Focus College Clay Ralph Bacerra, 1938–2008

focus Monthly college clay

Ralph Bacerra, 1938–2008 focus college clay

September 2008 $7.50 (Can$9) www.ceramicsmonthly.org

Ceramics Monthly September 2008 1 Monthly Ceramic Handbook Series Publisher Charles Spahr Editorial [email protected] telephone: (614) 794-5895 fax: (614) 891-8960 Electric Firing: editor Sherman Hall assistant editor Brandy Wolfe assistant editor Jessica Knapp technical editor Dave Finkelnburg online editor Jennifer Poellot Harnetty Creative Techniques editorial assistant Holly Goring Advertising/Classifieds [email protected] telephone: (614) 794-5834 fax: (614) 891-8960 classifi[email protected] telephone: (614) 794-5843 advertising manager Mona Thiel What can you do with an electric kiln? advertising services Jan Moloney Marketing There seems to be no limit to the possibilities. In telephone: (614) 794-5809 marketing manager Steve Hecker Subscriptions/Circulation Electric Firing: Creative Techniques you’ll be inspired customer service: (800) 342-3594 [email protected] by the range of techniques covering many facets of Design/Production production editor Cynthia Griffith design Paula John pottery making and surface treatments. And you’ll Editorial and advertising offices 600 Cleveland Ave., Suite 210 also get information on materials, maintenance, Westerville, Ohio 43082 Editorial Advisory Board Linda Arbuckle; Professor, Ceramics, Univ. of Florida glazes or even how to make a wood- or gas-fired kiln Scott Bennett; Sculptor, Birmingham, Alabama Tom Coleman; Studio Potter, Nevada out of an old electric kiln. From Pennsylvania red- Val Cushing; Studio Potter, New York Dick Lehman; Studio Potter, Indiana Meira Mathison; Director, Metchosin Art School, Canada ware and lusters to maintenance and glazes, you’ll Bernard Pucker; Director, Pucker Gallery, Boston Phil Rogers; Potter and Author, Wales find your electric kiln is capable of most anything. Jan Schachter; Potter, California Mark Shapiro; Worthington, Massachusetts Susan York; Santa Fe, New Mexico Ceramics Monthly (ISSN 0009-0328) is published monthly, except July and August, by Ceramic Publications Company; a subsidiary of The American Ceramic Society, 600 Cleveland Ave., Suite 210, Westerville, Ohio 43082; www.ceramics.org. Periodicals st postage paid at Westerville, Ohio, and additional mailing offices. Opinions expressed are those of the contributors and do Available not necessarily represent those of the editors or The American Ceramic Society. The publisher makes no claim as to the food safety of published glaze recipes. Readers should refer to MSDS (material safety data October 1 sheets) for all raw materials, and should take all appropriate recom- mended safety measures, according to toxicity ratings. subscription rates: One year $34.95, two years $59.95. Canada: One year $40, two years $75. International: One year $60, two years $99. back issues: When available, back issues are $7.50 each, Only $29.95 plus $3 shipping/handling; $8 for expedited shipping (UPS 2-day air); and $6 for shipping outside North America. Allow 4–6 weeks for delivery. change of address: Please give us four weeks advance notice. Send the magazine address label as well as your new FREE Shipping address to: Ceramics Monthly, Circulation Department, P.O. Box 662, Mt. Morris, IL 61054-9662. contributors: Writing and photographic guidelines When You are available online at www.ceramicsmonthly.org. indexing: Visit the Ceramics Monthly website at Order Online www.ceramicsmonthly.org to search an index of article titles and artists’ names. Feature articles are also indexed in the Art Index, (US Only) daai (design and applied arts index). copies: Authorization to photocopy items for internal or personal use beyond the limits of Sections 107 or 108 of the U.S. Copyright Law is granted by The American Ceramic Society, ISSN 0009-0328, provided that the appropriate fee is paid directly to Copyright Clearance Center, Inc., 222 Rosewood Dr., Danvers, MA 01923, USA; (978) 750-8400; www.copyright.com. Prior to photocopying items for classroom use, please contact Copyright Clearance Center, Inc. This consent does not extend to copying items for general distribution, or for advertising or promotional purposes, or to republishing items in whole or in part in any work in any format. ceramicartsdaily.org/books Please direct republication or special copying permission requests to the Publisher, The Ceramic Publications Company; a subsidiary of American Ceramic Society, 600 Cleveland Ave., Suite 210, Westerville, Ohio 43082, USA. postmaster: Send address changes to Ceramics Monthly, P.O. 866-721-3322 Box 662, Mt. Morris, IL 61054-9662. Form 3579 requested. Copyright © 2008, The Ceramic Publications Company; a subsidiary of American Ceramic Society. All rights reserved.

www.ceramicsmonthly.org Ceramics Monthly September 2008 2 Ceramics Monthly September 2008 3 Ceramics Monthly September 2008 4 September 2008 / Volume 56 Number 7

Monthly focus college clay

33 2008 Undergraduate Showcase In what we are planning as an annual feature, the inaugural competition for undergraduate ceramic students pretty much blew us away with the quality and variety of work being made by those just starting out in the feld. Have a look, and start getting ready for next year! 42 Regional Student Juried Exhibition The annual exhibition, which takes place at the National Council on Education for the Ceramic Arts conference, occupied three gallery rooms at the Pittsburgh Center for the Arts this year. The jurors share their thoughts on the work and their reflections on ceramic education. 58 The MFA Factor: Arizona State University Each fall, we profle several graduate ceramics programs around the United States. This kick-off installment is the frst of four; one in each issue through December. To submit your school profle, go to www.ceramicsmonthly.org and click on “Submit Content.” features

48 Ralph Bacerra, 1938–2008 by Garth Clark A tribute to an artist, teacher and inspiration to many.

51 Enjoying the Still Life by Leigh Taylor Mickelson The colorful conglomerations of Anat Shiftan encourage us to slow down and contemplate the small things.

54 Natural Resources: Elaine Parks’ Balancing Act by Kris Vagner An artist in a town of just thirteen people explores the blurry boundaries between nature and culture—between landscape and the decay of human structures. monthly methods Perfect Perforation by Elaine Parks

42 33

cover: Platter, 28 in. (71 cm), in diameter, 2007, by Ralph Bacerra; page 48. Photo: Vicki Phung, courtesy of Frank Lloyd Gallery. 54

Ceramics Monthly September 2008 5 departments

8 from the editor

10 letters from readers

14 answers from the CM technical staff

16 suggestions from readers Pattern on Pots: Screen-Printing Glaze by Susan Kotulak 20 upfront 20 Exhibitions 28 Reviews 62 call for entries 62 International Exhibitions 62 United States Exhibitions 64 Regional Exhibitions 66 Fairs and Festivals 68 new books 68 Studio Pottery by Oliver Watson 68 Extruder, Mold and Tile edited by Anderson Turner 70 Marguerite Wildenhain and the Bauhaus edited by Dean and Geraldine Schwarz 72 calendar 72 Conferences 72 Solo Exhibitions 73 Group Ceramics Exhibitions 74 Ceramics in Multimedia Exhibitions 76 Fairs, Festivals and Sales 78 Workshops 82 International Events 86 classiﬁed advertising 87 index to advertisers 88 comment 26 The Kiln Muse by John Millring Bauman

online www.ceramicartsdaily.org information and inspiration from inside the artist’s studio Features Studio tips, techniques, profles, events and more. Education Listings of colleges, classes, guilds, workshops and residencies. Galleries Comprehensive listing of museums and galleries that showcase ceramic art. Bookstore Complete line of ceramic art books to inspire, inform and instruct. Free Gifts Handy resources for the studio, including projects, recipes, our annual Buyer’s Guide, Workshop Handbook and more! Magazines 20 24 Current features and departments, archived features, back issues.

Ceramics Monthly September 2008 6 Ceramics Monthly September 2008 7 from the editor by Sherman Hall

The firstCeramics Monthly cover I saw selfish indulgence on my part—something In our May issue, we announced the come off the presses as a staff member was of a thank-you for the inspiration of that launch of our Undergraduate Showcase the September 1999 issue. One month first cover exactly nine years ago—but I competition, and the editorial staff and in, still being trained, someone put an think I am not alone in my opinion that advisory board of Ceramics Monthly have advance press copy on my desk. Jumping his work and his contributions to studio chosen fourteen students out of the hun- off the cover was a large orange jar with an ceramics warrants that placement. dreds of submissions to present in print ornate handle on the lid, the likes of which Not least among Bacerra’s accomplish- this month. They kick off the features on I had never seen before. Then I opened ments were those in the classroom. We page 33, and we think the accomplishment to the article and there was an even more learned of his passing from several of his and quality of the works presented speaks detailed piece—covered with more of the former students, all of whom could not well of the future of ceramics. same graphic detail. It wasn’t even the style say enough about the influence he had, We also asked Kristen Kieffer and Al- of work I was interested in making, but and continues to have, on their work. That leghany Meadows, the jurors for the 2008 there was no denying the dedication and kind of impact is amazing. But I don’t NCECA (National Council on Education accomplishment in it. think it is uncommon in ceramics. for the Ceramic Arts) Regional Student The jar on that cover was made by I have heard many wonder aloud if stu- Juried Exhibition, to reflect on what they Ralph Bacerra, and I have always remem- dio ceramics will “survive” the next genera- saw in the works they chose for the exhibi- bered that his work marked the beginning tion, what with the advent of technological tion at the Pittsburgh Center for the Arts. of my tenure here at CM. In June of this gizmos and rapid-fire information ex- We are all students in some way, just year, Ralph Bacerra passed away. While change, but I haven’t heard it from ceramics as we are all teachers in some way. From I had the pleasure of meeting him only instructors. I think this is because they see well-established artists like Ralph Bacerra once, I have always held up the ambition the promise of the next wave of artists com- to an undergraduate student just discover- and honesty in his work as an example of ing through our institutions, and they have ing a voice in clay, we collectively define what I should strive toward in the studio. an encouraging role in the development of the direction of contemporary ceramics. Garth Clark, who knew Bacerra better these artists. Technology is a constant force I think we have chosen an exciting direc- than many in this field, has written a trib- in our world (always has been), and many tion, and I can’t wait to see what we come ute that begins on page 48. If you didn’t of today’s ceramic artists are embracing it in up with next. already notice, one of Bacerra’s recent plat- ways that result in work that was not pos- ters graces this month’s cover. It’s a bit of a sible even ten years ago.

Ceramics Monthly September 2008 8 Ceramics Monthly September 2008 9 letters e-mail letters to [email protected]

Education Kiln with beautiful flashing. The design includ- and he had the total control of the brush. I was very excited after reading about ed a light weight, easy-to-move door to the He was not just a phenomenal decorator, the “Manabigama” [by John Thies, May firebox at waist height, with wood stacked but his incredibly beautiful forms were 2007 CM], which fires in eight hours with on a table to the right—so no bending; perfectly made, whether they be thrown or half a cord of wood. All my wood-firing easy to stoke. hand built. friends were skeptics, to say the least, but We all left excited and sold on the A friend of mine was in awe watching when John Thies and Bill van Gilder of- manabigama. In these days of diminishing Ralph decorate work at a workshop in the fered a guest workshop to test their new- resources, half a cord is a dream. early ’80s. He had never seen a brush go so and-improved design, I jumped on it. Dian Magie, Executive Director, UNC fast and without any pre-drawing. Ralph Center for Craft, Creativity and Design, would start on one side and paint until he Hendersonville, North Carolina got to the opposite side. Ralph did not follow trends; Ralph worked for Ralph. To read the original “Manabigama” ar- I don’t believe Ralph’s teacher, Vivika ticle, and to check out a diagram of the kiln, Heino, has received her deserved credit, but go to www.ceramicsmonthly.org and click on she educated several of our country’s ce- the “Article Archive” link. ramic geniuses; Ralph Bacerra, Don Pilcher, Larry Carnes and Adrian Saxe, to name a Ralph Bacerra few. Ralph took the knowledge that Vivika In June of 2008, the ceramic-art world imparted and applied it to the greatest work lost one of the most incredible ceramic of his time. It is my feeling that his work There were six of us from throughout the artists of the 20th and 21st centuries when has been, and always will be, unsurpassed. U.S. and Canada, loading over 150 bisque Ralph Bacerra died. It is my belief that As a ceramic student of the ’60s, I and pots on Friday, firing Saturday, beginning Ralph was without doubt a ceramic-art many others put Ralph at the top of the at 6 A.M. We hit cone 12 at 10 A.M., genius. He was in complete control of icon ladder, and we have spent our careers opened passive dampers at 11 A.M. and all materials and processes and made art trying to just come close. Ralph showed finished firing at 3 P.M. It was all that was that no one else could even come close to. us that it could be done, and his work was advertised and more. The ash was there, Ralph had the forms, he had the glazes, the carrot-on-a-stick that kept us going.

Ceramics Monthly September 2008 10 Ceramics Monthly September 2008 11 letters

Certainly he is and will be missed, but I also feel that he will never be surpassed in ceramic-art history. Thank you, Ralph. Tom Turner, Mars Hill, North Carolina

Comment In her Comment “Wherefore Teapot?” in the April 2008 issue, Lori Keenan Watts does not sound like a “killjoy” as she states; she sounds like she can’t imagine making anything other than what was dictated to her at the school she graduated from. Most ac- claimed artists, to gain notori- ety, realize that they have to unlearn most or all of what they learned in the art institutions in order to find their own way. In art, a “lazy” artist is the one who does not want or dare to step out of his/her comfort zone. Just imagine if Cezanne, Picasso, Mondrian and so many others had paused and tried to “hear the feedback” that their “erstwhile colleagues might offer” in order to continue their work. What a disaster that would have been for the art world! The medium and the subject are means of expression. Judging a teapot for how the water flows from the spout or how the handle fits in the hand is not the only criteria for judging a piece of art work. If a sculpture of a person or animal does not function like a person or animal, how is it judged? Any work of art has its own function. In art, it is not the subject that is significant, it is how the forms are utilized for expression. Many paintings of sunflowers have fallen into oblivion, but not the one Van Gogh painted. Jafar Shoja, Nashua, New Hampshire

Correction In “Work and Play: The Potter’s Life,” in the June/July/August issue, we stated the location of John Glick as Bloomfield Hills, Michigan. While he did attend Cranbrook Academy in Bloomfield Hills, he has lived in Farmington Hills, Michigan, since 1964. The corrected information, as well as his proper website link, is available on the June/July/August back issue page at www.ceramicsmonthly.org. Ceramics Monthly September 2008 12 Ceramics Monthly September 2008 13 answers From the CM Technical Staff e-mail technical questions to [email protected]

Q I am firing to cone 6 in a 7-cubic-foot For authoritative information on your The bottom shelf should be a minimum Olympic gas kiln. The kiln has five burners kiln, I called Rob Haugen, president of of 3 inches above the floor of your kiln. through the floor of the kiln and a port in Olympic Kilns. He said your five-burner (Haugen likes stacking an updraft kiln using the lid which is dampered with a piece of kiln kiln is at least twenty years old. More recent half shelves, so that they may be staggered shelf. I start reducing at cone 014 but I never versions of that kiln have been made with a and adjusted, depending on what experience get complete reduction throughout the kiln. three-burner design, but the things you need shows produces the best results.) Generally, I get partial to whole reduction to check are the same. Here are Haugen’s Next, check the gas pressure to your kiln on individual pieces but not on the whole suggestions for your kiln: burners. This is critical. If the pressure is too load. When I am not striving for reduction, First, check the inside diameter of the high, the gas will ignite too far up into the I still get reduction in unexpected (and orifice in each burner on your kiln. It is pos- kiln. The correct gas pressure for an Olympic sometimes unwanted) places. I record the usual areas of reduction achieved after each sible that one or more orifices may have been gas kiln is 11 inches of water column pres- firing. This changes somewhat with each changed in the past if the fuel was changed, sure for liquid propane and 7 inches of water load and drastically changes after cleaning and that the right orifice may not be currently column pressure for natural gas. out the burners. Celadons and copper greens installed in one or more burners. The correct Finally, as you obviously know, the adjust- 5 are not options, due to partial reduction orifice size is ⁄64 of an inch inside diameter for ment of the damper determines the amount 3 creating really unpleasant results. liquid propane and ⁄32 of an inch for natural of reduction within the kiln. The damper Firing any gas kiln can be a challenge, but gas. The easiest way to check the size is with position controls the amount of secondary you can produce great firings with your gas the correct size drill bit. If the bit fits tightly air that enters the kiln to burn with the fuel. updraft kiln. The fact that you are having in the hole, that is the size. To reduce the kiln atmosphere, you want to problems indicates there is either something The kiln shelves for a gas kiln should damper the top hole and watch for flame to wrong with the burners, the arrangement be smaller in diameter than the shelves for appear out of the peep holes. of the kiln shelves, the gas pressure, or the an electric kiln. The correct shelf size for a Dave Finkelnburg, CM Technical Editor adjustment of the damper during firing. 23-inch gas kiln is 19 inches in diameter. Rob Haugen, President, Olympic Kilns

Ceramics Monthly September 2008 14 Ceramics Monthly September 2008 15 suggestions e-mail suggestions to [email protected]

Pattern on Pots: Screen-Printing Glaze by Susan Kotulak

I’ve always loved pattern. For many years I I was mixing a batch of trusty cone 05 made and sold raku pottery with glaze inlay. I raku glaze (8 cups Gerstley borate, and 2 cups would mask with tape, then glaze, then wax over nepheline syenite) with a new supply of Gerstley that, then repeat. My torn tape inlay patterns borate. The batch suddenly had a pudding-like became more and more complex, the bits of texture that made the glaze uncooperative for tape smaller and smaller, until the pots started to seem too small to hold them all! At the same time, my career started to eat my life, and I had little time for art. Then I found myself suddenly divorced from my firing partner and was engulfed in a full blown mid-life crisis. After a period of flux (pun intended), I re-established myself, remarried and took an early retirement from my all-consuming career. I pursued textile design for five years, concentrating on monoprinting on fabric and shibori (Japanese shaped resist; the early and more sophisticated predecessor to tie-dye). The pouring or dipping. Frustrated, I noted that longing to get my hands into clay returned, but it was as thick as the thickener I used to carry I couldn’t seem to let go of the textile work. dye through the silk screens I used for print- It was a bit like bigamy—alternating between ing fabric. the two. The materials and equipment for both The pattern on this vase was first silk screened A light went on! I found I could silk-screen media are side by side in my studio. One day, onto open-cell foam, then immediately transferred the glaze directly onto flat bisqueware. But how these two worlds collided. to the surface of the pot. could I get it onto thrown forms? I researched

Ceramics Monthly September 2008 16 Ceramics Monthly September 2008 17 suggestions transfer paper, which can deposit a thin layer of oxide or stain, but it wasn’t suitable because trial and error glaze doesn’t develop properly unless it is a thick enough coating. Scanning my studio, my eye paused on some sheets of yellow foam I had Pudding or mayonnaise consistency is best been using in my textile work, and I realized for screen-printing. Watery glaze spreads too the open cells of the foam were perfect for freely on the foam. Very thick glaze sticks in receiving and holding a thick deposit of glaze. the screen, or dries in the foam before the I did a test: By screening the glaze onto the bisque ware can wick it up. foam and then pressing the pot down onto it, the porous bisqueware sucked in most of A very light spray of water to dampen the foam before the screen is printed can help delay the glaze from drying, allowing more time to position the pot. Experimentation is essential, as all materials vary.

Extremely fine detail transfers, such as photographs of people, don’t work well with this method because the pores of the foam need to be substantial enough to hold enough glaze, which limits the delicacy of the image to some degree. Bolder lines, ¹⁄8 of the wet glaze held in the foam, transferring an inch wide or wider, and silhouette-type the pattern onto the pot. I fired it, and found images work best. that there was enough glaze to make the color and finish develop. Suddenly all the patterns The “stretchiness” of the foam helped make in my wearable art could be transferred as glaze the transfer conform to the contours of the onto pottery! pot. By using my hands under the foam to I experimented with raku glazes, high-fire stretch or compress it as I pressed it gradu- glazes, slips—anything I had in the studio—by ally around the pot, I could pattern the entire surface of the pot with only a single seam. By selecting patterns that were not overly geometric, I was able to make the seam disappear.

The images that seem to transfer with the least obvious seams are those with an over- all pattern that is organic and curvaceous rather than rigid or geometric. For straight cylindrical shapes, almost any pattern can be made to transfer well. But for those pots with wide shoulders and narrow bottoms, adding less water to a new batch or letting a for example, any purely vertical element in mixed batch evaporate to the right thickness. the image will bend as it wraps around to The freedom to merge the textile work and the far side of the pot. the pottery was an important step for me in restoring the feeling of my work being unified, Some glaze remains in the screen and foam having a sense of wholeness about it. afterward, and these can be washed out into Never happy to stay in one place for long, I a tub or bucket. For those doing volume am already moving on. I’ve become enamored production using this technique, the wash of the surfaces that anagama firing contributes water slurry can be left to evaporate and to my pots, and am responding to the fire’s re-used, if desired. The glaze may stain the painting by creating display cloths that echo foam but will not transfer later. the colors and flashings of the pottery. I’m now showing these as paired works. Thin foam sheets dry faster after washing, and I put them through an old-fashioned Susan Kotulak maintains a studio in Clermont, wooden wringer before setting them out to New York. You can see more of her work at dry before their next use. www.tivoliartistsco-op.com. Ceramics Monthly September 2008 18 Earline Green’s clay spirit quilts on display in the Dunbar Lan- caster-Kiest Branch Library in Dallas, Texas.

