus, Ohio 43212. Sorry, but we can't ac­ firing seem to worsen during each firing. side the box surrounding the work. Boxes knowledge or return unused items.

April 1988 15 16 Ceramics Monthly Schwartz; panel sessions; seminars; technical pa­ ored pencil and pastel decoration; at Sheila Nuss­ pers; demonstrations and open studios; plus for­ baum Gallery, N. Harrison St. ums on Ceramics in Architecture, Critical Writing New York, New York through April 11 Margaret Itinerary on the Arts, the Role of the Gallery and Patronage, Wadsworth, “Facades and Fragments—Architec­ Conferences, Tours, Exhibitions, Fairs, and Education for a Vocation in Ceramics. Lo­ ture in Clay”; at Saint Peter’s Church Gallery, cation: University of New South Wales in Ken­ 619 Lexington Ave. at 54 St. Workshops and Other Events to Attend sington, Sydney. Registration fee: $A260 (approx­ through April 24 “Ohio Boy: The Ceramic Sculp­ imately $177). Student registration fee: $A180 ture of Jack Earl,” a retrospective of works made (approximately $122). Contact Ceramics ’88, Box between 1968 and 1987; at American Craft Mu­ Conferences 128, Sydney 2001; or phone (02) 262 2277. seum, 40 W. 53 St. Canada, Alberta, Medicine Hat May 13-15 April 1-30 Jamie Davis, “Personal Environ­ Alabama, Tuscaloosa June 8-11 The American “Second Bi-Annual Medicine Hat Ceramic Sym­ ments,” sculpture; at Carlyn Gallery, 1145 Mad­ Craft Council’s (ACC) Southeast Region annual posium: Firing Up for the Future” will include ison Ave. at 85 St. conference, “Continuity and Innovation—Ameri­ the annual meeting of the Alberta Potters’ Asso­ April 5-May 4 Lidya Buzio, landscape painted can Craft: Southeast Meets Southwest,” will fea­ ciation; forums; lectures; and workshops by Kir­ vessels; at Garth Clark Gallery, 24 W. 57 St. ture workshops, discussions and seminars with sten Abrahamson, Noburo Kubo, Liz Menzies, New York, Yonkers through May 8 Lisa Breznak, artists-craftspeople from Alabama, Arkansas, Ar­Sally Mitchner, Doris Shadbolt, Sam Uhlich, Ger­ slab-built, unglazed low-fire sculpture; at Pali­ izona, Colorado, Florida, Georgia, Kentucky, ry Williams and Chuck Wissinger. Location: sades Gallery, Hudson River Museum, Trevor Louisiana, Mississippi, New Mexico, Nevada, Medicine Hat College. Fee: Can$105 (approxi­ Park-on-Hudson, 511 Warburton Ave. Oklahoma, South Carolina, Tennessee, Texas, Utah,mately $80), includes Friday night mixer, Satur­ North Carolina, Winston-Salem through May 1 Virginia and West Virginia. Locations: University day lunch and dinner, and Sunday lunch. May 6 Don Reitz; at Piedmont Craftsmen Gallery, 411 of Alabama and the Kentuck Museum. Contact registration deadline. Contact Arne Handley, 574 N. Cherry St. Craig Nutt, Conference Coordinator, ACC-SE, Sixth St., NE, Medicine Hat, T1A 5P3; or phone Oregon, Salem April 28-May 22 Lee Jacobson; Kentuck Museum, Box 127, Northport, Alabama (403) 527-5316 or 529-3844. at Bush Barn Art Center, 600 Mission St. 35476; or phone (205) 333-1252 or 758-2535. Ireland, Dublin August 29-31 “International Pennsylvania, University Park through May 20 California, San Francisco May 7 The fourth an­ Conference on Sculpture,” focusing on the rela­ Esther Grillo, “Meltdown,” mixed-media sculp­ nual “Health Hazards in Arts and Crafts Con­tionship between individual and group sculptural ture installation; at Palmer Museum of Art, Penn­ ference” will include lectures and workshops on activity and the public, will feature exhibitions, sylvania State University. practical, low-cost approaches for recognition, workshops, discussions and seminars. Location: Rhode Island, Central Falls April 7-29 John evaluation and control of toxic materials exposure. Trinity College. For further information contact DiCicco, “Inner Earth”; at Central Falls Center Location: University of California Extension Cen­ Conference Secretariat, International Conference for the Arts, 580 Broad St. ter. Registration fee: $25. Contact the American on Sculpture, 44 Northumberland Rd., Dublin 4; Utah, Salt Lake City through April 17 Nicholas Lung Association of San Francisco, 562 Mission or phone (353) 688244. Bonner, sculpture; at Salt Lake Art Center, 20 St., Suite 203, San Francisco 94105; or phone (415) S.W. Temple. 543-4410. Solo Exhibitions Vermont, Middlebury April 1-30 John Brickels, Ohio, Columbus April 30-May 1 “Midwest Crafts architectural sculpture; at Vermont State Craft Conference,” with emphasis on ceramics, fiber and Arizona, Tempe through April 8 Kristin Lein, Center at Frog Hollow, Mill St. metal, will feature presentations by Curtis and “Ceramic Sculpture”; at Woman Image Now Gal­ Wisconsin, Kenosha through April 10 “Alex S. Suzan Benzie, Ken Ferguson, William Hunt and lery, Room 104, Social Science Building, Arizona Mandli, Jr. and Clay,” terra-cotta vessels; at Gal­ Joe Weingarten. Also included: marketing and State University. lery 124, 124 66th Street. business discussions; audio-visual presentations; California, San Francisco through April 17 “Ste­ Wisconsin, Sheboygan through April 24 “Larger slide lectures by craft artists; Ohio Designer phen DeStaebler: The Figure,” 34 large-scale than Life: The Sculpture of David Phelps,” fig­ Craftsmen general meeting; social events, etc. Lo­ sculptures; at San Francisco Museum of Modern ures; at John Michael Kohler Arts Center, 608 cation: Columbus Cultural Arts Center. Open to Art, 401 Van Ness Ave. New York Ave. participants from throughout the United States and May 3-28 Stan Welsh, “New Sculpture”; at Dor­ Canada. Contact Ohio Designer Craftsmen, 2164 othy Weiss Gallery, 256 Sutter St. Group Ceramics Exhibitions Riverside Dr., Columbus 43221; or phone (614) California, Westchester April 17 Jo Lauria, “A 486-7119. Day of Clay: Tactile Delights”; at Pottery Studio, California, Claremont through April 10 “Scripps Loyola Marymount University. Ceramic Annual 1988”; at Lang Gallery, Scripps International Conferences Colorado, Denver through May 8 Betty Wood­ College. man, “Ceramic Courtyard—Somewhere between California, Fresno through August 18 “Pre-Co­ Australia, Sydney May 8-13 “Crafts in the Late Naples and Denver”; at Denver Art Museum, 100 lumbian Clay Sculpture”; at Fresno Arts Center 20th Century: Social Relevance and Change,” a West 14 Avenue Parkway. and Museum, 2233 N. First. World Crafts Council (WCC) conference, will in­ Connecticut, Storrs through May 20 Harvey Sa- California, Los Angeles through April 13 “Ce­ clude discussions on Design, Industry and Tech­ dow, “The First Twenty Years”; at William Ben­ ramics Invitational,” works by 12 artists; at del nology; Alternatives to Individual Practice; Public ton Museum of Art, University of Connecticut. Mano Gallery, 11981 San Vincente Blvd. Patronage and the Public Face of Crafts in the Georgia, Atlanta April 9-23 “Ron Meyers—’88”; California, San Diego April 15-May 14 “Social Late 20th Century; Craft in Public Places; Critical at Berman Gallery, 1131 Euclid Ave., NE. Messages: The Late Nineteen-Eighties,” sculp­ and Philosophical Frameworks for Craft in the Illinois, Chicago through April 16 Beverly May- tural works by Bill Abright, Robert Brady, Chris­ Late 20th Century; and Ongoing Educational eri, “Figurative Ceramic Sculpture”; at Esther Saks tine Federighi, Marilyn Lysohir, Victor Spinski, Models, including the changing role of museums, Gallery, 311 W. Superior St. Patti Warashina and Eve Watts. “The Platter—A research and conservation. Location: Powerhouse April 5-30 Karen Ami, “Engendered Species,” Sculptural Wall Painting,” works by 14 artists; at Museum. Events coinciding with the conference: sculpture and wall pieces; at Arc Gallery, 356 W. Wita Gardiner Gallery, 535 Fourth Ave. a series of craft symposia at the Canberra SchoolHuron. Connecticut, Greenwich through April 16 “The of Art (April 10-May 7) and weekend workshops Illinois, Highland Park through April 13 Colin Vessel Form Interpreted by Masters of the Ce­ sponsored by the Potters’ Society of Australia (May Pearson, “Work by an English Master”; at Martharamic Medium,” large decorative works; at the 14-15 and 21-22). For further information about Schneider Gallery, 2055 Green Bay Rd. Elements, 14 Liberty Way. the WCC conference, contact Michael Keighery, Indiana, Indianapolis April 4-30 Peggy Ahlgren, D.C., Washington through April 16 Avina Alter Crafts Council of Australia, 100 George St., the stoneware; at Alliance Museum Shop, India­ and Alan Lerner; at Jackie Chalkley Galleries, Rocks, Sydney, New South Wales, Australia 2000; napolis Museum of Art, 1200 W. 38 St. 3301 New Mexico Ave., NW; and 1455 Penn­ or phone (02) 241 1701. Or contact Susan Har- Kentucky, Lexington April 1-30 Lisa Payne, sylvania Ave., NW. kavy, American Craft Council, 40 W. 53 St., New primitive pottery; at Kentucky Guild of Artists and through October 23 “American Art Pottery York, New York 10019; or phone (212) 956-3717. Craftsmen Gallery, 132 Euclid Ave. 1880-1930,” 75 works from the Marcia and Wil­ May 11-14 The International Academy of Ce­ Massachusetts, Lincoln through May 8 “Natural liam Goodman Collection. April 22-September 5 ramics biennial general assembly. Location: Histories: Mary Frank’s Sculpture, Prints and “Clay Revisions: Plate, Cup, Vase,” sculpture di­ Southern Cross Hotel in Sydney. Nonmembers Drawings”; at Decordova Museum, Sandy Pond rectly related to traditional forms by 26 artists; at wishing to audit the session should contact Musee Road. Renwick Gallery, Smithsonian Institution, Penn­ Ariana, 10 ave. de la Paix, 1202 Geneva, Swit­ Massachusetts, Newburyport through April 30 sylvania Ave. at 17 St., NW. zerland; or phone (022) 333944. Stephen Branfman, large raku vessels; at Choices Florida, Manalapan through April 30 “Vessels May 15-20 “The Fifth National Ceramic Con­ Gallery, 11 Pleasant St. for Flowers,” works by 23 artists; at Cooper Gal­ ference” will include addresses by Yoshitaki Inui, Michigan, Detroit through April 23 Karen Karnes, lery, Plaza del Mar, 205 S. Ocean Blvd. Michael Keighery, Rudolf Schnyder and Judith functional pottery; at Pewabic Pottery, 10125 E. Florida, Palm Beach through April 17 “Fired Jefferson. with Enthusiasm,” contemporary soup tureens from Send announcements of conferences, tours, exhi­ Missouri, Saint Louis April 8-30 Jeff Oestreich; the Campbell Museum; at the Society of the Four bitions, juried fairs, workshops and other events at at Pro Art, 5595 Pershing. Arts, 4 Arts Plaza. least two months before the month of opening to New Jersey, Millburn April 29-May 27 Thomas Illinois, Carbondale April 8-May 6 “National The Editor, Ceramics Monthly, Box 12448, Co­ P. Hubert, slab-built vessels; at Sheila Nussbaum Clay Cup”; at University Museum, Southern Il­ lumbus, Ohio 43212; or phone (614) 488-8236. Gallery, 358 Millburn Ave. linois University. Add one month for listings in July and two months New Jersey, Princeton April 29-May 27 Karen Illinois, Chicago through May 16 “Ornamental for those in August. Korobow, slab-built stoneware vessels with col­ Architecture Reborn: A New Terra-Cotta Vocab- April 1988 17 18 Ceramics Monthly Bobbie McMillan; at Archway Gallery, 2600 ... Itinerary Montrose Blvd. Texas, San Angelo April 21-May 29 “The Third ulary”; at Chicago Architectural Foundation, 1800 Annual Monarch Tile Ceramics Competition,” S. Prairie Ave. juried national sponsored by Monarch Tile Man­ April 22-June 5 “Chicago Vicinity Clay VII,” ufacturing, Inc.; at the San Angelo Museum of functional and nonfunctional works by artists re­ Fine Arts, 704 Burgess St. siding within a 250-mile radius of Chicago; at April 21-May 29 “Art Center Clay International”; Chicago Center for Ceramic Art, 430 W. Erie. at Chicken Farm Art Center, 2505 N. Randolph. April 29-May 8 “Illinois Women in Clay”; at Cre­ Washington, Seattle through May 1 “Swedish ative Claythings, Inc., 3412 N. Southport Ave. Contemporary Ceramics,” works by members of Illinois, Edwardsville April 18-May 13 “SIUE Lerverk; at the Nordic Heritage Museum, 3014 Clay National”; at University Center Gallery, N.W. 67 St. Southern Illinois University at Edwardsville. Kansas, Wichita April 24-May 22 “Fired with Ceramics in Multimedia Exhibitions Enthusiasm,” contemporary soup tureens from the Campbell Museum; at Wichita Art Association, Arizona, Mesa through April 16 “Under a Foot,” 9112 E. Central. juried national of sculpture less than 12 inches in Michigan, Detroit through April 17 “Power over size; at Galeria Mesa, 155 N. Center. the Clay: American Studio Potters”; at the Detroit Arizona, Tucson through May 15 “Arizona Wom­ Institute of Arts, 5200 Woodward Ave. en Artists Invitational”; at Campbell Gallery, Tuc­ April 22-May 20 “Michigan Ceramics ’88,” the son Museum of Art, 140 N. Main Ave. tenth annual Michigan Potters’ Association juried April 11-May 7 Two-person show including works competition; at Detroit Artist Market, 1452 Ran­ by George Tomkins, earthenware vessels, plates dolph St. and sculptural forms; at Obsidian Gallery, Saint Minnesota, Minneapolis April 9-May 21 Harris Philip’s Plaza, Suite 90, 4340 N. Campbell Ave. Deller and Tom Kerrigan; at MC Gallery, Wy­ Arkansas, Little Rock through April 24 “The man Building, Suite 332, 400 First Ave., N. Decorative Arts of Czarist Russia”; at Arkansas Missouri, Kansas City through April 24 “Chinese Arts Center/Decorative Arts Museum, 501 E. Monochrome Porcelains of the Ch’ing Dynasty”; Ninth St. at Nelson-Atkins Museum of Art, 4525 Oak St. California, Brea April 16-May 20 “The Tradi­ Montana, Great Falls April 4-29 “Northwest Ce­ tionalists,” juried exhibition of traditional style ramics Today,” works by 35 artists from Idaho, works by California artists; at Brea Civic Cultural Montana, Oregon and Washington; at Charles M.Center Gallery, One Civic Center Circle. Russell Museum, 1201 Fourth Ave., N. California, Oakland through May 15 “The El­ New Jersey, Red Bank through April 16 Wall oquent Object: The Evolution of American Art in reliefs by Mark Forman; and raku by Joel Moses; Craft Media Since 1945”; at the Oakland Mu­ at Art Forms, 80 Broad St. seum, 1000 Oak St. New Jersey, Summit through April 10 “Expres­ California, Sacramento April 9-May 1 “The sions in Color: Ceramics,” works by 16 artists; at Artists of California: A Group Portrait in Mixed New Jersey Center of Visual Arts, 68 Elm St. Media,” 80 portraiture works dating from 1850; New Jersey, Upper Montclair May 3-16 “Lucy at Crocker Art Museum, 216 O St. Lewis, Emma Lewis Mitchell and Dolores Lewis California, San Diego through May 8 “Souvenirs Garcia: American Indian Potters”; at College Gal­ to Science: The Eclectic Collector,” artifacts from lery, Montclair State College. 1380-1350 B.C., includes pottery and tile frag­ New York, New York through April 6 “Firing ments. May 5-September 5 “Rockefeller Collec­ the Imagination: Artists and Architects Use Clay,” tion of Mexican Folk Art,” over 100 Mexican works past, present and future uses of clay in architec­ from the collection of Nelson Rockefeller, includes ture; at Municipal Art Society Urban Center, 457 Coyotepec pottery by Dona Rosa and figures by Madison Ave. Teodora Blanco; at San Diego Museum of Man, through May 8 “Icons of Piety, Images of Whimsy: 1350 El Prado, Balboa Park. Asian Terra-Cottas from the Walter-Grounds Col­ Colorado, Boulder April 29-May 28 “Hand­ lection,” 90 Buddhist and Hindu sculptures from works ’88,” juried exhibition of works by artists the third century B.C. to the 17th century; at the from the Mountain time zone area; at Handworks, Asia Society, 725 Park Ave. 1115 Pearl St. April 15-30 “Two Swedish Designers,” functional Connecticut, Guilford May 4-24 “Container Ex­ and decorative works by Paul Hoff and Rolf Sin- hibit”; at Guilford Handcrafts, 411 Church St. nemark; at Contemporary Porcelain Gallery, 105 Connecticut, Washington through April 25 “New Sullivan St., Soho. Creations: Native Traditions in Contemporary Art”; New York, Rochester through April 17 “Off the at American Indian Archaelogical Institute, Curtis Pedestal: Clay on the Walls,” works by 11 artists; Rd., Route 199. at Village Gate Art Center, 274 N. Goodman St. D.C., Washington through June 12 “The Human Ohio, Cleveland through April 10 “Tomb Sculp­ Figure in Early Greek Art,” 67 works from the ture of Ancient China: The Quest for Eternity,” ninth to the fifth centuries B.C., includes terra­ includes approximately 160 funerary objects from cotta sculptures and vessels. April 13-August 14 the Neolithic period to the end of the Ming dynasty “Sweden: A Royal Treasury 1550-1700,” deco­ (about 8000 B.C. to A.D. 1644); at the Cleveland rative arts from the Swedish royal collections; at Museum of Art, 11150 East Boulevard. the National Gallery of Art, Fourth St. at Con­ through April 17 “Ceramic Invitational 1988”; at stitution Ave., NW. American Crafts Gallery, 13010 Woodland. through September 30 “Nomads and Nobility: Art Ohio, Delaware through April 7 Tom Turner and from the Ancient Near East,” ceremonial and Gail Russell, porcelain; at the Art Gallery of the functional works. May 2-June 26 “The Chinese John W. Dickhaut Library, Methodist Theolog­ Scholar’s Studio: Artistic Life in the Ming Dy­ ical School in Ohio, 3081 Columbus Pike. nasty,” 130 objects from the Shanghai Museum; Ohio, Wooster April 4-24 “Functional Ceramics at Arthur M. Sackler Gallery, Smithsonian Insti­ 1988,” survey of contemporary works; at Wayne tution, Pennsylvania Ave. at 17 St., NW. Center for the Arts, 237 S. Walnut St. Florida, Tampa through April 20 “Art of New Pennsylvania, Pittsburgh April 15-June 26 Orleans”; at Gillman Stein Gallery, 3105 Bay to “Shattered Self: Northwest Figurative Ceramics,” Bay Blvd. works from the mid 1970s through the early 1980s Idaho, Pocatello April 7-May 8 “Big Sky Bien­ by Ann Gardner, Howard Kottler, Ann Perrigo, nial V/Crafts,” juried regional of works by resi­ Debra Sherwood and Patti Warashina; at the So­dents of Alaska, Idaho, Montana, Nevada, Ore­ ciety for Arts in Crafts, 2100 Smallman St. gon, Utah, Washington and Wyoming; at Idaho Tennessee, Gatlinburg through May 21 “The State University. Dripless Spout: Innovative Teapots”; at Arrow- Illinois, Highland Park April 16-May 21 A two- mont School of Arts and Crafts Gallery, 4320 person exhibition including slip-decorated earth­ Parkway. enware by Everette Busbee; at Martha Schneider Texas, Houston through April 30 “New Works,” Gallery, 2055 Green Bay Rd. wall reliefs and sculpture by Sonja Light, and a Kansas, Emporia April 18-May 6 “Annual Art self-portrait series of thrown and altered forms by Please Turn to Page 54

April 1988 19 20 Ceramics Monthly nonfunctional, humorous or weighty. constructed tile imagery. What at first Putting functional ceramics in this cat­ seems to be a riot of floriate design is egory may seem to some to be surprising revealed as a very carefully organized Comment for we usually think of idea-oriented work composition, evolved from a grid plan to as being a bit remote and removed from its final complex, life-filled state. In this the realities of everyday affairs. I feel, way, the rigid and the dynamic are in­ A Ceramics of Ideas however, that functional work can fit verydissolubly joined and balanced. well within a ceramics of ideas for, at A number of contemporary ceramists by Richard Zakin their best, functional pieces are the make work which is truly part of a “ce­ product of a very careful and logical de­ ramics of ideas”: names that come readi­ sign process. ly to my mind include Nino Caruso (It­ I know there are those who think that aly), Angelo di Petta (Canada), Gordon Last spring I attended a lecture and con­no art can be based on logic and intellect,Baldwin and Elizabeth Fritsch (Great cert by the contemporary composer that art must emphasize the irrationalBritain), Howard Kottler and William Phillip Glass. Encouraged by these pre­ and instinctual. Many see this as being Parry (U.S.A.). Caruso and di Petta are sentations, they further persuaded me especially true of ceramics. They see clay both “artists in the city” (Rome and To­ that an art could be at once highly in­ as a particularly “warm” material andronto, respectively); both are also influ­ tellectual and emotionally engrossing. feel that only ceramics which emphasize enced by the classical traditions of the Glass works as part of an informal groupthe natural and instinctive have validity.Mediterranean world. Gordon Baldwin of composers who are creating a new While I think that all art must have has immersed himself in the fine points kind of classical music, unusual in a strong instinctual component, I disa­ of the handbuilding process and devel- rhythm, tonality and structure. It is also gree with their position, because the in­ carefully planned—a “music of ideas.” tellectual component of art can be pres­ These composers (who include Glass, ent as well and can enrich the work. The Steve Reich, John Adams and Arvo Part) Renaissance painter Piero della Fran­ “This path is obviously not take a structured approach to art, ex­cesca’s work is cool, planned and highly for everybody. However, for those pressing emotion through that structure. structured. I also see these traits in the In this way the structure becomes part music of J. S. Bach and Claude Debussy who enjoy manipulating ideas of the “story” of the piece. It was an and in the paintings of Paul Klee and as much as clay\ it may be exciting lecture; Glass was forthright and Piet Mondrian. Mondrian called one of the best route” his arguments were strong and clear. I his last pieces “Broadway Boogie Woo- left feeling elated but also wishing that gie.” There is no denying either its dance we had an advocate for this kind of at­or its cerebral character; in fact this is titude in ceramics. a dance of the intellect. oped forms which reveal these concerns. What I would like to see is a ceramic When I think of the ceramic pieces Elizabeth Fritsch makes us walk on a equivalent of this music—a kind of ce­ which have given me the most pleasure, tightrope of a constantly shifting two- ramics which is at once highly intellec- I realize that many of them embody a and three-dimensional space. William strong spirit of intellectual exploration. Parry gives us new insights into the nat­ I am fascinated by the work of the an­ ural world and how it can be symbolized cient Greek potters who struggled to deal in work made from combinations of clay with the problems of two-dimensional, and man-made materials. Finally, in “ . there. are those who think pictorial imagery on three-dimensional Howard Kottler’s work, “palace ware” that... art must emphasize the surfaces; of the potters of Jingdezhen meets popular culture and the result is irrational and instinctual. who used the most complex multifire at once extremely intellectual and out­ rageous. ... I disagree with their position * technologies in their fabulous creations for the Qing emperors; of the potters of A “ceramics of ideas” can contribute Yixing who developed an elegant body much to the field. Clay is a warm ma­ of work that is austere and intelligently terial, full of life and vitality; the joining functional; of Adelaide Alsop Robineau of this warmth and the cool reflection of tual and emotionally engrossing; a “ce­ who carefully studied European and idea orientation has proved itself effec­ ramics of ideas.” We do have a strong Oriental ceramics in order to create work tive. tradition of intellectual ferment in the which she could feel was their equal; This path is obviously not for every­ ceramics avant-garde; generally thoughand of the architect Louis Henry Sul­ body. However, for those who enjoy ma­ in this work the emphasis is on purely livan who wished to clothe buildings with nipulating ideas as much as clay, it may visual innovation and those aesthetic tile surfaces whose imagery symbolized be the best route. It may help them to questions which are perceived as being the “life force” which was at the core of integrate the visual and intellectual sides of current concern. In an art of ideas his working philosophy. of their character and to liberate their the stress is not always on the visual; Sullivan left us, in 1924, a very clear creative energies, adding to the diversity questions are addressed which relate to record of his thoughts on tile design in and vitality of our field. historical, technical or functional aspects “A System of Architectural Ornament of ceramics. Furthermore, some distance According with a Philosophy of Man’s The author Artist/author/professor can be established from questions whose Powers,” the best of Sullivan’s books and Richard Zakin resides in Oswego, New weight is ephemeral. one of the best books created by any art­ York. He is best known for his work with A ceramics of ideas is not limited to ist. Step by step, with an inexorable logic glazes and slips, particularly in oxida­ any one kind of work: it can be vessel communicated mostly through rich il­ tion firing; see “Terra Sigillata” in the oriented or sculptural, functional or lustrations, Sullivan shows us how he February 1988 CM. April 1988 21 22 Ceramics Monthly

24 C eramics Monthly European Tile Stoves by Gunther Gotte

Some 2000 years ago, C. Sergius tiles remain porous enough to ra­ Orato, a Roman architect, used diate heat. They can be molded, the discovery of clay’s heat-con- pressed or handbuilt, then altered ducting capability to develop a with carving or relief work. A clay home heating system. Clay tubes foot pierced with small holes is were thrown on the wheel and fired, attached to the back of each tile then laid under the floor as conduits so that tiles can be wired together for warm water. for stability during construction. This system of tubes was later mod­ Because they are large, they must dry ified to carry warm air within the walls slowly and evenly to prevent warping. of baking ovens. The “tiles” for these Thermostat-controlled, oil-burning stove Once the tiles are bisqued, each is ovens were also wheel thrown. Stacked with glazed stoneware tile exterior, glazed by hand. I want an interesting, on top of one another and integrated into designed to heat jive rooms. textured surface, in contrast to the air- an insulating wall of clay and straw, they brushed surfaces of industrial stove tiles. guaranteed rapid and equal heating. The original tile stoves were closed Prior to construction, these glazed tiles Early examples of these tile stoves can systems, which would store and radiate are placed in water to ensure a tight be seen in museums in Vienna, Austria, heat. Now, an open system, a combi­ bond with the mortar. Then, on a non­ and Landsberg am Lech, West Ger­ nation of air convection and radiation,flammable (brick) surface, the bottom many. is also possible. Wood remains the pri­ row of tiles is positioned and leveled. During the Gothic Age (1200-1500), mary fuel source; however, it is possible Shims are placed between them to reg­ the cylinders were cut in half, thus es­ to heat tiles stoves with oil or gas. ulate the spacing. Next, the tiles are sta­ caping the interior of the stove to become Design is dictated by client needs, room bilized with heat-resistant wire thread­ not only a better conductor of heat, but size, tile surface necessary to supply heat ed through the holes in the backing feet. a decorative element as well. Following and fuel source. My individual design Mortar is then applied between the tiles; this development, tile stoves had a con­ language derives from a desire to create over the mortar (but behind the stabi­ tinuing decorative influence all over Eu­ strength in form and quiet integration lizing wire), a specially cut high-fire brick rope, especially in Austria, Czechoslo­ with the surrounding architecture. The is placed. Once the row is completed in vakia, Germany and Switzerland. stove shouldn’t interfere or dominate, but this way, another high-fire brick (cut to With modern developments in heat­ should complement a room. Through the inside dimensions of the backing foot) ing systems, the tile stove was overcome specially built channels, rooms distant is placed in position on top of the mortar, by progress. However, because of their from direct exposure to the tile stove can thus preventing the tile from receiving economy, beauty and practicality, tile also be heated. direct heat. stoves have enjoyed a renaissance since I use a stoneware clay fired between After the first row of tiles is set, the the early 1970s. Cone 07 and Cone 1 to ensure that the firebox and functioning elements of the

April 1988 25 stove are installed. Choice of an open or closed system as well as the fuel source dictates the size, radius and length of iron fume tubes. The stove should be designed to have a heating capacity slightly greater than what is actually needed. If the stove were to be heated to capacity constantly, it would break down within two to three years. Heating to below capacity will ensure that the stove will last for generations. With heating elements in place, each remaining row of tiles can be set. Before setting the roof tiles, a firewall is built from iron T-bars, tin and brick to pre­ vent the rising heat from escaping too quickly. Tile stoves have reached the stage where architecture, painting and sculp­ ture can be combined. For me, the tile stove has become an expression ofge- mutlichkeit, a German word with no di­ rect English translation, but which in­ dicates peacefulness, rest and warmth. It is not only a heating system, but also an integral part of everyday life. A

right A basic plan for a ivood- burning tile stove. Design is dictated by client needs and fuel preference.

26 CERAMICS MONTHLY far left Combination closed-system stove and open fireplace, stucco and stoneware tile exterior, high-fired brick interior, wood burning; heats five rooms. Stylistically, this stove draws on early versions whose tiles were simply ceramic bowls pressed into a refractory stucco exterior.

left Heating/cooking stove with handbuilt stoneware tile exterior, wood burning, closed system heating two rooms; heat to bench area can be regulated.

BELOW Tile stove, handbuilt stoneware with poured glazes fired to Cone 1, bums wood in an iron firebox, open system heating three rooms, by Gunther Gotte, Kandlbach, West Germany.

April 1988 27 Gillian Lowndes

During her 25-year career, British art­ as she was intrigued by African im­ the composition are smashed before and ist Gillian Lowndes has moved in and provisation in combining materials. after firing. The work is deliberately left out of sculpture, exploring a range of After returning to England, Lowndes unresolved until final assembly. ▲ ceramics from vessels to collages of clay- began to experiment with fiber glass coated shards and found objects. Today dipped in porcelain slip, layered on wire Radical ceramist Gillian Lowndes of she is recognized as an innovator in con­ armatures and once fired. This ap­ London stretches the limits of her temporary British ceramics, one who has proach was further developed in 1979 medium. BELOW “Brick Bag,” 12 inches extended the use of the medium in tech­ in a series using melted London brick, in length, 1980, explores the theme of nically radical directions. together with Egyptian paste, and fired urban decay using porcelain on fiber glass Lowndes studied at the Central School in a sand-filled saggar to Cone 7. Nextwith broken pottery and wire. of Art, briefly in the sculpture depart­ came a series of porcelain on fiber glass ment, then transferred over to ceramics bags filled with old bricks or broken pot­ RIGHT “Tail of the Dog,” 14 inches in the late 1950s. By 1960, she shared tery to express the urban decay that she long, fiber glass coated with porcelain a studio with potter Robin Welch, and saw around her. slip, Nichrome wire; 1986. throughout the decade produced a va­ For many years, it was important to riety of sculptural vessels. Then a two- Lowndes that the various materials below right “Collage,” 10 inches long, year stay in Nigeria had a major influ­making up a piece were actually joined sand-coated “recylcled” cup, Egyptian ence on her work of the 1970s and ’80s, by the firing process. Now elements of paste, clay-coated spring, clinker, 1986.

28 CERAMICS MONTHLY April 1988

29

PHOTOS: TIM HILL, COURTESY OF THE CRAFTS COUNCIL ACC Southeast Exhibition

In CONJUNCTION with the American Craft Council’s Southeast regional con­ ference, “Craft in the Eighties: The Me­ dium and the Market,” a juried exhi­ bition of works by 52 craftspeople was presented at Arrowmont School of Arts and Crafts in Gatlinburg, Tennessee. Selection was made by Paul Smith, di­ rector emeritus of the American Craft Museum in New York City, after re­ viewing slides, then the actual works. “For those who have never experi­ enced judging a show,” Smith com­ mented, “the process may be a mystery. Like all professional experiences, there are procedures. Reviewing work by slides to make an initial selection is a practical and good process which usually requires several viewings. Today, most artists are good photographers or have their work professionally photographed, making the task of reviewing easier. There are al­ ways a few exceptions—the out-of-focus object, displayed on a barn door in a beautiful, natural environment—where one has to search for the work being submitted. “What is perhaps least understood is that the overall strength of work sub­ mitted establishes a median line from which a selection can be made. This me­ dian may vary from one competition to another, and thus, one artist may be se­ lected in one competition and rejected in another, even by the same selection group. “One must also bear in mind that the overall purpose of a competition is to assemble an exhibition. This further ex­ plains the selection process, as the judges attempt to make an exhibition with range and variety. “For ‘Southeast Craft: Spotlight 87,’ 1411 slide entries were submitted by 272 artists for the first review. Entries as a whole were on a high level. “Objects selected from slides were re­ quested to be sent to Arrowmont for the TOP LEFT “Scale of Sea,” 15 inches high, slab built, zvith airbrushed under glazes, final review. Seeing the actual work, glazes and lusters, by Ran Coney, Marietta, Georgia. picked from the photographic image, is filled with surprises—usually scale. Ul­ TOP RIGHT Coiled whiteware vessel, 42 inches high, by Tim Stavenger, Knoxville. timately, the work that brings forth the strongest cohesive message radiates a ABOVE Stoneware tea set by Louisville potter Sarah Frederick, power to stay.” ▲ with embroidered covers by Ann Stewart Anderson.

30 CERAMICS MONTHLY Japanese potter Yukio Yamamoto raking the coals of a noborigama he designed during a ivorkshop for Northern Arizona University, Flagstaff. Summer Workshops 1988

This marks the thirtieth year Ceramics Monthly has compiled its special listing of workshops for ceramics. We hope its timely appearance will be of help to those planning summer vacation activities. Because enrollments are limitedmake reservations early.

Arizona, Flagstaff Arizona, Mesa Creek Pottery, 482 Swanton Rd., Davenport 96017; or July 11-29 June 6-July 30 phone (408) 426-5091. “Noborigama Firing Workshop with Don Reitz,” in­ Eight-week classes on pottery and various firing methods, California, El Cajon cludes decorating and glazing pots; chopping, splitting including primitive, raku, salt, gas and electric. Instruc­ June 6-30 and stacking wood; loading and stoking the kiln for ten tors: Dora Hernandez, Dale Bryner McMillan and Jeff “Colored Clay Workshop I” will focus on handbuilding days; plus trips to the Grand Canyon, the Grand Falls, Reich. All skill levels. Camping available. Contact Jeff and throwing, plus salt, raku, saggar, gas and Cone 6 Wupatki and other historical pottery sites. Intermediate Reich, Mesa Cultural Program, Box 1466, 155 North electric firing. Instructor: Yoonchung P. Kim. Interme­ through professional. Fee: $280. University housing and Center St., Mesa 85211; or phone (602) 834-2242. diate level. Fees: California residents $40; nonresidents camping available. Contact Don Bendel, Northern Ari­ Arkansas, Hindsville $289; includes materials and firings. Camping available. zona University, Box 6020, Flagstaff 86011; or phone June 13-24 Contact Yoonchung Kim, Department of Art, Grossmont (602) 523-3471. Handbuilding, throwing, glazing and raku with Jack and College, 8800 Grossmont College Dr., El Cajon 92020; Arizona, Keet Seel Alzora Hooker. Beginning level. Fee: $95, includes fir­ or phone (619) 465-1700, ext. 252. June 11-20 ings. Camping available. Contact Shirley Sutton, War California, Fremont “Hopi Arts and Culture,” sponsored by Idyllwild School Eagle Mills Farm, Route 1, Hindsville 72738; or phone June 19-25 of Music and the Arts, includes handbuilding, kiln design (501) 789-5398. “Pipe Sculpture Workshop,” at Mission Clay Products and traditional low-fire techniques. Instructor: Bonnie California, Davenport Company, involves making sculptural forms from sewer Sahmie Nampeyo. All skill levels. Fee: $750, includes June 20-July 15 pipe extrusions. Instructor: Jerry Caplan. Intermediate materials, firings and meals. Camping available. ContactIndividual instruction, based on student’s personal inter­ through professional. Fee: $225, includes materials and Idyllwild School of Music and the Arts, Box 38, Idyllwild, est and experience, with A1 Johnsen. All skill levels. Fee: firings. Camping available. Send slides andsase by April California 92349; or phone (714) 659-2171. $600, includes materials, firings and lunches. Contact Scott 27 to Jerry Caplan, Director, Pipe Sculpture Workshop

April 1988 31 Connecticut, West Hartford July 2-15 Outdoor kiln installation/workshop with John Roloff. Advanced through professional. Fee: $640, includes ma­ terials. Live-in accommodations available. Contact Walter Hall, Hartford Art School, University of Hartford, 200 Bloomfield Ave., West Hartford 06117; or phone (203) 243-4393. Florida, Miami June 6-25 “Design and Production of Ceramic Tile”; all skill levels. University housing available. Contact Susan Banks or Ron Fondaw, Department of Art and Art History, Uni­ versity of Miami, Box 248106, Coral Gables, Florida 33124; or phone (305) 284-2542 or 284-2543. Georgia, Rabun Gap Summer Weekly and weekend ceramic workshops. Fellowship res­ idencies and intern work/study positions available. Con­ tact Hambidge Center for Creative Arts & Sciences, Box 339, Rabun Gap 30568; or phone (404) 746-5718. Indiana, Indianapolis August 17-19 Indianapolis Museum of Art and Amaco Clay Company are cosponsoring “Drawing and Painting on Clay” and “Surface Decoration & Low-Fire Glazing Techniques” with David Gamble and Martha Holt. Contact Rhonda Tipton, Indianapolis Museum of Art, 1200 W. 38 St., Students and instructors taking a refreshment break at Baranya Indianapolis 46208; or phone (317) 923-1331, ext. 319. Creative Colonies in Siklos, Hungary. Indiana, New Harmony June 6-July 8 “University of Evansville Ceramic Workshop” with Les Selection Committee, 5819 Alder St., Pittsburgh, Penn­ Skeer (June 11-12); fee: $45, includes materials and fir­ Miley, includes throwing, salt glazing and raku. Begin­ sylvania 15232; or phone (412) 661-0179. ings. “Connoisseurship in the Making of Pots” with Sandy ning through advanced. Fee: $400. Live-in accommoda­ California, Idyllwild Simon (June 18-19); fee: $50. “Slip Casting Workshop,” tions and camping available. Contact Les Miley, Uni­ June 19-August 13 a hands-on workshop/lecture with Andy Martin (June versity of Evansville, Department of Art, 1800 Lincoln “Adult Ceramics” with Greg Kennedy, includes raku, sag­ 25-26). Fee: $65, includes materials. For all skill levels. Ave., Evansville, Indiana 47714; or phone (812) 479- gar, salt, anagama, wood and electric kiln firing (six ses­ “Raku Workshop” with Bob Smith (July 9, 12 and 16); 2043. sions from June 19-July 29). “Acoma Pottery” with Emma fee: $70. Intermediate through advanced. “Surface Treat­ Kentucky, Louisville Mitchell and Dolores Garcia, traditional dung, low-fire ment without Glaze” with Kathey Holt (July 23, 30, 31); July 9 and 16 techniques (June 26-July 2). “Jemez Pottery” with Laura fee: $60. “The Formulation and Problem Solving of Glaz­ “Pit-Fired Pottery,” a two-part workshop on pinch- and Gachupin (June 26-July 2). “Hopi Pottery” with Bonnie es,” with Jim Cooper (August 6-7); fee: $45. For all skill coil-building methods, and traditional decorating and fir­ Sahmie Nampeyo (July 3-9). “San Ildefonso Pottery” levels. “Anagama Wood Firing,” hands-on workshop with ing techniques. Instructor: Lisa Payne. All skill levels. with Blue Corn (July 10-16). “Casas Grandes Pottery” John Balistreri (August 13-19 and 21); fee: $175. In­ Fee: $40, includes materials and tools. Contact Lisa Payne, with Juan Quezada (July 10-16). Fee: $300 per session, termediate through advanced. Contact Robin Furuta, Ar­ One Sky Pottery, 237 Fairfax Ave., Louisville 40207; or includes materials and firings. “Youth Ceramics” with vada Center for the Arts and Humanities, 6901 Wads­ phone (502) 893-3836. Greg Kennedy, includes saggar and raku firing (two ses­ worth Blvd., Arvada 80003; or phone (303) 431-3080. Maine, Brooks sions from July 31-August 13). Fee: $345 per week, in­ Colorado, Cortez August 7-27 cludes materials and firings. Live-in accommodations and May 29-June 11 Intensive workshops on handbuilding and throwing, raku, camping available. Contact Idyllwild School of Music and “Sand Canyon Fourth Annual Primitive Pottery Work­ reduction and pit firing (August 7-13 or 21-27). Instruc­ the Arts, Box 38, Idyllwild 92349; or phone (714) 659- shop,” will cover Anasazi techniques, including clay gath­ tor: Squidge Davis. All skill levels. Fee: $350 (per ses­ 2171. ering, tool making, native plant processes, throwing, sion), includes materials, firings, lodging and meals. Con­ California, Los Angeles handbuilding, adobe sculpture and various firing meth­ tact Starflower Forge & Pottery, Brooks 04921; or phone July 11 -August 12 ods. Instructors: Leander Gridley and Mark Snowdon. (207) 525-3593. “Clay in L.A.” with Ed O’Reilly. Intermediate through All skill levels. Fee: $650, includes materials, firings, lodg­ Maine, Deer Isle professional. Fee: $750. Live-in accommodations avail­ ing and meals. Contact Rodney Carriker, the Kelly Place, June 5-September 2 able. Contact Continuing Education, Otis Art Institute 14663 County Rd. G, Cortez 81321; or phone (303) 565- “Clay—Working” with Jackie Rice (June 5-17). Sculp­ of Parsons School of Design, 2401 Wilshire Blvd., Los 3125 or 882-4943. ture construction and glazing with Anne Currier (June Angeles 90057; or phone (213) 251-0550. Colorado, Snowmass Village 19-July 8). Handbuilding, throwing and fundamentals California, Mendocino June 6-August 26 of glaze formulation, application and firing with Wayne Summer “Building and Firing a Salt Kiln” with Doug Casebeer Higby (July 10-22). Handbuilding, throwing and press Mendocino Arts Center is planning sessions with Doug (June 6-17); fee: $295. “Drawing on Vessels—The molding, plus building around cores and armatures, hol­ Browe, Victor Babu, Ken Catbagan, Kathy Erteman, Ken Transformation” with Akio Takamori (June 6-17); fee: low modeling and assemblage with Daniel Rhodes (July Ferguson, Jan Hoyman, Karen Karnes, Walter Keeler $395. “A Way of Life—Clay as an Expressive Material” 24-August 12). “Function: An Approach to Craft Media” and William Underhill. Contact Peter von Wilken Zook, with Paul Soldner (June 20-24); fee: $260. “Making Pots— with Clary Illian (August 14-September 2). Fees: Mendocino Arts Center, Box 765, Department 3, Men­ The Leach Tradition” with David Leach and Elmer Tay­ $340-$450 per session. Live-in accommodations avail­ docino 95460; or phone (707) 937-5818. lor (June 20-July 1); fee: $495. “Exploring Functional able. Contact Haystack Mountain School of Crafts, Deer California, New Cuyama Forms” with Dorothy Hafner (June 27-July 8); fee: $395. Isle 04627; or phone (207) 348-2306. June 11-12 “What Are Pots About?” with David Shaner (July 4-15); Maine, North Edgecomb “Ceramic Architecture,” with Nader Khalili, will cover fee: $395. “Getting to Know Your Glazes and Clay Bod­ June 13-September 2 building (using clay bricks to form arches, vaults and ies” with Jim McKinnell (July 11-15); fee: $195. “In­ Two-week sessions with Aurore Chabot (June 13-24); domes in small scale, then life size) and firing simple tentions of Form” with Robert Turner (July 11-22); fee: with Mary Jo Bole and Bill Brouillard (June 27-July houses. Fee: $250, includes materials, firings and meals. $395. “Kilns in Clay—An Investigation into Structure” 8); with Chris Staley (July 11-22); with Judy Moonelis Live-in accommodations available. Contact Center for with John Roloff (July 18-29); fee: $415. “New Ap­ (July 25-August 5); with Peter Gourfain (August 8-19); Future City Studies & Earth Architecture, IFS/SCI-ARC, proaches” with Ron Nagle (July 25-29); fee: $290. “Spe­ 1000 Perkins Rd., New Cuyama 93254; or phone (805) cific Objects” with Irv Tepper (July 25-29); fee: $290. 766-2773. “Clay—The Vessel” with M. J. Bole, Bill Brouillard and California, San Pedro Judith Salomon (August 1-12); fee: $395. “Idea of Lim­ Phil Rogers pulling a pitcher handle at June 18-August 13 its” with Mark Pharis (August 15—26); fee: $395. “Hand- Marston Pottery in Rhayader , Wales. “Monoprinting Clay Workshop” with Jeremy Jernegan, built Constructions” with John Gill (August 15-26); fee: discussions, slides and demonstrations (June 18-19); fee: $395. All fees include materials and firings. Live-in ac­ $35. “Pit Fire Workshop” with Nancy McLaughlin (July commodations and camping available. Contact Doug 16-17); fee: $15. June 1 registration deadline for both Casebeer, Anderson Ranch Arts Center, Box 5598, Snow- events. “A One-Day Pit Fire ’ with Susan Cash (August mass Village 81615; or phone (303) 923-3181. 13); fee: $15. August 1 registration deadline. All skill Connecticut, Brookfield levels. Contact Stella Vognar, Angels Gate Cultural Cen­ June 4-August 28 ter, 3601 S. Gaffey St., San Pedro 90731; or phone (213) Weekly and weekend instruction in handbuilding, throw­ 519-0936. ing, slip casting, glazing and various other studio tech­ California, Walnut Creek niques. All skill levels. Live-in accommodations and Summer camping available. Contact Dee Wasner, Brookfield Craft Walnut Creek Civic Arts Education Program is planning Center, Box 122, Brookfield 06804; or phone (203) 775- 1- to 8-week sessions on figure sculpture, mold making, 4526. and raku, pit, saggar and sawdust firing. Instructors: Pete Connecticut, Guilford Coussoulis, Skip Esquierdo, Sherry Karver and Andree June 13-July 31 Thompson. All skill levels. Contact Pete Coussoulis, Civic “Containers and Boxes” with Alice Chittenden (June 13-14 Arts Education Program, City of Walnut Creek, Box 8039, and 20); fee: $30. “Salt Firing Workshop” with Melissa Walnut Creek 94596; or phone (415) 943-5846. Greene (July 22-23 and 30-31); fee: $60. Beginning Colorado, Arvada through intermediate. Contact Fernn Hubbard, Guilford June 11 -August 21 Handcrafts, Box 589, Guilford 06437; or phone (203) “Airbrushing on Clay,” a hands-on workshop with Janey 453-5947.