A Texas potter makes 1,300 pound quilts with her Paragon Dragon As a child, Earline Green made hand-stitched quilts with her grandmother Mama Freddie. Earline spent more time quilting with the older ladies than she did playing with children her own age. Her early experiences with the lively quilters taught her a life-long love of artwork. Earline’s other grandmother, Mama Ginger, taught her advanced quilting patterns. Later this influenced the design of Earline’s stoneware quilt tile mosaics displayed in the entrance of the Paul Laurence Dunbar Lancaster-Kiest Library in Dal- las, Texas. For that project, Earline fired 284 white stoneware tiles—all in her faithful Paragon Dragon. “The Dragon's design and controls are perfect for firing large flat pieces,” said Earline. “The digital programming controls provide a consistent firing environment that eliminated cracks and warpage in Earline Green with her Paragon Dragon front-loading kiln. This kiln is be- this project. coming a favorite with potters. It is easy to load, heavily insulated, and designed to reach cone 10 with power to spare. “During tile production, I fired my Dragon two or three times a week for four to six weeks at a time. I expected and received excellent results with each firing.” Contact us today for more information on the 2011 South Town East Blvd. Mesquite, Texas 75149-1122 exciting Dragon kiln. Ask about the new easy-open 800-876-4328 / 972-288-7557 switch box hinged at the bottom. Call us for the Toll Free Fax 888-222-6450 name of your local Paragon distributor. www.paragonweb.com [email protected]

Ceramics Monthly September 2008 19 The Fruits of Smoke “The Fruits of Smoke,” a solo exhibition of work by upfront Ángel Garraza, was on view exhibitions and reviews recently at the Sala Luzán (www.cai.es/luzan.html) in Zaragoza, Spain. “Time is precisely the fundamental key to the work of Ángel Garraza,” said Galder Reguera in the catalog essay “We Are What We Are.” exhibitions: “Time, yes, but in a personal 20 The Fruits of Smoke code, that is, time incarnated Sala Luzán, Zaragoza, Spain in memory, in memories, in 20 The Artful Tabletop Lyndhurst, A National Historic Trust, that which we call past and Tarrytown, New York that is nothing other than what 21 Intersections of Nature + Industry we really are, the road we have Welch School Gallery, Georgia State University, Ángel Garraza’s The Fruits of Smoke, dimensions variable, Atlanta, Georgia stoneware; at Sala Luzán, Zaragoza, Spain. travelled to where we are now. 21 Handle with Care The Fruits of Smoke, the piece Pelham Art Center, Pelham, New York that gives its name to the title of the exhibition, that we now focus on, represents the very 22 Yuko Suzuki same structure that reminds us of the brain, gradually submitted to a series of changes. It is, ISE Cultural Foundation, New York, New York 22 Six Ceramic Artists: Pioneers of the well, a metaphor of time, that is nothing if not change, in which the human—represented German Studio Craft Movement by the brain-like form of the pieces that make up the series, is subjected to a kind of natural Pewabic Pottery, Detroit, Michigan time, passing through a series of evolutionary states that journey from the flowering of 22 Lynn Smiser Bowers buds to the falling of leaves, the color changes they go through, that happen gradually in Terra Incognito Gallery, Oak Park, Illinois each piece. We see, therefore, that as in the medieval calendars that illustrate the porticos 24 Molly Hatcher Vertigo Art Space, Denver, Colorado of churches, in this work time is represented through a natural image, of harvest time, of 24 Glorious Glazes mother earth, of man-made time.” Armstrong’s Gallery, Pomona, California 26 Hyun Kyung Yoon cross mackenzie ceramic arts, Washington, D.C. The Artful 26 Liz Lescault Waverly Street Gallery, Bethesda, Maryland Tabletop 26 Pamela and Vernon Owens: “The Artful Tabletop,” Potters of Jugtown an exhibition of contem- Gregg Museum of Art and Design, Raleigh, North Carolina porary tableware by over 100 potters from across reviews: the nation, will be on 28 Remembering Beauty: view from October 5–No- The Ceramic Art of Victor Babu vember 16 at Lyndhurst, by Elisabeth Kirsch A National Historic Trust Kansas City Jewish Museum Foundation’s Epsten, Gallery, Overland Park, Kansas (www.lyndhurst.org) in 30 Nobuhito Nishigawara: Cultural Identity Tarrytown, New York. by Matthew Kangas The exhibition will Winston Wächter Fine Arts, Seattle, Washington be held in conjunction with Westchester Arts Council’s “All Fired Up!” programming. Julia Gallo- way, Department Chair of the School for American Amy Halko’s Salt and Pepper Shakers, 3¾ in. (10 cm) in height, porcelain, Crafts at the Rochester 2007; at Lyndhurst, Tarrytown, New York. Institute of Technology, guest curated the exhibition. The potters she invited to participate work in a variety of different styles and represent a physical thesaurus of contemporary pottery today. All handmade, the unique pieces are both for service of food and decoration of the table. Ceramics Monthly September 2008 20 Intersections of Nature + Industry “Intersections of Nature + Industry,” curated by Merrie Wright, was on view recently at the Welch School Gallery at Georgia State University (www.gsu.edu/artgallery) in Atlanta, Georgia. The exhibition explored areas where nature and industry intersect and included works by A.J. Argentina, Mark Burleson, Timothy Van Beke and Wright. “Burleson’s mixed media constructions capture a permanent record of his observations of contemporary culture,” said Wright. “His Sushiware Survivor Set is a ready made kit that includes traditional Japanese utilitarian wares along with survivor gear such as a pipe bomb and gas mask. Burleson’s reference to historic materials and processes

Wendy Walgate’s Blue is Loyalty, 22 in. (56 cm) in height, white earthenware, slipcast, glazed with vintage metal egg basket; at Pelham Art Center, Pelham, New York. Image courtesy of Ferrin Gallery.

Handle With Care “Handle With Care,” a group exhibition, will be on view through October 25 at the Pelham Art Center (www.pelhamartcenter.org) in Pelham, New York. The exhibition juxtaposes the work of ten ceramic artists with collectible figurines owned by people in the surrounding community. “We are a community art center,” said Lisa Robb, Director of the Pelham Art Center. “The figurine is an art form that is in people’s lives, in their homes and is a wonderful bridge for people to get to the Art Center, a way for us to show some really outstanding contemporary work in an accessible way. “If antique and high-end figurines are valued and reflect discerning taste on the part of the collector, and mass-or cheaply produced figurines are often dismissed as kitschy, sitting squarely at the center of this dialogue is the figurine-inspired work by the contemporary artists. ...Many of the artists [in the exhibition] play with the figurative in an expressionistic and grotesque style, working with color, texture and form to give pieces their character. The most recognizable qualities...are humor and subtle meanings that arrive in the form of political, religious or consumer-culture references.”

that suggests, all at once, molecular models, sex toys and medical Top: Timothy Van Beke’s Genetic Landscape 1.0, 21¾ in. (55 cm) in height, wood panels, oils, acrylics, decals, resin, bronze hose barbs, white apparatus. While they reflect an impersonal, mass produced feel, earthenware, 2008. Bottom: Mark Burleson’s Cache, 15 in. (38 cm) in height, they also suggest a seductive connection with the body, relating cast ceramic, mixed media, 2006; at Welch School Gallery, Georgia State societies increasing desire to transform our bodies through a fusion University, Atlanta, Georgia. of technology and physiology. alongside contemporary manufactured goods insidiously suggests how “While each artist brings a unique perspective to the theme of traditional customs and philosophies have changed over time. the exhibition, the use of clay and ceramic processes is inherent to “Van Beke’s mixed media wall panels are infused with color and each of their works. Each artist acknowledges the history of the imagery relating to chromosomes, molecular formulas and contem- material and processes, yet explores techniques and ideas unique porary signage. Each panel exhibits an intimate ceramic sculpture to our time.” Ceramics Monthly September 2008 21 exhibitions

Six Ceramic Artists: Pioneers of the German Studio Craft Movement “Six Ceramic Artists: Pioneers of the German Studio Craft Movement,” a group exhibition featuring the work of Beate Kuhn, Gorge Hölt, Ursula and Karl Scheid and Gotling and Gerald Weigel, was on view recently at Pewabic Pottery (www.pewabic.com) in Detroit, Michigan. Curated by Linda Ross, the exhibition included many works that were seen in the U.S. for the first time. “I am ecstatic at the opportunity to curate this show at Pewabic Pottery, a place that represents the birth of the studio craft movement in America,” said Ross. “This will certainly add a new and important dynamic to the history of those who pioneered the classical phase of modern ceramic art in Germany at the end of World War II.”

Yuko Suzuki’s Pop, 11 in. (28 cm) in height, slipcast and handbuilt ceramic, clear glaze, decals, mirror, 2008; at ISE Cultural Foundation, New York, New York. Yuko Suzuki New Work by Yuko Suzuki was on view recently at the ISE Cultural Foundation (www.iseny.org) in New York, New York. “[My] ceramic artwork captures scenes of human relationships in daily life,” said Suzuki. “The playing field of each relationship, may it be in business, friendship or love, has certain rules and constrictions. Every day in life, people modify their behavior in order to be accepted by others, or to fit in. People often identify themselves with these altercations, which become part of their identity. [I] explore human relationships in various environments with humor and imagination, and create a story to project such familiar moments. “The busts are molded from a pre-existing bust from which mul- tiples are made. Before the replicas are dry, they are altered in shape Ursula Scheid’s Conical Vessel, 3¼ in. (8 cm) in height, thrown stoneware, to create a variety of gestures. The busts are then glazed and fitted 1986; at Pewabic Pottery, Detroit, Michigan. with decals before the final firing.” Lynn Smiser Bowers New work by Lynn Smiser Bowers was recently on view at Terra Incognito Gallery (www.terraincognitostudios.com) in Oak Park, Illinois. “Inspiration for my surfaces is eclectic and varied,” said Bowers. “My recent work reflects influences from the textile world. African Asafo Flags, 18th century Japanese ikat kimonos and old pictorial Navajo weavings contain patterns and images that intrigue me. Since pottery is an ancient art form, I also look to the pots of yesterday for information. Lately, I’ve been studying the figurative scenes taken from daily life as depicted on early Greek vessels. They are compelling, for they give us snapshots and stories from a moment in time. These artistic footprints provide a path for me to follow, allowing past traditions to be carried forward, and new ideas are created from a mingling and blending of old expressions. “As I reflect on my progression as an artist, I have consistently been motivated by experimentation, while always considering the functional aspect of my work important. I know many of my pieces will be used, so pitchers must pour well, teapots must lift with ease, cup handles must feel smooth and comfortable to the touch. I would describe myself as a functional potter who loves to embellish form and surface. I have discovered using repetition of the same form facilitates new ideas. You might compare it to an old Eastern view of life, as seen in Tai Chi (a repetition of sixty-four movements) that out of the repetition of the same form comes new Lynn Smiser Bower’s Compote, 5¼ in. (13 cm) in height, porcelain, cone 10 reduction, thrown and sprigged; at Terra Incognito Gallery, form. The usefulness of my work is a touchstone from which new pots spring and Oak Park, Illinois. which reinforces my belief that making pots is a great way to spend the day.”

Ceramics Monthly September 2008 22 Ceramics Monthly September 2008 23 exhibitions

Molly Hatch New work by Molly Hatch was recently on view at Vertigo Art Space (www.vertigoartspace.com) in Denver, Colorado. “Hatch’s work has appropri- ated imagery from the French baroque rococo and European

Installation view of Molly Hatch’s Salon Familiar, 12 ft. (3.6 m) in height, porcelain with underglazes, slips and stains, 2008. chinoiserie traditions,” said gal- Inset: Salon Familiar Detail: Quail Platter, 25 in. (64 cm) in height ; at Vertigo Art Space, Denver, Colorado. lery director Kara Duncan. “ As a result of coming to ceramics via drawing and printmaking, Hatch engages representational drawing on the surfaces of the work. Hatch uses the traditional Japanese mishima slip inlay technique to create her detailed calligraphic line on the surface of the work. The use of the drawn line as an illusion or representation becomes instrumental in understanding the composition of the work as reference to a traditional salon. Her contemporary approach to historical form and pattern crops imagery and enlarges scale in pattern and form resulting in cups and plates that are contemporary counterparts to their historical precedents.”

Glorious Glazes “Glorious Glazes,” a group exhibition, will be on view through September 27 at Armstrong’s Gallery (www.armstronggallery.net) in Pomona, California. The exhibition features the work of Ricky Maldonado, Elaine Coleman, Tom Coleman, Emily Rossheim and Steven Hill. Maldonado is known for his colorful, intricately decorated pottery. His pots are all hand coiled, slip decorated, burnished and then glazed with thousands of dots using a sable brush. “After building a piece, I will sand it smooth and then burnish it with my hands using the natural oils from my skin, then I polish it with soft plastic that I collect from the dry cleaners,” said Maldonado. “Only this plastic works in producing the soft luster that I look for. Not using rulers or templates, I work with a mirror in front of me so that I can get my shape and design as perfect as possible. After I’ve sanded and burnished the piece, I mark it using a soft pencil, and continue to mark as I rotate the piece in front of me. Then I draw from dot to dot until the design is finished. I apply black slip where I have drawn my design. Finally, I apply the glaze one dot at a time, using a small sable brush, and once fire the piece.” Ricky Maldonado’s Large Plate, 15 in. (38 cm) in diameter, red earthenware with glaze decoration; at Armstrong’s Gallery, Pomona, California.

Ceramics Monthly September 2008 24 Ceramics Monthly September 2008 25 exhibitions

Liz Lescault “Beauty and the Beast: Ceramic Vessels and Sculpture,” a solo exhibition of new work by Liz Lescault, was on view recently at Waverly Street Gallery (www.waverlystreetgallery.com) in Bethesda, Maryland. In this exhibition, Lescault explores the two facets of the creative impulse that drives her work: the beauty and the beast. In one world, Lescault strives to capture beauty for beauty’s sake. In the other world, her work blatantly references organic entities, hybridizing animal, plant and the man-made, deliberately creating ambiguity. She crosses the line between beauty and ugliness, as the sculptures both invite and repulse. Hyun Kyung Yoon’s Cursive Line 1, 6 in. (15 cm) in height, white low fire clay body, glazes; at cross mackenzie ceramic arts, Washington, D.C.

Hyun Kyung Yoon Hyun Kyung Yoon recently exhibited new work at cross mackenzie ceramic arts (www.crossmackenzie.com) in Washington, D.C. “My ceramic art works share a common interest in Far Eastern calligraphy, espe- cially in the cursive style wherein kinetic tension of growth, as well as contrast between line and mass, elucidate the art of brush stroke,” said Yoon. “My interest in nature has helped me to discover a new way of seeing and a different approach to developing thematic issues for making of ceramics. ...The natural world is a constant source of wonder, inspiration and delight to me. I try to convey these feelings in my work.” Liz Lescault’s Elegans, 8 in. (20 cm) in height, handbuilt stoneware; at Waverly Street Gallery, Bethesda, Maryland.

Pamela and Vernon Owens: Potters of Jugtown “Pamela and Vernon Owens: Potters of Jugtown,” an exhibition cel- ebrating the 25th anniversary of the Owens’ ownership of the Jugtown Pottery, was on display recently at the Gregg Museum of Art and Design (http://gad.ncsu.edu) in Raleigh, North Carolina. “The exhibition attempts to document today’s Jugtown, by highlighting both the utilitarian ware sought by consumers, and the startlingly original art pieces that Pam and Vernon also produce,” said Charlotte Vestal Brown, Director of the Gregg Museum. “Some of these utilitarian pieces may seem predictable—single- handled jugs, pitchers and bowls—but each is a paradigm of the form and each demonstrates how, within a single shape, minor varia- tions differentiate good, better, best. ...Like many of their colleagues working today, the Owenses produce more work in a single year than most of us can imagine. What is truly important, however, is that the work is consistent—consistently well-made, well-designed and well- Top: Vernon Owens’ Ovoid Vase with Shoulder Bosses, 8 in. (20 cm) in height, stoneware, weathered bronze glaze. Left: Pamela Owens’ Teapot, 6 in. (15 cm) produced—qualities that attest to their skills and talents and are the in height, stoneware, turquoise and cobalt glazes; at Gregg Museum of Art and reasons that their work continues to be sought.” Design, Raleigh, North Carolina. Ceramics Monthly September 2008 26 Ceramics Monthly September 2008 27 reviews

Clockwise from top left: Covered casserole, 6 in. (15 cm) in height, porcelain, 1982. Charger, 28 in. (71 cm) in diameter, porcelain, 1989. Canister with Lizard Handles, 6 in. (15 cm) in height, porcelain, 1983. All works by Victor Babu. Images courtesy of E.G. Schempf.

Remembering Beauty: The Ceramic Work of Victor Babu by Elisabeth Kirsch

More than 50 porcelain chargers, ewers, covered canisters and tureens of nature, his meticulous choice and application of brilliant colors by Victor Babu were the subject of a long-overdue retrospective of the combined with the clearly defined lines of his forms make for works artist’s work at the Kansas City Jewish Museum Foundation’s Epsten that are both vibrant and yet calm.” Part of what makes Babu’s Gallery (www.epstengallery.org) this winter. Pieces in the show dated work so unique, Futter notes, is his ability to make functional from 1958 to 2007, and were drawn from 29 public and private pieces extremely decorative and decorative works useful, which collections. The exhibition was curated by Sherry Cromwell-Lacy, a this show highlighted. former colleague of Babu’s from the Kansas City Art Institute. (Babu Born in the Bronx in 1936, Babu’s aesthetic sensibilities were was a Professor of Ceramics at KCAI from 1968–2001). Cromwell- honed early on. As a child he remembers studying the family’s Persian Lacy also wrote the exhibition catalog, with sixteen illustrations of carpets, and many of his works reflect the rich maroons and verdigris the artist’s work. he observed back then. He frequently traveled to the Metropolitan The Epsten Gallery is only one room, and the exhibition was Museum of Art where, he recounted recently, “This is very important: crowded. But no piece seemed superfluous. The proximity of the I looked at more paintings and sculptures than pots.” The arched line works to one another allowed one to trace the development of Babu’s of his spouts, the swelling fullness of his canisters and ewers, along art over the decades, to note how the scale and volume of the works with the sheer volumetric scale of his work reflect Babu’s innate sense have grown, and how increasingly ambitious and gloriously idiosyn- of historical, modern and contemporary sculpture. cratic his designs of animals and nature have become. Every work in A seminal moment for Babu, however, came over 30 years ago, the exhibition was an exercise in perfection, beginning with a small when he was designing lamps. He went to the Toledo museum with brown ewer made while Babu was a student at Alfred University, to a a friend and discovered a centuries old Chinese bowl from the Tang 26-inch diameter multicolored charger covered with baroque designs Dynasty. The young Chinese curator of the exhibition explained of extraordinary complexity, completed last year. to him that the calligraphy on the pot said: “I am a flower.” Babu Babu, who works with ultra-refined porcelain, has always been remembers, “I was very moved. Someone spoke to me very clearly known for his precise and flawless style. In a recent analysis of from 2000 years before.” Babu’s art, Catherine Futter, the Helen Jane and R. Hugh “Pat” The recent exhibition makes clear that from the beginning, Babu Uhlmann Curator of Decorative Arts at the Nelson-Atkins Mu- had the ability to perfectly emulate, as well as riff on, the forms of seum of Art in Kansas City, wrote that “[Babu’s] detailed studies classical Asian porcelain ceramics. His casseroles, tureens and ewers Ceramics Monthly September 2008 28 Clockwise from top left: Charger, 26 in. (66 cm) in diameter, porcelain, 2007. Charger, 26¾ in. (68 cm) in diameter, porcelain, ca. 1990. Ewer, 10½ in. (27 cm) in height, porcelain, ca. 1970. Installation view of works at Epsten Gallery, Kansas City Jewish Museum Foundation, Overland Park, Kansas.

from the ’60s and ’70s are exquisite enough to be at home in a 16th Beauty in art was at its nadir then, but in reality Babu’s work was century Ming Dynasty palace. His single color pots and platters from anticipating the beginnings of a new global aesthetic. His work was this time period, whether in gun metal black or celadon green, are in line with painters such as Philip Taafe, whose flagrantly beautiful transcendental. His design work, if present, is delicate as a whisper. paintings embraced straight design elements frequently drawn from But works from this period are polite statements compared to what non-Western countries. A host of younger artists followed stead, he started creating in the ’80s. influenced by art critics such as Dave Hickey, who blatantly challenged the art world’s dismissal of the beautiful. The art world has now swung In 1982 Babu began to unleash a torrent of figurative imagery— back into a consciousness that embraces both beauty and design, and lizards, butterflies, frogs, rattlesnakes, exotic flora—on forms that Babu’s retrospective shows us he was there first. began to escalate in scale and volume. His platters now demanded The most fascinating aspect of Babu’s art, however, may be the more than 70 pounds of clay, while the massive lids to his canisters element of punctum experienced by the spectator upon encounter- required endless fittings. He started using his entire body to push and ing the heavily decorated later works. Roland Barthes described an shape the mass for each form. His artworks were still ultra-refined, aspect of punctum as “that accident which pricks, bruises me.” One but with their sensuous curves and extenuated shapes they became of Babu’s signature motifs is his depiction of rattlesnakes, which he metaphors for the human body. His work gave the impression of being recreates in a deliberately life-like scale. porous and alive, to seem like it literally breathed. As a child, Babu loved the zoo. “The Bronx zoo was so wonderful,” While Babu’s ability to create form and volume was admired by he recalls. “The snakes were frightening and exquisite, but you knew his fellow ceramists, he was often criticized for his ornate, “decorative” they might still get you. The notion that things that are beautiful designs. (Babu creates his own stencils for his designs, which he applies can kill you is an idea that has always intrigued me.” Babu’s ability to merge exquisite porcelain ware with designs that look equally using multiple overlays and glazes.) His work was in direct opposi- comfortable in the trendiest of tattoo parlors or on the body of a tion to the dominant aesthetics of the contemporary art world, with Japanese Yakuza make for a startling visual encounter. It’s a bit like its emphasis on conceptualism and politicized artwork. The concept having dinner with Martha Stewart and a Hell’s Angel simultaneously; of beauty was mistrusted and even reviled at this time. Over twenty that’s one meal you’ll never forget. years ago, when he gave a talk at a ceramics convention in Texas, Babu remembers that someone came up to him and asked: “how dare you the author Elisabeth Kirsch is senior contributing art critic for the put butterflies and birds on a plate?” Kansas City Star. Ceramics Monthly September 2008 29 reviews

Clockwise from top left: Itsuwari, 19 in (48 cm) in height, stoneware, enamel, synthetic gold foil, epoxy, 2007. Domestic, stoneware, enamel, epoxy, 2008. Waikiyoku, 28½ in. (72 cm) in height, stoneware, enamel, epoxy, mirrored glass, 2008. Star, 48 in. (122 cm) in height, stoneware, enamel, oil on canvas, 2008. Princess, 42 in. (106 cm) in height, stoneware, epoxy, enamel, 2007. Giddy-up, 40½ in (103 cm) in height, stoneware, enamel, Styrofoam, mirror, epoxy, steel, 2007; at Winston Wächter Fine Art, Seattle, Washington. All works by Nobuhito Nishigawara. Images courtesy of Winston Wächter Fine Art. Photos: Richard Nicol.