32 C eramics Monthly dations available. Contact Carla Crook, Continuing Ed­ lodging and meals. Contact Dennis Parks, Tuscarora Pot­ ucation, Kansas City Art Institute, 4415 Warwick Blvd., tery School, Box 7, Tuscarora 89834; or phone (702) 756- Kansas City 64111; or phone (816) 561-4852. 6598. Montana, Billings New Jersey, Demarest June 6-11 July 29-31 “Primitive Pottery Techniques” with Marcia Selsor, in­ “Summer Workshop 1988,” handbuilding large-scale ce­ cludes clay excavation, decorating and firing processes, ramic forms with Elsbeth Woody. Fees: $130 for 3-day plus excursions. All skill levels. Fees: Montana residents session; members $115; includes materials and firings. $173; nonresidents $292; includes lab fees. Contact Mar­ Friday lecture only: $55; members $40. Live-in accom­ cia Selsor, Eastern Montana College, 1500 N. 30 St., modations available. Contact Karen Shalom, School of Billings 59101; or phone (406) 657-2323. Art, Old Church Cultural Center, 561 Piermont Rd., Montana, Bozeman Demarest 07627; or phone (201) 767-7160. June 21 -July 15 New Jersey, Layton An intensive course on all aspects of clay, glazes and firing, June 11-August 31 with lectures and demonstrations focusing on the history, “Anagama” with Everette Busbee (June 11-26); fee: $500, development and aesthetics of ceramic vessels and sculp­ includes lodging. “Toward a Personal Style” with Ken Sculpture made from pipe extrusions ture. Instructor: Michael Peed. All skill levels. Fees: Ferguson (July 6-12); fee: $250, includes materials. at Logan Clay Products in Logan, Ohio. Montana residents $148; nonresidents $400.50. Live-in “Utilitarian Stoneware” with Clary Illian (July 16-24); accommodations: $161 -$219.45 for 4 weeks. Contact fee: $285; includes materials. “Korean Inlay and Carving Willem Volkersz, School of Art, Montana State Univer­ Techniques” with Chung Hyun Cho (July 18-22); fee: and with Kirk Mangus (August 20-September 2). In­ sity, Bozeman 59717; or phone (406) 994-4501. $185, includes materials. “Not the Usual Pit Fire” with termediate through professional. Fee: $500 per session, Montana, Dillon Bennett Bean (August 5-7); fee: $130, includes materials. includes materials, lodging and meals. Contact Watershed June 20-24 “Decorated Functional Porcelain” with Laura Burch Center for the Ceramic Arts, Box 62, North Edgecomb “Raku Workshop” with Barney Brienza. Beginning through (August 10-17); fee: $265, includes materials. “Plaster 04556; or phone (207) 882-6075. advanced. Live-in accommodations and camping avail­Mold Making” with Everette Busbee (August 20-21); Massachusetts, Allston able. Contact Barney Brienza, Western Montana College, fee: $100, includes materials. “Functional Earthenware” June 13-September 17 710 S. Atlantic, Dillon 59725; or phone (406) 683-7342. with Walter Ostrom (August 25-31); fee: $250, includes “Radcliffe College Ceramics Summer Session,” includes Montana, Missoula materials. Lodging and meals: $37 per day. Camping instruction in handbuilding, throwing, sculpture, and soda- July 1-31 available. Contact Mathew R. Povse, Peters Valley, Lay­ vapor, Cone 10 reduction and oxidation firing. Instruc­ Handbuilding, throwing, mural construction, clay pros­ ton 07851; or phone (201) 948-5200. tors: Warren Mather, Shawn Penepinto and Makoto Yabe. pecting and processing, raku kilnbuilding/firing and pho­ New Jersey, Loveladies All skill levels. Contact Radcliffe College Ceramics Sum­ tographing ceramics. Beginning through advanced. Fee: June 26-August 26 mer Session, Office of the Arts, 10 Garden St., Cam­ $125 per week (2 week minimum), includes firings and “Clay Sculpture Studio” with Mark Davies, weekly ses- bridge, Massachusetts 02138; or phone (617) 495-8680. Massachusetts, Amherst June 26-August 15 Two 3-week sessions on handbuilding, throwing, glazing, decorating and firing techniques (June 26-July 16 or July 18-August 7); and a 1-week intensive, “Clay: An­ cient Firing/Modern Surfaces” (August 9-15). Fees: $1450 per 3-week session ($2370 for 6 weeks); or $470 for the 1-week intensive; all fees include materials and lodging. For students under age 18. Contact Horizons: the New England Craft Program, 374 Old Montague Rd., Am­ herst 01002; or phone (413) 549-4841. Massachusetts, Housatonic June 1-August 31 Three 1-month workshops on Japanese throwing and trimming techniques, with an emphasis on production; includes firing a wood-burning kiln. All skill levels. In­ structor: Richard Bennett. Contact Great Barrington Pot­ tery, Route 41, Housatonic 01236; or phone (413) 274- 6256. Massachusetts, Somerville June 2-July 17 Slide presentation by Nancy Selvin on her works (June 2). “African Handbuilt Ceramics” with Kofi Asante {July 15-17). Contact Mudflat Studio, 149 Broadway, Somer­ ville 02145; or phone (617) 628-0589. Massachusetts, Truro July 5-September 2 Handbuilding and throwing; all skill levels. Fees: $100-$300, includes materials and firings. Camping available. Contact Christina Fenton, Truro Center for the Arts at Castle Hill, Box 756, Truro 02666; or phone (617)349-7511. Michigan, Beaver Island August 12-21 “Raku and Primitive Firing Workshop” with Susan Wink, includes instruction on pinch, coil and slab methods. Be­ ginning through advanced. Fee: $212, includes materials, Ronna Neunschwander assembling adobe and mixed-media sculpture firings, lodging and meals. Live-in accommodations and at Oregon School of Arts and Crafts, Portland. camping available. Contact James Gillingham, 114 Brooks Hall, Biology Department, Central Michigan University, Mount Pleasant, Michigan 48859; or phone (517) 774- 3291 or 774-3227. lodging. Contact Douglas Grimm, 2524 Sycamore, Castle sions on handbuilding, throwing, raku firing and sculp­ Minnesota, Duluth Grimm on the Rattlesnake, Missoula 59802; or phone ture, with an emphasis on high-fire functional ware (June July 17-30 (406) 543-7970. 26-August 26). Fee: $40 per week. “The Painted Surface” “Ceramics: Form and Surface” with Gail Kendall, in­ Nevada, Incline Village with Alan Willoughby, includes polychrome slip deco­ cludes low-fire surface decoration using commercial glaz­ July 5-August 12 ration using trailing, paper resist and incising techniques. es and majolica Quly 17-23). “Handbuilding with Clay” “Clay Sculpture” with Daniel Rhodes, handbuilding tech­ (July 11-22). Fee: $50. “Raku Workshop” with Bruce with Tom Kerrigan, includes low-fire processes (July niques and texture in relationship to form Quly 5-8). Lenore, includes handbuilding and decoration methods. 24-30). All skill levels. Fees: $190-$230 per session. Live- “Porcelain” with Catharine Hiersoux, thrown and as­ (August 1-12). Fee: $50. Beginning through advanced. in accommodations: $60-$ 120 per week. Camping avail­ sembled forms (July 11-15). “Stoneware/Porcelain/Wxxl Contact Dorthe Englund, Long Beach Island Foundation able. Contact Split Rock Arts Program, 320 Wesbrook Fire” with Fred Olsen, throwing and traditional Japanese of the Arts and Sciences, 120 Long Beach Blvd., Love­ Hall, University of Minnesota, 77 Pleasant St., SE, Min­ decorative techniques (July 18-22). “Decorative Tech­ ladies 08008; or phone (609) 494-1241. neapolis, Minnesota 55455; or phone (612) 375-6800. niques for Ceramics” with F. Carlton Ball, includes hand­ New Mexico, Chaco Canyon Missouri, Kansas City building and throwing (July 25-29). “Raku and Saggar- August 25-September 2 June 12-July 22 Fired Porcelain” with Bob and Jenny Kizziar (August “Acoma Pottery with the Lewis Family at Chaco Can­ “Summer Studio” with Jennie Waterbury (June 12-July 8-12). All skill levels. Fees: $60-$330, includes materials yon,” sponsored by Idyllwild School of Music and the 2). Beginning and intermediate. Fee: $825, includes ma­ and firings. Live-in accommodations and camping avail­ Arts, includes handbuilding, kiln design and traditional terials, firings, lodging and meals. “Ceramics Studio for able. Contact Carol Sphar, Sierra Nevada College, Boxlow-fire techniques. Instructors: Emma Mitchell and Do­ Adults” with Steven Hill (June 14-July 21). Beginning 4269, 800 College Dr., Incline Village 89450; or phone lores Garcia. All skill levels. Fee: $750, includes mate­ and intermediate adults. Fee: $440, includes materials and (800) 332-8666. rials, firings and meals. Camping available. Contact Idyll- firings. “Intensive Pottery Studio” with George Timock Nevada, Tuscarora wild School of Music and the Arts, Box 38, Idyllwild, (July 5-22). Intermediate through professional. Fee: $660, July 1-August 13 California 92349; or phone (714) 659-2171. includes materials and firings. “High School Ceramics “Throwing Clinic” (July 1-14); “Raw Glaze Composi­ New Mexico, Los Alamos Workshop” with Jennie Waterbury (July 5-22). Begin­ tion and Application” (July 16-29); and “Firing with August 5-6 ning and intermediate level high school students. Fee: Diesel and Crankcase Oil” (July 31-August 13). All skill “Primitive Approaches to Clay” with Elena Grayson. All $105, includes materials and firings. Live-in accommo­ levels. Fee: $485 per session, includes materials, firings, skill levels. Contact Fuller Lodge Art Center, 2132 Cen-

April 1988 33 tion. Beginning level high school students. Fee: $785, in­ Cushing and “Raku” with Penelope Fleming (June 6-17). cludes materials, firings, lodging and meals. Contact Mil- “Clay” with Linda J. Arbuckle and “Pottery” with Chris ly D’Angelo, Studio Arts Workshop, Hartwick College, Staley (June 20-July 1). “Pottery” with Warren Oneonta 13820; or phone (607) 432-4200, exts. 516 or MacKenzie and “Ceramics” with Richard Zakin (July 520. 11-29). “Creative Processes in Clay” with Carol Gaskin New York, Otego and “Functional Porcelain” with Tom Turner (August August 1-14 1-12). “Architectural Ceramics” with Kathy Allen and Instruction on wheel throwing, handbuilding, sculpture, Peter King, and “Throwing and Altering” with Mary glaze formulation, kiln stacking and firing. All skill levels. Law (August 15-26). “Spontaneous Tableware” with Mi­ Fee: $495, includes materials, firings and lunches. Live- chael Lamar and “Clay Forms” with Daniel Rhodes (Au­ in accommodations and camping available. Contact Eliz­gust 29-September 2). All skill levels. Live-in accom­ abeth Nields, Box 300, R.D. 1, Otego 13825; or phone modations available. Contact Connie Sedberry, Penland (607) 783-2476. School, Penland 28765; or phone (704) 765-2359. New York, Port Chester Ohio, Cleveland June 11-30 June 13-July 29 “Raku Workshop” with Mikhail Zakin (June 11 and 18); Handbuilding and throwing; beginning through ad­ fee: $85. “Handbuilding Large Forms” with Elsbeth Woody vanced. Instructor: Steven Bradford. Contact Judith Sal­ (June 27-30); fee: $150. Contact Clay Art Center, 40 omon, Cleveland Institute of Art, 11141 East Blvd., Beech St., Port Chester 10573; or phone (914) 937-2047. Cleveland 44106; or phone (216) 229-0961. New York, Saratoga Springs Ohio, Logan May 24-August 12 June 12-18 Ceramics sessions with Regis Brodie and Ted Camp (May “Pipe Sculpture Workshop” at Logan Clay Products 24-July 1 or July 6-August 12). Beginning through ad­ Company, will focus on making sculptural forms from vanced. Fees: $170—$185, includes materials and firings. sewer pipe extrusions. Instructor: Jerry Caplan. Inter­ “Salt Glaze Firing” with Sandra Johnstone uty (J 11-15). mediate through professional. Fee: $225, includes mate­ Fee: $140, includes materials and firings. Live-in accom­ rials and firings. Send slides andSASE by April 27 to modations and camping available. Contact Regis Brodie,Jerry Caplan, Pipe Sculpture Workshops Selection Com­ Summer Six Art Program, Skidmore College, Saratoga mittee, 5819 Alder St., Pittsburgh, Pennsylvania 15232; Springs 12866; or phone (518) 584-5000, ext. 2372. or phone (412) 661-0179. New York, Troy Ohio, Oxford May 25-July 13 June 6-July 15 “Advanced Methods” with Jayne Shatz, handbuilding, “Ceramics Workshop at Craftsummer” includes sessions throwing and raku techniques. Advanced through profes­ with John Gill, Tim Mather, Chris Staley and Dennis sional. Fee: $120, includes materials and firings. Camping Tobin. Live-in accommodations available. Contact Jane available. Contact RCCA, 189 Second St., Troy 12180; Johnson, Rowan Hall, Miami University, Oxford 45056; or phone (518) 273-0552. or phone (513) 529-7395. New York, West Nyack Oregon, Portland June 26-July 31 June 21-July 15 “Raku Workshops” (June 26, July 24 or 31); and daylong Handbuilding, throwing, and glazing techniques. Instruc­ sessions to make ware for raku firing (July 5, 6, 12, 13, tor: Sheldon Kaganoff. Fee: $199, includes materials and 19, 20 or 30). Instructor: Rosemary Aiello. Intermediate firings. University housing and camping available. Con­ and advanced levels. Fee: $40 per session. Contact Ju- tact Robert Kasai, Department of Art, Portland State Leslie Dedrick handbuilding at the lianne Ramos, Rockland Center for the Arts, 27 S. Green- University, Portland 97207; or phone (503) 464-3515. Cleveland Institute of Art. bush Rd., West Nyack 10994; or phone (914) 358-0877. June 25-August 2 North Carolina, Brasstown “From Function to Another Function” with Patrick Hors­ May 29-September 2 ley, focuses on the relationship between functional and “Raku” with Bill Buchanan, (May 29-June 4). “Raku” nonfunctional objects (June 25-26). For all levels. Fees: tral Ave., Box 790, Los Alamos 87544; or phone (505) with Michael Sherrill (June 5-11). “Sculpture” with Judy $67; members $61. “American Indian Maskmaking” with 662-9331. Williams (June 26-July 2). “Stoneware/Sawdust” with Lillian Pitt, includes slide presentations, demonstrations New Mexico, Santa Fe Bonnie Staffel (July 3—9, August 7-13 or August and hands-on production of raku-fired masks. All skill June 17 27-September 2). “Mold Making” with Barbara Bauer levels. Fees: $44; members $40. Lecture and pottery dem­ A full-day workshop and evening lecture/film with David (July 17-23). “Slip Casting Original Molds” with Bar­ onstration with Ken Ferguson (August 1-2). All skill Leach. All skill levels. Live-in accommodations and camping bara Bauer (July 24-30). “Colored Clays” with Susan levels. Fee: $76; members $69. Contact Oregon School of available. Contact Dick Cook, College of Santa Fe Art Duncan (July 31-August 6). “Colored Clays” with Bar­ Arts and Crafts, 8245 S.W. Barnes Rd., Portland 97225; Department, Saint Michaels Dr., Santa Fe 87501; or phone bara Joiner (August 14-20). “Raku” with Barbara Joiner or phone (503) 297-5544. (505) 473-6206. (August 21-27). Fees: $140 per week. Live-in accom­ August 14-20 New York, Clayton modations and camping available. Contact John C.“Arts at Menucha” with Dale Rawls and Gail Pender­ June 13-September 2 Campbell Folk School, Brasstown 28902; or phone (704) grass, wall reliefs and altered thrown forms, raku and “Slab Building Workshop” with Ron Caruana (June 837-2775 or 837-7329. sawdust firings (August 14-20). “Variations on Vessels” 13-17). Beginning to advanced. Fee: $130; members SI 10; North Carolina, Penland with Anne Hirondelle and Gail Pendergrass, handbuild­ includes firings. “Ceramics for Beginners” with Rachel May 30-September 2 ing, throwing and raku firing. All skill levels. Fees: $375 Grovesteen, includes handbuilding, throwing, glazing and “Raku” with Michael Sherrill and “Images in Clay” with per session; $675 for both; includes materials, firings, firing techniques (August 8-12 or 15-19). Fee: $215; Akio Takimori (May 30-June 3). “Pottery” with Val lodging and meals. Contact Connie Cheifetz, Creative members $195; includes firings. “Form and Function” with Rachel Grovesteen, emphasis on Cone 6 stoneware (August 22-26 or August 29-September 2). Advanced through professional. Fee: $215; members $195; includes Michael Lucero discussing aesthetics with workshop participants at firings. Camping available. Contact Margaret J. Rood,Skidmore College in Saratoga Springs, New York. Thousand Island Craft School and Textile Museum, 314 John St., Clayton 13624; or phone (315) 686-4123. New York, New York June 6-July 14 Parsons School of Design is offering 4- to 8-day work­ shops on handbuilding, sculpture, tile, and low-fire and saggar-fired earthenware. Instructors: Raul Acero, Rob­ ert Barry, Agustin de Andino, Frank Giorgini, Thomas Lollar, Bruce Morozkol, Sylvia Netzer and Carmen So­ riano. Beginning through advanced. Fee: approximately $320 per session, includes materials and firings. Contact Clay, Metal, Textile Design/Parsons School of Design, 66 Fifth Ave., New York 10011; or phone (212) 741- 8668. June 6-July 18 Weekly sessions on handbuilding and throwing earth­ enware with John DeFazio, Woody Hughes, Caryn Kreitzer and Cliff Mendelson. Two 3-day raku work­ shops. Beginning through advanced. Fees: $100-$295, includes materials. Contact Robert E. Gilson, Art Center, 92nd Street Y, 1395 Lexington Ave., New York 10128; or phone (212) 427-6000, ext. 172. June 20-August 27 “Beginning Wheel,” weekend throwing sessions with Margaret Simonds. Contact Margaret Simonds, Earth­ works Pottery, 1704 First Ave., New York 10128; or phone (212) 534-9711. New York, Oneonta July 3-23 “Studio Arts Workshop” with Roberta Griffith, includes ceramics (handbuilding, throwing, decorating, glazing and various firing techniques) as one of six areas of instruc­

34 Ceramics Monthly Arts Community, Box 4958, Portland 97208; or phone (503) 234-6827. Pennsylvania, Doylestown June 6-August 26 Moravian Pottery & Tile Works is offering apprentice­ ships, working 3 days a week under supervision, in ex­ change for hourly wage, studio space, and use of materials and facilities. Instructor: Adam Zayas. Send 10 slides, statement and resume by April 11 to Adam Zayas, Mo­ ravian Pottery & Tile Works, 130 Swamp Rd., Doyles­ town 18901; or phone (215) 345-6722. Pennsylvania, Farmington June 27-August 20 “A Ceramics Tutorial for Crafts with Don Reitz” includes handbuilding, throwing, color development, glazing, fir­ ing and discussions on kilns and various firing techniques (June 27-July 2). Intermediate through professional. Fee: $283, includes firings. “Traditional, Utilitarian Pottery” with Ron Pivovar, handbuilding, throwing, glazing and firing (July 11-23). Beginning and intermediate. Fee: $206, includes firings. “Drawing and Painting on Clay” with David Gamble and Martha Holt, decorating and glazing using commercial products (July 25-30). Inter­ mediate and advanced. Fee: $133, includes firings. “Mixed Media and Site Sculpture” with Bill Parry (August 1-6). All skill levels. Fee: $125. “Wheel Thrown Pottery” with Valda Cox (August 8-13). Beginning through advanced. Fee: $107, includes materials and firings. “Mold Making for the Ceramist” with Tom Dimig (August 15-20). In­ termediate and advanced. Fee: $140, includes materials and firings. Cabin lodging and meals: $120 per session. Camping available. Contact Pioneer Crafts Council/ Touchstone Center for Crafts, Box 2141-CM, Union- town, Pennsylvania 15401; or phone (412) 438-2811. Pennsylvania, Huntingdon June 13-25 “Anagama Workshop” with Paul Chaleff and Jack Troy, includes production of work, stacking, firing and evalu­ ation of ware. Intermediate through professional. Fee: $750, includes materials, firings, lodging and meals. Con­ tact Jack Troy, 540 Shively Rd., Huntingdon 16652; or phone (814) 643-3554. Pennsylvania, Philadelphia July 5-August 12 Handbuilding, throwing, slip casting and glazing (in­ cluding salt). Instructor: Robert Winokur. All skill levels. Fees: Pennsylvania residents $345; nonresidents $450; in­ cludes materials and firings. Contact Kim Strommen, Ty­ ler School of Art/Temple University, Beech and Penrose, Elkins Park, Pennsylvania 19120; or phone (215) 782- 2718. July 30-August 7 “Kilnbuilding and Wood Firing” with Mark Pharis, in­ cludes production of ware for firing, and discussions on kiln design and firing techniques. Advanced through professional. Fee: $225, includes materials, glazes and firings. Live-in accommodations available for $75. Con­ tact Jimmy Clark, The Clay Studio, 49 N. Second St., Philadelphia 19106; or phone (215) 925-3453. August 22-September 1 “The Character of Function: Shaping and Altering Form” with Michael Simon. Intermediate through professional. Fee: $350, includes materials and firings. Live-in accom­ modations available. Contact Cheltenham Art Centre, 439 Ashbourne Rd., Cheltenham, Pennsylvania 19012; or phone (215) 379-4660. Rhode Island, Newport July 11-29 “Raku Workshop” with Jay Lacouture. Beginning through advanced. Fee: $420, includes materials and firings. Con­ tact Jay Lacouture, Art Department, Salve Regina Col­ lege, Newport 02840; or phone (401) 847-6650, ext. 379. Rhode Island, Providence June 20-July 29 Chris Gustin finishes a pot made inside a beehive kiln at Watershed Center “Expressive Functional Pottery” with Sarah Coote (June for the Ceramic Arts in North Edgecomb, Maine. 20-July 26). “Summer Clay: Six Credits” with Sarah Coote and Michael Lamar (June 20-July 29). “Clay Stu­ dio” with Michael Lamar (June 23-July 29). Fees: tery, and reduction and anagama firing (July 18-29).and with Allan Rosenbaum (June 20-July 8). Inter­ $650—SI 150. May 13 registration deadline. Live-in ac­ “Korean Ceramic Techniques” with Chung-Hyun Cho, mediate and advanced. Fees: Virginia residents $297; commodations available. Contact Continuing Education includes inlay (mishima), incising and openwork (August nonresidents $672; includes materials. Contact Nancy K. Office, Rhode Island School of Design, 2 College St., 1-5). “Ceramics/Wheel Throwing” with David Nelson, Thompson, 221 Shafer St., Department of Crafts, Vir­ Providence 02903; or phone (401) 331-3511. includes throwing large-scale forms and working with lids ginia Commonwealth University, Richmond 23284; or Tennessee, Gatlinburg and parts for visual and actual fit (August 8-12). “Object phone (804) 367-1477. June 6-August 12 Photography—A Hands-On Approach for Artists and Washington, Seattle “Teapots and Jars—Pots from Multiple Sections” with Craftspeople,” with Thomas Neff (August 8-12). Fees: June 13-18 Tim Mather, includes discussions on making simple hand $135 per session. Live-in accommodations: $115—$185 “Throwing and Firing” with Victor Babu. Intermediate. tools, glazing, glazes and kilns (June 6-10). “Raku” with per week. Nearby camping available. Contact Lisa Lane,Fee: $100. Contact Jean Griffith, Pottery Northwest, 226 Karl Borgeson, combining multiple handbuilt and wheel- Arrowmont School of Art and Crafts, Box 567, Gatlin­ First Ave., N, Seattle 98109; or phone (206) 285-4421. thrown forms, glazing, and raku firing techniques (June burg 37738; or phone (615) 436-5860. July 18-24 13-17). “Man Marks Clay/Clay Marks Man” with Mike Texas, Mineola Handbuilding small forms. Instructor: Anne Currier. All Imes, universal archetypes and personal symbolism through June 15 skill levels. Fee: $230, includes materials and firings. Live- object making (June 20-24). “Porcelain Vessels” with “A Day with David Leach at Pine Mills Pottery” includes in accommodations available. Contact University of Tom Turner, wheel-thrown functional and decorative demonstrations, slides and films on porcelain and stone­ Washington Summer Quarter, GH-21, Seattle 98195; or works, clay body formulation, glazing, firing, aesthetics ware throwing and decorating. Fee: $65, includes lunch phone (206) 543-2300, ext. 419; or outside of Seattle call: and business practices (June 27-July 8). “Color and Light” and dinner. Send SASE to Daphne Hatcher, Pine Mills (800) 543-2360, ext. 419. with Curtis and Suzan Benzie, Cone 9 colored porcelain, Pottery, Route 1, Box 167, Mineola 75773; or phone West Virginia, Elkins traditional and innovative techniques (July 11-15). “Wood (214) 857-2271. July 10-22 Firing” with Hiroshi Ikehata, includes making pots, Virginia, Richmond “Pottery,” wheel-thrown stoneware, glaze mixing and re­ stacking, firing and cooling an anagama Quly 18-29).May 23-July 8 duction firing. Instructor: Duke Miecznikowski. Fees: “Functional Stoneware,” wheel-thrown utilitarian pot­ Raku workshops with Katie Boltz (May 23-June 10); Please Turn to Page 77

April 1988 35 Boat Dreams by Pete Kuentzel

Pete Kuentzel and son Diesel.

Very short conversation on an airplane: could be considered boat people, first, I don’t have a formula worked out. “So what do you do?” third or fifth generation. My family and To talk “technique” is consideration “I make boats. Ceramic boats.” I are going to see the Statue of Liberty of a thousand variables. Try glaze and End of conversation. this summer. A lot of boats have passed clay body adjustments. Try another fir­ I could have explained that I used to by there. I can embark on a new voyage. ing temperature. Perhaps it could be re­ have a 140-foot transatlantic yacht, steel My best traveling is in the construc­ duced in sawdust, corn husks or peanut hull, aluminum superstructure, but I sold tion of the forms. Sometimes I work on shells. What can you get a hold of? What the gem because: a) I didn’t have that open forms with protruding sails and can you try? Take a risk. Keep records, many friends; b) there were too many parts of fishing paraphernalia. Here, themake notes. Analyze. Discuss. cruises that interrupted my teaching and interior and exterior play a mutual pos­ When I am brushing on color, I feel I really wanted to work in the Midwest; itive/negative relationship. Other times a little removed from the object by the c) my dog always wanted to go ashore. the forms become condensed or con­ brush. The wet clay and knife were more So much for explanations (and lies). tained, and relate more to freighters. intense. Now it’s speculative. For many For the past three years, I’ve been in­ Cavities lead to the mystery of the inner years, I worked with form only. Grad­ volved with a series of boat forms. There hull. The positive is punctuated by se­ ually, color has crept in. The form is were boats previously, but now my en­ lected negative voids. complete. Color can pull it apart, en­ ergy is more directed. These forms re­ Working with wet clay, I try to find hance it, or both. With color I tend to flect on man-made objects. Boat forms a surface on/in the forms. Or perhaps talk about different worlds on the port borrow from the natural world, i.e., fish I draw a surface. I tease it, scratch it,and starboard. I’m getting romance with and company. Fish swim efficiently. Boatsdig it out. The most intimate actions take color that I never would have anticipated drift, glide, plow, plane and sail on the place with the wet clay. The lines and ten years ago. Is it the subtropical sun? water. A boat can transport a personscrapes and marks are immediate. TheIs it the Latin influence here in Miami? from one place to another. It can be an surface is tactile and sensual. Scars,Or is it experience? (Would a person adventure to travel physically or cere­ splinters, wounds—I find them. Some who grew up in a small town just down brally. edges are really compressed and refined. the road from “Lake Wobegon” ever draw I have always messed about with boats.Others are considered, and left rough in like this? For a very long time I’ve known Like the River Rat in Wind in the Wil­ the character of work vessels; these are that there is no smell so beautiful as a lows, I know that there is nothing finer not yachts. Then the boats sit in dry dock new box of crayons. Now I admit it free­ than this pursuit. When I am not sailing two to five weeks, before going on to the ly). Forms sparkle like jewels. I never or paddling, I am working on a boat, or bisque kiln. Afterward they are hauled would have believed. at least thinking boats. To embark on aout for spar, hull and bottom painting. After the trial by fire, does it float? voyage to a New World, to dream, to Technically, I use any common raku Is it seaworthy? Or is it taking on bilge begin a journey—that is what these ves­ body, commercial glazes with one or two water? There are a few special ones, sels are about. from the books, and either brick or re­ some okay, and others that crash into the Locally, I go down to the Miami Riv­ fractory-fiber-lined kilns. I get very in­ reefs. The latter sit in the salvage yard, er, or sail on Biscayne Bay, and watchvolved with firing. I watch it constantly. the pit, the old idea farm. boats. There are crab, shrimp or fishing I am careful about placement of the ob­ Making art is something like a sym­ boats, work boats, and freighters from ject in the kiln. It matters. I’ll try dif­ phony orchestra that continually listens the islands and South America. Now and ferent positions such as right side up or and fine tunes itself as it is performing. then I find a boat that was used by 60 on its end. I watch flame patterns. Is the My father was a band director. In band or 70 people from Haiti. Boat dreams. flame even? Do I want it even? How rehearsals, we learned to listen. Listen­ Cuban, Puerto Rican, Nicaraguanhot do I want it this time? How much ing is applicable in the visual world as dreams. What are these dreams? should I reduce afterwards? Should I well. Line, form, color, tempo, texture One hundred, two hundred, three smoke it with the Los Angeles Times, are all gathered in every composition. hundred years ago boats sailed from Eu­ the Des Moines Register, the Miami The artist is composer and performer. rope to found a New World. A lot of us Herald? These are all subtle variables. It is all his/her responsibility. My father

36 Ceramics Monthly above “Pry,” approximately 12 inches in length, slab built, raku fired.

FAR LEFT “87-8” and “87-2,” raku boat forms, to 14 inches in height.

LEFT “To embark on a voyage to a New World, to dream . . . that is what these vessels are about, ” says Kuentzel.

April 1988 37 “No,” 12 inches in length, slab-built ceramic sculpture, with stamped title, glazed, incised and raku fired. retired a few years ago but his lessons cane. The intensity of work in these places idiom without being a generalization? did not. He taught his “enthusiasms.” is explosive. It’s an abrasive cleanser How can color be employed that arrests That’s all I can teach. where some of the mildew gets scrubbed one’s thoughts without only being dec­ Now I’ve been teaching 14 years at out of one’s head. From these summer orative? Is it rational? Is it disjunctive? Miami-Dade Community College. experiences, I return to Florida to mod­ Is it honest? Again, it’s that question of Miami is 90 years young. Traditions areify hulls, mend sails and lay new keel integrity. thin. But you can count on the ever pres­ lines, and perhaps try a little gunkholing Working is sailing. Rolling slabs, con­ ent ocean breeze, heat, rain, steam andin new waters. structing, finding and making parts, the expansive Everglades. Anything else For 15 years I read a lot on sailing. glazing, firing, this is my time on the is media hype. That’s all I read. In my “free time,” I’d water. Some days are cruising days. Some I’ve been fortunate to work several make a little art. Somewhere the art be­ days are made for racing. Occasionally summers at the Tuscarora Pottery School came sailing. The challenge is to resolve it storms. Batten down the hatches and and the Sun Valley Center for the Arts visual ambiguities. The boats may ap­seek a safe port, or slog to weather and and Humanities (in Nevada and Idaho,pear to be literal or narrative, but they hang on. Then other times there is no respectively). A fair weather sailor, I find are abstract, formal and intuitive. Howwind at all. With luck, one makes one’s the experience comparable to a hurri­ can the form be addressing a universalown wind.

38 Ceramics Monthly “SZ, ”11 inches in height, raku sculpture, slab built, with stamping and incising. BELOW “Zap,” 12 inches in length, Boats are an important part of the environment where Kuentzel lives and works. slab built, glazed, raku fired.

Pete Kuentzel works in an outdoor car­ “Rolling slabs, constructing, finding and port studio next to his house in Home­ making parts, glazing, firing—this is my stead, Florida. “For 15 years I read time on the water. Some days are cruis­ a lot on sailing. Somewhere the art ing days. Some are made for racing. became sailing, ” Kuentzel observes. Occasionally it storms. ” April 1988 39 “Sox, ” 10 inches in height, raku. These are sculptures about boat-related ideas, rather than simply being boatlike forms.

Transparent Raku Glaze Blue/Black/Purple Raku Glaze Gerstley Borate...... 80% Gerstley Borate ...... 1 cup Nepheline Syenite...... 20 Nepheline Syenite ...... 1 cup 100% 2 cups Add: Copper Carbonate...... 1 cup Copper Matt Glaze Rutile...... 1 cup Gerstley Borate...... 50% Off-White Raku Body Cedar Heights Redart Clay...... 50 Multicolored Copper Glaze Talc...... 10 parts 100% Bone Ash...... 2 cups Add: Copper Carbonate...... 50% Ball Clay...... 20 Gerstley Borate ...... 8 cups Fireclay...... 45 Measured by volume (cups, spoons, etc.), 10 cups Silica Sand...... 30______the next two recipes are for deep blue/ Add: Cobalt Oxide...... ½ cup 105 parts black glazes with copper flashes: Copper Carbonate...... ½ cup

40 CERAMICS MONTHLY Woody Hughes

by Jeff Cox

For New York potter Woody Hughes, time—covered jars, platters, wine ewers it was a month-long history course at and other basic forms. This was in part Alfred University that was a turning point because of the presence of potters from in the development of his work and aes­ Minnesota with their background in the thetic thinking. “Along with the lectures Leach-Hamada tradition.” and trips to the library, Val Cushing took Still working with Cone 10 reduction us to three museums, the Royal Ontario clay bodies and glazes, he gradually be­ Museum, the Fine Arts Museum in gan to see that these dark materials and Boston and the Metropolitan in New their textures were too somber for his York City. This brought to life for the new work. “During my last semester at first time the pots I’d been seeing in books. Kansas City, I tested clays and glazes at Seeing actual Seto bottles, Oribe serving Cone 04 out of frustration with the Cone dishes and 16th-century Japanese tea these were necessary lessons for under­ 10 results. Almost immediately my work caddies helped me realize how impor­ standing basic forms and decoration.” changed in response to the new recipes. tant it is to recognize the sources of our Following graduation from Alfred in These simple, fritted batches yielded influence, to be aware of the history of 1979, Woody went to the Kansas City bright primary colors, most with a high- ceramics.” Art Institute as a special student. This gloss surface. I applied these over terra The following semester, Woody sought status meant he could use the facilities sigillatas which gave the pots a matt tex­ to define his pots based upon those his­ and resources of the institute without ture and more subtle, natural color.” torical precedents. But in strictly work­ being part of a degree program. “Kansas The Cone 04 electric colors tapped ing with the forms he’d observed, he lost City gave me an opportunity to work into a latent energy. The fact that a pot something important. “The pots were with a tremendously talented and com­ remains almost as it was painted, (be­ simply bad copies of what I’d seen in petitive group of students. I started mak­ cause so few changes occur during a Cone the museums. Yet in retrospect I feel that ing purely functional pots for the first 04 firing) delighted Woody.

A renovated barn in Wading River, New York, has served Woody Hughes (above ) as a studio since 1984.

April 1988 41 When throwing, Hughes usually works in series “to develop different elements of the same pot.

With this new palette of colors and year, feeling more lost and confused all “The work had a place to go. I was textures, the style of his work began to the while.” finally getting feedback and this gave me grow correspondingly. Forms became Then, in the fall of 1981, Woody got more impetus to produce. The pots also more fluid, with decoration more play­ an opportunity to teach arid also become grew in size, and I was less concerned ful. “Although still looking at historical more involved with the local art com­ with function. pieces, I began to interpret the vessels munity as an artist-in-residence at the “My wife, Kate, a painter, and I have I saw, dissecting them, not merely copy­ State University of New York at Stony shared a studio and have worked closely ing. The separate elements that made Brook Craft Center. Soon his pots were together for five years. During this time, up my pots (foot, handle, lid, neck and shown in galleries and included in a va­ we’ve influenced each other and relied body) became more exaggerated.” riety of exhibitions. on each other for criticism, totally trust­ That year at Kansas City gave Woody ing each other’s judgment. As my work the confidence to set up his own studio has become more painterly, and the pat­ and try to make a living selling pots. “I terns more complex and layered, figures grew up on Long Island and, wishing have now developed from these patterns to be near New York City, moved back and the painting is more fluid. These to the area. I had built an electric kiln changes tie directly to Kate’s influence at Alfred, so this made setting up a stu­ on my work.” dio as easy as calling an electrician and Woody’s pots are thrown from a Cone hammering up a few shelves. Unfortu­ 04 red earthenware body. As the forms nately, that small studio in my basement become leather hard, he covers large ex­ was far from ideal. panses with terra sigillatas. On top of “I have written off that first year to these surfaces, he paints vivid decora­ growing pains. Wanting to support my­ tions with a range of colored slips. self with pots and with that as the top Sometimes areas are then carved, allow­ criterion, the work completely fell apart. ing the deep red color of the clay to At that point I had no galleries, wasn’t “Covered Dish with Stacking Slabs, ” emerge. After bisquing, clear and col­ getting into any shows and had virtually 16 inches in height, red earthenware, ored Cone 04 glazes are brushed on var­ no feedback. I had geared myself to with terra sigillatas, colored slips ious areas. making pots for an audience that didn’t and glazes, fired to Cone 04 “When I throw pots, I work on one exist and continued to do so for a full in an electric kiln. form at a time, sometimes for as much

42 Ceramics Monthly as a week or more. Throwing is usually “The quality of your photography is the simplest part of my work. I’ll throw vital. This is an expense that should be a dozen or so pots in the morning and recognized and calculated into the pot­ assemble them during the next few days. ter’s annual budget. Also, one’s resume All these have thrown elements, but usu­ must be kept current and not confused ally more time is spent handbuilding the with irrelevant information.” forms. Working in large groups enables When involved in a show, Woody sug­ me to develop different elements of the gests sending out press releases if the same pot. Working with sets of the same exhibition/gallery doesn’t. If it does, keep shape provides the opportunity to work them well supplied with photos and in­ coherently. The mistakes are easily found formation. and my understanding of the form be­ Though his work is presented with comes clearer. I’ve made similar forms the aid of such modern media, Woody’s for a few years now, and can work on current production still has a foundation subtle changes and improvements I might in historical vessels. But the influences not see if I didn’t repeat the same form that were once exclusively ceramic have over and over again. expanded to include forms as simple as “Because the work is fired in a small an African hut, or patterns as complex electric kiln, I’m constantly firing—a cycle as those of a 17th-century Japanese ki­ that has become important to my work. Slip- and glaze-decorated earthenware mono. His progression from Alfred to Since I often fire a kiln daily for days the present is rooted in the belief that jar■ approximately 2 feet in height. at a stretch, I’m always getting new glaze artists must be aware of and define the results. In a way, each kiln is a test kiln. historical objects that influence them. The previous results affect the next fir­ ronment and today’s artist/potter must From that awareness, an interpretation ing and once again each new group of be aware of publicity. Woody stresses the can emerge which is the artist’s own. forms is subtly changed from the last usefulness of a professional-quality, up- group.” to-date portfolio. For this, he recom­ The author Jeff Cox is the ceramics pro­ Making the work is one thing, but mends 8X 10-inch, black-and-white gram coordinator at the 92nd Street Y in getting people to see it and know you is glossies, plus consistent slides and color Manhattan, and maintains a studio in Kort- another. We are in a competitive envi- transparencies. zvright, New York.

Thrown and elongated basket, 20 inches long, earthenware with slips and glazes.

April 1988 43 Red earthenware basket, 18 inches high, with terra sigillatas, slips and glazes.

Gill Earthenware (Cone 04-02) Color variations of the preceding base glaze Talc...... 10% recipe may be achieved with one of the Calvert Clay ...... 10 following additions: Cedar Heights GoldartClay .... 20 Black Terra Sigillata (Cone 04-02) Cedar Heights Redart Clay...... 50 Green: Pine Lake Fireclay...... 10 Water...... 80 parts Copper Carbonate...... 2% Yellow: % Cedar Heights Redart Clay . . 20 100 Black Copper Oxide...... 1 Red Iron Oxide...... 3% Add 0.5% barium carbonate to avoid Cobalt Carbonate...... 2 Blue: scumming. For a handbuilding body, add Manganese Dioxide...... 1 Cobalt Carbonate...... 0.5-1% 5%—15% fine grog. Calgon...... 1______Woody’s Blue Glaze (Cone 04-02) 105 parts Red Terra Sigillata (Cone 04-02) Talc...... 13% White Terra Sigillata (Cone 04-02) Frit 3124 (Ferro) ...... 80 Water...... 400 parts Edgar Plastic Kaolin...... 7 Kentucky BallClay (OM 4) . 50 Water...... 200 parts Red Iron Oxide ...... 50 Talc...... 30 100% Calgon...... 10 Edgar Plastic Kaolin...... 15 Add: Copper Carbonate...... 2% Kentucky Ball Clay (OM 4) . 40 510 parts Zircopax...... 10 Majolica Glaze (Cone 04-02) Calgon...... 5_____ Navy Terra Sigillata (Cone 04-02) Frit 3124 (Ferro) ...... 43.96% Water...... 80 parts 300 parts Frit 3304...... 35.71 Kentucky Ball Clay (OM 4) . 20 Kona F-4 Feldspar...... 17.58 Cobalt Carbonate...... 1 Base Glaze (Cone 04) Edgar Plastic Kaolin...... 2.75 Copper Carbonate...... 1 Frit 3124 (Ferro) ...... 45% 100.00% Manganese Oxide...... 1 Frit 3304 (Ferro) ...... 45 Add: Tin Oxide ...... 1.10% Calgon...... 1______Edgar Plastic Kaolin...... 10 Zircopax...... 3.85% 104 parts 100% Rutile...... 0.55%

44 Ceramics Monthly Wheel-thrown earthenware jar, 2 feet in height, surfaced with terra sigillatas and slips when leather hard; bisqued, brushed with glazes, and fired to Cone 04, by Woody Hughes, Wading River, New York.

April 1988 45 Slip-carved vase, 6 ½ inches in height, thrown porcelain, once fired to 2300°F.

Polychrome Slip Carving

by Joseph Godwin

ONE WINTRY DAY I hiked from my stu­ delineate them better. The emerging are almost impossible to carve properly dio through the woods and arrived at a colors recalled air bubbles beneath the when bone dry. In addition, one is more wetland bordered by a stream. I stood ice. Gradually, I applied the carving tool, likely to breathe or ingest dust if slips there for a while to watch the flow of almost in the manner of a brush, andare carved when too dry. the water—deep and black in the stream’sthe technique developed into a painterly The carving proceeds in a linear fash­ central channel. The banks of the stream form of slip carving. ion from top to bottom, all the way around were white with snow. Translucent sheets The process begins with a leather- the pot. I begin with one line, allowing of ice reached out across the surface, hard porcelain vase placed upside down the sharp tool to flow in and out on the suspended over the water. Air bubbles on a banding wheel. A thick coat of slip surface. A second line is carved an inch beneath the ice grew and stretched, then (made from the same porcelain body from the first as a vertical reference. To separated to flow downstream in con­ mixed with oxides and/or stains) is ap­ incise accurate vertical reference lines stantly changing shapes that resembled plied with a 1-inch brush to the bottom on large forms, a T-square is used. The living things. half of the vase. Care is taken to sponge carving is completed by working on the During the hike back to the studio, I away excess slip from the foot. After spaces between these reference lines. To imagined conveying that image of ice, turning the vase upright on the banding prevent a large vase from drying too water and air bubbles. I thought if sev­ wheel, the upper half is brushed with rapidly, I first carve from the rim to the eral layers of black and white slips were slip. Excess is cleaned from the rim as shoulder area all around the piece, then painted over one another, when layers well as the foot because slip on a convex finish by carving from the shoulder to of the slip were carved away, bubblelike surface will sometimes bubble during the foot. patterns would appear in the underlying high firing. The vessel is then too wet The slip-carved vases are then fired slip layers. to handle and must be dried evenly to to 2300°F. Any roughness on the surface Several months later when spring was leather hard before applying three to five can be removed with standard alumina warming the earth, I was reminded of successive layers of slip. sandpaper. However, the slip patterns that slip-carving idea. I had painted a Carving (with a sharp hook tool fash­ retain their original fired color and flower with colored slips on the surface ioned from strapping metal, the kind crispness better if left unpolished. of a leather-hard vase. Various colorscommonly found on pallets of red brick) were overlaid to build depth in the pet­ is begun when the vase has received its The author American studio potter Joseph als. Then I incised lines through the slips full complement of slip layers and has Godwin currently resides in Rorbas, Swit­ with a sharp carving tool in order to again become soft leather hard. The slipszerland.

46 CERAMICS MONTHLY PHOTOS: MICHAEL CARROLL, LINDA WARREN

A trio of unglazed porcelain vases, 5-6 inches in height, urith carved-slip decoration by Joseph Godwin.

Mixing Polychrome Slips

Colorants are added to a base slip, Turquoise: Gold: made from the same Grolleg porce­ Mason Stain 6390...... 100 grams Mason Stain 6404 ...... 100 grams lain body as the wheel-thrown work. Florentine Green: Mason Stain 6481...... 100 grams The following Cone 8-10 color var­ Mason Stain 6202 ...... 50 grams Ocher-Orange: iations are achieved by mixing stain Peacock: Mason Stain 6404 ...... 100 grams or oxide additions into 4 cups of any Mason Stain 6266 ...... 25 grams Ocher: white liquid slip: Chartreuse: Rutile...... 50 grams Mason Stain 6236 ...... 100 grams Umber: Black: Lemon Yellow: Red Iron Oxide...... 40 grams Mason Stain 6600...... 50 grams Mason Stain 6481 ...... 100 grams Rutile...... 40 grams White: Golden Yellow: Sky Blue: Zircopax...... 3 ounces Mason Stain 6404 ...... 100 grams Cobalt Carbonate...... 4-8 grams Celadon: Mason Stain 6481 ...... 50 grams Midnight Blue: Mason Stain 6201...... 100 grams Mason Stain 6485 ...... 100 grams Cobalt Carbonate.... 20-25 grams

For carved-slip patterning reminiscent Excess slip is wiped from the rim as When the slip-layered porcelain pot of air bubbles in ice, a form is first well as the foot, because it sometimes is soft leather hard, linear carving brushed with layers of polychrome slip. bubbles during firing. proceeds from top to bottom.