Nobuhito Nishigawara: Cultural Identity (Japanese for “disguise”), two animals without legs interlock tongues. by Matthew Kangas Nishigawara calls them donkeys, but this is a stretch. Fantasy plush toys Born in Nagoya, Japan, sculptor Nobuhito Nishigawara is intensifying the seem more likely possibilities, or eerie piggybanks. Yes, gold is often used as a complex dialog between American and Japanese pop culture and managing sacralizing strategy, but it is difficult to see where its use leads here.Giddy-up to make art historical allusions to the origins of Japanese figurative ceramics extends the ancient Haniwa terra-cotta figure tradition even farther: horse at the same time. After being forced to read the 34-year-old, Santa Ana, and rider are stopped dead, black and inert, quite like funerary guardian California, resident’s 2000-plus words of explanation imposed on the gallery figures. Princess is more tender. The somnolent seated figure beholds the walls throughout the exhibition, one would never guess at deeper, more cartoon-like animal. With such a restricted vocabulary of images, color and interesting meanings, but they are there. compositions, Nishigawara’s ideas eventually thin out. After emigrating to Canada in 1989 and studying with Sadashi Inuzuka Waikiyoku, which means “distortion,” and Star end the exhibition on a at University College of Fraser Valley, British Columbia, Nishigawara punchier note. In the former, the animal character is drenched in a mosaic went on to be educated at two of the last outposts of American figurative of mirrors with silvered ears and eyes. Much closer to a devotional figure, ceramics: Kansas City Art Institute and Arizona State University. He is Waikiyoku activates a pop-culture sensibility immediately, without the following in the footsteps of Akio Takamori at KCAI, but pushing his historical sobriety of the monochrome black-painted works. own figures into a realm far more mythic and subjective than Takamori’s Its companion is Star, a brilliant, if enigmatic, disquisition on the docile village people. central core of popular culture, celebrityhood. A cartoon figure faces its Warmly reviewed in the New York Times in 2003, Nishigawara is at- own reflection in a huge black-and-white realistic oil painting on the wall taining a more somber monumentality of form than Takamori, while giving that resembles a photograph or fan poster. The figure in the painting wears up the narrative potential of color from which Takamori benefits. But then, a Mike Tyson-like winner’s crown. Star aspires to fame yet seems mutely polychrome sculpture has long been suspect in contemporary art despite intimidated by it. the achievements of Viola Frey, Michael Lucero and others. Truly dealing with cultural identity, but not those of Asian and American Many of the works consist of two parts. Dual identities? Split personali- ethnic identities, Star crosses another cultural divide, that which goes from ties? Gender conflicts? These and other possible interpretations emerge above unknown nobody to instant famous person. One hopes Nishigawara will not and beyond the artist’s belabored, overly explicit explanations. Like much face the inevitable result of instant fame, to become instantly forgotten. West Coast art, autobiography is assumed to be the key to intentions and the “Cultural Identity” was recently on view at Winston Wächter Fine Art be-all, end-all criterion of content (see Robert Arneson, William T. Wiley, (www.winstonwachter.com) in Seattle, Washington. Howard Kottler, et al.); as if an artist’s life were the only level of meaning. Domestic pits a half-torso Haniwa warrior figure complete with helmet the author Matthew Kangas, a frequent contributor to CM, also writes against a bowing, debased female figure without arms or legs. In Itsuwari for Art in America, Art Ltd. and Sculpture among others. Ceramics Monthly September 2008 30 Ceramics Monthly September 2008 31 Ceramics Monthly September 2008 32 focus college clay

2008 Undergraduate Showcase I’m not sure the term undergraduate accurately reflects the nature of what it is to study ceramics at the post-secondary level. Really, it just says you haven’t graduated; it says nothing of the commitment you may have made to your chosen field of study, and it certainly doesn’t convey the level of achievement we see in the works submitted for this showcase. Perhaps we should have called it the “2008 Extremely Committed Post- Secondary Students with Tons of Ability and Potential Superstar Status Showcase,” but you can see how that’s problematic. I suppose we’ll leave it how it is, for clarity’s sake, on the condition that the reader understand that we feel the works presented here are not under much of anything, except perhaps the publicity radar. —Sherman Hall, Editor

Ceramics Monthly September 2008 33 William pariso University of Wisconsin–Whitewater Instructors: Charlie Olson and Jared Janovec

I started at Whitewater studying biology, but after taking art history courses I gained an interest in making art. Once in the studio, it was easy to tell where I really felt comfortable spending my time. Ceramics is an exciting medium, blending the physical nature clay offers alongside a scientific approach. My observations of complex systems in nature and in man- made devices drive much of my thoughts relative to making. After college, I would like to pursue an M.F.A., but I’m open to other experiences and opportunities.

Momentum: Diurnal Motion, 12½ in. (32 cm) in height, porcelain, 2008.

Ceramics Monthly September 2008 34 kathryn livesey The Appalachian Center for Crafts at the Tennessee Technological University Instructor: Vince Pitelka I might never have found the Appalachian Center for Craft if my high school art teacher, Wendie Love, hadn’t seen their table at NCECA and recom- mended them. The Center is part os TTU, which makes it very affordable, but it is located on a separate campus. I chose to come here because of the opportunity to learn a variety of crafts. But what really kept me here is the focus on good craftsmanship and the true community of artists who work here. It is a very supportive environment for me to focus on my work.

Teapot and Cup, 8 in. (20 cm) in height, white stoneware, soda fired to cone 10, 2008.

Sarah tancred Bowling Green State University Instructors: John Balistreri and Joseph Pintz

I originally came to BGSU as a fine arts major, but had very little experience with ceramics. I took a ceramics class during my sophomore year, and I became intrigued with working on the wheel and surface design. Microscopic images of plant and animal cell structures, bone marrow and viruses interest me and are screen printed onto my pottery. Although a pattern is created, what the image depicts, along with the function it serves both conceptually and in life, is the main focus in my work.

Microscopic View Cups 3, 4½ in. (12 cm) in height, thrown porcelain, gas fired, cone 10, screenprinted, underglaze, 2008.

Ceramics Monthly September 2008 35 Ben fiess University of Wisconsin–Whitewater Instructor: Jared Janovec For me, the two specific draws to the University of Wisconsin-Whitewater were low tuition costs and the relatively small student population/class sizes. I had no intention of studying ceramics or art, but discovered I had a great deal of interest in the possibilities of the medium. The professors here both encourage and challenge me to make the best work I can. I would definitely say that the dedication and individual attention provided by the professors have been great reasons for attending this university.

set: M2, 4 ½ in. (12 cm) in height, porcelain, felt, 2008.

Natsue Makino University of Washington, Seattle Instructors: Akio Takamori, Jamie Walker and Doug Jeck

I chose to attend UW because it is a public university with a great reputation that was close to home. I grew up in a traditional, conservative family in rural Japan where it was not typical for women to receive a higher education. How- ever, when I came to the U.S. with a high school education, I noticed that many women around me had a college education. So, my initial motiva- tion for going back to school was to recover my confidence. I thought if I could cultivate within myself things I do not know, it would enrich the inner life of who I am.

Fox’s Wedding, up to 39 in. (99 cm) in height, handbuilt stoneware, acrylic paint, wire, animal hair, 2008.

Ceramics Monthly September 2008 36 Elliot Marquet Ohio University Instructors: Brad Schwieger, Alex Hibbit and Robert “Boomer” Moore

I chose to attend OU because I had heard that it had one of the finest ceramics programs in the nation. It was also close to home, so it was the ideal choice for me. My high school had a strong ceramic program and my teachers really pushed me to continue my studies at the undergraduate level. This fall, I will be enrolled as a post-baccalaureate at the University of Florida.

Purging Super–Mundane Intelligence, 2 ft. (61 cm) in height, stoneware, mason stain porcelain slip, cone 6 oxidation, 2008.

Ceramics Monthly September 2008 37 Chris sneed University of Mississippi Instructor: Matt Long

I am interested in how pots can be used every day to bring art into one’s life and to enhance one’s experience with food by providing a daily ritual to feed the soul as well as the body. I enjoy playing with form and seeing how far I can take it. But as always, form has to follow function. I think in order to have a successful piece you must have good form, composition and balance.

Ash Cup, 4 in. (10 cm) in height, Korean celadon with Boone slip porcelain, wood fired to cone 12, 2008.

leslie plato smith Laney Community College Instructor: Susannah Israel

A background in archaeology has shaped my world view. I try to bring a sense of universality, cultural diversity and timeless- ness to my pieces. I work quickly so the clay body influences the final form as much as my own ideas. Texture is more than just a surface; it changes the shape and feel of each piece. I try to invoke a gut response from the viewer; something that comes from deep inside the primitive part of the brain, rather than a refined, analytical assessment.

Ringed Tower, 99 in. (251 cm) in height, mixed clays, glazes, underglazes, washes, stains fired to either cone 6 in oxidation or cone 10 in reduction, installed on steel structure. Photo: Paul Parkus.

Ceramics Monthly September 2008 38 madhulika ghosh Australian National University, Canberra Instructor: Janet DeBoos

I used to live in Bangkok, Thailand, and, despite the amazing contemporary and traditional ceramics tradition prevalent there, I was unable to avail myself of a ceramics education locally due to language restrictions. Self-tutor- ing wasn’t an efficient way to answer the ‘what if’ and ‘how do I’ questions that were plen- tiful. Around that time, Janet de Boos headed a Distance Ceramics Diploma program that proved perfect for my needs. We were required to attend classes on-campus twice Stacy jo scott a year for ten days, and I remember boarding University of Oregon the return flight from Canberra to Bangkok at Instructors: Tom Rohr and Sana Krusoe the end of each semester with gratitude because While I began college immediately after high school, I took time this course justified every kilometer that I trav- off in the middle to run a teaching and production ceramic studio elled for it. at a retreat center. This allowed me the opportunity to explore the full range of ceramic processes and to gain experience in running a Where Does the Fire Go When the Fire Goes Out? Objects of Contemplation, 1 ½ in. (4 cm) in height, Southern Ice studio. After college, I plan to continue to maintain a studio, either porcelain ‘butter lamps,’ plaster intaglio, woodblock through residencies or apprenticeships, where I will be able to fur- printing, copperplate etching, silk-screen tissue, laser ther push my work in preparation for entering graduate school. transfers, water soluble salts, 2007.

TopoMind, 24 in. (61 cm) in width, solid earhenware blocks, majolica, incised drawings, laser-cut stencils, slips, stains, 2008.

Ceramics Monthly September 2008 39 lance thompson The Ohio State University Instructors: Mary Jo Bole, Rebecca Harvey and Steve Thurston

I was initially drawn to OSU because of my family history. My grandfather and several aunts and uncles are Ohio State alumni, so it was natural for me to follow in their footsteps. The facilities, faculty and ceramic history at OSU were also deciding factors in my choice. Upon graduation, I plan on continuing to make work and expanding my portfolio while researching graduate schools with the hopes of attending next fall.

Grater, 32 in. (81 cm) in height, stoneware, silver platter, 2007.

Kalika bowlby Alberta College of Art and Design Instructors: Greg Payce and Katrina Chaytor

Handmade pottery celebrates the simple activities of daily life. The forms are known and familiar, they are reinventions of objects that have been made to serve basic human necessities for thousands of years. Dishes make their way into our personal living spaces and become witnesses to the conversations, routines and experiences that occur there. Our most mundane daily routines have the capability to reveal the sensual potential of existence. Rather than a focus on speed, efficiency and homogenization, hand making as a method of manufacture in modern industrialized society is a social and political action valuing sustainability and embodiment.

Individual Serving Dish, 9 ½ in. (24 cm) in height, slips, stains, glazes, soda fired to cone 10, 2008.

Ceramics Monthly September 2008 40 benjamin kraemer Lawrence University Instructor: Valerie Zimany

Objects made in porcelain are often fragile, feminine, commercial, white, pure, upper-class and sometimes luxurious and elaborate to the point that they become non-functional. Porcelain objects in the installation make the toys inaccessible, just like ultra-fancy- china-closet dinnerware The installation is designed to combine the cheap with the precious, the delicate with the fanciful, and craft with installation art. I hope to challenge people’s relationships to specific materials through recontextualization. This body of work also barbara rose serves as a callback to memories of arcade Sheridan College Institute of Technology and Advanced Learning Instructor: Bruce Cochrane birthday parties, elementary school bag lunches and summer days at the beach. After teaching elementary school and raising four children, I China Closet Childhood, Floaties, 8 in. (21 cm) in returned to school full-time to study ceramics and turn a hobby height, slip-cast porcelain, clear glaze, cone 6, into a career. At Sheridan I worked on design. I’m currently set- commercial decals, 2008. ting up my studio with the mentorship of Scott Barnim, a former teacher at Sheridan College and owner of Barnim Pottery, where I work part-time. I will also be teaching this fall and winter at the Burlington Art Centre.

Ash Garniture: Pilgrim Vase and Two Jars, 16 in. (41 cm) in height, porcelain, glazes.

Ceramics Monthly September 2008 41 Regional Student Juried Exhibition

When the staff of Ceramics Monthly saw the Regional Student Juried Exhibition this year in Pittsburgh during the NCECA conference, we were impressed that this level of quality was being produced by today’s students. Here, we invite the show’s jurors, Kristen Kieffer and Alleghany Meadows, to share their thoughts on this year’s exhibition.

Kristen Kieffer: The annual Regional Student Juried Exhibition held by NCECA is an outstanding opportunity for undergraduate, graduate and special students to begin showing their work, and during the largest ceramics event of the year, at that. It provides a comparative glimpse for the students, their professors and the field at large of the work being made by accepted artists from the colleges and universities in that given region.

Ceramics Monthly September 2008 42 focusfocus college xxxxxxx clay

From left: Sarah Rossi’s Self Portrait, 18 in. (46 cm) in height, white stoneware, reduction, 2007, undergraduate, Rhode Island School of Design. Rachelle Guenther’s Whiskey Set, 11 in. (28 cm) in height, porcelain, cone 10, 2007, undergraduate, SUNY New Paltz. Amy Goldsmith’s Untitled, 7 in. (18 cm) in diameter, porcelain, 2007, undergraduate, Bowling Green State University.

In 1999, during my own first year of graduate school at Ohio Seeing work in person is, of course, very different than viewing University, I had a piece juried into the RSJE in Columbus by its picture on a computer screen, displayed with dimensions and Margaret Bohls and Arthur Gonzales. It was very exciting to be ac- a minimal description. We both remarked about surprises in size cepted into the show, so I was doubly honored to co-jury this past or quality (positive and not), when we first saw the show together year’s RSJE with Alleghany Meadows, having had a past connection in Pittsburgh to decide the awards. This is probably when we real- with the exhibition. ized our differences in some aesthetic choices. Not all of the work I enjoyed the responsibility of being on the other side of the accepted into the show was mutually chosen. The accepted pieces process. The range of works submitted was impressive, covering were either ones we both agreed on, or only one or the other of us almost every ceramic genre, process, scale and style imaginable. It accepted. (An artist with two pieces in the show meant I picked felt important to do the obvious (choose the strongest pieces with one and Alleghany picked the other.) Since we were purposefully promise), while balancing the kind of work accepted. I wanted the not provided with information about any of the students’ status, show to be as diverse as our subjective tastes and variety of submis- the ratio of undergrads, grads and special students only became sions would allow. Two studio potter jurors of similar approximate clear to us during this first walk through. There may have been an age and background could be anticipated to have a narrow aesthetic understandably higher number of graduate students, but all three interest, but I think the resulting show proved otherwise. Several categories were well represented in the exhibition. people told me at Pittsburgh and after, that this year’s RSJE was one When I told people I was a co-juror for this student show, of the strongest exhibitions at the conference, and while Alleghany I was surprised when some either didn’t know it existed, or and I can take a little credit, those comments say something about thought it was the K–12 show. All college-level students should the next group of emerging artists coming on the scene. know about the RSJE (which will change from a regional to a

Ceramics Monthly September 2008 43 participating schools

Alfred University, NYSCC, Alfred, New York Bowling Green State University, Bowling Green, Ohio Buffalo State College, Buffalo, New York Edinboro University of Pennsylvania, Edinboro, Pennsylvania Green Mountain College, Poultney, Vermont Herron School of Art and Design, IUPUI, Indianapolis, Indiana Illinois State University, Normal, Illinois Indiana University Bloomington, Bloomington, Indiana Juniata College, Huntington, Pennsylvania Maryland Institute College of Art, Baltimore, Maryland Miami University, Oxford, Ohio Clockwise from top left: Jenn Betts’ Bowl, 5 in. (13 cm) in height, porcelain, 2007, Northern Illinois University, DeKalb, Illinois undergraduate, Bowling Green State University. Chrissi Dewald’s Untitled, 36 in. (91 cm) in height, stoneware, 2006, undergraduate, Temple University: Tyler School of Art. The Ohio State University, Columbus, Ohio Mariella Funk’s A Place for Both of Us, 8 in. (20 cm) in height, earthenware, cone 04, Ohio University, Athens, Ohio 2007, Southern Illinois University Edwardsville. Pennsylvania State University, University Park, Pennsylvania Rhode Island School of Design, Providence, Rhode Island Rochester Institute of Technology, national show in the near future), and submit work if they are eligible. Rochester, New York The lack of interest or knowledge was evident by the relatively low School of the Museum of Fine Arts, number of submissions. I was expecting to look at closer to 1000 Boston, Massachusetts images, but only 242 students from every eligible college or univer- Southern Illinois University Carbondale, sity possible in seventeen U.S. states, the District of Columbia and Carbondale, Illinois six Canadian provinces submitted a total of 432 works for jurying. Southern Illinois University Edwardsville, Professors should press their students to apply—as it is an excellent Edwardsville, Illinois way to attract future students who can easily compare schools by the SUNY New Paltz, New Paltz, New York quality and kind of work coming from the program—and assist them Syracuse University, Syracuse, New York in their applications. Most of the images we reviewed were excellent, Temple University: Tyler School of Art, but some varied from mediocre to bad. If a juror can’t tell the quality Elkins Park, Pennsylvania of the work because it is on a red fabric background, poorly framed University of Akron, Akron, Ohio or lit or labeled with undescriptive text (“clay and glaze” is not help- University of Massachusetts-Dartmouth, ful), it will be declined. This should not be happening, and I was Dartmouth, Massachusetts dismayed to see it. Work that is photographed and labeled well, and University of Wisconsin–Milwaukee, with multiple views, definitely gets more attention. Milwaukee, Wisconsin It was a pleasure to see pots, tableware, large and small-scale sculp- University of Wisconsin–Whitewater, ture, wall pieces, figurative and mixed-media sculpture, minimal and complex form, narrative work and tile being made in a region of North Whitewater, Wisconsin America by some inspired students. Newer work by anyone (student Waubonsee Community College, or not, young and old) has the potential of looking derivative of that Sugar Grove, Illinois from a given professor or working artist. I was pleased by the absence of distinct influence from this group of applicants. It’s obvious that

Ceramics Monthly September 2008 44 Ceramics Monthly September 2008 45 new and exciting art continues to be made in clay. Competition in the field of ceramics just steepened again. Kristen Kieffer is a studio artist and ceramics instructor living in Massachusetts. Her work can be seen at www.kiefferceramics.com.