April 1988 47 48 Ceramics Monthly “‘Nice firing’ is a comment thatI, too, bed for a brief respite before the whole make. Confronted with some master­ cycle begins again. piece of ceramic art, these words slip For the pots in the kiln, however, the unconsciously from my lips. Recently, process is not over. Raising the temper­ though, I have come to think of things ature of clay and glaze means increasing a little differently: Perhaps ‘nice cool- the activity of their atoms and molecules. ing.•_____ . . . JJ5 Molecular bonds are formed and bro­ So begins a short essay by Kazuo Yagi,ken. Crystalline materials change their pioneering leader of contemporary Jap­ structures, glasses form, new crystals are anese ceramics. It’s been more than ten generated—all this is accelerated by in­ years now since I read that comment, creasing temperature. When the kiln is but only in the last few have I come to shut off, this activity continues even really understand how important the though the potter is now asleep. cooling part of the firing cycle is. With the behemoth hardbrick kilns of About the time that U.S. potters were the past, cooling to room temperature alerted to the virtues of insulating fire­ often took days. Twenty-four hours after brick by those singing the praises of ef­ a firing might still reveal red heat. With ficiency and economy, there arose a quiet the new fiber kilns, however, firing and background chorus complaining of ane­ cooling in one afternoon are sometimes mic glazes and clays that were suddenly possible; a cycle of more than 24 hours no longer “that wonderful toasty or­ is unusual. ange.” This quiet chorus gained consid­ Figuring out all the actions and re­ erable volume with the advent of fiber actions that take place in high-temper- refractories—albeit nowhere near the ature ceramics is beyond the scope of volume that the brass bands of ceramics this article, but iron oxide is an inter­ generated with raku and low fire, let esting material to consider here, both be­ alone the overwhelming volume of the cause it is present to some degree in nearly heavy metal competition from lusters, every stoneware clay and because it ap­ china paints and “room temperature pears in two states (ferric and ferrous, glazes” (RTGs). red and black) with colors so dramati­ But discontent with effects produced cally different. As all potters know, “re­ by new kilns was misdirected. The cause ducing the kiln,” decreasing the oxygen lay not with refractories but with the available in the kiln to the point that cooling part of the firing cycle. All that complete combustion of the fuel is im­ is involved in the making process—clay possible, means that red oxide, Fe203, preparation, forming, glaze applica­will give up some of its oxygen to the tions, etc., concludes with the firing, too combustion reaction to form black iron often at wee hours in the morning after oxide, FeO. a struggle to control atmosphere and heat Beginning students often wonder why distribution. When temperature is fi­ clear glaze on a stoneware “turns” gray nally reached, the gas is turned off, the when the unglazed clay on the foot of damper closed and the potter is off to their pots looks brown. Reduced iron

LEFT “Small Teapot, ” 6 inches in height (including handle), wheel-thrown stoneware, reduction fired and cooled.

BELOW “Footed Bowl, 16 inches in diameter, reduction-cooled stoneware with copper slip, by John Neely, Smithfield, Utah.

April 1988 49 accounts for the color—the glaze hasn’t “country style” noodle shops. By ex­ Many of the effects associated with turned gray, it is the clay that is under tending a period of strong oxidation af­ wood firing are produced by iron in a the clear glaze that is gray. What of theter peak temperature has been reached, particular firing/cooling cycle. The brown foot, then? Brown is the color of during the cooling part of the firing cycle crimson blush calledhiiro , so character­ reoxidized clay. Black iron oxide has (for up to three days in some cases), a istic of kaolinitic Shigaraki clay, doesn’t combined with oxygen readily available number of typically Shino-style effects occur without the volatilized alkali gen­ in the cooling kiln to form red iron oxide are achieved. The strong “break to or­ erated by extended wood firing, but the which colors the surface brown. Break ange,” an apricot or peach blush, andalternating periods of reduction and open a piece of dense, vitrified brown especially the “toasty orange” color pos­ reoxidation produced by the rhythm of stoneware and you will find gray or black.sible with the distinctive “Gotomaki” stoking seem equally important.Bidoro , Not the color of black coring, a carbo­ clay—all are reoxidation effects and allthe emerald green glass that sometimes naceous firing fault, but the color of black are encouraged by extended cooling. results when this same clay is dissolved iron oxide. Another distinctive style of pottery from by fly ash, is colored by black iron ox­ The gray color underneath that clear central Japan, “Seto-black” orhikida- ide—a celadon of sorts. It is encouraged glaze is fairly consistent. The brown col­ shi-guro, illustrates another effective by fast cooling, which halts crystal growth or of the foot, however, can vary greatly possibility for variation in cooling. Like in this highly fluxed glaze. depending on the degree of vitrification its well-known Kyoto counterpart, black There is further evidence of the im­ and the cooling of the kiln. The “toasty raku, Seto-black is a high-iron (perhaps portant functions of iron oxide in con­ orange,” lamented earlier, is a function there’s more manganese in the Kyoto junction with the cooling rate: Draw tiles of reoxidation. The more heat that the version) glaze on a coarse refractory body.of stoneware clay are commonly used to kiln absorbs, the longer it takes for the Fired to stoneware temperatures, the determine salt glaze build-up. When kiln to cool. The longer that cooling takes, ware is pulled from the kiln when the pulled from the kiln and quick cooled, the longer exposed clay has to reoxidize. desired glaze melt has been reached. Thisthey are invariably gray (in reduction Extended cooling is an open secret quick cooling prevents reoxidation and firing) beneath a clear glaze coating. among potters in the Mino area of Ja­ yields a very black glaze where a ratherUnless the clay is very high in silica and pan, from artist/potters making top-of- dull brown would have resulted in a more flux, or the kiln exceptionally fast cool­ the-line tea ware to production opera­ “normal” gradual cooling cycle of 24-48 ing, some brown usually develops when tions that supply the nation’s myriad hours. pots are allowed to cool “normally” in

“Black Faceted Teapot 11 inches in height, reduction-cooled “Footed Vase with ‘Ears,’” 14 inches in height, stoneware stoneware. “A high-iron stoneware body fired in reduction yields with copper slip , high fired and cooled in reduction. dark metallic brown on ‘normal’ oxidized cooling. By maintain­ ing reduction as the kiln cools to bisque temperature, the OPPOSITE “Footed Pot with ‘Ears,’” 12 inches in surface retains the [rich] color of black iron oxide.” height, reduction-cooled stoneware, by John Neely.

50 Ceramics Monthly April 1988 51 PHOTOS: MCHAEL HELD, JOHN NEELY

“Black Teapot, ” 8 inches in height, wheel thrown from “Footed Pot with *Ears11 inches in height, saggar-fired stoneware; an iron-rich stoneware body, high fired and cooled in variations in the clay body's iron content and in the ware's reduction to yield a black surface, rather than the brown firing/cooling time and atmosphere have formed a major direction of iron bodies cooled in oxidation. of John Neely's work over the last few years.

the kiln. This brown is the color of red of the cycle, dramatically different re­ far easier than it was for these sixth- iron oxide hematite crystals in the glaze. sults can be achieved. century potters who sought the effects By extending the cooling period either A high-iron stoneware body fired in of reduced cooling. What was painfully by firing down or choosing refractories reduction yields dark metallic brown on achieved by our potting ancestors is now to retain heat and retard cooling (the “normal” oxidized cooling. By main­ accomplished with the turn of a gas cock method I use), these red iron oxide colors taining a reduction atmosphere as the or a trip to the wood lot. can be encouraged. By carefully con­ kiln cools to approximately bisque tem­ All the technology available, however, trolling the alumina/silica ratio and theperature, the surface retains the color of doesn’t seem to make it easier to produce total amount of iron available, a wholeblack iron oxide. Variation in iron con­ really good pots. Throughout history it range of pink, orange, red, yellow, and tent can yield an infinite range of grays. seems that good potters have managed brown can be achieved in slow-cooled Copper oxide also produces an amazing to make good pots regardless of the level salt. variety of results withreduced cooling. of available technology. It does seem sig­ One further variation in the firing/ There is considerable historical prec­ nificant, though, that they kept pushing cooling cycle has formed the major di­ edent for this approach to the firing/ the limits of that technology, striving to rection of my work over the last few years. cooling cycle. Ample evidence suggests understand the mechanism of their craft. Standard stoneware/porcelain firing that reduced cooling was responsible for I see many of today’s potters, myself in­ technique calls for oxidation to approx­ the color of Silla dynasty Korean stone­ cluded, engaged in a similar struggle. As imately bisque temperature, then some ware, Japanese Sue wares and some earlyI open the kiln, I find myself wishing combination of periods of reduction and Chinese pottery as well. Archaeological that, were Kazuo Yagi or other greats of oxidation until top temperature is excavation of early kiln sites has turnedthe past peering over my shoulder as I reached, and finally oxidized cooling to up considerable quantities of only par­ inspect the ware, one might someday let room temperature. A whole body of tially burned fuel in some kilns. This slip, “Nice cooling. ...” folklore surrounds this procedure—sub­ suggests that fire boxes were probably tle variations can provoke endless dis­ stuffed with fuel at the end of firing, then The authorCurrently cussion among potters—but the basic sealed tightly; any air that did leak in a faculty artist at Utah outline, with the exception of straight would quickly be consumed by com­ State University, John oxidation firing, remains pretty much bustion of superheated, unburned fuel. Neely studied and worked the same. By changing the cycle to in­ With modern kilns, control of firing in Japan between 1975 clude reduction during the cooling part length, atmosphere and temperature is and 1984.

52 Ceramics Monthly April 1988 53 ... Itinerary Continued from Page 19

Student Exhibition”; at Norman R. Eppink Art Gallery, Emporia State University. Kansas, Topeka April 2-May 2 “Topeka Crafts Competition 12,” juried regional; at Gallery of Fine Arts, Topeka Public Library, 1515 W. Tenth St. Maine, Portland through April 30 “Corporate Design Service Exhibition,” includes works by Carolyn Sale, Barbara Schaff and Dale Zheutlin; at Maple Hill Gallery, 367 Fore St. Massachusetts, Boston through April 9 “Arteast,” works by artists from Maine, Massachusetts, New Hampshire and Vermont; at the Society of Arts and Crafts, 175 Newbury St. through June 30 “Massachusetts Craftspeople”; at Signature, Dock Square, North St. Massachusetts, Chestnut Hill through June 30 “Massachusetts Craftspeople”; at Signature, 199 Boylston St. Massachusetts, Hyannis through June 30 “Mas­ sachusetts Craftspeople”; at Signature, Village Market Place, Stevens St. Massachusetts, Lincoln through April 22 “Three from Chicago,” includes sculpture by Christine Federighi; at Clark Gallery, the Mall at Lincoln Station. Massachusetts, Northampton through April 30 “Tabletops,” furniture and tableware by over 40 artists; at Pinch Pottery, 179 Main St. Massachusetts, Worcester through April 9 Five- person exhibition including raku works by Susan and Steven Kemenyffy; at Worcester Center for Crafts, 25 Sagamore Rd. Michigan, Lansing through April 24 “Seventh Annual Botanical Images Competition and Ex­ hibition,” statewide juried show; at Lansing Art Gallery, 425 S. Grand Ave. Minnesota, Minneapolis through April 24 Min­ nesota Crafts Council’s “Contemporary Crafts for the Home,” works by 42 Midwest artists; at In­ ternational Design Center, 100 Second Ave., N. April 9-May 14 “Opposites Attract,” includes por­ celain with copper oxides by Monica Rudquist; at Anderson & Anderson, 400 First Ave., N. Missouri, Saint Louis April 8-30 “Perspective: A View of Things in the Craft Media”; at Craft Alliance, 6640 Delmar Blvd. New Jersey, Montclair through July 31 “The Ea­ gle and the Raven Speak: Highlights from the Na­ tive American Collection,” works by artists from Alaska, California, the Eastern woodlands, the Great Lakes region, the Northwest coast, the Great Plains and the desert Southwest; at Montclair Art Museum, Bloomfield and S. Mountain Aves. New Jersey, Tenafly April 16-May 20 The “15th Anniversary Exhibition,” works by 50 artists; at America House Gallery of Contemporary Crafts, 24 Washington Ave. New Mexico, Albuquerque through April 11 Two- person show including works by Caroline Koons; at Weyrich Gallery, 2935 D Louisiana, NE. New Mexico, Hobbs April 21-May 6 “The Six States All Media Juried Exhibition,” works by artists from Arizona, Colorado, New Mexico, Oklahoma, Texas and Utah; at New Mexico Ju­ nior College. New Mexico, Los Alamos April 8-May 7 “Que Pasa: Art in New Mexico”; at Fuller Lodge Art Center, 2132 Central Ave. New York, Auburn through April 24 “Common Thread: Hybrids of Substance,” multimedia works incorporating a supplied fabric; at Schweinfurth Art Center, 205 Genesee St. New York, Brooklyn through April 21 “North­ west 22”; at the Clay Pot, 162 Seventh Ave. through May 30 “Progressive Taste: Decorative Arts 1885-1985,” over 30 craft and industrial-de- sign works, through June 7 “The Hugo Mun- sterberg Collection,” approximately 100 works spanning nearly 5000 years of Japanese art his­ tory; at the Brooklyn Museum, 200 Eastern Pkwy. New York, New York through April 24 “Scan­ dinavian Craft Today,” works by 35 artists from Denmark, Finland, Iceland, Norway and Sweden; at American Craft Museum, 40 W. 53 St. through August 28 “Selections from the Mr. and Mrs. John D. Rockefeller III Collection of Asian

54 Ceramics Monthly Art,” includes terra-cotta sculpture of major Hin­ Maryland, Timonium April 29-May 1 “Spring Ohio, Kent April 16 “Folk Festival Craft Fair”; du gods, and earthenware, stoneware and porce­ Crafts Festival”; at Maryland State Fairgrounds.at Kent State University. lain vessels; at the Asia Society, 725 Park Ave. Minnesota, Saint Paul April 8-10 American Craft Ohio, Wooster April 30-May 1 “Springfest ’88”; April 5-30 A dual exhibition with clay and found- Council “The Spring Craft Market”; at Saint Paul at Wooster Community Center, 241 S. Bever St. object sculpture by Tony Hepburn. May 3-25 Two- Civic Center, downtown. Tennessee, Memphis April 8-10 “MSU Spring person show with Jun Kaneko, boldly patterned New York, Great Neck May 1 “Great Neck Cel­ Craft Show,” juried ceramic exhibition and sale; forms; at Greenwich House Pottery, 16 Jones St. ebrates Crafts,” juried outdoor festival; at Middle at Memphis State University. New York, Rochester through August 15 “Inter­ Neck Rd., Old Village. Texas, Austin April 9-10 “The 21st Annual national Invitational Sculpture Exhibition,” works New York, Long Island April 22-24 “Fourth Winedale Spring Festival” and “13th Texas Crafts by 26 artists; at the Lamberton Conservatory, Spring Fling Crafts Festival”; at Nassau Colise­ Exhibition”; at Winedale Historical Center, Uni­ Highland Park. um, Uniondale. versity of Texas. Ohio, Cleveland through April 10 “Realm of the New York, New York May 5-8 “American Craft Texas, Houston April 9-17 “The Houston Inter­ Immortals: Daoism in the Arts of China,” works at the Armory”; at the Seventh Regiment Armory, national Festival Annual Crafts and Arts Expo­ dating from the Han dynasty to the Qing dynasty Park Ave. at 67 St. sition”; at three open-air markets downtown. (206 B.C. to 1912) presenting the tales and ideas North Carolina, Charlotte April 29-May 1 The of the ancient Chinese religion and philosophy; at seventh annual “Spring Fest ’88”; downtown. Workshops the Cleveland Museum of Art, 11150 East Blvd. Ohio, Athens April 30-May 1 “Lions Annual Arts Ohio, Columbus through April 8 Two-person ex­ & Crafts Show”; at Nelson Commons, Ohio Uni­ California, Mendocino April 23 “Lusters and hibition with sculpture by Mike Chipperfield; at versity. China Paint: Traditional Techniques for Contem­ the Bunte Gallery, Franklin University, 303 S. Ohio, Dayton April 29-May 1 “Ohio Folk Fes­ porary Ceramics” with Kathy Erteman, slide lec- Grant Ave. tival”; at Montgomery County Fairgrounds. Please Turn to Page 58 through May 1 Ohio Designer Craftsmen “Best of 1988,” 108 works by 85 artists; at Columbus Cultural Art Center, 139 W. Main. Ohio, Massillon April 3-May 15 “Stark County Artists Exhibition”; at Massillon Museum, 212 Lincoln Way, E. Oregon, Portland May 5-June 10 “OSAC Stu­ dent Exhibition”; at Oregon School of Arts and Crafts, 8245 S.W. Barnes Rd. Pennsylvania, Harrisburg April 2-30 The “60th Annual Juried Exhibition”; at Art Association of Harrisburg, 21 N. Front St. South Carolina, Greenville through May 1 “Contemporary Southern Art from the Collec­ tion,” works by approximately 40 regional artists. through May 15 “Just Like a Woman,” national invitational of works by women artists; at Green­ ville County Museum of Art, 420 College St. South Carolina, Orangeburg through April 8 “The 1988 Annual Juried Exhibition and Invitational.” April 17-May 14 “The 15th Annual Art Students’ Show”; at I. P. Stanback Museum, South Carolina State College. Tennessee, Gatlinburg through April 30 “Arrow- mont Faculty Mixed-Media Exhibition”; at Ar- rowmont School of Arts and Crafts Gallery, 4320 Parkway. Texas, Austin through April 7 7 “The Huntington at 25: The Gallery Collects.” April 29-May 22 “Student/MFA Exhibition”; at the College of Fine Arts, University of Texas at Austin. through May 14 Two-person exhibition including totemic sculpture by Janet Kastner; at R. S. Levy Gallery, 3 Republic Plaza, 333 Guadalupe. Utah, Cedar City April 14-May 6 “Celebration 47: Cedar City 47th Annual Multimedia Art Ex­ hibition”; at Braithwaite Gallery, Southern Utah State College. Washington, Seattle April 1-May 28 “School of Art 1920-1960,” works by faculty and students of the University of Washington School of Art; at SAFECO Insurance, 4333 Brooklyn Ave., NE. Wisconsin, Milwaukee through April 10 “Craft Today: Poetry of the Physical,” decorative and util­ itarian objects by 286 American artists; at Jour- nal/Lubar Galleries, Milwaukee Art Museum, 750 N. Lincoln Memorial Dr. Wisconsin, Sheboygan through May 15 “Six Counties,” juried exhibition of works by artists from east-central Wisconsin; at John Michael Kohler Arts Center, 608 New York Ave.

Fairs, Festivals and Sales Alabama, Birmingham April 9-10 Fifth annual “Magic City Art Connection”; downtown. Arkansas, Hot Springs April 29-May 1 “Taste of Hot Springs/18th Annual Arkansas Crafts Show and Sale”; at the Convention Auditorium, down­ town. D.C., Washington April 22-24 Sixth annual “Washington Craft Show”; at Departmental Au­ ditorium, 1301 Constitution Ave., NW. Georgia, Milledgeville April 23-24 “Browns Crossing Spring Show”; at Highway 22, between Macon and Milledgeville. Maryland, Gaithersburg April 15-17 The 13th annual “Spring Arts and Crafts Fair”; at Mont­ gomery County Fairgrounds.

April 1988 55 56 Ceramics Monthly of the form, and where slabs of clay are ap­ plied, the suggestion of linear movement is reinforced. Turner means then to support and News & Retrospect amplify volumetric enclosure and to articu­ late its changing shape, but not, as opposed to Voulkos, to essentially alter it. Similarly, Karen Karnes might be seen Karen Karnes/Robert Turner solely in the context of her functional pottery. by Michael Rubin Certainly the exhibited works are pots that The surprise is that a shared exhibition can hold something. Yet, is this the real con­ of pottery by Karen Karnes andRobert Turner cern? Looked upon individually or as a group, has not taken place before. Connections en­ these pots are a study in formalist issues of compass both their artistic histories and sharedintegrated shape and finely resolved profiles values in making pots. Differences are pres­ that together create visual tension. Control ent, but even these become understandable and composition become the imperative. Col­ when in reference to one another. In the re­ or, for example, is secondary to the pot’s form cent show at Garth Clark Gallery, New York and is used to bring emphasis to shape. The City, both demonstrated instinctive discipline lids are pronounced, concluding the pot’s cir­ as precise form makers. cular composition with handles that, by their Much has been made of Turner’s concern change in height and position, echo overall for nature and his aesthetic interest in Af­ form. rican pottery; and the same is true of Karnes One cannot help but wonder if Karen both in terms of her commitment to the sim­ Karnes is, in this recent work, returning to plicity of pottery making and the philosoph­ earlier interests, not so much to the 1952 ical influence ofShoji Hamada. But what experience at Black Mountain College where “Gray Footed Covered Jar,” 16'A inches high, mood- fired stoneware, by Karen Karnes

might take more notice of Karen Karnes’s first working experience in 1949 at Design Technics in Stroudsburg, Pennsylvania. There she created designs for clay lamp bases, vases and dinnerware, not for the potter’s wheel, but for modeling and molds. In terms of her sensitivity to structural design, one might note her study in 1946 with Serge ChermayojJa British-trained architect who was director of Brooklyn College. Whatever remains from these beginnings, Karnes’s present pottery represents a renewed interest in formal de­ sign clarity and structural organization. Far from casual, she constructs her work with sophisticated complexity and increases our awareness of volumetric investigation by lim­ iting the types of forms produced. Even the use of wood-firing tends to accentuate the pot’s form with a thin, taut surface rather than a thick glaze coating. Robert Turner’s work shows like concern for control, not as seen in Karen Karnes’s highly defined profiles, but through the soft­ ened ripple of clay that creates the composite and equally sophisticated shapes of his “White Robert Turner with pots from the “Ashanti” and “White de Chelly” series de Chelly” series. These cone-shaped por­ fundamentally distinguishes Karnes’s and she and David Weinrib ran the pottery stu­ celain forms are starkly white, allowing every Turner’s pottery is their ability to make pots dio, or to the important workshop held there dent and bulge to shift the reflected light; that exemplify formal properties of propor­ with Shoji Hamada andBernard Leach, but and the sandblasted surface allows even greater tion, surface detail and shape. Basically, allto slightly later in 1954 when Karnes set up access to detail. Utilizing volumetric design else becomes background information that her studio at the artists’ cooperative at Stony as organic composition, these pots are just as helps to build our images of the artists, but Point, New York. There she had contact with structured as Karnes’s, but slower in their can lead away from the primary task of un­M. C. Richards, Merce Cunningham and, visual movement, easing the eye around and derstanding their art. given close proximity to New York City, the upward. Turner’s work depends critically on For example, consider the frequent ref­ reductive and highly polished trends in post­ scale, first in its meaning as a weighted bal­ erence to the influence of Peter Voulkos on war furniture and industrial design. Or one ance and second in its musical sense of grad­ Turner’s transitional work of the early ’70s. uated progression. Most important is the lat­ Voulkos tends to work against his platters, You are invited to send news and photo­ ter, for it is the sequence of upward movement tearing chunks off the rim, poking holes in graphs about people, places or events of versus circular rotation that gives it fluidity. the middle, using a knife to separate and interest. We will be pleased to consider To look only at formal aspects of com­ divide. Turner, in contrast, works from with­ them for publication in this column. Mail position, proportion, rhythm, without recog­ in, pressing outward, barely cracking the submissions to News and Retrospect, nizing the role of the artists’ personal values surface and making linear ridges that are Ceramics Monthly, P.O. Box 12448, and aesthetic influences, would be to see only meant to swell rather than break. Turner Columbus, Ohio 43212. a portion of their intended meaning. But to cuts lines into pots but these follow the curve not give close attention to how the objects are