Alleghany Meadows: The process of selecting works for the exhibition was both exciting and challenging. Steve Hilton, the RSJE coordinator, the NCECA staff and the staff of the hosting institution were incredibly helpful. It was a pleasure to work with fellow juror Kristen Kieffer. The hundreds and hundreds of images we first encountered presented a wide array of work, from functional to figurative to site specific installation to mixed media. Without con- sciously setting quotas for specific types of work, we chose work representing the wide array of what was submitted. Curating an exhibition without seeing the actual pieces or the exhibition space is quite a challenge. When we arrived at the exhibition and saw

Top: Megan L. Mullins’ Yellow Grid: Along the Lines, 1½ in. (4 cm) in height, engobe, unfired, 2006, graduate, University of Massachusetts–Dartmouth. Bottom: Brooke Noble’s Set of Cups, 4½ in. (12 cm) in height, porcelain, cone 10 soda, 2007, graduate, Southern Illinois University Edwardsville.

Ceramics Monthly September 2008 46 it completely installed, it was remarkable to see the difference in actual scale, surface and form compared to the perceived qualities we originally saw and juried from a computer monitor. The majority of the work we chose seemed to be idea driven. Perhaps this is a fundamental tenet of work coming out of academic institutions in the region for the 2008 student show. Ideas seemed to drive process for most of the artists. This opened wide the possible ways for working with the ceramic process, with clay being used from slip casting in molds to colored slip trailed on plaster, wheel thrown to coil built, press molded to pinched, and combinations way beyond. Much of the work seemed incredibly labor intensive, with possibilities being explored throughout each stage of the process. With some work, process became language, like with the simplicity of a pinch pot, thin and translucent, the penultimate “first” pot, but the process being taken to an articulate level of communication, with conscious rhythm, touch and form being investigated. Some work was rooted in history, while other pieces drew from nature or played with pop culture, political, narrative and conceptual content. The depth and quality of the work was inspiring. As a juror, I found myself in a great position to learn through this experience. Perhaps the most poignant lesson came during the awards selection process, during our first visit to the exhibition. When selecting work for the exhibition, we did not know which schools or levels of education the artists represented. Tasked with assigning certain awards that were undergraduate and graduate specific, Kristen and I struggled to choose works that belonged to each group. We had to make educated guesses. To our surprise and rescue, a seasoned curator and juror, Gail M. Brown, happened to be viewing the exhibition during this process. She shared her insight, encouraging us to “look for work which is raw and unrefined and full of potential” as a way to distinguish between the two. Alleghany Meadows is a studio potter in Car- bondale, Colorado.

Top: Kelly McKibben’s Kitchen-aid on a String, 17 in. (43 cm) in diameter, earthenware, screen printed slips, underglaze, cone 1, 2007, graduate, Southern Illinois University Carbondale. Bottom: Bethany Rusen’s Caution House, 12 in. (30 cm) in height, porcelain with underglaze, 2006, graduate, University of Massachusetts–Dartmouth. Ceramics Monthly September 2008 47 Ralph Bacerra 1938–2008 by Garth Clark

Ralph Bacerra passed away on June 10 at the age of 70, succumbing claim so boldly, but the more I thought about it the more I realized to lung cancer. Although towards the end he had lost some of his that it was an unassailable statement. Yes, America has produced sight and coordination, he completed a final piece just days before many masters of decoration in the past half century. But it is no he died. He used a magnifying glass attached to his glasses in order insult to any of them to say that Bacerra’s vast, multi-faceted oeuvre to see well enough to complete the last of the multi-layered china stands in a class alone. paint, then arranged for it to be fired two days before he passed away Bacerra described his goals modestly and unfashionably, “I am not so that his dealer, Frank Lloyd, could deliver it to a client who had making any statements—social, political, conceptual, or even intel- commissioned the piece. It was pure Bacerra, as reliable, disciplined lectual. There is no meaning or metaphor. I am committed more to and responsible an artist as I have known. the idea of pure beauty. When it is finished, the piece should be like Now, in reviewing his life lived, I am reminded that Bacerra, an an ornament, exquisitely beautiful.” unalloyed pragmatist, was also the most difficult of artists to inter- This statement dovetails perfectly with the writing of Amy view. His use of language when speaking about his art was as blunt Goldin, the critical voice of the Pattern and Decoration painting as it was economical. Answers were often just an unequivocal yes, movement during the 1970s, when she argued (and I paraphrase) no or maybe. If asked to explain further he would simply give a big that “decoration can be intellectually empty but that does not toothy grin and shrug. He never waxed poetic, disdained metaphors mean that it has to be stupid.” Indeed, Bacerra’s vessels bristle with as pretentious and saw conceptualism as being bogus. The writer intelligence but of the visual sort; layered planes both receding and and ceramist Mac McCloud told me that Bacerra was the toughest advancing, interlocking patterns, and graceful but contemporary interview he ever undertook. He had to repeat the exercise twice, appropriation of Japanese Imari, Kutani and Nabeshima. He also still coming away with less than he needed. responded to input that, given his vocal skepticism of the art world, Paradoxically, now that he has passed away there seems to be so is surprising. Warhol was one such influence. A print from the pop much more to say about him in death than there was in life. Maybe artist’s flower series was the first thing one saw as one entered the this is because, as an active ceramist for five decades, we took his foyer of Bacerra’s former home. virtuosity for granted. He was one of the stars of post-WWII studio If one spoke of his “art,” Bacerra would argue that it was noth- pottery and, yes, his work was amazingly facile. His use of the ce- ing more than good craft with some science thrown in for good ramic palette was dazzling both polychromatically and technically. effect. But what he achieved bordered on the magic of alchemy. To His system of multi-firing was difficult, but only the works that begin with, after he bisque fired one of his vessels, he would draw emerged in immaculate condition would be shown. The others were the complex decoration to follow in pencil on the unglazed vessel. dispatched to the shards pile. His pots and sculptures were superbly In the next firing, the second of what might be ten or more trips to constructed and lusciously sensual. But that is just what we came the kiln, the pencil marks would, of course, vaporize. But he would to expect of him. It was simply “what he did.” It kept getting better remember the patterned interlocking schematic not just for that and we accepted that as well without much comment. pot, but also simultaneously for ten to twenty others in that series Now looking at a Bacerra pot, sans Bacerra the potter, we see so on which he would also be working. much more. There is an “end of an era” quality about his departure His remarkable photo-memory was backed by an uncanny ability that says more about the field than just his own demise. He rep- to measure volumetric space. He would show this off by announcing resented the pinnacle of a certain approach to ceramics that is no that he would make a vessel and that it would, when fired, contain a longer in vogue and indeed, has not been for some years. Bacerra specific measure of water. The shape would often be new and complex, was a master craftsman, unapologetic about his love of process and not just a cylinder. After the firing, it would then be tested and would impervious to pressures to make his work seem more “art-like.” hold exactly the amount of water he had projected. Simply stated, we have lost the most extraordinary decorative Bacerra was torn professionally. He enjoyed teaching as much as potter of the last fifty years. Initially, I was hesitant to make this making art and the two were often in conflict. Actually “enjoyed”

Ceramics Monthly September 2008 48 Clockwise from top left: The artist in his studio. Untitled Cloud Vessel, 21 in. (53 cm) in height, earthenware, 1997. Image courtesy of Frank Lloyd Gallery, Inc. Untitled Teapot, 21 in. (53 cm) in height, 2001. Image courtesy of Frank Lloyd Gallery, Inc.

is a poor choice of language; he absolutely adored the interchange between teacher and student. His own education began at what is now Orange Coast College in Costa Mesa, California, where he was a commercial art major. He transferred to the Chouinard Art Institute in Los Angeles still intent on becoming a graphic designer. But then he stepped into the classroom of Vivika Heino and liked what he saw. In an interview for the Smithsonian Archives of American Art, Bacerra recalled his immediate response, “this is for me . . . I dropped everything and switched my major to ceramics.” He earned his B.F.A. in 1961, then spent two years in the Army. In 1963, after his discharge, he had just opened his own studio when he was invited to return to Chouinard as a teacher and during his eight years tenure (also serving as chairman of the ceramics department), he worked with exciting students, a short list of which includes Adrian Saxe, Mineo Mizuno, Elsa Rady, Don Pilcher, Peter Shire, Jun Kaneko and others. The department closed when the school, renamed the Califor- nia College of Art, moved to a new campus outside Los Angeles.

Ceramics Monthly September 2008 49 Untitled Platter, 23 in. (58 cm) in diameter, ceramic, 2005. Image courtesy of Frank Lloyd Gallery, Inc.

“is to wallow in visual hedonism.” Johnson added a footnote that Bacerra loved (and was doubly ironic given the reason for his departure from Otis) saying that conceptual art would be better off today if it could incorporate some of Bacerra’s sensuality. However, the Los Angles Times writer, William Wilson, got it all wrong describing Bacerra’s set of untitled Cloud Vessels as “ornate acts of visual prestidigitation that reduce the idea of opulence to a joke.” The opulence of Bacerra’s work was not a “joke” or any other self-conscious, self-loathing, postmodern contrivance, designed to worm around the difficult status of beauty in art today. Beauty for Bacerra was an unashamed reality, the ultimate level of visual suc- cess. It was why he made ceramics. Bacerra sought to contain the exquisite. I can only imagine how much he must have disliked Wilson’s words. Then too, while we represented him for a quarter century, he was also a good friend. We met in 1975 through Fred Marer while I was on a lecture tour, still based in London and a student at the Royal Col- lege of Art. We clicked and remained easy company thereafter. His social ethos was best captured in one Bacerra did not teach again until 1982 when he took over the ce- of his last comments, made to Joan Takayama-Ogawa; “The joy in ramics department at the Otis College of Art and Design, founded life is working in the studio, cooking, going out to eat good food by Peter Voulkos in 1954. He accepted the post not because he and visiting with friends.” needed the income but because he so missed the camaraderie of He left two things off the list. One was laughter. Even though teaching. He was an instant magnet for students who were drawn he could be cantankerous at times (our affectionate nickname for by a complimentary mix of generosity of spirit and maintaining him at the gallery was Uncle Grumpy), he was never more than a exacting standards. twinkly eye away from bursting out with infectious laughter. Din- He remained there for fourteen years and once again a group ners at his home, aside from high culinary achievement, were always of successful, motivated and productive students emerged; Cindy distinguished by knee-weakening hilarity. Kolodziejski, Diego Romero, Joan Takayama-Ogawa, Porntip Sang- The other omission was his passion for growing orchids. Bacerra vanich and many others including Jo Lauria who became a curator had a large greenhouse attached to the house and for years grew and writer on ceramics. This department closed in 1996. Otis was some of the rarest plants in the orchidaceous family. One night after in the grip of a strictly conceptualist regime and the Fine Arts Chair dinner, I accompanied him and Atsuko Koyanagi, a leading Tokyo objected to the fact that what Bacerra and his students did was, in her art dealer, on a tour of this collection. He stopped next to a par- words, “too real.” Happily, a different administration is now involved ticularly impressive bloom and announced that we were witnessing and is creating a documentary and visual archive on Bacerra as part a special occasion because this orchid flowers only once every five of the school’s Otis Legacy Project, a program formed last summer years. Without another word he plucked the flower from the stem to record the oral history of outstanding Otis alumni. and pinned it to Koyanagi’s jacket. She stood overwhelmed by the While the prize of a major retrospective eluded him in his lifetime gesture while Bacerra turned shyly away and gruffly changed the (as it does too many of our greats), he did get attention from the art subject, lest the world discover that Uncle Grumpy, the unrelenting world. The New York Times critic, Ken Johnson, writing about one pragmatist was at heart, a closet romantic. of the many exhibitions of Bacerra’s work that we organized between 1981 and 2006, liked what he saw despite its lack of art speak. “To the author Garth Clark operates Garth Clark Gallery, which recently look at [Bacerra’s] gorgeous ceramic vessels,” he wrote approvingly, became a web-based private gallery. See www.garthclarkgallery.com.

Ceramics Monthly September 2008 50 Enjoying the

Still Life by Leigh Taylor Mickelson

The colorful conglomerations of Anat Shiftan encourage us to slow down and contemplate the small things.

Still Life with Broken Cup, 8 in. (20 cm) in height, handbuilt cone 6 porcelain, fired multiple times.

Ceramics Monthly September 2008 51 Contemplations of nature, the still lifes of Anat Shiftan are about After two years at the Bezalel Academy for Art, she came to the looking and understanding and knowing. Like nature, they are United States and received her M.A. from Eastern Michigan Universi- simultaneously chaotic and controlled, seductive and repellent, ty and her M.F.A. from Cranbrook Academy of Art and Design. Since dangerous and delicate, sexy and sweet. They celebrate the pleasure 2003, she has been an assistant professor at SUNY, New Paltz. of color and the process of making and collecting objects. Shiftan An art educator knows she is in the right profession when she explains that her still life series strives to “awaken wonder and show finds creative inspiration from her students and classroom experi- the fine line between beauty and corruption and the alluring magic ences. Shiftan’s most recent body of work actually arose from an of and in nature.” assignment she gave to her students. She was teaching them about Born in Jerusalem, Shiftan was raised by her nature-loving making objects, and gave them an exercise in presentation: the parents, a geologist and a baking instructor. With frequent family still life. Shiftan assigned herself the same exercise. She found the outdoor excursions, and flowers on the table every Sabbath, Shiftan’s challenge to be about much more than presentation. It was about childhood was immersed in nature’s influence. She remembers perception, about working with clay; it was instantly autobio- spending hours in a field of wild flowers across from her house. graphical and explored the moral aspect of creating “stuff.” Shiftan She recalls holding a yellow daisy so close to her eye that all she embraced the action of making and collecting objects, accepting could see was the intense color of yellow. She would then pull it such accumulation as a form of expression. “As humans we have to away from her eye, which would reveal the flower’s structure. This produce stuff to express ourselves, but then we are populating the innocent wonder about her organic environment seeped into her world with things and more things,” she says. So what should we creative endeavors as an adult. do with these things? Present them. Shiftan’s interest in clay and art really began with annual visits For most three-dimensional art, the pedestal is the authority. to a potter’s shop with her mother when she was a child. The shop, Once a piece is placed upon a pedestal, it is instantly “art.” Com- full of pottery and earth-packed floors, was magical, but Shiftan did menting on this, Shiftan decided to present her “stuff” on a pedestal. not realize her potential as an artist until her senior year of college, Using a glazed kiln shelf as her platform, Shiftan began recording when she took a pottery class at a clay studio in Jerusalem. It was nature, just as the Dutch Renaissance painters did in their still lifes. then that she convinced herself that she should work in clay. Like the paintings, her pieces are about color and content, about

Still Life with One Fig, 7 in. (18 cm) in height, handbuilt cone 6 porcelain, fired multiple times. The pedestals upon which Shiftan’s still lifes perch are glazed kiln shelves.

Ceramics Monthly September 2008 52 Still Life with Two Tulips and One Fig, 7 in. (18 cm) in height, handbuilt cone 6 porcelain, fired multiple times, by Anat Shiftan, New Paltz, New York. Shiftan often randomly stacks glazed bisqueware, which become fused together through the firing process. seeing and perceiving. They are about our lives, our obsessions, time, the imbalance of the objects and the delicate, razor-sharp about the beauty of nature and the passage of time. edges persuade us to resist. In Still Life with One Fig, one of Shiftan’s first still life pieces, For Shiftan, these still lifes are instantly autobiographical a sweeping landscape of celadon glazed porcelain sits atop a hard- from process to product. She approaches these pieces as she does edged, steel-gray pedestal. The sharp furled edges of the porcelain, making test tiles, which is one of her most satisfying tasks in the delicately bunched together like frozen flower petals, create an art-making process. She piles the objects in a seemingly random expansive pillow for a plump chartreuse fig, which sits in the fashion, but if you look closely the colors are well balanced, like back right corner of the still life. The luscious fruit, a symbol of a controlled experiment. In Still Life with Broken Cup a shattered fertility and prosperity, appears inviting yet fated in its lonesome white cup, a pinched hollow chartreuse tulip, a cobalt blue flower placement. At the same time, the simplicity of the composition abstraction and a satiny pinkish fig are stacked on top of several takes on the meditative qualities of a Zen garden. additional flower abstractions and glazed porcelain shards. Nestled In life, we often walk past strewn leaves and fallen fruit without amongst the heap of objects are three small, dark-blue cylindrical giving them much thought. But in a still life, we are asked to pay test tiles. By inserting the tests into the still life, she comments attention; to notice the beauty of their forms, the potency of their on our placement in nature; our desire to understand and emulate colors, the juxtaposition of their placement. We are asked to con- the mysteries of nature. sider the objects, and wonder about their meaning. Within these In Still Life with Two Tulips and One Fig, the mound of objects works, “nature is an arranged presence with underlying tones of overtakes the small, dark-blue pedestal, falling over the edge and wealth, sensuality and seduction . . . these artificial nature scenes populating the area to the left. Is Shiftan commenting on the touch on the absence of the ‘original true’ nature in our life,” power of nature and its authority over us in spite of our best efforts Shiftan explains. to control it? Or did a few objects slide off the glazed shelf in the The inexhaustible format of still life continued to excite firing, creating a happy accident? The classic triangular composi- Shiftan, and her next series of works abandoned the quietude of tion within the piece suggests that amongst such chaos exists bal- the celadon porcelain fields. Continuing to use a glazed kiln shelf ance and beauty. Whether Shiftan planned such symmetry or not as her authority, Shiftan began to randomly stack bisque-fired remains to be seen. glazed objects atop the shelf. In the cone 6 firing process, the The mysteries in this body of work reflect those we face daily in pieces fuse together where the glazes touch, the colors slightly nature. No matter how well we plan for what nature or life has to melting into each other. The cacophony of objects, some soft and bring us, it often takes us by surprise. Shiftan’s still lifes ask us to pay alluring, others sharp and dark, comments on the ambiguities of attention, however; to notice everything from the color of a juicy nature. We are pulled into the still life, wishing to taste the fig’s fig to the furled edges of a strewn leaf; to all at once revel in nature’s satiny flesh or finger the soft celadon flower petals. At the same beauty and be calmed by the balance in the chaos of life.

Ceramics Monthly September 2008 53 Natural Resources Elaine Parks’ Balancing Act

by Kris Vagner

“I’m trying to recreate the feeling I get from being in the landscape,” says Elaine Parks. She’s an artist in Tuscarora, Nevada, a town so small that any resident can tick off an accurate census count on their fingers. Currently it’s thirteen. Parks’ ceramic sculptures aren’t shaped like the rugged, dry terrain or decorated with the purple lupine that carpets the hills in spring. But if you joined her on one of the hikes that punctuate her daily routine— from any house in town, you can walk to a few thousand square miles of open wilderness—you’d see a lot of the same textures and shapes you see in her studio. Disembodied brick chimneys, crumbling stone walls and untended patches of poppies or rhubarb now decorate the sparse, gravelly lots where homes and businesses used to be. The town was built by miners and en- trepreneurs during a gold rush in the 1860s and 1870s. In its heyday, it had a few thousand residents, but by the 1960s, when artists from urban areas started trickling in and out, the gold-rush population was long gone. Most of the original houses have succumbed to a century of heavy snows and dry summers. Some have been lying in splintery heaps so long they’ve become part of the scenery. Long-abandoned mining equipment, rusted halfway to oblivion, has littered the hills for so many decades that it seems more like part of the landscape than trash. Human industry and natural entropic processes have been competing for so long here, the boundaries between nature and culture are sometimes blurred. Parks’ sculptures present a similar kind of overlap. Nature and culture both inform her aesthetic, which balances a primitive roughness with the polish of conceptual art.

Full Moon Canyon, 24 in. (61 cm) in height, earthenware, punctured, shaped and assembled slabs, cone 04, 2006.