April 1988 57 in Pakistan,” slide lecture with Sheherezade Alam, Massachusetts, Waltham April 28 “Spring Glaze/ ... Itinerary includes a review of 2500 years of Pakistani pot­ Clay/Kiln Workshop,” technical lectures and dem­ Continued from Page 55 tery and demonstrations of clay and glaze prep­ onstrations with Laurie Pellerin and Jeff Zamek, aration (ingredients and formulas), form building, includes information on glazes, clays, ceramic tox­ ture and demonstrations of onglaze decoration brush decoration with oxides, glazing and firing. icology, electric kiln firing and repair. Fee: $25. techniques. Fee: $45; members $40. May 14 Fee: $35. Contact Creative Arts Workshop, Inc., Contact Cutter Ceramics, 47 Athletic Field Rd., “Primitive Firing and Low-Fire Salt” with Peter 80 Audubon St., New Haven 06511; or phone Waltham 02254; or phone (617) 893-1200. von Wilken Zook, alternative firing techniques us­ (203) 562-4927. Massachusetts, Williamsburg April 9 “Decora­ ing wood, sawdust, shavings and dung as fuel, and D.C., Washington April 23 “Clay: An Ancient Art tion and Glaze Techniques” with Angela Fina. introducing rock salt and colorant oxides to the in its Modern Aesthetic,” seminar with Vicki Hal- Contact Horizons, 374 Old Montague Rd., Am­ firing. Fee: $35; members $30. Contact Mendocino per, Ruth DeYoung Kohler, Michael McTwigan, herst, Massachusetts 01002; or phone (413) 549- Art Center, 45200 Little Lake St., Box 765, Men­ Joan Mondale and Adrian Saxe; at the Smith­4841. docino 95460; or phone (707) 937-5818. sonian Institution’s Renwick Gallery. Contact Clay, Massachusetts, Worcester April 9-10 “Imagery California, North Hollywood May 7-8 Jon 4308 46 St., NW, Washington, D.C. 20016; or on Clay” with Susan and Steven Kemenyffy. Con­ Middlemiss, thrown, altered and incised porcelain phone (202) 363-0902. tact Worcester Center for Crafts, 25 Sagamore Rd., and stoneware. Contact American Ceramic Soci­ May 12 and 26 “Earth, Fire and Water,” film Worcester 01605; or phone (617) 753-8183. ety, Design Chapter, Box 6021, North Hollywood about American ceramics from 1879 to 1979. ForMissouri, Saint Louis April 8-9 Workshop and 91603. further information contact the Renwick Gallery, slide lecture with Don Reitz. Fee: $45. Contact California, Torrance April 16-17 Workshop with Smithsonian Institution, Pennsylvania Ave. at 17 Craft Alliance Center for the Visual Arts, 6640 Jeff Oestreich. Fee: $25. Contact Neil Moss, El St., NW, Washington, D.C. 20560. Delmar, Saint Louis 63130; or phone (314) 725- Camino College, 16007 Crenshaw Blvd., Torrance Florida, Miami May 12-June 1 “Ceramics: Low- 1177 or 725-1151. 90504; or phone (213) 715-3595. Fire Surface and Glaze Treatment” with Susan New Jersey, Upper Montclair May 3-7 “Amer­ Colorado, Boulder April 8-9 Michael and Sheila Banks. Fee: $40. Contact Ron Fondaw, University ican Indians from Acoma Pueblo” hands-on work­ Casson, stoneware and decorated porcelain. Fee: of Miami, Department of Art & Art History, Box shop with Lucy Lewis, Emma Lewis Mitchell and $40. Contact Danni Bangert, 107 Deer Trail Rd., 248106, Coral Gables, Florida 33124; or phone Dolores Lewis Garcia. Fee: $150; $15 for Sat­ Boulder 80302; or phone (303) 444-0350. (305) 284-2542 or 284-2543. urday firing and lecture only. Contact Patricia Lay, Connecticut, Brookfield April 12-May 31 “Ce­ Florida, Tampa May 21-22 Low-fire workshop Fine Arts Department, Montclair State College, ramics on the Wheel” with Karen Frank.April with Dave Gamble, includes underglaze decora­ Upper Montclair 07043; or phone (201) 893-4307; 13-June 1 “Handbuilding with Clay” with Jen­ tion. Fee: $60. Contact Clay Factory, 804 S. Dale or phone Hortense Green (609) 292-6130. nifer Rekers. April 16 “Developing a Marketing Mabry, Tampa 33609; or phone (813) 872-8819.New Mexico, Abiquiu May 19-22 “Adventures Plan for Your Art” with Wanda McPhaden.April Indiana, Indianapolis April 4-8 Stoneware dem­ from South America” with Paraguayan potter Rosa 23-24 “Spray Glazing and Raku Firing” with Pe­ onstrations with Peggy Ahlgren. Contact India­ Birzas, earthenware fetish pots. Fee: $90; mem­ nelope Fleming. May 14-15 “Low-Fire Hand­ napolis Museum of Art, 1200 W. 38 St., India­ bers $75. Contact William Armstrong, New Mex­ building Workshop” with Karon Doherty. Contact napolis 46208; or phone (317) 923-1331. ico Potters Association, Box 706, Corrales, New Brookfield Craft Center, Box 122, Brookfield 06804; May 6-7 Don Reitz, alternative glazing tech­ Mexico 87408; or phone (505) 898-7471. or phone (203) 775-4526 or 853-6155. niques, including slips, underglazes and vitreous New York, New York April 22 “Utilitarian Ce­ Connecticut, Guilford April 30 “Introduction to engobes. Fee: $45, includes Friday dinner and par­ ramics” with Byron Temple. Contact 92nd Street Slip Casting and Plaster Molding.” Fee: $33. Con­ ty. Contact American Art Clay Company, Inc., Y, 1395 Lexington Ave., New York 10128; or phone tact Guilford Handcrafts, Inc., Box 589,411 Church 4717 W. 16 St., Indianapolis 46222; or phone (317) (212) 427-6000. St., Guilford 06437; or phone (203) 453-5947. 244-6871 or (800) 428-3239. April 29 Lecture with Pauline and Tony Hepburn. Connecticut, New Haven April 16 and 23 “Co­ Massachusetts, Somerville April 8-10 Workshop Fee: $5; members $4. April 30 Workshop with lonial Redware Pottery” with Anita Griffith, in­ and lecture with Malcolm Wright, throwing and Tony Hepburn and Jun Kaneko. Fee: $25; mem­ cludes press molding, and decorating with slip and extruding. Contact Mudfiat Studio, 149 Broad­ bers $22. May 3 Lecture with Jun Kaneko, the translucent glaze. Fee: $50. April 30 “Folk Pottery way, Somerville 02145; or phone (617) 628-0589. philosophical basis for his work. Fee: $5; members

58 Ceramics Monthly ... News & Retrospect composed may create the risk of missing the essential discipline that enables the artists’ values to appear.Photos: Brian Oglesbee, courtesy of Garth Clark Gallery.

Penland Residents Show An exhibition of works by resident crafts­ people from Penland School (Penland, North Carolina) was featured at the Swan Coach

30-inch-high “Howling Head,” by James Herring

House Gallery in Atlanta recently. Shown from the exhibition are “Howling Head,” 30 inches in height, handbuilt clay with brushed slips; and “The Large White Animal,” 48 inches in length, clay with slips on painted wood, by James Herring. “Each figure stands

‘‘The Large White Animal,” clay on wood in a frozen moment of time, implying a nar­ rative,” according to Herring. “You, the viewer, find the story. They tell me my story; they tell you yours.”

Couples at Greenwich House Last fall, as part of its “Couples: Partners in Art” series of events, Greenwich House Pottery in New York City presented an ex­ hibition of works by Mary Jane Moross and Gilles Jean Giuntini; plus a two-day work­ shop with Andrea and John Gill. The series was organized to explore the effects of shared experiences and environment on individual expression. Included in the exhibition were Giuntini’s clay, steel and wood sculpture, and Moross’s circular wall forms with geometric glaze drawings expressing “isolation in a high-tech world of man and architecture.” Both artists

April 1988 59 . Itinerary

$4. Contact Alexandra B. Trub, Greenwich House Pottery, 16 Jones St., New York 10014; or phone (212) 242-4106. New York, Port Chester May 21 Lecture and demonstration with Ka Kwong Hui, includes dis­ cussion of recent trip to China. Fee: $45. May 28 Lecture and demonstration with Aurore Chabot, inlaying and low-fire slip painting. Fee: $45. June 4 Lecture on traditional Korean pottery with Dong Hun Chung. Fee: $45. Contact Clay Art Center, 40 Beech St., Port Chester 10573; or phone (914) 937-2047. New York, Scarsdale May 15 Slide lecture and demonstration with Penelope Fleming, raku and anodized-metalwall pieces. Fee: $40. Contact Gloria Sherman or Carol Stronghilos, Art Department, YM & YWHA of Midwestchester, 999 Wilmot Rd., Scarsdale 10583; or phone (914) 472-3300. New York, West Nyack April 12, 24 and May 15 Ceramic mug workshop with Don Bradford. Fee: $75. May 1 “Throwing Big Pieces” with Cliff Mendelson. Fee: $40. Contact Julianne Ramos, Rockland Center for the Arts, 27 S. Greenbush Rd., West Nyack 10994; or phone (914) 358-0877. North Carolina, Brasstown May 1-7 or 8-14 “Stoneware/Sawdust” with Bonnie Staffel. May 15-21 “Raku” with Bob Galloway. Fees: $140 per week. Contact the John C. Campbell Folk School, Brasstown 28902; or phone (704) 837-2775 or 837- 7329. North Carolina, Penland April 4-22 “Pottery” with Cynthia Bringle; “Figurative Sculpture” with Tom Suomalainen. April 25-May 13 “Pottery Form” with James Lawton; “Handbuilding and Terra Sigillata” with Virginia Scotchie. Contact Penland School, Penland 28765; or phone (704) 765-2359. Ohio, Wooster April 21-23 “Functional Ce­ ramics” with Virginia Cartwright, folding, lay­ ering and inlaying colored clays; Robin Hopper, glaze and color development, plus decoration, de­ sign and surface enrichment; and Richard Zakin, clays, glazes and electric kiln firing techniques. Fee: $65; full-time students $30. Contact Phyllis Blair Clark, 102 Oakmont Ct., Wooster 44691; or phone (216) 263-2388 or 345-7576. Oregon, Portland April 16 “Photographing Your Work,” demonstrations and discussions with Mir­ iam Seger, will cover lighting, metering, filtering, film and print options and shooting slides econom­ ically. Fee: $39; members $36. April 16, 23, May 7 and 14 “Transformation of Clay and Spirit: An Exploration of Wood and Clay” with Brad Mil- drexler and Richard Rowland, includes wood fir­ ing. Fee: $80; members $73. Contact Oregon School of Arts and Crafts, 8245 S.W. Barnes Rd., Port­ land 97225; or phone (503) 297-5544. Pennsylvania, Richboro April 15-17 “Ceramics in Britain Today” slide lecture and demonstration with Michael Casson, wheel-thrown functional forms, decoration techniques and problem solving. Contact the Pennsylvania Guild of Craftsmen, Box 820, Richboro 18954; or phone (215) 860-0731. South Carolina, Greenville April 26 Panel dis­ cussion on issues in women’s art, in conjunction with the “Just Like a Woman” exhibition. Contact Greenville County Museum of Art, 420 College St., Greenville 29601; or phone (803) 271-7570. Texas, San Angelo April 22 “Symposium on Con­ temporary Ceramics” with William Hunt, How­ ard Taylor, Dorothy Weiss and Martha Witts- truck. April 23 “Paul Soldner Working— Workshop.” Fee: $40. Contact San Angelo Mu­ seum of Art, Box 3092, San Angelo 76902; or phone (915) 658-4084. Texas, San Antonio April 9-10 “Raw Glazing/ Raw Marketing” with Michael Saul, single-firing techniques and methods of marketing and pro­ motion. Fee: $65. Contact Southwest Craft Center, 300 Augusta, San Antonio 78205; or phone (512) 224-1848.

International Events Canada, Alberta, Calgary through May 1 “Ar­ tistic Traditions of Canada’s First Peoples,” in­ cludes over 600 Indian and Inuit artifacts; at the

60 Ceramics Monthly ... News & Retrospect

36-inch “Cube-Man” by Mary Jane Moross

currently maintain studios in New York City. In an evening slide lecture prior to their one-day workshop on handbuilding and glaz-

Andrea Gill’s “Trumpet Vase,” 28 inches high ing techniques, the Gills discussed sources which have contributed to the development of their individual styles. Both are currently teaching ceramics at Alfred University.

John Kenny, 1899-1988 Known internationally as an author of books on ceramics, a pioneer of the contem­ porary American ceramics movement and a respected artist/teacher, John Kenny died February 25, in Fort Lauderdale, Florida. A native New Yorker, he traveled extensively as a child, returning to the city in time to enroll at City College of New York. But he was soon on his way back to Europe as a soldier in World War I. Thereafter, he fin­ ished his degree and began teaching art in New York high schools. It wasn’t long, though, before he decided to leave again to spend a year painting and studying in France. Back in the U.S. once more, he attended Alfred University and earned an M.A. in ceramic art. While traveling remained a major influ-

April 1988 61 ... Itinerary

Glenbow Museum, 130 Ninth Ave., SE. Canada, British Columbia, Victoria May 28-29 “Fired Up,” contemporary works by 15 artists; at ’Chosin Pottery, 4283 Metchosin Rd. Canada, Nova Scotia, Halifax April 25-May 14 “Decade—Celebrating Ten Years of Excellence”; at Fire Works Gallery, 1569 Barrington St. Canada, Ontario, Barrie through April 17 “The Object Is the Object,” contemporary three-dimen- sional works; at D Building, School of Design and Visual Arts, Georgian College. Canada, Ontario, Brockville through April 9 “Up, Up and Away,” includes works by Carolyn Gibbs and Garry Moxam; at Heritage Crafts, 182-186 King St., W. Canada, Ontario, Peterborough May 27-29 “A Weekend with Wayne Higby and Jerry Rothman,” includes demonstrations, lectures, slide presenta­ tions; Fusion: The Ontario Clay and Glass As­ sociation’s general meeting; trade fair; gong show; and clay Olympics. Fee: Can$l 15-Can$215 (ap­ proximately S88—SI64), includes meals, accom­ modations, workshop and banquet; Can$65-Can$l 40 (approximately $50-$ 107) workshop only. May 7 registration deadline. Contact Fusion: The Ontario Clay and Glass Association, 140 Yorkville Ave., To­ ronto M5R 1C2; or phone (416) 923-7406. England, Cambridge April 2-May 15 “Kettle’s Yard and Cambridge Darkroom,” juried exhibi­ tion of works about death; at Kettle’s Yard, Castle St.; and at Cambridge Darkroom, Gwydir St. England, Gateshead through April 10 “The New Spirit: Innovation in British Craft and Design”; at Shipley Art Gallery, Prince Consort Rd., Tyne and Wear. England, London through April 10 Christine Constant, raku sculpture; at Crafts Council Shop, Victoria and Albert Museum, South Kensington. April 18-30 Neil Ions, earthenware instruments with slip decoration; at Leigh Gallery, 17 Leigh St., Bloomsbury. England, Ollerton through April 10 “John Leach— Potter,” exhibition; at Rufford Craft Centre, Ruf- ford Country Park, Nottinghamshire. England, Peasmarsh Near Rye April 11-15 Hands-on throwing, press-molding and slip- decorating workshop. Fee: £85 (approximately $155). For further information contact John Solly, Goldspur Cottage, Flackley Ash, Peasmarsh Near Rye, East Sussex TN31 6YH; or phone (079) 721276. England, Portsmouth through May 22 “David Garland: Ceramics Reviewed at the Crafts Coun­ cil”; at Portsmouth City Museum. England, Stamford April 1-October 9 “The Traveling Earl,” exhibition of works from the col­ lection of the Earl of Exeter (1648-1700), includes porcelain; at Goody Rudkin Room, Burghley House, Lincolnshire. England, Suffolk through April 24 “Shape and Surface,” exhibition of clay, metal and cloth, in­ cludes works by 19 ceramists; at Gainsborough’s House, Sudbury. England, Wolverhampton April 23-July 18 “The New Spirit: Innovation in British Craft and De­ sign”; at Wolverhampton Art Gallery, Lichfield St. France, Nan$ay through April 17 “Carre Symbole de l’Univers Cree,” includes works by 22 ceram­ ists. April 23-May 23 Haguiko; at Galerie Gerard et Sophie Capazza, Grenier de Villatre. France, Saint Brieuc April 9-15 Hands-on hand­ building, throwing, glazing and kiln design workshop. Instruction in French. Fee: Frl530 (approximately $252). For further information contact Marcel Legras, C.E.D.T.E., Mombrier, 33710 Bourg S/Gironde, France; or phone (57) 643013. Japan, Osaka April 4-9 Steve Tomaszewski, ash- glazed and Kyoto-style ware; at Gallery Aunkan, 3-11-19 Nishi Tenma, Kita-Ku. Netherlands, Deventer April 10-May 7 Four- person exhibition with works by Wil Broekema, Heleen Dekkers, Piet Kerkhof and Petri Voet; at Kunst and Keramiek, Korte Assenstraat 15. Scotland, Edinburgh April 30-May 23 “Shape and Surface,” includes works by 19 ceramists; at Scottish Gallery, George St.

62 Ceramics Monthly ... News & Retrospect

John Kenny

ence in his life, he then began concentrating on writing and teaching. For over 20 years Kenny was principal of the High School of Art and Design, New York City’s specialized school for students intent on careers as artists and designers. During this time he also served as an ad­ visory editor for Ceramics Monthly, and his weeklong series of lectures/demonstrations on pottery was featured on an NBC program called “Home” in 1955. But it was through his books, The Complete Book of Pottery Making, Ceramic Sculpture, and Ceramic Design—all used widely as classroom texts— that many of today’s ceramists were intro­ duced to clay work.

Guinness World Record With his “Great Chess Set,” Ohio artist John Nartker, on the faculty at Mount Saint Joseph College in Cincinnati, has earned a listing in the 1987 edition of the Guinness

John Nartker and his record chess set

Book of World Records. Recognized as the world’s largest clay chess set, the pieces range in height to 53 inches and together weigh approximately 1 ton. Nartker carved and assembled the pieces from large cylindrical pipes extruded at the Miller Brothers Clay Company in Ottoville,

April 1988 63 64 Ceramics Monthly ... News & Retrospect

Ohio. Inlaid patterning in black or white clay distinguishes the two courts. “I could make a chess set just a little bigger than that,” it’s easy to find oneself thinking, “big enough to ‘checkmate’ any of those other clay sculptors out there drooling over an easy world record.” Would you like to see your own name in Guinness print? The challenge is there for the taking. Just let CM know when the work is accepted. And to John Nartker, it’s back to the Miller Brothers Clay Company for you. There’s never been a rec­ ord that wasn’t meant to be broken.

“One Step Forward, Two Back,” 22 inches high Susan Stickney the high-tech society of America. Character­ As a child, Connecticut artistSusan Stick­ istic of the works shown, “One Step Forward, ney imagined a “door open to other worlds— Two Back,” 22 inches in height, was brushed worlds where mystical beings emerged from with stains and oxides (in patterns common other beings, where metamorphosis took place in India) to enhance the impression of move­ constantly, where new beings were permitted ment. and celebrated. In these worlds, nature and beings were interconnected. There was no line of division, but a union of one and the Joe Mariscal other. Clay portraits by Stockton, California, artist “Through clay that door opens again,” she Joe Mariscal were on exhibition at Jennifer commented. Her unglazed whiteware fig­ Pauls Gallery in Sacramento recently. A de­ ures, shown recently at Duke University parture from the portrait heads and busts Medical Center in Durham, North Caroli- done previously (see the November 1985 CM,

“Lunar Watch,” 11 inches in height

na, are “directly connected to those worlds, to their woods, to solid granite rocks with “Jose,” 18 inches in height crevices etched in them, to curving tree roots and to dark, quiet places where solstice cer­ page 75), this work encompasses the whole emonies are held.”Photo: Sean Kernan. figure. Shown from the exhibition is “Jose,” 18 inches in height, low-fire clay with terra Indira Johnson sigillata. “Conflicting Voices,” an exhibition of ce­ ramic figures byIndira Johnson, was on dis­ Christine Mark play at the University of Illinois in Chicago Early introduction to and instruction in recently. Based on themes of womanhood and dance influenced the decoration British artist motherhood, Johnson’s sculpture explores “the Christine Mark applied to the vessels exhib­ struggle for attainment of peace and spiri­ ited at Ceramics 7 in London recently. Char­ tuality in a hectic world and the conflict of acteristic of the works shown, this lidded living in two distinctly different cultures”— form, 15 inches in height, black T-material the traditional world of her native India and with stenciled, black and white, vitreous slips,

April 1988 65 66 Ceramics Monthly News & Retrospect sectioned, and molds were cast with #1 pot­ tery plaster. Slabs, prepared on a slab roller, were then pressed into the molds. Once the sections were removed from the molds, the basic form was reconstructed, altered and de­ tailed. The completed figure separates at the waist for convenience in firing (Cone 10), shipping and plumbing service. The hand­ held pot, from which the water pours, is at­ tached with a steel bar, brass bolts and sil­ icone; light brown tile grout seals the seam. The pots included in the fountain design were wheel thrown, then bisqued, glazed and fired with propane to Cone 10. Research for the fountain dynamics took several trial-and-error sessions for success. Water flows back and even uphill if not han­ dled correctly. The first pump, installed to maintain the water flow, was not powerful enough; Michael then went to a larger pump capable of moving 185 gallons of water per hour through a 6-foot line. For the Phoenix installation, the foun­ tain’s basin was surfaced with tile similar in color and texture to the surrounding tiled courtyard.

15-inch lidded vessel with stenciled imagery Renwick Acquires Roloff Sculpture demonstrates her concern for “exploring the “Night Ship/Submerged Channel/The infinite possibilities of dance silhouettes and Frozen Sea” and “Night Ship/Wind Reef/ highlighted images.” The Frozen Sea,” two ceramic sculptures by California artistJohn Roloff [see the port­ Hopi Fountain folio in the June/July/August 1986 issue] by Karen Hebda were recently acquired by the Renwick Gal­ In 1985, Tucson studio potter Michael lery of the National Museum of American Krapek was asked to make a fountain for ElArt in Washington, D.C. Designed as alle­ Prado Galleries in Sedona, Arizona. Since gorical references to the mysteries of the sea then he has developed a variety of self-con- and the unknown, these shiplike forms were tained fountains, and his most ambitious coated with glazes and a nonshrinking mix­ effort to date, “Maia, the Hopi Butterfly ture of sodium silicate and flint, which re­ Maiden Fountain,” sold for $2550 to a Phoe­ sulted in an unpredictable surface appearing nix interior designer. similar to a light snowfall. The life-size master for the figure was “When considering all my work,” Roloff modeled over a four-week period. It was then remarked, “certain themes become apparent.

‘Maia, the Hopi Butterfly Maiden Fountain,” Cone 10 stoneware, by Michael Krapek

April 1988 67 68 Ceramics Monthly ... News & Retrospect

"Night Ship/Submerged Channel/The Frozen Sea, ” 56 inches in length, by John Roloff

The occurrence and reoccurrence of a num­ ber of images represent and embody a per­ sonal connection with forces of nature and comment on the human interface with those forces. The ship, among others—when ac­ tivated in isolation, complexity or tempera­ ture—exists as emotional and romantic evi­ dence of something that is both known and unknown.”