Ceramics Monthly September 2008 54 A recent series of low-fire earthenware sculptures, some long In each of these exhibitions—and in Parks’ whole oeuvre— like boats, some tall like vases or branchless trees, are influenced by references to nature acknowledge its aesthetic and philosophical the austerity of modernist sculpture and the organized chaos of the complexity. Bird motifs hint at flight and death at the same time; natural world. Parks explains, “I think of these pieces as something of oversized archaeological specimens that are half-tool, half-bone a translation of the sensation of living in a remote place like this.” exude a harsh kind of beauty and a seductively ambiguous surface She was born and raised in Los Angeles, where she’d already quality. Some of her glaze effects—speckled matt grays, mottled established an active ceramics career before she moved to Tuscarora greens with a waxy gloss—resemble the surfaces of naturally worn in 1999. She earned a B.F.A. from California State University, rock or metal. Some look like the artfully weathered patinas of the Northridge and an M.F.A. from California State University, Los car bodies that have been lying around town for decades, attracting Angeles, where she also taught ceramics classes. She worked at photographers and plein-air painters. the Natural History Museum of Los Angeles County, and she’s Parks is quick to point out that she approaches her subjects more exhibited her ceramics in museums and galleries in California, conceptually than literally. She says, “I couldn’t possibly recreate the Nevada and Germany. In 2004, she was awarded the Nevada Arts landscape, or even parts of it. Any attempt at recreating, for instance, Council’s Artist Fellowship Award, and the following year she won lichen on a rock, would seem cheesy or too kitsch. But I do feel like the commission to design the Governor’s Arts Award. I can recreate some clues.” In 2007, she had a solo exhibition titled “grid/nest,” at Indie Often, she takes her conceptual cues from 1960s Minimalism, Collective in Los Angeles, and she participated in a group exhibi- personalized with a hand-made aesthetic. She finds affinity with the tion, “Selections From Dada Motel,” at The Marjorie Barrick work of sculptors such as Robert Morris, whose stark, wooden cubes Museum of Natural History at the University of Nevada, Las helped change the rules about how sculpture should occupy space in Vegas in 2008. a gallery. “The idea of getting sculpture off the pedestal and into the

Canyon II, 16 in. (41 cm) in length, earthenware, punctured, shaped and assembled slabs, cone 04, 2005.

Ceramics Monthly September 2008 55 Green Pool, 9 in. (23 cm) in height, earthenware, punctured, shaped and assembled slabs, cone 04, 2003.

space appeals to me,” she says. “Most of my own work exists on a ambitiously around Tuscarora, are both comparable in shape to the human-sized plane, neither precious nor monumental. Sometimes holes in the sculptures. a series will be that precious size, and I do show it on pedestals. Even though the sculptures’ graphic elements are traceable to Then, the next series I work on usually evolves into something that specific influences, they always stay within the realm of abstraction. shares the space more seamlessly with viewers.” In a 2006 residency Parks says, “I like the open-ended quality of working with an abstract that culminated in an exhibit at Gallery Merkel in Rheinfelden, approach. It gives viewers a direct experience without sidetracking them into ultra-technique. It more easily allows the viewer to make Germany, she experimented with arranging curved, bone-shaped their own associations. I like to walk that line.” ceramic pieces in a spiral atop a layer of black gravel on the ground. Wherever Parks’ references to technique do become overt, they She says one of her most successful experiments with occupying appear to allude to different mediums altogether. Some of the seams space was in the Selections From Dada Motel exhibition at UNLV, and darts from her sculptures look as if they’re borrowed from weld- where she installed a ceramic tree, made of over 100 spindle-shaped ing or dressmaking. “There’s a long history in ceramics of making branches, on two perpendicular walls. clay look like other things, which it’s good at,” she notes. Lately, she’s been experimenting with poking holes through Usually, though, it comes right back to the landscape. “I’m in- the clay, puncturing the slabs in a grid pattern that covers most of terested in the theoretical quality of the terrain, simultaneously on their surface area. Parks says the puncture marks are inspired by a grand scale and an intimate scale,” Parks says. “When I see things the shapes she sees repeated on different scales in the landscape. in the landscape that remind me of my work, it makes me feel that Tiny pores in a rock and holes in the earth, which has been mined I’m on the right track.”

Ceramics Monthly September 2008 56 Perfect Perforation by Elaine Parks

1. I start by rolling out two or more slabs between ¼ and ¾ of an inch thick on a canvas- covered board. 2. Since I’m making tall forms, I cut out long, narrow rectangles for the cylinder wall. 3. I flip them onto a thick piece of foam. 4. I poke holes into the inside surface using either

my finger or a small wooden tool, depending on Monthly Methods what size hole I’m looking for. Sometimes, I draw on the front surface with a pencil while the slab is still on the canvas board, then transfer the slab to the foam and push out around the drawn lines. 5. I bend the individual pieces around forms, so they will set up in a curve. I usually use rolled towels and cardboard tubes from rolls of newsprint. 6. After the pieces get to a soft-leather- hard stage, I stand them upright and join them together. I don’t let them get too set up, because I want them to be soft enough to push from the inside when the piece is together. Sometimes this part is a little tricky, getting the cylinder to stand up and get it joined while it’s a bit soft, but I can get a more organic result this way. The curve of the individual piece is helpful. At this stage, I wish I had three hands. 7. To finish, I push the seams together to get them joined well, then I push out and Chinese Landscape, 18 in. in to get the texture how I want it. (46 cm) in height, earthenware, punctured, shaped and 8. After it sets up to firm leather hard, assembled slabs, cone I lay the form on its side on the foam and 04, 2006; by Elaine Parks, beef up the seams with coils. Tuscarora, Nevada. 9. Last, I add the foot, which is quite thick. I do this when the form is upright first. When the foot sets up enough, I put it back on the foam and push the middle up to form a foot ring. There’s a little back and forth—upright and laying on the foam—to finish the foot. 10. I dry the piece very slowly and then fire to cone 04. 11. I glaze using a combination of studio-mixed and commercial low-fire glazes. Some are painted on, and some are layered using a mouth sprayer. The sprayed-on glazes are mostly layers of very matt glaze. 12. Last, I fire again to cone 06.

Ceramics Monthly September 2008 57 the mfa factor With the start of a new school year, we return to our profiles of graduate ceramics programs. Enjoy this one, and stay tuned for more throughout the fall!

Arizona State University

The Ceramics area seeks to provide a stimulating and challenging environment for artistic and intellectual growth. With the realization that discipline, familiarity with historical precedents and freedom go hand in hand with creative activities, the area strives to strike a balance between the acquisition of traditional skills and the promotion of independence and innovation. Responsibility is placed on the individual student to find personally meaningful content and an effective means to express that content within the ceramic arts.

ASU[faculty]

sam chung

Having received his M.F.A. from ASU in 1997, Sam Chung returned to the school in the fall of 2007 to begin teaching there. He specializes in functional porcelain vessels, which can be seen at AKAR, Iowa City, Iowa, and Cervini Haas Gallery, Scottsdale, Arizona. Above: Teapot, 5 in. (13 cm) in height, slab-constructed, soda fired porcelain, cone 10.

Ceramics Monthly September 2008 58 susan beiner

Program Details • 3-year program • 50–60 applicants per year, 2–3 accepted • Out-of-state tuition: $8000/term • Three Teaching Assistantships available each academic year. • Scholarships available.

kurt weiser

Susan Beiner holds a B.F.A. from Rutgers University and an M.F.A. from the University of Michigan. She recently joined the faculty at ASU. Beiner’s work can be seen in galleries across the country, including The Clay Studio, Philadelphia, Pennsylvania, Santa Fe Clay, Santa Fe, New Mexico, and Lacoste Gallery, Concord, Massachusetts. Above: Chinese Conversation, 14 in. (36 cm) in height, slipcast and assembled porcelain, foam, polyfil.

Highlights of the Facilities • 250 square feet of private studio space for each graduate student (approximate size) • Spraybooth • Glaze lab • Soldner and Bluebird claymixers • 2 computerized Geil car kilns, 6 electric kilns, 1 updraft kiln Kurt Weiser received his B.F.A. from the Kansas City Art Institute and an M.F.A. from the University of Michigan. Weiser has been teaching at ASU for seventeen • Ball mill years. His area of concentration is overglaze enamels. The first full-scale survey • Kiln yard of Weiser’s work is currently touring the country. For the upcoming exhibition • Materials storage container schedule, please visit http://asuartmuseum.asu.edu/weiser. Above: Bright Angel, • The Ceramic Resource Center at Arizona State Uni- 17 in. (43 cm) in height, cast porcelain, china paint. versity Art Museum includes a collection of over 3000 pieces.

Ceramics Monthly September 2008 59 the mfa factor

ASU[grad students]

christian s. tonsgard I believe firmly in contemporary ceramics, and I feel that ASU is one of the schools that is at the center of contemporary ceramic ideology. After graduating from Monmouth College in 2001 with a B.A., I went to the Anderson Ranch Arts Center, where I rented studio space for two years. After my time in Colorado, I attended the Rhode Island School of Design for two years to hone my skills and perfect my portfolio for graduate school. After graduate school, I hope to pursue a career as an exhibiting artist as well as teach at the college level.

cole corie I did not take time off before starting graduate school because I had taken a long time in undergrad, studying biology initially. I found ceramics in my “senior” year, and took an additional three years after that to get my B.F.A. I wanted to keep up the momentum by going immediately to graduate school.

I found ceramics in my “senior” year [of undergrad], and took an additional three years after that to get my B.F.A. I wanted to keep up the momentum by going immediately to graduate school. —Corie J. Cole eilen ryazantseva stewart I have always loved school and learning, and I do not know that I will ever stop taking and/ or teaching classes and continuing to educate myself. I will certainly never cease learning. I came to ASU to enrich my knowledge of ceramic materials and techniques as well as to develop a new body of work, which I am hoping to continue working on after my time at ASU has ended. I did not take any time off between my B.F.A. and M.F.A., primarily because I have been in school since I was six years old and don’t seem to be able to live without it. I wanted to stay in the “school mode” for what I knew was going to be a challenging experience. I feared that taking time off would hinder my ability to jump right into graduate school.

Ceramics Monthly September 2008 60 dustin mcgilvray I chose to do my graduate studies at ASU because the program is actively growing with the addition of two new faculty and a brand new graduate facility. I did not take any time off between my undergraduate and graduate programs, because I wanted to continue my education throughout the early part of my artistic development.

holly curcio I initally decided to attend ASU because it provided resources such as the Ceramics Research Center, a collector/gallery base and the program is affordable. Now I would also include the faculty and facilities. I spent eight years between undergraduate and graduate school as a working artist. During that time, I developed my drawing skills, lived at ceramics artist residencies and undertook public art commissions. Following graduate school, I will be going to Anderson Ranch for a residency, and I recently signed a regional contract with Udinotti Gallery in Scottsdale, Arizona.

darien johnson After undergraduate school, I spent a year as a non-degree seeking student at the Kansas City Art Institute in order to further develop my work. At that time, I applied to a short list of graduate schools and was not accepted to any of them. I decided to make Kansas City my home for the next three years. With the benefit of hindsight, I’m able to say those three years were crucial to my development as an artist and person. I found out with certainty that this is what I wanted to do with my life. I know what it’s like to make art without the support of an institution behind you, and I know not to take the opportunity of graduate school for granted. I chose ASU because it has strong faculty and facilities, as well as the connection with the Ceramic Research Center. It is a three-year program with an already established reputation that seems to be getting even better. adil rahee I applied to graduate school after I arrived in the U.S. from Iraq as a refugee. I chose ASU because I wanted to study with Kurt Weiser. Also, the ASU program is designed to help and push students to be successful artists. While in school, I had a solo exhibition at Shemer Museum at Arizona State, as well as some group shows with the other students, and I received a 2007 Arizona Artist Guild award.

Ceramics Monthly September 2008 61 call for entries Deadlines for Exhibitions, Fairs and Festivals Submit online at www.ceramicsmonthly.org

international exhibitions visit www.penandbrush.org. Contact In the News, Croatian Ceramic Association, Krizaniceva 13, 42000 Varazdin, The Pen and Brush, 16 E. 10th St., New York 10003; Croatia; [email protected]; www.kerameikon.com. September 2 entry deadline [email protected]; (212) 475-3669. November 3 entry deadline New York, New York “Upstairs/Downstairs: A Fine Craft September 30 entry deadline Pennsylvania, Pittsburgh “2009 Lydon Emerging Artist Exhibition and Boutique” (October 9–November 2), open Illinois, Palatine “Life’s Unique Journey” (Novem- Program (LEAP) Award” (September 4–12, 2009), open to women artists. Juried from digital and slides. Fee: $50; ber 18–December 30), open to all media. Juried to students and under-represented emerging craft artists. members, $40 for up to three images. Juror: Joanna from digital or slides. Fee: $25. For prospectus, visit Fee: $10. Award: $3000 honorarium. Juror: Gail Brown. Rothbard. Contact Craft Exhibition, The Pen and Brush, www.northwestculturalcouncil.org. Contact Northwest Contact Society for Contemporary Craft, 2100 Small- 16 E. 10th St., New York 10003; [email protected]; Cultural Council, 500 N. Hicks Rd., Ste. 120, Palatine 60067; man St., Pittsburgh 15222; www.contemporarycraft.org; www.penandbrush.org; (212) 475-3669. [email protected]; (847) 991-7966. [email protected]; (412) 261-7003, ext. 17. September 15 entry deadline Korea, Gteonggi do, Icheon “The 5th World Ce- November 26 entry deadline California, Los Angeles “QUEERCRAFT 2009” (January ramic Biennale 2009 Korea (CEBIKO) International Montana, Missoula “International Cup” (February 22–February 28, 2009), open to contemporary craft that Competition”(April 25–June 21, 2009). Juried from digi- 6–28, 2009), open to ceramic cups from around the addresses queerness as a concept or artistic process. tal or slides. No fee. Contact World Ceramic Exposition world. Juried from digital or slides. Fee: $20 for one en- For more information, contact Joon Oluchi Lee, Cura- Foundation, Icheon World Ceramic Center, Curatorial try; $25 for two entries. Juror: Patti Warashina. Contact tor, [email protected]. Dept., 467-020, San 69-1, Gwango-dong, Icheon-si, The Clay Studio of Missoula, 1106 Hawthorne St., Unit September 19 entry deadline Gyeonggi-do, Republic of Korea; [email protected]; A, Missoula 59802; [email protected]; New York, New Rochelle Call for 2009–2010 Solo, wwww.wocef.com; (82) 31 631 0580. www.theclaystudioofmissoula.org; (406) 543-0509. Collaborative or Curated Exhibition Proposals. Juried from October 1 entry deadline February 1, 2009 entry deadline digital. No fee. Contact Katrina Rhein, Director, Castle Pennsylvania, Oaks “NEXT: The Invitational Exhibition Kansas, Pittsburg Call for Solo, Two Person or Group Gallery, The College of New Rochelle, 29 Castle Place, of Emerging Art” (February 2009), open to all media. Ju- Exhibition Proposals. Juried from digital or slides. New Rochelle 10805; [email protected]; www.cnr.edu; ried from digital. No fee. For information, contact Drew No fee. Contact Pittsburg State University, 1701 S. (914) 654-5423. Leshko, West Collection, [email protected]; Broadway, Pittsburg 66762; [email protected]; Pennsylvania, Wayne “Craft Forms 2008” (De- www.westcollection.org; (610) 804-7794. www.pittstate.edu/art/exopp.html; (620) 235-4303. cember 5–January 22, 2009), open to contemporary Virginia, Alexandria “5×5×5” (December 11–Janu- May 1, 2009 entry deadline craft. Juried from digital and slides. Fee: $40; online ary 11, 2009), open to all media. Juried from Ohio, Cincinnati Call for Solo, Group and Concept- submission, $30. Contact Wayne Art Center, 413 digital or slides. Fee: $35; $3 additional charge per based Exhibition Proposals. Juried from digital or slides. Maplewood Ave., Wayne 19087; www.wayneart.org; slide. Juror: Elaine Levin. Contact Target Gallery, Fee: $30. Contact Manifest Gallery, 2727 Woodburn www.craftforms.com. Torpedo Factory Art Center, 105 N. Union St., Al- Ave., Cincinnati 45206; www.manifestgallery.org. September 29 entry deadline exandria 22314; [email protected]; New York, New York “In the News” (November www.torpedofactory.org; (703) 838-4565, ext. 4. united states exhibitions 6–November 30), open to work by women artists October 30 entry deadline that interprets or relates to current or historic events. Croatia, Varaždin “International Festival of Postmodern September 4 entry deadline Juried from digital and slides. Fee: $50; members, $40 Ceramics: Nature as Adventure” (March 6–April 4, 2009). New Mexico, Portales “ANALOGOUS” (January 30–Febru- for three images. Juror: Morley Safer. For prospectus, Juried from digital and photos. No fee. Contact Kerameikon, ary 25, 2009), open to all media. Juried from digital. Fee: $35. potters council potters Are You Ready to...

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Ceramics Monthly September 2008 62 Ceramics Monthly September 2008 63 call for entries

Juror: Lucy Lippard. Contact Christopher Calderón, Eastern New Mexico University, Runnels Gallery, 1500 South Ave. K., Station 32, Portales 88130; [email protected]; www.enmu.edu/services/museums/runnels; (575) 562-2607. September 5 entry deadline Minnesota, Bemidji “6th Annual It’s Only Clay” (No- vember 7–December 20), open to functional clay vessels. Juried from digital. Fee: $30. Juror: Linda Christianson. For prospectus, visit www.bcac.wordpress.com. Contact Bemidji Community Art Center and Bemidji State Uni- versity Visual Art Dept., 426 Bemidji Ave. N., Bemidji 56601; [email protected]; (218) 444-7570. September 30 entry deadline Maryland, Baltimore “2009 Student NICHE Awards Competition” (February 13–16, 2009), open to all craft media. Juried from digital. Fee: $15. Contact Melissa Becker, NICHE Magazine, 3000 Chestnut Ave., Ste. 300, Baltimore 21211; [email protected]; www.americancraft.com; (410) 889-2933, ext. 224. West Virginia, Athens “In Progress” (October 20–November 14), open to all media. Juried from digital. Fee: $25 for three entries. For prospectus, visit http://arthurbutcherartgallery.googlepages.com/home. Contact Concord Ceramic Arts Association, Concord University, Campus Box 50, PO Box 1000, Athens 24712; [email protected]; (304) 384-5351. October 3 entry deadline Massachusetts, Brockton “The Perfect Fit–Shoes tell Sto- ries” (June 6, 2009–January 3, 2010), open to craft media. Juried from digital. Fee: $10. Contact Fuller Craft Museum, 455 Oak St., Brockton 02301; www.fullercraft.org; www.callforentry.org; (508) 588-6000. October 10 entry deadline Indiana, West Lafayette “Urban Legends & Rural Myths” (March 9–April 26, 2009), open to all media. Juried from digital or slides. No fee. Juror: Elizabeth K. Mix. For prospectus, visit www.purdue.edu/galleries. Contact Craig Martin, Director, Purdue University Galleries, Yue- Kong Pao Hall of Visual and Performing Arts, 552 W. Wood St., West Lafayette 47907; [email protected]; (765) 494-3061. October 15 entry deadline California, Fresno Call for Solo Exhibition Proposals. Contact Clay Mix, 1003 N. Abby St., Fresno 93701; [email protected]; www.clay-mix.com; (559) 485-0065. Kansas, Pittsburg “The Feast: About Food, Made from Food, Including Food” (February 2–March 5, 2009), open to all media. Juried from digital or slides. Fee: $20. Juror: Liz Hickok. Contact Pittsburg State University, 1701 S. Broadway, Pittsburg 66762; [email protected]; www.pittstate.edu/art; (620) 235-4303. October 31 entry deadline Texas, Beaumont “Beaumont Art League National” (March 1–31, 2009). Fee: $35. Juried from digital or slides. Contact BAL National, 2675 Gulf, Beaumont 77703; [email protected]; www.beaumontartleague.org; (409) 833-4179. December 31 entry deadline Missouri, St. Louis Call for solo/collaborative installation artists proposals. For more information, contact Craft Alliance, Attn: Exhibitions Coordinator, 6640 Delmar Blvd., St. Louis 63130; [email protected]; www.craftalliance.org; (314) 725-1177, ext. 323. regional exhibitions

September 12 entry deadline Ohio, Kettering “HWD 2008: A Regional Sculpture Competition” (November 3–December 12), open to artists from IN, KY, MI and OH. Juried from digital or slides. Fee: $20 for three entries. For prospectus, visit www.ketteringoh.org. Contact Amy Anderson, Rosewood Arts Centre, 2655 Olson Dr., Dayton 45420; [email protected]; (937) 296-0294. September 15 entry deadline California, Sherman Oaks “SCORE VII: Southern California Ceramics Monthly September 2008 64 Ceramics Monthly September 2008 65 call for entries

Open Regional Exhibition” (October 29–November 15), open to Southern California residents. Juried from digital or slides. Fee: $25. Juror: Kim Abeles. Contact Donna Geist Buch, 20416 Stagg St., Winnetka 91306; [email protected]; www.vivagallery.org; (818) 998-7904. Indiana, Indianapolis “Seeing the Land 2008: Regional Juried Landscape Exhibition” (November 10–December 5), open to artists in IL, IN, KY, MI and OH. Juried from digital or slides. Fee: $20 for three entries. Contact Katherine Fries, University of Indiana, Dept. of Art and Design, 1400 E. Hanna Ave., Indianapolis 46227; [email protected]; http://art.uindy.edu; (317) 788-3253. October 1 entry deadline Arizona, Tempe “2009 NCECA Regional Student Juried Exhibition” (January 24–April 11, 2009), open to current undergraduate and graduate students in the states of AZ, CA, CO, KS, NE, NM, NV, OK, TX and UT. Juried from digital. No Fee. Jurors: Geoffrey Wheeler and Michaelene Walsh. For information, visit www.nceca.net. November 10, 2008 Louisiana, New Orleans “2nd Annual Gulf-South Regional Contemporary Art Exhibition” (January 3–February 28, 2009), open to artists in AL, FL, LA, MS and TX not represented in New Orleans. Juried from digital. Fee: $25 for four images. For prospectus, visit http://becagallery.typepad.com. Contact BECA Gallery-Bridge for Emerging Contem- porary Art, 527 St. Joseph St., New Orleans 70130; [email protected]; www.becagallery.com; (504) 566-8999. November 15 entry deadline California, Sacramento “The 75th Crocker-Kingsley: California’s Biennial” (January 10–February 6, 2009), open to California residents. Juried from digital. Fee: $40 for three works. Juror: Michael Bishop. Contact Allison Henley, Crocker Art Museum, 216 O St., Sac- ramento 95814; [email protected]; www.crockerartmuseum.org/kingsley. Texas, Irving “Regional Juried Ceramic Competition” (January 20–March 6, 2009). Juried from digital. Fee: $30. Juror: Dick Hay. Contact University of Dallas, Art/ Ceramics Regional, 1845 E. Northgate Dr., Irving 75062; [email protected]; www.udallas.edu/art/regional.cfm; (972) 721–5319. December 5 entry deadline Massachusetts, Lexington “The State of Clay 6th Bien- nial Exhibition” (March 30–April 25, 2009). Juried from digital. Fee: $30 for three entries. Juror: Jim Lawton. Contact Lexington Arts and Crafts Society, 130 Waltham St., Lexington 02421; [email protected]; www.lexingtonma.org/lacs; (781) 862-9696. fairs and festivals

September 1 entry deadline New Jersey, Cranford “Fall Nomahegan Park Fine Art and Crafts Show” (October 4–5), all media. Juried from slides/ photos. Booth fee: $325 for 10×12-foot space. Contact Rose Squared Productions, Inc., 12 Galaxy Ct., Hillsborough 08844; www.rosesquared.com; (908) 874-5247. New Jersey, Upper Montclair “Fine Art and Crafts at Anderson Park” (September 20–21), open to all arts and crafts. Juried from slides/photos. Booth fee: $325 for 10×12-foot space. Contact Rose Squared Productions, Inc., 12 Galaxy Ct., Hillsborough 08844; www.rosesquared.com; (908) 874-5247. October 1 entry deadline New Jersey, Montclair “Fall Brookdale Park Fine Art and Crafts Show” (October 18–19), open to all arts and crafts. Juried from slides/photos. Booth fee: $325 for 10×12-foot space. Contact Rose Squared Produc- tions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844; www.rosesquared.com; (908) 874-5247. October 16 entry deadline South Carolina, Greenville “Artisphere 2009” (May 8–10, 2009). Juried from digital or slides. Digital application fee: $25; print/slides, $50. Booth Fee: $200. Contact Liz Rundorff, Program Director, Artisphere, 16 Augusta St., Greenville 29601; [email protected]; www.artisphere.us; (864) 271-9355. Ceramics Monthly September 2008 66 Ceramics Monthly September 2008 67 new books

Studio Pottery contains an introductory essay by Oliver Extruder, Mold and Tile by Oliver Watson Watson, Head of the Ceramics Department Forming Techniques This beautifully illustrated book is the at the V&A from 1989–2001, that places edited by Anderson Turner definitive catalog of the national collection the studio pottery movement into its proper A recent addition to the Ceramic Arts Hand- historical context. book series, Extruder, Mold and Tile covers a “The task of developing a history of studio pottery is just beginning,” says Watson. “The aim of this present catalog is to make the basic documentation of the Museum’s collections more easily available in the hope that it may encourage a more historical analysis of the subject; it does not pretend to be a history. The following sections are intended to air some of the issues that will underlie any history that may be written in the future. These discussions, inevitably somewhat idiosyncratic and personal, are set out as a number of separate topics, and aim to put into context the individual life stories that are outlined in the biographies in the catalog proper.” 288 pages. 120 color photographs. of studio pottery in Britain. Organized in $49.95. ISBN 978-0-7148-2948-7. Pub- the form of a biographical dictionary, Studio lished by Phaidon Press Inc., 180 Varick St., Pottery: Twentieth Century British Ceramics New York, NY 10014; www.phaidon.com; or in the Victoria and Albert Museum Collection tel (212) 652-5410.

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Ceramics Monthly September 2008 69 new books wide range of information, techniques and of bisqueware or something bought at a garage Marguerite Wildenhain inspiration for both functional and sculptural sale will do as good a job, if not better. Further, and the Bauhaus projects. Carefully selected from Ceramics while it is most likely cheaper to purchase edited by Dean and Geraldine Schwarz Monthly and Pottery Making Illustrated articles, an extruder, making accessories so that the This massive book provides an in-depth the book presents advice and inspiration from extruder can do unique things is part of the look at the life of potter Marguerite Wilden- twenty-six artists. creative, entrepreneurial and inventive nature hain. Comprised of hundreds of images, “The pages of this book include artists of clay artists.” 135 pages. 261 color photo- dozens of essays, interviews and writings from that explore extruders, molds and tiles,” states graphs. $29.95. ISBN 978-1-57498-291-6. memoirs, diaries and letters, the book is a Turner in the preface. “However, they do not Published by The American Ceramic Society, 600 copious archive of resources, many of which rely on store bought tools and plaster. Too N. Cleveland Ave., Ste. 210, Westerville, OH are published here for the first time. often, I feel, we look to plaster when a piece 43082; www.ceramicartsdaily.org/books.

“[Marguerite] believed that nature is the greatest teacher, and that art cannot be achieved without technique—nor with technique alone,” states Dean Schwarz in the foreword. “As an artist, master potter, author and teacher, Marguerite lived her life according to her ideals. This made her a model of and for humanitarian excellence.” Having studied at the Weimar Bauhaus for five years, Wildenhain left the school in 1926 with the designation Master Potter. After she was dismissed from a teaching job for being Jewish, Wildenhain left Germany and established a pottery studio with her husband, Franz Wildenhain, in Holland. She immigrated to America in advance of the Nazis invasion of Holland and eventually joined an artist’s community called Pond Farm in northern California. In her later years, she continued to produce work, ran her own pottery school, published three books and lectured throughout the U.S., gaining a reputation as an influential teacher and artist. 767 pages. Hardcover, $75. ISBN 978-0-9761381-2-9. Published by South Bear Press, 2248 S. Bear Rd., Decorah, IA 52101; www.southbearpress.org. Ceramics Monthly September 2008 70 Ceramics Monthly September 2008 71 calendar Conferences, Exhibitions, Workshops, Fairs submit listings at www.ceramicsmonthly.org

conferences “New Work”; at Red Star Studios, 821 West 17th St. Missouri, St. Louis September 5–October 26 James Alabama, Huntsville March 13–15, 2009 “Alabama Tanner, “Inside/Inside Out: A Profile of Awareness”; at Clay Conference,” includes presentations by Robin Hop- Craft Alliance, 6640 Delmar Blvd. per, Val Cushing, Piero Fencil and Angelica Pozo, with Missouri, Sedalia October 10–December 16 Albert panel hosted by Toni Sikes. For more information, visit Pfarr, “Recombinations”; at Daum Museum of Contem- alclayconference.org. porary Art, 3201 W. 16th St. Indiana, Indianapolis September 19–21 “Surface, Montana, Red Lodge October 1– 31 Bernadette Cur- Form and Substance: Potters Council Regional Confer- ran; at Red Lodge Clay Center, 123 S. Broadway. ence,” includes presentations and demonstrations with Nebraska, Lincoln October 3–November 1 Ayumi Horie, Debra Fritts, Ovidio Giberga, Susan Kemenyffy, Eva Kwong, “Recent Work”; at Lux Center for the Arts, 2601 N. 48th St. Jeffrey Nichols and Lana Wilson. Fee: $330; members, New York, Alfred through September 26 Chris $285. Contact Potters Council Amaco/Brent, 6060 Miller; at The Schein-Joseph International Museum of Guion Rd., Indianapolis, IN 46254; [email protected]; Ceramic Art, Alfred University. www.potterscouncil.org/surfaceformandsubstance; New York, Cross River October 4–November 30 Sally (866) 721–3322. Brogden, “Recent Works”; Keith Renner, “Recent Works”; Michigan, Grand Rapids October 2–4 “Sculpture at Gallery in the Park at Ward Pound Ridge Reservation, in Public: Part 2, Public Art,” includes special exhibition, Rte. 121 S. and Rte. 35. panel discussions and trade fair. For more information, New York, Katonah October 4–November 16 Kathy visit www.sculpture.org. Ruttenberg, “Outdoor Sculpture”; at Caramoor Center North Carolina, Asheboro March 13–15, 2009 for Music and the Arts,149 Girdle Ridge Rd. “North Carolina Potters Conference–Form and Func- New York, Larchmont September 13–October 18 Da- tion,” includes lectures and panel discussions with vid Packer; at Kenise Barnes Fine Art, 1955 Palmer Ave. Phil Rogers, Mark Pharis and Allegheny Meadows. New York, North Salem September 10–November For more information, contact the Randolph Arts 15 John Lindsay, “Soundscape/ Suikinkutsu Installation”; Guild, Moring Arts Center, 123 Sunset Ave., PO Box at Hammond Museum and Japanese Stroll Garden, Hays 1033, Asheboro 27204-1033; [email protected]; Gallery, 28 Deveau Rd. www.randolphartsguild.com; (336) 629–0399. New York, New Rochelle October 18–November North Carolina, Greenville September 18–19 “Ceram- 15 Ivar Hyden, “Terrific Terracotta”; at Backstreet Gallery ics in Higher Education and Its Future,” includes presenta- Fine art and Framing, 43 Lawton St. tions by Joe Bova, Cynthia Bringle, Josh DeWeese, Daniel New York, Pleasantville October 4–November 23 Mar- Johnston, Beth Kendall and Lisa Orr. For more information, lene Parillo; at Mt. Pleasant Public Library, 350 Bedford Rd. contact the East Carolina University School of Art and October 11–November 21 “Tuscan Journey in Form: Design, Leo Jenkins Fine Arts Center, Rm. 2000, Greenville Luminous Ceramics of Paolo Staccioli”; at Kiesendahl and 27858; www.ecu.edu/soad; (252) 328–6665. Calhoun Fine Art Ltd., 335 Manville Rd. Ohio, Cincinnati February 20–22, 2009 “Focus on New York, Port Chester September 6–27 Mary K. Function: Traditions and Innovations.” For more informa- Cloonan, “Prestidigitation.” October 4–November 22 Jeff tion, www.potterscouncil.org; (866) 721–3322. Schlanger “32 Faces from Chile•New York•Iraq”; at Clay Tennessee, Gatlinburg September 10–13 “Utilitar- Art Center, 40 Beech St. ian Clay V: Celebrate the Object National Symposium.” October 4–November 8 Paula Winokur; at Miranda Contact Arrowmont School of Arts and Crafts, 556 Fine Arts, 7 N. Pearl St. #404E. Parkway, Gatlinburg 37738; [email protected]; New York, Purchase October 3–January 25 Hanna Wilke, www.arrowmont.org; (865) 436–5860. “Gestures”; at Neuberger Museum of Art, 735 Anderson Hill Rd. New York, Rye October 3–November 21 Lynn Ainsworth; solo exhibitions at the School of the Holy Child, 2205 Westchester Ave. October 5–January 3, 2009 Bruce Dehnert; at The Arizona, Scottsdale September 18–25 “Laguna Rye Historical Society, 1 Purchase St. Legacy: The Pottery of Yvonne Lucas.” October 18–28 New York, Scarsdale November 2–30 Leigh Taylor “Nathan Youngblood: Precision Perfect”; at King Galleries Mickelson, “Botanical Attraction”; at Greenburgh Nature of Scottsdale, 7100 Main, #1. Center, 99 Dromore Rd. California, Fresno September 4– November 1 “Raku New York, Somers October 3–November 29 Michel by Jim Romberg”; at Clay Mix, 1003 N. Abby St. Louis Viala, “Scattered Galaxy”; at Lasdon Park and Ar- California, Pomona through November 8 “Robert boretum, Westchester County Parks, Rte. 100. Sperry, Bright Abyss”; at American Museum of Ceramic October 3–November 29 Susan Halls, “Birds and Beasts”; Art, 340 S. Garey Ave. at Muscoot Farm and Main House Gallery, Westchester California, Venice October 9–November 8 Ken Price; County Parks, Rte. 100. at L.A. Louver, 45 N. Venice Blvd. New York, White Plains October 1–November 30 D.C., Washington September 1–October 15 Gregg Chris Gustin; at 360 Hamilton, 360 Hamilton. Moore, “The Miner’s Canary Project”; at Cross Mackenzie October 16–November 30 Brian Ransom, “Resonant Ceramic Arts, 1054 31st St. Forms: New Sounding Ceramics”; at Westchester Art Work- Illinois, Chicago September 6–October 25 Steve shop, Westchester County Center, 196 Central Ave. Hansen, “Americana Trompe l’œil”; at Function and North Carolina, Bakersville September 6–October Art, 1046 W. Fulton Market. 31 Daniel Johnston, “New Work”; at Crimson Laurel Illinois, La Grange September 27–October 24 Kristen Gallery, 23 Crimson Laurel Way. Kieffer; at Terra Incognito Studios and Gallery, 35 S. La North Carolina, Charlotte October 10–November Grange Rd. 12 Dale Duncan, “Textured Vessels.” November 14–De- Indiana, Fort Wayne through September 29 Doug- cember 31 “The Human Experience: Melisa Cadell”; at las Baldwin, “The Great Duck Wood Fire School”; at RedSky Gallery,1244 E. Blvd. Indiana University–Purdue University Fort Wayne, 2101 Ohio, Columbus September 5–30 Tom Bartel. October E. Coliseum Blvd. 3–31 Jenny Mendes; at Sherrie Gallerie, 694 N. High St. Massachusetts, Concord September 6–30 “Tim Pennsylvania, Philadelphia through September Rowan Solo”; at Lacoste Gallery, 25 Main St. 21 Colleen Toledano, “New Work.” Jen Allen “New Massachusetts, Northampton through September Work.”; at The Clay Studio, 139 N. 2nd St. 14 “Aysha Peltz: Stolen Moments.” October 3–November Texas, Dallas September 6–October 11 Marla Ziegler; 9 Chuck Stern; at The Artisan Gallery, 162 Main St. at Craighead Green Gallery, 1011 Dragon St. Massachusetts, Pittsfield through October 4 Sergei Texas, Houston through November 30 Warren Isupov, “Androgyny”; at Ferrin Gallery, 437 North St. MacKenzie, “Legacy of An American Potter”; at Houston Michigan, Bloomfield Hills through September Center for Contemporary Craft, 4848 Main St. 14 Richard De Vore, “Retrospective and ‘Last Works.’” Texas, San Antonio October 30–January 11, 2009 Toshiko Takaezu. Tony Hepburn; at Cranbrook Art Mu- “Holly Hanessian: The Poetry of Space”; at Russel Hill seum, 39221 Woodward Ave. Rogers Gallery, Navarro Campus, Southwest School of Missouri, Kansas City October 2–November 1 Bede Art and Craft, 1201 Navarro. Clarke, “New Work.” November 6–29 Sanam Enami Washington, Bellevue September 23–February 8, 2009 “Tip Toland: Melt, The Figure in Clay”; at the Ceramics Monthly September 2008 72 calendar Conferences, Exhibitions, Workshops, Fairs submit listings at www.ceramicsmonthly.org

Bellevue Arts Museum, 510 Bellevue Way NE. 175 Newbury St. Missouri, Kansas City September 4–27 “Dinner Party: Washington, Seattle September 5–October 12 Massachusetts, Concord October 4–27 “Danish”; Works for the Table”; at Red Star Studios, 821 W. 17th st. Anne Hirondelle, “Small Revolutions”; at Francine Seders at Lacoste Gallery, 25 Main St. Missouri, St. Louis September 5–October 26 “Three Gallery, 6701 Greenwood Ave. N. Massachusetts, Pittsfield September 13–October Dimensions of Expression: Sculptural Clay,” works by Washington, Tacoma October 11–November 9 Jamie 12 “Firing Partners: Stonepool Pottery,” works by Mark Joe Bova, Victor Spinski and Roy Strassberg; at Craft Walker; at Traver Gallery, 1821 E. Dock St. #100. Shapiro, Michael McCarthy, Daniel Garretson, Maya Alliance in the Loop, 6640 Delmar Blvd. Machin and Emmett Leader. October 16–December 30 Mississippi, Biloxi September 19–November 7 group ceramics exhibitions “Studio Pottery Invitational 2008”; at Ferrin Gallery, “George E. Ohr National Arts Challenge”; at the Ohr– 437 North St. O’Keefe Museum of Art, 1596 Glenn Swetman St. Arizona, Tempe through February 28, 2009 “Mid- Michigan, Detroit September 5–October 24 Montana, Missoula November 7–28 “Soda National IV”; stream: New Ceramics from the Heartland”; at Arizona “Texting: Print and Clay”; at Pewabic Pottery, 10125 at The Clay Studio of Missoula, 1106 Hawthorne Unit A. State University Art Museum’s Ceramic Research Center, E. Jefferson Ave. Montana, Red Lodge September 5–September 26 10th St. and Mill Ave. Michigan, Hamilton October 3–November 1 “Artful “Cut,” works by Jess Parker, Kristin Pavelka, Robert California, Fresno November 4–December 5 “Cali- Drinking Vessels”; at Pottworks Gallery, 3765 Lincoln Rd. Briscoe, Marty Fielding, Brad Schwieger, Steve Godfrey, fornia Clay from ACGA”; at Art Space Gallery, Fresno Minnesota, Minneapolis September 19–November Sequoia Miller, Warren MacKenzie and Stacy Snyder. City College, 1101 E. University Ave. 2 “World Ceramics: Transforming Women’s Traditions”; October 3–November 14 “Double Barrel,” works by California, Pomona; through September 27 “Glori- at Northern Clay Center, 2424 Franklin Ave. E. Chuck Hindes and Ron Meyers; at Red (continued) Lodge Clay ous Glazes,” works by Ricky Maldonado, Elaine Coleman, Tom Coleman, Steven Hill, Emily Rossheim and Tom Marrinson; at Armstrong’s Gallery, 150 E. 3rd St. California, Sacramento through October 18 “Soar- ing Voices: Contemporary Japanese Women Ceramic Artists”; at Crocker Art Museum, 216 O St. California, San Francisco September 3–16 “Ruby’s Community Show.” September 17–30 “Respite,” works by Barrie Gross, Patricia Majorel and Eric Steppling; at Ruby’s Clay Studio and Gallery, 552A Noe St. California, Tustin September 6–20 “SAC Clay Invita- tional”; at Chemers Art Gallery, 17300 17th St. Ste. G. D.C., Washington through September 17 “Trompe l’œil: The Artist’s Studio,” works by David Furman, Victor Spinski, Lilianne Milgrom, Sylvia Hyman, John Brickel and Linda van der Linde. October 17–November 12 “Architects Fired II.” at Cross Mackenzie Ceramic Arts, 1054 31st St. Georgia, Decatur September 13–October 4 “Com- positions: Abstract and Figurative Sculpture,” works by Jorie Berman, Naomi Dalglish, Mary Fischer, Erik Haagensen, Asia Mathis, Holden McCurry and Pandra Williams; at MudFire Gallery, 175 Laredo Dr. Georgia, Sautee Nacoochee September 1–August 31, 2009 “International Folk Pottery Exhibition”; at the Folk Pottery Museum of Northeast Georgia, Georgia Highway 255, Sautee Nacoochee Center. Georgia, Watkinsville through September 17 “Sixth Annual Perspectives 2008: Georgia Pottery Invitational”; at Oconee Cultural Arts Foundation, 34 School St. Illinois, Chicago September 8–28 “Lillstreet Interna- tional”; at Lillstreet Art Center, 4401 N. Ravenswood. Illinois, DeKalb October 21–December 6 “Common Ground”; at Northern Illinois University Art Museum, Altgeld Hall, First Fl., W. End. Illinois, Warrenville October 24–November 21 “Clay³”; at ClaySpace Ceramic Arts Studio, 28 W. 210 Warrenville Rd. Indiana, Indianapolis September 5–October 3 “Clayfest 2008”; at Basile Center, Herron School of Art and Design, 735 W. New York St. September 25–October 31 “Surface, Form and Substance,” works by Debra Fritts, Ovidio Giberga, Susan Kemenyffy, Eva Kwong, Jeffrey Nichols and Lana Wilson; at AMACO/Brent Contemporary Clay Gallery, 6060 Guion Rd. Iowa, Iowa City through September 19 “Recent Ceramics: Sequoia Miller and Sam Talyor.” September 26–October 15 “Recent Ceramics: Joy Brown and Karen Karnes.” October 17– November 7 “New Work: Crane, Lindsay and Ross,” works by David Crane, Suze Lindsay and Laura Ross; at AKAR, 257 E. Iowa Ave. Maine, Deer Isle through September 6 “Duets”; at Dowstudio Gallery, 19 Dow Rd. Maine, Portland September 1–31 “30 Special Edition Pots”; at Maine Potters Market, 376 Fore St. Maryland, Baltimore through September 18 “Symbiosis.” “Ceramics from Wales,” works by Duncan Ayscough, Sam Bakewell, Melanie Brown, Lowri Davis, Morgen Hall, Catrin Howell, Walter Keeler and Claudia Lis. September 27–November 6 “Platters and Pourers”; at Baltimore Clayworks, 5707 Smith Ave. Maryland, Stevensville September 4–28 “Environ- mental Ceramics: Art in Living Spaces”; at Kent Island Federation of Art, 405 Main St. Massachusetts, Boston through October 19 “SAC Artist Awards Exhibition”; at Society of Arts and Crafts, Ceramics Monthly September 2008 73 calendar group exhibitions