“Vase of Egypt,” approximately 6½ feet in height, Sculpture in the Netherlands by Michel Kuipers, Eindhoven by Marieke Koudstaal During the past 20 years, increasingly more up a surprising range of opinions and pos­ ceramists, especially the younger ones in the sibilities. The ceramic sculptures shown at Netherlands, have chosen a pottery direction Alkmaar were in a certain sense “children related to painting and sculpture. Often their of their time,” because they stepped over the work has more to do with the property of limits of tradition.Photo: Peter Cox.

Alan Caiger-Smith by Rosalyn Morrison The audience was taken on a whirlwind survey of over 1000 years of majolica during two lectures by British potter Alan Caiger- Smith at the recent “Majolica Then and Now Symposium” at the George R. Gardiner Mu­ seum of Ceramic Art in Toronto. These were followed by a hands-on demonstration of his own Islamic-influenced calligraphic brush- work while he talked about aspects of earn­ ing a living as a professional potter at his group workshop in Aldermaston, England. Caiger-Smith opened his first lecture, “The History of Tin-Glazed Wares,” remarking that “the present-day potter is arrogant.” To­ day, he said, ceramists can determine what they want to make, but that privilege did not exist until very recently. Context in place, he quick-stepped through what was an an­ imated and very abridged version of his 1973 book, Tin-Glazed Pottery. Slides provided visual backup to his in­ Untitled slab-built form, approximately 24 inches sights into the Mesopotamian beginnings of in height, surfaced ivith slips, by Thea Teunissen, tin-glazed ware through to work by today’s Amsterdam ceramists employing majolica techniques. He materials and the changes that take placediscussed how the development of imagery during construction and firing than with was affected by fabric, woodcut and metal functionality. This was the case in the recent designs, often referring to the “encyclopedias exhibition of ceramics at the Stedelijk Mu­ of design” found throughout ceramic history seum in Alkmaar. such as the massive 14th-century Alhambra Although the nine exhibitors had in com­ vases. mon the fact that they make three-dimen- Caiger-Smith also spoke about the signif­ sional works, the way in which they handled icant promotion that pottery enjoyed in the materials varied greatly. Some referred to an­ 15th century from such patrons as the Buyl cient cultures or archaeological exploration. family of Valencia, Spain. Of course, it was Others incorporated abstract geometric or to their advantage to encourage the gift giv­ expressionistic elements. Together, they made ing of pottery within high society and to heads

April 1988 69 70 Ceramics Monthly ... News & Retrospect everyone shares in various aspects of pro­ duction) and the focus on domestic tin-glazed wares set him apart from many of his con­ of state. Referred to by Caiger-Smith as “the temporaries. commercial scoop of the century,” the Buyls As he began to decorate a dish, he stated received a 10% commission on all pottery the fundamental philosophy behind his work: sold by craftspeople who lived on their ex­ “Forms are fulfilled by decoration.” His marks tensive land holdings. are personal symbols, many of which rep­ Round two, “A 20th-Century Potter Looks resent life-giving forces. He again made ref­ at Italian Majolica,” began with another pro-erences to music and poetry as he identified

Alan Caiger-Smith with large majolica and luster platter vocative remark: “By and large, majolica hashis inward, outward and circular brush had very bad press with 20th-century pot­ movements. ters.” Caiger-Smith said that potters of this While demonstrating, he advised the au­ century have been overwhelmingly influ­ dience to first make sure that the design does enced by the simple, direct aesthetic of Ber­ not dominate the form. And, second, to know nard Leach, and the development of social their brushes intimately; know what marks attitudes that carry a strong bias against dis­may be within their repertoire. “The tool has plays of wealth. Those factors, he claimed, its own suggestion for design.” Photo: Penny could pretty completely demolish interest in Tweedle. Italian majolica. His main interest in Italian majolica (the A True Story of Aussies and Yanks variety made between 1400 and 1550) lies by Paula Malseed in the “poetry, magic and mood” of much of this work. He also has a high regard for the Editor’s Note: Take heed, you Americans essential vision necessary to produce such planning to attend any of the conferences, works, as their true colors could not have symposia or workshops (see Itinerary) tak­ been seen until after the final firing. ing place in Sydney, Australia, this spring. Italian Renaissance majolica was at its bestAs homogeneous as the English language is when there was an inspired balance of con­ becoming (via television, tapes and travel), tent and skill. Caiger-Smith referred to the pronouncing words the way they do back home poetic use of allegories in the potter’s depic­ does not mean you'll immediately be under­ tion of personal and social statements. He stood halfway around the world. What may noted the freshness of the line drawings and be as plain as the nose on your face may be the simulation of depth made possible by open to misinterpretation. painting on the surface of the glaze, and ac­ Even after ten years, I’m still a Yank. Not knowledged a debt to fresco and easel paint­ that I would ever deny that fact (as if I could ers for much of the imagery. He also pointed or would want to); however, I do believe I’ve out that by the late 16th century, the true done my bit to be accepted as an Aussie. For forcefulness of the work was overshadowed example, I now can even tolerate the occa­ by the emphasis on the virtuosic handling of sional meat pie, and I only have a minor the medium. heart attack when a huntsman joins me for Caiger-Smith showed a clear devotion to breakfast. I have, after all, married a tried- his own work during the afternoon brush- and-true Aussie and borne two bright Aus­ work demonstration. For much of his life, he sies, who call “lollies” candy and “nappies” has been out of vogue with the avant-garde diapers only when they are talking to me. In of ceramics. His notion of a group workshop addition, I’ve mastered the art of inserting (where there is no division of labor and that extraneous “u” in favor, color, humor,

April 1988 71 72 Ceramics Monthly perhaps not dry enough for the scheduled ... News & Retrospect firing, we should not be disappointed as we would have at least learned the technique. etc. And now that I’m finally resigned to Not disappointed? Some of us would want referring to gas stations as “petrol stations,” to kill if our treasures were among the ca­ Aussies are all acquiring the Yank termi­ sualties. Guess what? Some very nice pieces nology. did make it; some did not. But right you are, But the real clincher occurred several “Face” survived, much to the amusement of months ago at a weekend pottery workshop. my classmates, and nearly everyone else. After initiational introductions, we all settled My aunt thinks it looks more like me than in. Following our Middle Eastern instruc­ Jen, but then she doesn’t like me much any­ tor’s slide presentation, we were feeling quite way. My mother-in-law was unnerved that inadequate when one-by-one he asked us what one eye followed her around the room and we wanted to “create.” the other was blind. Then there are the Now, let me make it perfectly clear (for­ “friends” who suggest I really must have been give the Nixonism) that I do not have a prej­ overboard on Chablis when I bought that udiced bone in my Yankee body; it’s just that thing. Some people have no taste. Unlike my it’s here that my story really begins. When sons: number one son, the eight-year-old, asked what I would like to make, I, feeling simply remarked in passing, “Ah, that’s pret­ out of my element, quietly replied, “A vase.” ty good Mum.” He has discovered how to Before I knew what was happening I was pacify me in return for meals. However, the presented a great hunk of clay and a two- six-year-old hasn’t stopped raving about minute lecture on how to make sculpture. “Face.” “That’s great, Mum. I really like it, He thought I had said “face.” The Aussies Mum.” Pity he can’t stay six forever, for my around me tried to hide their amusement and ego’s sake. But then again, I’ll always have waited for me to “put him straight.” I made “Face,” and who knows, there might be an eye contact with my friend Jen, who had American instructor out there who will teach more than a hint of a grin spread across herme how to make a vase. face, and bravely decided, “Okay, a face it is,” little knowing the delight my project would provide so many of my almost ex-friends. Rosso Fiorentino Maj’olica Having chosen Jen as a model, I harassed An exhibition of works and designs by 16th- her all day: “Take off your glasses, Jen. Look century Italian Renaissance artistRosso to the right. Turn your head to the left, and Fiorentino was on view at the National Gal­ hold it. Let me feel your nose.” She finally lery of Art in Washington, D.C., through showed some signs of rebellion at the last January 3. Intense and eccentric, Rosso is request. After all, she was trying to work on seen as one of the founders of the anticlassical her “vahz.” Everyone except the instructor style called modernism. He was internation­ knew that was what I also wanted originally,ally famous in the 16th century; but today but I had become obsessed that that huge he is most readily recognized for his work hunk of clay would become “Face.” for the king of France and for the impact of We were warned that we were there to his Italian style on French art. learn firing procedures; if our pieces blew Included in “Rosso Fiorentino Drawings, up in the kiln, having been made in haste or Prints and Decorative Arts” were earthen-

“The Challenge of the Pierdes” majolica platter, 16th century, designed by Rosso Fiorentino

April 1988 73 74 Ceramics Monthly News & Retrospect

ware platters with majolica compositions de­ signed by the artist, such as the platter (page 73) with “The Challenge of the Pierdes,” approximately 15 inches in diameter.

Robert Ely Traditional stoneware bottles and bowls with Chun blue, saturated iron and copper “China Talking,” 4 feet in length, glazed ceramic red glazes by Wilmington, North Carolina, tile on fiber-glass substructure potter Robert Ely, were exhibited recently Of greater importance is the union between at the Danville Museum of Fine Art and surface and form. The ceramic tile animates History in Danville, Virginia. As is typical the surface with its faceted irregularity, while the curvilinear sections connect along a cen­ tral spine, giving structural unity. Images (of desks, a person swinging an axe) and several words appear on the petal surfaces in a ges­ ture toward narration, but the strength of the sculpture is in the form itself.

Diverse Contemporary Ceramics For their 32nd annual contemporary American Art exhibition, Lehigh University Art Galleries in Bethelehem, Pennsylvania, focused on contemporary ceramics. On view at the Ralph Wilson Gallery were sculpture, vessels and wall reliefs byRuth Duckworth, Jan Holcomb, Marilyn Levine, Rich Lip- scher; Connie Lloveras, Scott Meyer, Judy Moonelis, Richard Notkin, Richard Shaw; Jim Stephenson, Jack Thompson and Paula Win- okur. Curator Christopher Greenman noted that these artists “continually push the limits of creative vision and imagination.” The exhi­ bition was meant to “serve as an introduction 10-inch stoneware bottle, Chun blue glaze to the realm of possibilities, [putting] aside the argument between ‘craft’ and ‘art,’ al­ of many of the works on view, this bottle, 10 lowing the objects to speak for themselves inches in height, takes advantage of glaze regardless of intention or terminology.” flow for decoration. For example, in Richard Shaw’s work, “Influenced by the Far East, both in phi­ “everyday objects—books, cigarettes, cards— losophy toward a way of life and in ceramic become poetic, intellectual excursions in the process,” Ely was awarded a 1988 Fulbright Travel Grant for study in Korea.

Neil Forrest by Michael Rubin The use of natural forms as subject matter is a persistent concern for American artists, in particular for potters and sculptors. On display recently at Greenwich House Pottery in New York City were free-standing sculp­ tures and wall reliefs combining formalist design and a kind of naturalist’s humor by Neil Forrest, an assistant professor at Nova Scotia College of Art and Design in Halifax. With this work, produced during a six- month residency at Greenwich House, For­ rest sought “a balance of familiar and vague;“Letter Jar with Winstons8½ inches in length, a mixture which combines furniture details porcelain, with decal overglazes, by Richard Shaw, and embryonic life, tools and flower petals; San Francisco a sort of ‘folk’ abstraction.” trompe l’oeil. A technical master of slip cast­ His mosaic-clad “China Talking” is 3x4-a ing, Shaw sets up a fragile world where things foot pod form that bulges outward in round­ are more than they appear to be and ordinary ed, unfolding petals. Choice of color (pri­ things appear where they ordinarily shouldn’t mary yellow and pastel pink) is not critical, be. Newspaper print appears on ceramic plates but serves to define sections of the sculpture. Please Turn to Page 87

April 1988 75 76 CERAMICS MONTHLY ... Summer Workshops Continued from Page 35

$395-$420, includes materials. Live-in accommodations and camping available. Contact Doug Hill, Augusta Her­ itage Center, Davis & Elkins College, 100 Sycamore St., Elkins 26241; or phone (304) 636-1903. Wisconsin, Drummond June 19-25 University of Wisconsin at River Falls is organizing a multi-activity workshop at Pigeon Lake in the Chequa- megon National Forest, focusing on throwing, handbuild­ ing, and various firing techniques (sawdust, pit, salt, raku, Southwest Indian style blackware and 55-gallon drum). Instructors: Doug Johnson and Kurt Wild. Intermediate through professional. Fees: from $123.67, includes room, board, materials and firings. Contact Kurt Wild, Art De­ partment, University of Wisconsin, River Falls, Wiscon­ sin 54022; or phone (715) 425-3308 or 425-3266. Wisconsin, Menomonie July 11-16 “Raku & Primitive Workshop” with John Perri, includes wood and dung firing. All skill levels. Fee: $70, includes materials and firings. Contact John Perri, Ceramics, Ap­ plied Arts Building, Union St., University of Wisconsin at Stout, Menomonie 54751; or phone (715) 232-1236. Wisconsin, Milwaukee June 20-August 13 “Raku and Surface Work” with Gary Schlappal. All skill levels. Live-in accommodations available. Contact Ce- ramics/School of Fine Arts, University of Wisconsin, Box 413, Milwaukee 53201; or phone (414) 962-0887.

International

Belgium, Rochehaut July 11-August 27 “Wood Firing—Sculpture” with Denise and Laure Fran- kinet. Instruction in English or French. Intermediate and advanced. Fee: BF3000 per week (approximately $75), includes materials and firings. Contact Denise Frankinet, Maison Artisanale, Route de Poupehan 62, B6839 Ro­ David Nelson demonstrating throwing big chehaut; or phone (061) 46 64 80. at Arroivmont in Gatlinburg, Tennessee. Canada, AlDerta, Banff June 6-August 12 “Summer Ceramic Studio” with seven international art­ Canada, Nova Scotia, Halifax ists and critics. Advanced through professional. Fee: May 16-July 25 Can$1200 (approximately $918), includes firings. Cam­ “Handbuilding” with Kent Anderson and Bruce Coch­ pus housing available. Contact Les Manning, Head of rane (May 16-June 8). “Raku” with Anne Cummings Ceramics, the Banff Centre of Fine Arts, Box 1020, Banff (June 8-30). “Figurative Ceramic Sculpture” with Peter T0L 0L0; or phone (403) 762-6211. Bustin (July 4-25). Fees: Can$350 per session (approx­ Canada, Alberta, Red Deer imately $268), includes materials and firings. Camping July 4-August 5 available. Contact Admissions Office, Nova Scotia College Red Deer College Series ’88 includes 1- and 2-week ses­ of Art and Design, 5163 Duke St., Halifax B3J 3J6; or sions on “Basic Wheelthrowing”; “Color on Clay”; “In­ phone (902) 422-7381. termediate Wheel Throwing/Tool and Brushmaking”; Canada, Ontario, Brockville “Advanced Wheelthrowing”; “Porcelain Production Pro­ July 4-29 cesses—Moldmaking and Casting”; “Porcelain Throwing “Raku Pottery” with Leta Cormier (July 4-8). “Pottery and Decorative Techniques”; “Sculptural Ceramics Decoration” with David McKenzie Quly 25-29). Contact (Modeling)”; “Ceramic Sculpture (Color, Surface and 1000 Islands Summer School of the Arts, Saint Lawrence Form)”; and “Ceramics—Functional Design, Ceramic College, 2288 Parkedale, Brockville K6V 5X3; or phone Decorative Techniques.” Instructors: Don Wells, Linda (613) 345-0660, ext. 3220. Sikora, Leanne Stringer, Garry Williams, Robert Ar- Canada, Ontario, Haliburton chambeau, Poul Jensen, Bob Shay and Barbara Tipton.July 4-August 5 Fee: Can$100 (approximately $76.50), includes firings “Decoration” with Bruce Cochrane (July 4-8). “Begin­ and some materials. Live-in accommodations and camp­ ners Pottery” with Barb Peel (July 11-15). “Raku—Spe­ ing available. Contact Pat Matheson, the Arts Centre, cial Effects” with Michael Sheba Quly 25-29). “Clay Red Deer College, Box 5005, Red Deer T4N 5H5; or Sculpture” with Dzintars Mezulis (July 25-29 and Au­ phone (403)^342-3555. gust 1-5). Fees: Can$62.50 (approximately $48). All skill Canada, British Columbia, Vancouver levels. Live-in accommodations and camping available. July 4-August 13 Contact Haliburton School of Fine Arts, Box 339, Hal­ “Pottery” with Randy McKeachie-Johnston, handbuild­ iburton K0M ISO; or phone (705) 457-1680. ing, throwing, firing and various decoration techniques Canada, Ontario, Toronto (July 4-22). “Ceramics Sculpture” with Garry Williams, May 30-July 8 concentration on the figure (July 25-August 13). Fee: “High Fire” with Deborah Black and Gerald Johns, in­ Can$248 per session (approximately $190), includes ma­ cludes throwing and handbuilding techniques (May terials and firings. Contact Summer Program, Emily Carr 30-June 17). “Majolica” with Matthias Osterman, in­ College of Art and Design, 1399 Johnston St., Granville cludes handbuilding and throwing techniques (June Island, Vancouver V6H 3R9; or phone (604) 687-2345. 20-July 8). Fees: Can$l57.50 per session (approximately Canada, British Columbia, Victoria $120), includes some materials and firings. Instruction in July 18-30 English or French. Live-in accommodations available. “Ceramics—Glaze and Color Development” with Robin Contact Deborah Black, George Brown College, Casa Hopper. Intermediate through professional. Fee: Can$225 Loma Campus, Ceramics Department, Box 1015, Station (approximately $172), includes materials and firings. Live- B, Toronto M5T 2T9; or phone (416) 967-1212, ext. in accommodations and camping available. Send 10-202486 or 2487. slides and a curriculum vitae or outline of previous ex­ England, Berkshire, Maidenhead perience by May 1 to Deirdre Chettleburgh, Metchosin Summer International Summer School of Arts, 4611 William Head Kingsbury Pottery is offering weekday and weekend in­ Rd., Victoria V8X 3W9; or phone (604) 478-1558. struction on handbuilding, throwing and decoration with Canada, Manitoba, Snow Lake Renee Rubinstein. All skill levels. Fees: From £15 (ap­ August 1-19 proximately $26). Instruction in English or French. Live- Two sessions on wheel throwing and primitive wood fir­ in accommodations available. Contact Kingsbury Pottery, ing (August 1-5 and 15-19). Instructor: Emily Crosby. Renee Rubinstein, 4 Boyn Hill Rd., Maidenhead SL6 Intermediate and advanced. Fee: Can$25 per day (ap­ 4JB; or phone (0628) 27984. proximately $19), includes materials, firings and lodging. England, Cornwall, Falmouth Contact Northern Canada Art School, Box 484, Snow August 1-26 Lake ROB 1M0. “Handbuilding and Throwing” with Peter Smith (August

April 7988 77 78 Ceramics Monthly ... Summer Workshops

1-5 and 7-13). “Moldmaking and Slip Casting” with Stuart Wiltshaw (August 14-20 and 22-26). Beginning through advanced. Fees: £185 (approximately $316), in­ cludes materials, firings and lunches. Lodging: £113 (ap­ proximately $193). Contact Simon Thompson, Falmouth School of Art and Design, Woodlane, Falmouth TR11 4RA; or phone (0326) 211077. England, East Essex, Peasmarsh near Rye May 30-August 29 Throwing, press molding and slip decorating; all skill levels. Fee: £85 per week (approximately $145), includes materials, firings and meals. Live-in accommodations and camping available. Contact John Solly, Goldspur Cottage, Flackley Ash, Peasmarsh near Rye, East Sussex TN31 6YH; or phone (0797) 21276. Modeling portrait busts at Baranya England, Essex, Great Dunmow Creative Colonies in Hungary. April-Septem ber Weekday and weekend instruction on throwing, hand­ building, decorating, glazing, raku and sawdust firing. For all levels. Fees: £180 per week (approximately $308); England, West Sussex, Chichester £75 per weekend session (approximately $128); includes May 24-August 19 some materials and firings, lodging and meals. Contact “Pottery” with John Gunn (May 24, June 7, 21, 28 and Deborah Baynes, White Roding Pottery, Bretts Farm, July 5). “Pottery General” with Alison Sandeman (May White Roding, Great Dunmow; or phone (0279) 76326. 29-June 3 or August 21-26). “Fine Porcelain Techniques England, London for Jewelry and Pottery” with Angela Verdon (June 12-17). June 28-July 25 “Clay Modeling for Firing” with John Gunn (June 24-26). “Workshops and Travel in England” includes sessions “Pottery” with John Gunn (July 17-22). “Making a Plas­ with Harry Horlock-Stringer, Devon potters Jennie Hale ter Mold for Slip Casting or Pressing” with John Gunn and Andrew Osborne; visits with studio potters Michael (July 29-31). “A New Approach to Form, Firing and Casson, Ray Finch, and Graham Pigott; and a tour ofKiln Building for Pottery” with Sebastian Blackie (Au­ the Wedgwood Factory. Fee: $2055, includes round-trip gust 6-12). “Life Modeling for Terra-cotta Figures” with air transportation from Hartford, Connecticut, lodging Alan Saunders (August 6-12). “Handbuilding in Por­ and workshop materials. Balance due by May 15. Contact celain” with Gordon Cooke, includes experimental luster Horizons: The New England Craft Program, 374 Old firing (August 13-19). Contact West Dean College, West Montague Rd., Amherst, Massachusetts 01002; or phone Dean, Chichester P018 0QZ; or phone (0243) 63301. (413) 549-4841. England, Worcestershire, Tenbury Wells England, Norfolk, Marham near King’s Lynn May 8-September 2 May-September Individual instruction on clay preparation, throwing, Weekday and weekend handbuilding sessions with Daphne handbuilding, glazing and firing. Instructor: Martin Ho­ Llewellyn. Beginning through advanced. Fee: £185 (ap­ mer. All skill levels. Fee: £189 per week (approximately proximately $316), includes materials, firings, lodging and $323), includes materials, firings, lodging, meals and meals. Contact the Clock House, Marham near King’s transportation from nearest train station. Camping avail­ Lynn, Norfolk PE33 9HS; or phone (0366) 4596. able. Contact Tina Homer, Martin Homer Pottery, Low­ England, Somerset, Queen Camel near Yeovil er Aston House, Aston Bank, Knighton-on-Teme, Ten­ July 4-August 29 bury Wells WR15 8LW; or phone (0584) 79404. “General Pottery Workshop” with Douglas Phillips, France, Cereste handbuilding, throwing, single- and wood-firing tech­ June-August niques (July 4-9 and 11-16). All skill levels. Fee: £120 Weekly instruction on handbuilding, throwing, glazing, (approximately $205). “Advanced Pottery Workshop” with firing and sculpture. Beginning through advanced. In­ Daphne Carnegy, Jane Hamlyn and Douglas Phillips structor: Henda Lea Eggert. Instruction in English, French (July 18-30). Intermediate and advanced. Fee: £290 (ap­ or German. Fee: F1000 per week (approximately $165), proximately $496). “Porcelain Throwing Workshop” with includes materials and firings. Live-in accommodations Russell Coates, Christine-Ann Richards and Douglas and camping available. Contact Henda Lea Eggert, La Phillips, decoration techniques and wood-, gas- and sin­ Tour d’Embarbe, 04110 Cereste; or phone (92) 79 05 08. gle-firing methods (August 7-20). Intermediate and ad­ France, Saint Ambroix vanced. Fee: £160 (approximately $274). “Glaze Work­ July-September shop” with Douglas Phillips (August 26-29). All skill Throwing, glazing and firing techniques; all skill levels. levels. Fee: £105 (approximately $180). All fees include Instruction in English or French. Fees: F3800 (approx­ materials, firings and one meal per day. Live-in accom­ imately $627), includes materials, firings, lodging and modations and camping available. Contact Douglas andmeals. Camping available. Contact Michel Simonot, Mas Jennie Phillips, Ridge Pottery, Queen Camel near Yeovil, Cassac, Allegre F-30500, Saint Ambroix; or phone (66) Somerset BA22 7NF; or phone (0935) 850753. 24 85 65. England, Suffolk, Ipswich France, Sochaux Summer July 5-12 “The Alan Baxter Pottery Workshop,” weekly sessions Handbuilding, throwing, glazing and kiln design; all skill for children on earthenware and stoneware, handbuild­ levels. Instruction in French. Fee: FI 530 (approximately ing, throwing on a kick or electric wheel, decorating tech­ $252), includes materials and firings. Live-in accommo­ niques, raku, etc. Fee: £150 per week (approximately dations and camping available. Contact C.E.D.T.E., Marcel $257), includes materials, firings, lodging and meals. Legras, Mombrier, 33710 Bourg S/Gironde, France; or Camping available. Contact Alan Baxter, White Housephone (57) 64 30 13. Studio, Somersham, Ipswich IP8 4QA; or phone (0473) France, TTionon-Les-Bains 831256. August 22-29 Handbuilding, throwing, glazing and kiln design; begin­ ning through advanced. Instruction in French. Fee: FI 530 Handbuilding with layered colored clays at (approximately $252), includes materials and firings. Live- Grossmont College in El Cajon, California. in accommodations and camping available. Contact C.E.D.T.E., Marcel Legras, Mombrier, 33710 Bourg S/ Gironde, France; or phone (57) 64 30 13. Hungary, Siklos Summer Advanced and professional level workshops. Instruction in English or German. Fee: $50 per day, includes ma­ terials, firings, studio space, lodging and meals. Camping available. Contact Istvan Komor, Director, Baranya Cre­ ative Colonies, Vajda Janos ter 2, 78ol P0B 11, Siklos; or phone 462 operator assisted. Or contact J. Pudler, Artbureau-Artex, Box 167, 1390 Budapest 62, Hungary. Italy, Cortona June 15-August 21 The University of Georgia “Studies Abroad Program” will include working in a 15th-century monastery/studio with local clays, glazes and firing techniques (raku, earth­ enware, terra sigillata) and visiting the “International Ce­ ramic Exhibition” in Faenza. Fee: $3800, includes round- trip air transportation, bus and train travel, lodging and most meals. Contact U.G.A. Studies Abroad Program,

April 1988 79 80 Ceramics Monthly Spain, Gijon ... Summer Workshops July 25-August 5 “Ceramics in Architecture and Urban Space,” an analysis Visual Arts Building, University of Georgia, Athens, of urban architectural spaces studied through form, struc­ Georgia 30602; or phone (404) 542-7011. ture and actual handbuilding projects. Instructors: Nino Italy, Faenza Caruso and Emidio Galassi. Instruction in English, French, July 2-17 German, Italian or Spanish. Fee: $525, includes materials “Faenza Workshop 88” includes instruction on stoneware, and firings. Live-in accommodations available for $5 per salt glazing, raku, majolica, low-temperature firing andday. Contact Antonio Soriano, Textura, Oscar Olavarria kiln construction. Instructors: Emidio Galassi and Mirko 11, 33201 Gijon; or phone (85) 34 55 45. de Nicolo. Instruction in English, French, German, Ital­ Spain, Cadiz ian or Spanish. Fee: 600,000 lire (approximately $420). July 4-August 19 Live-in accommodations and camping available. ContactHandbuilding, throwing, slip casting, glazing and pit fir­ Emidio Galassi, via Borgo S. Rocco N12, 48018 Faenza; ing. All skill levels. Instruction in English, French or or phone (0546) 661655. Spanish. Fee: Pts32,000 per session (approximately $224), July 4-August 5 includes materials and firings. Live-in accommodations SUN Y College at Brockport is planning a summer session available. Contact Jose Luis Aragon, La Tacita, El Col­ at the Istituto Statale de’Arte per la Ceramica. Instruc­ orado, Conil, Cadiz; or phone (956) 44 09 12. tors: Anna Calluori and Nancy Leslie. Instruction in Eng­ Switzerland, Muggio lish or Italian. Fee: New York residents $2600; nonres­ May 30-September 3 idents $3000-$3200; includes round-trip air transportation “Ceramics: Manual Techniques in Stoneware” with In­ from New York, tuition, housing and materials. April 25 grid Mair Zischg (May 30-June 4). “Treatment of Sur­ registration deadline. Contact Office of International Ed­ faces: Creative Decalcomania” with Giovanni Cimatti ucation, the Center for Student Services, SUNY College (June 20-25). “Raku” with Elisabetta Mellier (July 4-7). at Brockport, Brockport, New York 14420; or phone (716) “How a Form Is Created” with Karl Fulle (July 11-16). 395-2119. “Experimental Kiln Construction” with Fritz Vehring (July Italy, Savona 25-30). “Glaze Technology” with Gustav Weiss (August June 20-August 12 1-6). “Forms, Symbols, Objects” with Till Neu (August “Handbuilding” (June 20-July 8, July 11-29, August 22-27). “Dialogue with Fire: Monumental Sculptures” 1-12). Fee: $80—$166, includes materials and firings. with Michel Moglia (August 29-September 3). Fees: SF980 “Ceramics Decoration” (July 11-29, August 1-12). Fee: per session (approximately $686), includes materials, fir­ $120-$ 166, includes materials and firings. “Throwing” ings, room and board. Contact Elisabetta Mellier, Centro (August 1-12). Fee: $166, includes materials and firings. Sperimentale d’Arte, CH 6831 Muggio; or phone (091) Beginning level. Instruction in Italian. Live-in accom­ 49 14 62. modations and camping available. Contact Ostello CesareWales, Powys, Rhayader de Franceschini, via Alla Stra’, 17100 Savona; or phone Summer (019) 863222. Weekly instruction on throwing and finishing with Phil Netherlands, Oosterwolde (Fochteloo) Rogers. All skill levels. Fee: £125 for first week (ap­ May 30-September 16 proximately $214); £90 per additional week (approxi­ “Throwing and Decoration Techniques” (May 30-June mately $154); includes materials, firings and lunches. Live- 3). “Reduction Stoneware and Porcelain (June 13-17 and in accommodations: £45 for 6 nights (approximately $77). July 11-15). “Primitive and Traditional Pottery” (June Camping available. Contact Marston Pottery, Lower Cefn 20-24). “ Raku” (July 4-8 and September 5-9). “Salt Faes, Rhayader; or phone 0597 810875. Glazing” (September 12-16). Instruction in English or West Africa, Ivory Coast Dutch. Fee: A200 (approximately $101). Live-in accom­ July 5-30 modations available for an additional A200. Contact Kees“Parsons in West Africa,” sponsored by Parsons School Hoogendam, De Knolle 3a, 8431 RJ Oosterwolde (Foch­ of Design and the Society for International Exchange, teloo); or phone 05160-8238. includes studies on the history of traditional African art Netherlands, Veghel and architecture; an introduction to the traditions, culture May 29-August 20 and artistic heritage of the region’s primary ethnic groups “Sculptural Ceramics” with Jos Verwiel (May 29-June (the Baule, Senufo, Dan and Guro peoples); and trips to 4). “Raku” with Wim van Nuenen (June 26-July 2). small villages to see production of pottery, weaving and “Sculptural Raku” with Wim van Nuenen (July 3-9). metalwork. Fee: $3820, includes round-trip air trans­ “Reduction-Fired and Salt-Glazed Stoneware and Por­ portation from New York, land transfers and hotel ac­ celain” with Petra van Heesbeen (August 7-13 and 14-20). commodations. Contact Parsons School of Design, Office All skill levels. Fees: A175 per week (approximately $88). of Special Programs, 66 Fifth Ave., New York, New York Live-in accommodations and camping available. Contact10011; or phone (212) 741-8975. Instituut Pieter Breughel, Middegaal 23-25, 5461 XB West Africa, Mali Veghel; or phone 04130-65675. August 3-24 Netherlands Antilles, Cura?ao “Parsons in West Africa,” sponsored by Parsons School August 13-20 and 20-27 of Design and the Society for International Exchange, “Raku and Primitive Firing Workshop” on the beach. includes an introduction to the trading centers and me­ Instruction in English or Dutch. Fee: $995 per session, dieval empires of the region, and to traditional and ancient includes round-trip air transportation from New York or art and architecture in Bamako, Moptim, Djenne, the Miami, double occupancy hotel accommodations (add $125 Dogon area and Timbuktu. Fee: $3750, includes round- for single occupancy), all breakfasts and lunches, four trip air transportation from New York, land transfers and dinners, materials and firings used in the workshop and hotel accommodations. Contact Parsons School of Design, five excursions. Contact Ellen Spijkstra, Oude Caracas- Office of Special Programs, 66 Fifth Ave., New York, baaiweg 90, Curasao; or phone 613019. New York 10011; or phone (212) 741-8975.

Side stoking an anagama full of pots at a Peters Valley workshop in Layton, New Jersey.

April 1988 81 82 Ceramics Monthly Build A $75 Electric Wheel by Jolyon Hofsted

BUILDING your own equipment can frame constructed of 2 x4s with a free center of the hinged plywood square, drastically cut the cost of establishing or spinning wheel head (car wheel without through the right side of the 2x4 frame. expanding a studio. The electric wheel tire) secured in place. With two nuts, secure a long bolt through depicted here can handle up to 20 pounds The next step is to fill the top of the the frame and a 3-foot length of 1x2. of clay as well as most commercial wheels.tire rim with plaster. Clay can be used This should be a very loose connection I don’t claim to have invented it; it to plug any holes from which the plaster so that the pedal lever has lots of play. simply came to be one day in a junkyard. might leak out. The plaster provides the One end of this lever will be under the Twenty years ago, I had a new teachingnecessary weight, as well as a good hinged plywood; the other will project job, with no equipment to speak of, and throwing surface. Pots can also be thrownfrom the right side of the wheel. Step­ had gone to a wrecked auto yard looking on bats attached to the plaster. ping on the lever raises the hinged ply­ for an inexpensive way to make kick To mount the motor, secure a 2x4 wood, thus touching the rubber drive shaft wheels. The mechanic at the yard and across the frame directly in line with the to the wheel rim. Removing your foot 1 talked, and the idea for an electric wheelback of the wheel assembly. Attach a 12- from the lever will disengage the drive was born. I’ve been showing people how inch square of plywood to this cross shaft, thus slowing the speed. to make them ever since. member with the use of a hinge. Secure The last step is to build a plywood Based on the front wheel assembly of the motor to the plywood. Some motors box around the frame to enable you to a car, this potter’s wheel is compact, quitecome with mounting brackets; if yours sit (over the motor) at your $75 variable easily constructed and will give many has none, metal straps can be used to speed electric potter’s wheel, and work years of trouble free use. The first step bolt it in place. Position the motor so comfortably. ▲ is to go to an auto junkyard and pur­ that the rubber (plug) drive shaft just chase a complete front wheel assembly clears the bottom of the wheel rim. By BELOW Average skills, a front (prices vary but the cost should be well lifting the hinged plywood, the rubber wheel assembly from a junked car, a under $50). Have them cut it just behind will make contact with the rim and the scrounged or rebuilt motor, some 2x4s, the mounting bracket connecting it to wheel will go around. plywood, and standard hardware are all it the car. This will be used to mount the Speed will be controlled by a pedal. takes to put together the potter's wheel wheel, complete with rim but without Drill a vertical hole, in line with the shown in this cutaway drawing. tire. Be sure the bearings in the wheel assembly are not frozen, and that they are in good condition. Next, you’ll need to find an electric motor from ¾ to ¾ hp. If, after a little scouting around you can’t come up with one, a rebuilt motor can be purchased. Then you’ll need to find a heavy in­ dustrial plug, the kind with a metal clamp around the back used to secure it to an electrical cord. This will become the rubber drive for the motor. The plug’s male prongs are removed either by un­ screwing or just snipping them off. The plug is then slid onto the motor’s drive shaft and secured in place with its own metal clamp. Standard wooden 2 x4s are used for the wheel’s framework. The width will be determined by the diameter of the front wheel assembly. Plan for at least a 2-inch clearance around the wheel as­ sembly. Once this is laid out, the frame’s length is constructed from 3-foot-long 2 x4s, standing on edge. The front wheel assembly is mounted in place, using the existing brackets se­ cured to 2 x4s running across the frame. Make sure the assembly is mounted lev­ el. Next, secure two 2 x4s on each end of the frame to raise the wheel off the floor. At this point, you should have a

April 1988 83 Selling: Six Success Stories

by Libby Platus

We ALL HAVE a lot of feelings about Everyday, as people drove by on their paints it and highlights it with gold and selling our work, some happy, some neg­ way to work or into the shopping center, silver leaf. She’s very interested in the ative, some of them really hurt. In a they would see more features appear— geological, in the archaeological, in Ju- write-up in the Los Angeles Times, Cal­ an eye, a nose. deo-Christian heritage and in women’s ifornia artist Joe Goode had this to say So a lot more coverage was in the stories. She puts this all together to make about selling: newspaper and other media, because the pieces that really do look ancient, like After he finishes a painting, “it’s up rock and the artist were there for every­ fragments from the past. to a customer to find the painting in­ one to see and, of course, because the Swartz wanted to go to Israel to use teresting and it’s up to the gallery to subject was John Wayne. During this the dirt of the Holy Land in her work, make the sale. I’m far removed from the time, Wayne died, so further media at­ but she didn’t have the money. So she transaction and I really can’t influencetention was focused on the rock. When got together with her dealer (she had it one way or the other. With [my] gam­ it was finished, Strong sold the bust for been exhibiting at Elaine Horwitch bling however, I’m directly involved in $1 million. And the new owner had it Gallery in Scottsdale) and other poten­ the outcome.” Gambling is a precarious placed in the foyer of Grauman’s Chinese tial supporters. She told them what she way to make a living, but for many yearsTheater (where the stars’ footprints are). wanted to do and how she proposed to Goode found it more secure and de­ Strong knew who he was. He knew finance it: They would invest in her, and pendable than selling his paintings! he could carve a likeness and was not she guaranteed that in 15 months they Other artists, however, are willing to bothered by working in front of an au­ would get one of her works from the trip. take a more aggressive approach to sell­dience. Nor was he shy about taking If anyone didn’t like the work received, ing. A few years ago, a young artist namedadvantage of his assets to create freeshe would make another. What’s more, Brett Livingstone Strong came to Los publicity. she guaranteed that her works would Angeles from Australia. Very few people I once had an eye-opening experience double in value within that 15-month- knew anything about him. But that was concerning artists talking about their as­period. How could she and her dealer before he heard about a rock that wassets. I’m a member of an organization figure out that they would double in val­ threatening to fall onto the Pacific Coast called Women in Business, and we had ue? They would just charge those prices Highway. It wasn’t marble; it wasn’t a meeting where three success stories were then. Takes guts. But Swartz had a track fancy; it was just a rock. If it fell, though, presented. In between each of them, we record already, and they felt that the it would probably ruin a few million- had certain tasks to do, including to go market would bear the price increase. dollar homes or perhaps destroy cars around the room and tell everybody what Swartz felt she had amission. She driving by and, of course, hurt people. our assets were—not the financial kind, kept saying that word over and over again. Townspeople were afraid to go that way but what we felt were our particular tal­ Part of the mission was to make the art­ to work or send their children to school ents, qualities. Afterward, I went home work and part was to tell the story of on that road. The rock being so big, what and couldn’t sleep. In the morning, I these women. Well, the artworks hap­ could be done with it? So Strong offered realized why: Every time I’d tell people pened to be about religious subjects and to buy the rock for $100, payable on in our field, my artist friends, “I got a about women, so she had some trouble delivery to the site of his choice. commission. I’m so excited,” they’d say, getting the work shown elsewhere. She The story of the rock was in the news­ “Oh, I hate you, you always get them. didn’t want it exhibited in sales galler­ papers, on television and radio; it be­ You just know what to do.” But when I ies; she wanted it in museums or uni­ came rather famous. A deal was strucksaid something like that to members of versity galleries. She wanted first-rate and everything possible was done to makeWomen in Business, they’d act like, “Well, exposure. So, she tried repeatedly, and the rock fall correctly, but it was really of course you did. What are you going finally got a museum in Los Angeles to stubborn. Eventually they got it down to do next?” I realized that they had accept her work. They put together about by wrapping cable around it, and havingcontrol over what they were doing. They 40 proposals, approaching universities trucks pull it loose. Then they had to were achieving, they felt good and they and museums all over the country, and cut it into three parts just to move it. didn’t resent others feeling good about arranged for several to display her work. The rock was delivered to the front themselves and their work. As a result, the amount of money that of Century City Shopping Square, one Another successful promoter of her passed through Swartz’s hands was so of the most affluent shopping sites any­ art is Beth Ames Swartz, who works great that she had to incorporate. She where. Strong had an awning put over­ with handmade paper which she buys had a catalog printed that cost $15,000 top and a sign made that identified his (she doesn’t make the paper). She tears at that time. It is first-rate, with excel­ medium as “The Million Dollar Rock,” it and burns it and sticks it in dirt, then lent photographs, color and black-and- then began carving a bust of John Wayne.puts Roplex (a liquid plastic) on and white, and explanations of all that she

84 CERAMICS MONTHLY was trying to say. She also had postcardsource management Ph.D., when she and slide packages manufactured. decided to go into painting full time. From She really put a lot of time into this, early on she actually made money, sell­ but she didn’t actually make much prof­ ing limited-edition prints of each paint­ it. She mainly made things happen. She ing that she did. However, she felt a need got her story told and her work known. to control the whole situation more. She But then, the next year, the Nickle Arts decided to start a gallery. It was in a Museum in Calgary (Alberta) gave her shopping mall. The thing that’s inter­ a grant to do another project. They paid esting here is there was no lease. Most for everything and did the administra­ of us have moved at least once, and know tive work, yet she retained complete con­ how much trouble and expense it can trol over everything. cause. It was a big risk. She took that This way of selling may seem strange risk and her gallery is still there. to some of you, but in other businesses, She went on to open a gallery in Ju­ it really isn’t. People are constantly in­ neau, then one in Seattle and one in vesting in someone to work out an idea. Fairbanks. Now it was very unusual for Now we’re beginning to see artists and someone who was an artist or crafts- craftspeople do the same. person to own a gallery at that time, and Gyongy Laky, a basket maker who to own many was more unusual. But she has long been teaching, wanted a yearknew which market her work would ap­ off to work. So she got previous clients peal to. And she knew she could keep and students to invest in her. They paid the price low by control of retailing. She for her to take a year off to develop her also figured it would be a good idea to work. Each received baskets in return. provide matting and framing on the Marie Lyman’s artwork consists of premises, so that people could buy a print stagelike settings with small abstract fig­for $50 to $75, then pay a reasonable ures that seem to represent historical amount for the frame. Japanese theater. She had developed these Asked why she became successful, she in Japan and was going to have an ex­replied that it really was a matter of hibition in Oregon, but she wanted a hard work, knowing what you want to catalog and there was no money to pro­ do, setting goals carefully, and follow- duce one. She got previous students and through, follow-through, follow-through. some clients, but mostly students, to in­ Something else she said that is too often vest in her for this. She promised, “I true: A lot of artists-craftspeople think will, if you invest $250, have a special that they’re going to be “discovered.” Too box made and in it will be the catalog many of us feel, “Oh if I just do the very plus a piece of ancient Japanese textile best I can, it will be so good, someone and a bit of my fabric along with somewill find me.” Maybe that’s possible. But small pieces of Japanese this-and-that.”then you can also go down just as quick­ By selling 10-15 of these boxes, she was ly as you go up, and you won’t know able to produce the catalog. how or why. If you use your assets and This idea of investment selling is a work hard to make it happen, then it’s way of stretching our consciousness, us­ more likely you’ll be able to cope with ing the creativity we have as artists/ the ups and downs, perhaps bettering craftspeople to find other ways of doing the situation. things. The author A resident of Sherman Oaks, One final success story: Nancy Taylor California, artist Libby Platus is a consultant Stonington does water colors and prints. to artists, dealers and arts associations. This She makes the kind of work that any­ and next month’s article on “Making Con­ body can understand: scenes of snow on nections,” were transcribed and excerpted the mountains, of flowers, birds, houses. from her workshop for Ohio Designer Crafts­ Nancy had virtually earned a water re­men.

April 1988 85 86 Ceramics Monthly ... News & Retrospect Continued from Page 75

whose surfaces resemble aging, painted enamel. Shaw thus establishes a technical and poetic dialogue between ‘real’ object surface texture and applied decoration.”

Gordon McVay Earthenware platters and vessels with complex slip and glaze patterns by Seattle ceramist Gordon McVay were exhibited at R. S. Levy Gallery in Austin, Texas, through January 9. “At this point,” McVay com­ mented, “my work is concerned with non- referential, abstract ideas that use the platter form as a circular, concave canvas. Imbued with slips, carved in a mazelike motif, they become for me alive, personal and at the same time universal and timeless.” In turn, his sculptural vessels (such as this untitled, 18-inch-high form) emphasize “both

Untitled earthenware vessel, 18 inches in height, with slips and glazes positive and negative contours. As open ves­ sels, the pieces become hollow shells with interior and exterior considerations. Func- tionless in everyday life, they deal with ec­ centricities and absurdities.”

Paul Chaleff “Clay is liquid when forming it. As such, it is like ink on the fingertip; the print of the maker is inescapable,” observed Pine Plains, New York, potter Paul Chaleff, whose thrown stoneware vessels were featured in a recent solo exhibition at Paula Allen Gallery in New York City. Continued “Torn and Opened Jar,” 15 inches in height, wood- fired stoneware

April 1988 87 ... News & Retrospect Continued from Page 87

Ranging from VA to 6 feet in height, the forms were coated with glaze then reduction fired in a gas kiln, or “fire glazed” by ash deposited during a five- to eight-day firing in a wood-burning tube kiln. “One of the reasons I believe that [wood firing] has such allure for potters, besides the obvious ex­ citement of the process,” Chaleff remarked, “is that the finished work imparts a sense of history, a continuum emotion. Indeed, I try to preserve that respect for history through­ out my work, in concept, process and form.”

Nell Hazinski: Formal Play 10-inch porcelain pitcher, thrown and handbuilt, by Douglas Gunn with pastel slip decoration It is difficult to tell exactly who, or what, but to refuse to conform to the formal ex­ is being mocked by the formal playfulness in pectations we have of functional pots. The the functional porcelain by resident potter contradiction is between Hazinski’s commit­ Nell Hazinski shown in a recent solo exhi­ ment to function and her inability to resist bition at the Clay Studio in Philadelphia. poking fun at the transmission of formal par­ The potter’s own opinion is that she mocks adigms. The deep spouts are offset by han­ herself. But her parodic interpretation of tra­ dles that facilitate pouring by raising the cen­ ditional forms makes it questionable whether ter of gravity out of the ample body of the her project is as innocent as this implies. pot; these pitchers do pour well. Certainly, the contradiction created by the For all their playfulness, it is difficult not parodic tension in, say, her Minoan-inspired to imagine a context of use for these pots. pitchers, has the effect of mocking the potter; Thrown and altered shapes like the pitchers the accentuation of the rigidity and depth of and the large, flat serving bowls, and drape- the Minoan spout makes it uncertain how molded ovals and rectangles—all are de­ functional these pitchers really are. They seem signed to be seen on tables and in ovens with to insist on being seen in a context of use, food in them.

88 CERAMICS MONTHLY