Center, 123 S. Broadway. works by Andrew Martin, Sam Chung and Frank Martin; Castle Gallery, 29 Castle Place. Nebraska, Lincoln September 7–27 “Seven Original at Santa Fe Clay, 1615 Paseo de Peralta. October 25–December 4 “The Color of the Tradition: Voices in American Pottery,” works by Linda Arbuckle, New York, Armonk October 3–November 30 “Space Herencia Milenaria”; at Brother Kenneth Chapman Gal- Mary Barringer, Robert Brady, Mark Pharis, Liz Quack- Meditations”; at Mariani Gardens, 45 Bedford Rd. lery at Iona College, 665 N. Ave. enbush, Tim Rowan and Sandy Simon; at Lux Center New York, Brooklyn September 10–October 18 New York, North Salem September 10–November for the Arts, 2601 N, 48th St. “Clay Focus Exhibition”; at Gloria Kennedy Gallery, 111 15 “Earth–Fire–Alchemy”; at Hammond Museum and New Hampshire, Manchester October 8–Novem- Front St., Gallery 222. Japanese Stroll Garden, 28 Deveau Rd. ber 7 “Ceramics Biennial Exhibition 2008”; at the New New York, Chappaqua through November 30 “Nancy New York, Peekskill October 3–November 15 Hampshire Institute of Art, 148 Concord St. Bauch and John Allen”; at Chappaqua Library, 195 S. “Emerging Artists: Wall Sculptures and Clay Vessels”; New Jersey, Hamilton through September 28 “Mas- Greeley Ave. at Flat Iron Gallery, 105 S. Division St. ters in Clay,” works by Peter Voulkos, Toshiko Takaezu, New York, Katonah through December 19 “A Journey in New York, Pelham September 12–October 25 “Han- Peter Callas, Paul Chaleff, Robert T. Cooke, Takao Okazaki Majolica: Italian Renaissance to American Contemporary”; at dle With Care”; at Pelham Art Center, 155 Fifth Ave. and Rudolph Serra; at Grounds for Sculpture, Museum Caramoor Center for Music and the Arts, 149 Girdle Ridge Rd. New York, Pleasantville October 3–29 “Matt Nolen, and Domestic Arts Buildings, 18 Fairgrounds Rd. October 19–January 11, 2009 “Conversations in Clay”; Ruth Borgenicht and Robert Winokur”; at Pace University New Mexico, Santa Fe September 5–October 4 “Mary at the Katonah Museum of Art, 134 Jay St, Rte. 22. Choate Gallery, 861 Bedford Rd. Barringer, Matthew Metz and S.C. Rolf.” October 10–No- New York, New Rochelle September 7–November 9 New York, Port Chester September 6–27 “Into the vember 8 “Beauty Sandwich: Martin, Chung, Martin,” “Beyond Bio: Clay Bodies”; at College of New Rochelle, Wild,” works by Robin Henschel, Sally Aldrich, Monique Brooks, Marilyn Richeda and Barbara Rittenberg. October 4–November 22 “Transformations: 6x6.” “To Have and To Hold”; at Clay Art Center, 40 Beech St. New York, Rye September 28–November 8 “South- ern Exposure: Atmospheric Pots and the Penland Con- nection”; at Rye Arts Center, 51 Milton Rd. October 5–January 3, 2009 “All Fired Up! Salt Wares: 1700’s to 2008”; at the Rye Historical Society, Square House Museum, 1 Purchase St. New York, Tarrytown October 6–November 16 “The Artful Tabletop”; at Lyndhurst Mansion, 635 S. Broadway. New York, Valhalla October 13–November 22 “Terra Forma: Perspectives in Clay”; at Westchester Community College, Fine Arts Gallery, 75 Grasslands Rd. New York, Water Mill through September 1 “Masters of the Art,” works by Sam Taylor and Toni Ross. September 5–Oc- tober 5 “Objects,” works by Stephen Heywood, Brian Jensen and Lai Montesca; at Celadon Gallery, 41 Old Mill Rd. New York, White Plains October 3–December 13 “Confrontational Ceramics”; at Westchester Arts Council, 31 Mamaroneck Ave. New York, Yonkers October 2–November 2 “Ce- ramic Expressions”; at Blue Door Artist Association at Yonkers Riverfront Library, 1 Larkin Pl. North Carolina, Greenville September 3–October 1 “The Dwight M. Holland Ceramics Collection Exhibition”; at East Carolina University School of Art and Design, Jenkins Fine Arts Center, Wellington B. Gray Gallery, 5th St. North Carolina, Seagrove through November 29 “Owen/Owens: A Family History in Clay”; at North Carolina Pottery Center, 250 E. Ave. Oregon, Portland through January 25, 2009 “The Ceramics of Gertrud and Otto Natzler”; at the Museum of Contemporary Craft, 724 NW Davis St. Pennsylvania, Philadelphia through September 21 “Just Desserts”; at The Clay Studio, 139 N. 2nd St. Virginia, Alexandria September 27–October 22 “The Crystalline Spectrum, A Journey from Student to Master”; at Tyler Gallery, Northern Virginia Community College, 3001 N. Beaureagard St. Virginia, Roanoke through September 20 “Contem- porary Clay: The Collections of 16 Hands”; at Eleanor D. Wilson Museum, Hollins University, 8009 Fishburn Dr. Virginia, Waynesboro through September 4 “Al- leghany Craft Network”; at Artisans Center of Virginia; 801 Willow Oak Plaza, 801 W. Broad St. ceramics in multimedia exhibitions

California, San Diego through April 19, 2009 “India Adorned”; at Mingei International Museum, Balboa Park, 1439 El Prado. California, Santa Ana through October 12 “Terra Cotta Warriors: Guardians of China’s First Emperor”; at Bowers Museum, 2002 N. Main St. Florida, Naples through October 31 “International Inspirations,” including ceramics by Margaret Chevalier, Alexandra McCurdy, Gabrielle Nappo and Richard W. Rosen; at Rosen Studios, 2172 J&C Blvd. Maine, Deer Isle through September 7 “Haystack: Creative Process”; at Haystack Mountain School of Crafts, Center for Community Programs, 22 Church St. Massachusetts, PittsfieldOctober 11–November 8 “Political Response”; at Ferrin Gallery, 437 N. St. Michigan, Bloomfield Hills through September 14 Ceramics Monthly September 2008 74 Ceramics Monthly September 2008 75 calendar multimedia exhibitions

“Craft in America: Expanding Traditions,” including Contemporary Art Center, 1755 Avenida de Mercado. Museum, 953 Eden Park Dr. ceramics by John Glick, Ron Nagle, Gertrude and Otto New York, New York September 27–February 15, Ohio, Columbus September 14–November 2 Natzler, Peter Voulkos and others; at Cranbrook Art 2009 “Permanently MAD: Revealing the Collection”; at “COLOR: Ten African American Artists,” including Museum, 39221Woodward Ave. the Museum of Arts and Design, 40 W. 53rd St. ceramics by Sharif Bey and Lydia Thompson; at Ohio Missouri, Sedalia through September 21 “Taking North Carolina, Charlotte September 5–November Craft Museum, 1665 W. Fifth Ave. Stock: Selections from the Permanent Collection,” 1 “True Grit: Frames, Fixations and Flirtations”; at McColl Ohio, Toledo through January 4, 2009 “Arts of Fire”; including ceramics by Rudy Autio, Ken Ferguson, Center for Visual Art, 721 N. Tryon St. at Toledo Museum, 2445 Monroe St. Chris Gustin, Jun Kaneko, Steven Montgomery, Ron North Carolina, Creedmoor through September Oregon, Portland through September 14 “Con- Nagle, Annabeth Rosen, Peter Voulkos and others; at 7 “National Teapot Show VII”; at Cedar Creek Gallery, temporary Northwest Art Awards,” including ceramics the Daum Museum of Contemporary Art, State Fair 1150 Fleming Rd. by Jeffry Mitchell; at the Portland Art Museum, 1219 Community College, 3201 W. 16th St. North Carolina, Penland through September 21 “Is SW Park Ave. Nebraska, Lincoln September 5–27 “Mother That Supposed to be Funny?” September 30–November through January 4, 2009 “Manuf®actured: The and Son: Expressions in Color and Form,” including 16 “Core Show 2008”; at Penland School of Crafts, Conspicuous Transformation of Everyday Objects”; at ceramics by Audrey and Tom Towater; at Lux Center Penland Rd. Museum of Contemporary Craft, 724 NW Davis. for the Arts, 2601 N. 48th St. Ohio Cincinnati through September 6, “Outside Pennsylvania, Pittsburgh through November 1 New Mexico, Mesilla through September 28 “Inaugu- the Ordinary: Contemporary Art in Glass, Wood and “Life On Mars: 55th Carnegie International,” including ral Exhibition,” including ceramics by Terry Gieber; at Preston Ceramics from the Wolf Collection”; at Cincinnati Art ceramics by Rosemarie Trockel; at the Carnegie Museum of Art, 4400 Forbes Ave. through January 11, 2009 “Inner and Outer Space,” including ceramics by Allison Smith; at the Mattress Factory, 500 Sampsonia Way. fairs, festivals and sales

Alabama, Northport October 18–19 “Kentuck Festival of the Arts”; at Kentuck Park, 3501 5th St. Arizona, Sedona October 4–5 “Sedona Arts Festi- val”; at Sedona Red Rock High School, 995 Upper Red Rock Loop Rd. California, Oakland–Montclair Village October 4–5 “14th Annual Fine Arts and Crafts Fall Fest”; at Moun- tain Boulevard at LaSalle Montclair Business Dist. California, Menlo Park October 17–19 “12th An- nual Sidewalk Arts and Crafts Fall Fest”; at Santa Cruz Ave. and El Camino Real. California, San Carlos October 11–12 “San Carlos Art and Wine Faire”; at Laurel St. and San Carlos Ave. California, San Francisco November 29–30 and December 6–7 “Celebration of Craftswomen”; at Herbst Pavilion at Fort Mason Center, Buchanan St. and Marina Blvd. California, Santa Monica October 31–November 2 “Contemporary Crafts Market”; at Santa Monica Civic Auditorium, 1855 Main St. Connecticut, Glastonbury Green September 13–14 “46th Annual Art/Craft Show”; at Main and Hubbard St. Connecticut, Hartford November 14–16 “Sugarloaf Crafts Festival”; at the Connecticut Expo Center, 265 Reverend Moody Overpass. Connecticut, Milford September 20–21 “46th Meet The Artists and Artisans–Fall Show”; at Milford Green, Broad St. Connecticut, Westport November 22–23 “33rd Annual Westport Creative Arts Festival”; at Staples High School, 70 N. Ave. Delaware, Wilmington September 26–28 “Sugar- loaf Craft Festival”; at the Chase Center on the Riverfront, 815 Justison St. Florida, Clearwater October 4–5 “American Con- temporary Fine Furniture and Art Expo”; at Harborview Center, 300 Cleveland St. Florida, Gainesville November 8–9 “Downtown Festival and Art Show”; in historic downtown, from City Hall to the Hippodrome State Theatre. Georgia, Atlanta December 5–7 “Sugarloaf Crafts Fes- tival”; at the Cobb Galleria Center, 2 Galleria Pkwy. SE. Illinois, Chicago November 7–9 “15th Annual Sculpture Objects and Functional Art (SOFA) Fair”; at Navy Pier’s Festival Hall, 600 E. Grand Ave. Indiana, Rising Sun September 13–14 “Rising Sun Festival of Fine Arts and Crafts”; at 122 S. Front St., #7. Kentucky, Louisville October 3–5 “St. James Court Art Show”; at St. James and Belgravia Courts on Magnolia Ave. and Third St. Maryland, Gaithersburg October 10–12, Novem- ber 21–23 “Sugarloaf Crafts Festival”; at Montgomery County Fairgrounds, 16 Chestnut St. Maryland, Timonium October 3–5 “Sugarloaf Crafts Festival”; at the Maryland State Fairgrounds, 2200 York Rd. Massachusetts, Boston November 14–16 “Craft Bos- ton”; at the Westin Boston Waterfront, 425 Summer St. Massachusetts, Worcester November 28–30 “Festival of Crafts”; at the Worcester Center(continued) for Crafts, Ceramics Monthly September 2008 76 Ceramics Monthly September 2008 77 calendar fairs, festivals and sales

25 Sagamore Rd. and Convention Center, 50 Atrium Drive. North Carolina, Charlotte September 18–21 “Festival Michigan, Novi October 17–19 “Sugarloaf Crafts New York, New Paltz through September 1 in the Park”; at Freedom Park Lake, 1900 East Blvd. Festival”; at the Rock Financial Showplace, 46100 “Woodstock–New Paltz Art & Craft Fair”; at Ulster Co. North Carolina, Seagrove November 22–23 “Cel- Grand River Ave. Fairgrounds, 249 Libertyville Rd. ebration of Seagrove Potters”; at Historic Luck’s Bean Minnesota, Minneapolis September 5–7 “2008 New York, Roslyn Harbor October 11–13 “Craft Plant, 798 NC Pottery Highway 705. American Pottery Festival”; at Northern Clay Center, as Art Festival”; at Nassau County Museum of Art, 1 North Carolina, Winston-Salem November 15–16 2424 Franklin Ave. E. Museum Dr. “Piedmont Craftsmen’s Fair”; at the Benton Convention September 20 “7th Annual Tile Festival”; at the New York, Tarrytown September 19–21 “Fall Crafts Center, 301 W. 5th St. Swedish Institute, 2600 Park Ave. at Lyndhurst”; at Lyndhurst Estate, 635 S. Broadway. Oregon, Eugene October 10–12 “Clay Fest 2008”; Montana, Helena July 26 “Live Auction and Brick- New York, Westhampton Beach October 11–12 at Lane County Fairgrounds, 796 W. 13th Ave. yard Bash”; at Archie Bray Foundation, 2915 Country “October Arts and Crafts Show”; on the Village Green. Texas, Gruene October 25–26 “16th An- Club Ave. New York, White Plains October 17–19 “15th Annual nual Texas Clay Festival. For more information, visit New Jersey, Millville October 4–5 “Wheaton Westchester Craft Show”; at the Westchester County www.texasclayfestival.com. Arts Festival of Fine Craft”; at WheatonArts, 1501 Center, 198 Central Ave. Glasstown Rd. North Carolina, Asheville October 16–19 “Craft Washington, Seattle November 14–16 “Best of the New Jersey, Somerset October 31–November 2 Fair of the Southern Highlands”; at the Civic Center, 87 Northwest”; at Seattle Center, 305 Harrison St. “Sugarloaf Crafts Festival”; at the Garden State Exhibit Haywood St. Virginia, Arlington October 18 “Fifth Light in October”; at Barcroft Community House, 800 S. Bu- chanan St. Virginia, Chantilly October 17–19 “Craftsmen’s Classic Arts and Crafts Festival”; at Dulles Expo Center, Ceramic Handbook Series South Hall, 4320 Chantilly Center. December 12–14 “Sugarloaf Crafts Festival”; at the Dulles Expo Center, 4368 Chantilly Center. Virginia, Manassas September 5–7 “Sugarloaf Glazes and Glazing: Crafts Festival”; at Prince William County Fairgrounds, 10624 Dumfries Rd. Virginia, Roanoke October 10–12 “Craftsmen’s Finishing Techniques Classic Arts and Crafts Festival”; at the Roanoke Civic Center, 710 Williamson Rd. Virginia, Richmond November 7–9 “Craftsmen’s Classic Arts and Crafts Festival”; at Richmond Raceway Complex, Exhibition and Commonwealth Buildings, 600 Looking for a crystalline E. Laburnum Ave. glaze or perhaps a great workshops

matt? Maybe you’d like to replace Arizona, Tucson October 13–17 “Colored Clay Five Day Hands–On Workshop” with Vince Pitelka. barium or use wood ash from the Fee: $375. October 31–November 2 “A Plethora of Innovative Techniques” with Richard Notkin. Fee: fireplace. Glazing is one of the most $250. Contact Artifacts Studio, 38090 S. Loma Ser- ena Dr., Catalina 85739; [email protected]; creative and challenging parts of http://artifactstudioblogspot.com; (520) 825–7807. California, Fresno September 6 “Raku: New Glazing making pottery. From simple dip- and Firing Procedures” with Jim Romberg. Fee: $50/$60 at door. Contact Clay Mix, 1003 N. Abby St., Fresno ping and pouring of ready-made 93701; [email protected]; www.clay-mix.com; (559) 485–0065. glazes to complex layering, decals California, Mendocino September 13–14 “Anyone Can Center!” with Michael Berkley. September 20–21 or spraying, glazing abounds with “That Special Place: Handbuilding Houses” with Susan Delatour LePoidevin. October 11–12 “Clay and Steel” opportunities. In Glazes & Glazing: with Linda Mau. October 18–19 “Platters: Form and Surface” with Lyla Goldstein. October 25–26 “Sculptural Finishing Techniques you’ll discover Vessels” with Sarah Logan. November 1–2 “Throwing Available Teapots” with Jessi Adamson. November 8–9 “Contem- a wealth of information on tech- porary Greek Aesthetic” with Ryan Hurst. November st 15–16 “Narrative Handbuilding” with Darrin Ekern. Fee/ October 1 session: $175. Contact: Mendocino Art Center, 45200 niques, materials and recipes, as Little Lake St., Mendocino 95460; [email protected]; well as read the inspiring stories www.mendocinoartcenter.org; (800) 653–3328. Only $29.95 California, Ojai October 11–12 “From Tea- from many artists and their search pots to Tea Bowls” with Tom Coleman, guest ap- FREE Shipping pearance by Elaine Coleman. Fee: $250. Contact Dusti, Firehouse Pottery, 109 S. Montgomery for the ultimate surface. St., Ojai 93023; [email protected]; When You www.firehouse-pottery.com; (805) 646–9453. California, Santa Clara September 20–21 “Sur- Order Online face Decoration and Majolica Techniques” with Linda (US Only) Arbuckle. Fee: $185. Contact Mary Jane Stiff, Orchard Valley Ceramic Arts Guild, PO Box 71046, Sunnyale 94086; [email protected]; www.ovcag.org; (866) 841–9139, ext. 1075. California, Ventura September 20–21 “Sandra Black–Two Day Workshop.” Fee: $95. Contact Ventura ceramicartsdaily.org/books County Potters Guild, 3101 Breaker Dr., Ventura 93003; [email protected]; www.vcpottersguild.com; (805) 643–2418. Colorado, Fort Collins September 13 “Ewer, Me and a Cup for Our Tea–Handbuilding” with Annie Chrietz- 866-721-3322 berg. Fee: $90. Contact Northern Colorado Potters Guild, 209 Christman Dr., Fort Collins, 80524; [email protected]; Ceramics Monthly September 2008 78 calendar workshops

www.coloradopottery.org; (970) 416–5979. Colorado, La Veta September 14, 15, 18, and 19 “The Intimacy of Two,” majolica techniques focusing on sets and pairs. Fee: $390. Contact Pinon Hill Pottery, Clay Studio and Gallery, PO Box 713, La Veta 81055; www.pinonhillpottery.com; (719) 742–0213. Colorado, Snowmass Village September 6–19 “Finding Form through Surface” with Mary Barringer and guest artists David Pinto and Sam Clarkson. Fee: $1250. April 24–May 2, 2009 “Ceramics in Jamaica” with Jan McKeachie-Johnston, Randy Johnston, David Pinto and Doug Casebeer. Fee: $2850. Contact Doug Casebeer, Anderson Ranch Arts Center, 5263 Owl Creek Rd., Snowmass Village 81615; [email protected]; www.andersonranch.org; (970) 923–3181, ext. 201. Connecticut, Kent September 13–14 “Treasure Boxes” with Nancy Magnusson. Fee: $210. October 25–26 “Functional and Aesthetic Perspective: Pouring and Drinking Pots” with Mark Shapiro. Fee: $225. Con- tact Nancy Magnusson, Alison Palmer Studio, 48 Stone Fences, Kent 06785; [email protected]; (860) 309–8267. Georgia, Augusta September 28–29 “Don Reitz Workshop.” Fee: $125. Contact Tom Supensky, Clay Artists of the Southeast, PO Box 1388, Evans 30809; [email protected]; (803) 641–6811 Georgia, Decatur October 4–5 “Functional Delica- cies: Handbuilding in Porcelain” with Annette Gates. Fee: $245. October 17–19 “Image Transfer Techniques” with Paul Andrew Wandless. Fee: $295. November 7–9 “Dreaming in Clay with Metal” with Lisa Clague. Fee: $295. Contact MudFire Clayworks 175 Laredo Dr., Deca- tur 30030; [email protected]; www.mudfire.com; (404) 377–8033. Georgia, Watkinsville September 27–28 “Two Day Demonstration and Slide Presentation” with Warren MacKenzie. Fee:$140. Contact Wolf Creek Pottery, 1500 Tappan Spur Rd., Watkinsville 30677; [email protected]; (706) 769–5659. Illinois, Crystal Lake October 3–4 “Two Day Dem- onstration Workshop” with Cynthia Bringle. Fee: $99; members/students, $89. Contact Don Fuchs, McHenry Community College, 992 Aura Dr., Rockford 61108; [email protected]; www.clayworkersguild.com; (815) 978–1887. Illinois, La Grange September 27–28 “Kristen Kieffer Workshop.” Fee: $150. Contact Terra Incognito Studios and Gallery; 35 S. La Grange Rd., La Grange 60525; [email protected]; terraincognitostudios.com; (708) 352–1401. Maryland, Baltimore October 4–5 “Ornately Functional: Form and Surface” with Kristen Kieffer. October 18–19 “Gesture, Expression, Narrative: Bring- ing Life into Sculpting the Head” with Tip Toland. Fee/ session: $220; members, $200. Contact Baltimore Clayworks, 5707 Smith Ave., Baltimore 21209; www.baltimoreclayworks.org; (410) 578–1919. Maryland, Frederick October 3–5 “Korean Techniques” with Sukjin Choi. Fee: $185. October 16–19 “Properties of Glaze” with Nancy Robbins. Fee: $300. October 25–26 “Decorative Techniques for Porcelain” with Xiaosheng Bi. Fees: $175. “Photographing Ceramics” with Joyce Michaud. Fee: $175. November 6–9 “Kiln Technology and Firing Theory” with Joyce Michaud. Fee: $300. November 13–16 “Wood Firing Theory” with Kevin Crowe. Fee: $300. Contact Hood College, Ceramics Program, 401 Rosemont Ave., Frederick 21701; www.hood.edu/academic/departments; (301) 696–3456. Maryland, Ocean City October 11–12 “2nd Clay, Fire and Sand Event.” Contact Marie Cavallaro, Salisbury University Art Dept., 3417 Blackbeard Rd., Greenbackville 23356; [email protected] (specify CFS2008 in subject line); (410) 543–6270; or Karen Bearman, Clay Guild Secretary; [email protected]; (410) 221–1015. Minnesota, Bemidji October 7–9 “Form=Function” with Linda Christianson. Fee: $40. Contact Be- midji State University Visual Arts Department and BCAC, 1500 Birchmont Dr. NE, Bemidji 56601; [email protected]; www.bcac.wordpress.com; (218) 755–3735; (218) 444–7570. Montana, Red Lodge October 25–26 “Ron Meyers and Chuck Hindes.” No Fee. Contact Anthony Schaller, Ceramics Monthly September 2008 79 calendar workshops

Gallery Director, Red Lodge Clay Center, PO Box 1527, Red Lodge 59068; [email protected]; www.redlodgeclaycenter.com; (406) 446–3393. Nevada, Las Vegas September 27–28 Workshop with Patrick Horsley. Fee: $150. Contact Amy Kline, Pottery West, 5026 N. Pioneer Way, Las Vegas 89149; [email protected]; www.potterywest.com; (702) 987–3023. New Jersey, Layton September 6–7 “Expressing Personal Imagery on Handmade Tile” with Linda Shuster- man. Fee: $275. Contact Registrar, Peters Valley Craft Center, 19 Kuhn Rd., Layton 07851; [email protected]; www.petersvalley.org; (973) 948–5200. New York, Katonah September 21 or December 14 “Clay Silver Jewelry” with David Hughes. Fee: $125. October 19 “Raku Firing” with David Hughes. Fee: $125. Contact Katonah Art Center, 131 Bedford Rd., Katonah 10536; [email protected]; www.katonahartcenter.com; (914) 232–4843. New York, Port Chester September 6–7 Workshop with Mary Cloonan. Fee: $180. September 28, October 5, October 12, November 2 or November 16 “Discover the Joys of Raku Firing” with Denis Licul. Fee/session: $90. October 17–19 “The Wildness Within” with Beth Cavener Stichter. Fee: $200. October 26 “Why Clay Symposium.” Fee: $95. January 8–10, 2009 Workshop with Peter Pinnell. Fee: $300. Contact Leigh Taylor Mickelson, Clay Art Center, 40 Beech St., Port Chester 10573; [email protected]; www.clayartcenter.org; (914) 937–2047. New York, Port Washington October 3–5 “Deco- ration, Design, and Surface Enrichment” with Robin Hopper. Fee: $300. Contact Peggy, Haven Art, 29 Ha- ven Ave., Port Washington 11050; [email protected]; www.havenart.net; (646) 250–0301. North Carolina, Asheville September 19–21 “Porce- lain: Form and Texture” with Allison McGowan. Fee: $275. Contact Odyssey Center for Ceramic Arts, 236 Clingman Ave., Asheville 28801; [email protected]; www.highwaterclays.com; (828) 285–0210. Pennsylvania, Petersburg November 8–9 “The Next Steps” with Jack Troy and Carolanne Currier. Fee: $295, due on September 30. Contact Kathleen Davies, Mc- Cann School of Art, 4144 Miller Rd., Petersburg 16669; [email protected]; www.mccannart.org; (814) 667–2538. Pennsylvania, Philadelphia October 18–19 “It’s Pouring Pots!” with Sandi Pierantozzi. Fee: $220; members, $205. Contact The Clay Studio, 139 N. 2nd St., Philadelphia 19106; [email protected]; www.theclaystudio.org (215) 925–3453. Pennsylvania, Reading September 26–28 “The Raku Process: Forming, Surface, Glazing and Firing” with Steven Branfman. Fee: $320; members, $290. Contact GoggleWorks Center for the Arts, 201 Wash- ington St., Reading 19601; [email protected]; www.goggleworks.org; (610) 374–4600. Tennessee, Gatlinburg September 21–27 “Pat- tern, Form and Function; Searching For Answers” with Frank Saliani. September 28–October 4 “Focus on the Figure” with Debra Fritts. October 5–11 “Raku Pottery: An Adventure in Smoke, Fire and Color” with Harry Hearne. October 24–26 “A Potter’s Perspective: Master Workshop” with Cynthia Bringle. Fee: $260. Fee (unless noted above): $440. Contact Arrowmont School of Arts and Crafts, 556 Parkway, Gatlinburg 37738; [email protected]; www.arrowmont.org; (865) 436–5860. Texas, Mesquite October 17–18 “Kiln Repair Seminar.” Fee: $95, includes meals. Contact Arnold Howard, Paragon Industries, L.P., 2011 S. Town E. Blvd., Mesquite 75149–1122; [email protected]; [email protected]; www.paragonweb.com; (800) 876–4328. Vermont, Bennington January 28–February 1, 2009 “Handbuilding Sculptural Forms” with Vir- ginia Scotchie. “Making, Looking, Using, and Making Again” with Julia Galloway. Fee/session: $350. Contact Kathy Hanson, North Country Studio Workshops, PO Box 180, Deerfield 03037; [email protected]; www.northcountrystudioworkshops.org; (603) 463–7562. Vermont, Ricker Pond State Park September 4–7 “Calling to Loon: Embracing Your Inner Wildness, A Clay Sculpture and Writing Workshop” with Alan Steinberg (potter/sculptor) and Fred Taylor (writer). Fee: Ceramics Monthly September 2008 80 Ceramics Monthly September 2008 81 calendar workshops

$350–375. Contact Alan Steinberg, 144 Westminster Rd., Putney 05346; [email protected]; www.brattleboroclayworks.com; (802) 387–4820. Virginia, Floyd September 17–October 8 “Sculp- ture” with Donna Polseno. Fee: $100; members, $80. September 19–21 “Texturing Wheel Thrown Pottery” with Sarah McCarthy. Fee: $260; members, $225. October 4–5 “Intro to Wheelthrowing” with McCabe Coolidge. Fee: $180; members, $150. October 14–30 “Handbuilding” with Aven Tanner. Contact Chris Shackelford, The Jacksonville Center, 220 Parkway Ln. S., Ste. 1, Floyd 24091; [email protected]; http://jacksonvillecenter.org; (540) 745–2784. Washington, Seattle September 11–14 “Hand- building the Functional Pot” with Mark Pharis. Fee: $400. September 22–26 “Slipcasting and Moldmaking” with Andrew Martin. Fee: $425. Contact Wally Bivins, Pottery Northwest, 226 1st Ave. N., Seattle 98109; [email protected]; www.potterynorthwest.org; (206) 285–4421. West Virginia, Huntington October 16–18 “Ex- pressive Figures in Clay” with Janis Mars Wunderlich. Fee: $225; members, $195; teachers, $165; students, $120. Contact Huntington Museum of Art, 2033 McCoy Rd., Huntington 25701; [email protected]; www.hmoa.org; (304) 529–2701, ext. 21. international events

Australia, Adelaide October 25–December 7 “Trades.” December 13–January 25, 2009 “From the Earth: A Survey of Australian Indigenous Ceramics”; at Jam Factory, 19 Morphett St. Australia, Sydney November 8–December 3 Ste- phen Bowers; at Robin Gibson Gallery, 278 Liverpool St., Darlinghurst. Austria, Feldkirch November 7–9 “ArtDesign Feld- kirch”; at Montforthaus. Austria, Leopoldschlag through October 5 “The Potter’s Art–Past and Present”; at Mühlenviertler Kera- mikwerstätte, Hafnerhaus, Hafnerstraße 5. Austria, Vienna through September 28 “Monochrome– In Keeping with the Form”; at MAK, Stubenring 5. Belgium, Antwerp October 26–29 “Swinging Pots” with Patricia Cassone. Fee: $265. October 30–November 2 “Making Korean Pottery with Textured Surfaces” with Seung-Ho Yang. Fee: $300. Contact Patty Wout- ers, Atelier Cirkel, Prins Kavelhof 35, Brasschaat 2930; [email protected]; www.ateliercirkel.be; 32 36 33 05 89. Belgium, Brussels September 9–October 4 Anne Mercedes and Henk Wolvers; at Puls Contemporary Ceramics, Kasteleinsplein 4, pl. du Châtelain. Canada, Alberta, Banff September 11–15 Bradley Keys, “iPot”; at Willock and Sax Gallery, 110 Bison Courtyard, 211 Bear St. Canada, Ontario, Burlington through October 13 “Earth Art”; at the Royal Botanical Gardens, 680 Plains Rd. W. Canada, Ontario, Sarnia September 12–14 “Weekend Workshop” with Matthias Ostermann. Fee: $135/; Lawrence House members, $120. Contact Ann Stirling, Executive Director, Lawrence House Centre for the Arts,127 Christina St. S., Sarnia, ON N7T 2M8; [email protected]; www.lawrencehouse.ca; (519) 337–0507. Canada, Ontario, Toronto through September 7 “Object Factory: The Art of Industrial Ceramics.” through January 4, 2009 “Postmodern Porcelain.” October 3–January 18, 2009 “Days of the Dead”; at Gardiner Museum, 111 Queen’s Park. Canada, Ontario, Waterloo through September 14 “Touched,” including ceramics by Mark Jaroszewicz and Denise Pelletier; at Canadian Clay and Glass Gallery, 25 Caroline St. N. Canada, Québec, Québec City, through October 26 “The Louvre in Québec: The Arts and Life”; at The Musée national des beaux-arts du Québec, Parc des Champs-de-Bataille. Denmark, Copenhagen through September 20 “The Danish Vessel Part II.” September 19–21 “Art Copenhagen i Forum.” September 25–October 25 Anne Fabricius(continued) Møller; Ceramics Monthly September 2008 82 Ceramics Monthly September 2008 83 calendar international events

at Køppe Gallery, Bredgade 66. Denmark, Middelfart through September 28 “Nina Hole Retrospective”; at Danmarks Keramikmuseum- Grimmerhus, Kongebrovej 42. Denmark, Skælskør September 1–10 “Cross-Draft Kiln Collaborative Firing.” Fee: 500 DKr (US$105) plus additional firing expenses.September 12–15 “To Write About Ceramics Workshop” with Love Jönsson. Fee: 1500 DKr (US$314). September 26–28 “Kiln for Creative Work” with Pekka Paikkari and Andres Allik. September 29–Oc- tober 5 “Experimental Workshop in Woodfiring.” Fee: 2300 DKr (US$478). October 13–17 “Plaster Workshop” with Richard Saaby. Fee: 2300 DKr (US$478). Contact International Ceramic Research Center-Guldagergaard, Heilmannsvej 31A, Skælskør, 4230; [email protected]; www.ceramic.dk; 45 5819 0016. England, Chichester October 5–9 “Pottery–Glazes, Glazing and Kiln Firing.” Fee: £325 (US$645). October 26–31 “A Thrower’s Workshop.” Fee: £400 (US$794). November 14–16 “Throwing and Turning.” Fee: £179 (US$355). Instructor: Alison Sandeman. Contact West Dean College, West Dean, Chichester, West Sussex PO18 0QZ; [email protected]; www.westdean.org.uk; 44 1243 811 301. England, Leeds through October 31 Judith Davies; at The Craft Centre and Design Gallery, City Art Gallery, Calverley St., The Headrow. England, London September 9–October 2 “Twenty Years, Twenty Pots.” October 8–30 Claudi Casanovas; at Galerie Besson, 15 Royal Arcade, 28 Old Bond St. England, Worcester September 6–28 “Master Potters,” works by Takeshi Yasuda and Walter Keeler. October 4–November 30 “Form is Function,” works by Regina Heinz, Tim Andrews, Matthew Chambers and Lisa Ellul; at The Gallery at Bevere, Bevere Ln. Finland, Fiskars through September 28 “Interna- tional Ceramics, Flame Fired,” works by 55 ceramic artists; at the Old Granary Gallery, Fiskars Village. France, La Borne through September 22 Stéphanie Ray- mond. September 27–November 24 “David Whitehead”; at Centre de Création Céramique, 18250 Henrichemont. France, Nançay through September 21 Brigitte Penicaud. October 4–November 30 “Group Exhibition”; at Galerie Capazza, Grenier de Villâtre. France, Paris through October 15 “Petits Bouleverse- ments au Centre de la Table”; at Bernardaud Foundation, 11 rue Royale. October 3– November 15 “Emile Decoeur Retrospec- tive”; at Galerie Michel Giraud, 35–37, rue de Seine. France, Samadet through October 12 Arlette and Marc Simon; at Maison de la Céramique, Place de la Faïencerie. France, Vallauris September 1–30 “European Ce- ramics.” October 2–18 “Asian Ceramics.” October 11 “Ceramic Workshop RAKU.” October 20–31 “Resident Artist Exhibition,” works by Hozana Gomes da Costa, Monica Radowitz and Jill Chapman. Contact A.I.R. Vallau- ris, Place Lisnard, 1 BD des Deux Vallons, Vallauris, France 06620; [email protected]; www.air-vallauris.org; (33) 4 93 64 65 50. Germany, Bürgel through September 21 “Hedwig Bollha- gen Ceramic”; at Keramik Museum Bürgel, Kirchplatz 2. Germany, Düsseldorf through September 9 Kyra Spieker, “Angles and Lines”; at Hetjens-Museum, Schulstraße 4. Germany, Duingen through September 21 Reinhold Rieckmann “Gefäße und Plastiken” (Vessels and Sculp- ture); at Töpfereimuseum Duingen, Töpferstraße 8. Germany, Freiburg through September 27 “Exhi- bition Number 8: Thomas Hirschler and Kaja Witt”; at Galerie Frederik Bollhorst, Konviktstraße 11. Germany, Fürstenberg September 26–March 11, 2009 “Adventures with Crystalline Glazes”; at Fürstenberg Porcelain Manufactory Museum, Meinbrexener Straße 2. Germany, Hohenberg through November 9 “The Art of Calligraphy: Secret Messages of Taiwanese Artists Writ- ten on Porcelain”; at Porzellanikon, Freundschaft 2. Germany, Meissen through November 2 “Gold for Meissen Porcelain”; at the Staatliche Porzellan- Ceramics Monthly September 2008 84 calendar

Manufaktur Meissen, Talstraße 9. Germany, Munich through September 19, “onepluso- neisthree,” works by Monika Schödel-Müller and Werner Nowka; at Galerie für Angewandte Kunst, Bayerischer Kunstgewerbe-Verein, Pacellistraße 6–8. Germany, Selb through September 21 “Adventures with Crystalline Glazes”; at Museum Porzellanikon, Werner Schürer–Platz 1. Germany, Staufen through November 30 Emil Wachter, “Ceramic Work”; at Keramikmuseum Staufen, Wettelbrunner Str. 3. Italy, Florence, Certaldo through September 13 “Salt Firing” with Jane Hamlyn and Pietro Maddalena. Fee: $2100. Contact Pietro Maddalena, La Meridiana, International School of Ceramic Art in Tuscany, Loc. Bagnano, 135, Certaldo 50052; [email protected]; www.lameridiana.fi.it; (39) 0571 660084. Laos and Angkor Wat, Cambodia February 2009 “Village Pottery Experience,” includes work and firings with village potters. Limit 12 people. Contact Denys James, Discovery Art Travel, 182 Welbury Dr., Salt Spring Island, British Columbia V8K 2L8 Canada; [email protected]; www.denysjames.com; (250) 537–4906. Mexico, Oaxaca January 3–11, 2009 “The Oaxacan Clay Workshop.” Fee: $1765. Contact Eric Mindling, Traditions Mexico, 303 Avery St., Ashland, OR 97520, [email protected], www.traditionsmexico.com. Mexico, Mata Ortiz March 21–29, 2009 “The Mata Ortiz Pottery Workshop” with Michael Wisner and Jorge Quintana. Fee: $1595. Contact Eric Mindling, Traditions Mexico, 303 Avery St., Ashland, OR 97520, [email protected], www.traditionsmexico.com. Morocco, Marakesh, Ouarazate, Zagora, Merzouga and Casablanca November 8–27 “Ceramics and Cultural Excursion.” Limit 12 people. Contact Denys James, Discov- ery Art Travel, 182 Welbury Dr., Salt Spring Island, British Columbia V8K 2L8 Canada; [email protected]; www.denysjames.com; (250) 537–4906. Myanmar (Burma), Mandalay, Bagan, Inle Lake, Yagon January–February 2009 “Burma: Ceramics and Cul- tural Excursion.” Limit of 12 persons. Contact Denys James, Discovery Art Travel, 182 Welbury Dr., Salt Spring Island, British Columbia V8K 2L8 Canada; [email protected]; www.denysjames.com; (250) 537–4906. ORDER YOUR COPY Netherlands, Amsterdam October 25–November 16 Morten Løbner Espersen; at Galerie Carla Koch, Veemkade 500. TODAY Netherlands, Deventer September 14–October 11 Claude and Pierre Dutertre. October 19–November 15 Jean-François Fouilhoux; at Loes and Reinier International China Paint Ceramics, Korte Assenstraat 15. & Overglaze Netherlands, Gees through September 28 “Beelden in by Paul Lewing Gees 2008,” including ceramics by Thomas Bohle and Mar- tin Goerg; at Dehullu Beelden, Schaapveensweg 16. “An absolute feast... Netherlands, Groningen through November 23 Ai Weiwei; at Groninger Museum, Museumeiland 1. The most complete Netherlands, Leeuwarden through September 28 book I’ve ever seen Arnie Zimmerman, “Inner City.” through October 13 on overglazes for Wim Borst; at Princessehof Ceramic Museum, Grote both china painters Kerkstraat 11. South Korea, Gimhae through February 2009 and potters.” “Architectural Ceramics (Historical)”; at Clayarch –Marci Blattenberger Gimhae Museum, Gimhae Foundation for Arts and Culture, 358, Songjeong-ri Jillye-myeon Gimhae-si, Gyeongsangnam-do, 621–883. For more information, Soldner Clay Mixers Only $59.95 visit www.clayarch.org. by Muddy Elbow Spain, Barcelona through October 1 “Santi Moix: Manufacturing Hardcover | 248 pages del fang a l’escultura”; at Museu de Ceràmica, Av 288 photos & illustrations Diagonal, 686. Turkey, Ankara through September 12 “Summer Exhibition,” including ceramics by Nermin Kura; at Nev Free Shipping Gallery, Gezegen Sokak 5, Gaziosmanpasa 06700. 281-9132

Turkey, Istanbul, Cappadocia and Ankara Sep- 67114 • • 316) 316) When You Order Online tember 18–October 9 “Turkey Ceramics Excursion” ( x x KS KS

with Mehmet Kutlu and Erdogan Gulec. September 4th Fa ceramicartsdaily.org/books 22–26 Workshop with Mehmet Kutlu. Limit 12 people. W.

Contact Denys James, Discovery Art Travel, 182 Welbury wton, oldnerequipment.com [email protected] c s Phone/ Ne Or Call 877-721-3322 Dr., Salt Spring Island, British Columbia V8K 2L8 Canada; 310 [email protected]; www.denysjames.com; (250) Ceramics Monthly September 2008 85 classiﬁed advertising Ceramics Monthly welcomes classifieds in the following categories: Buy/Sell, Employment, Events, Opportunities, Per- products sonals, Publications/Videos, Real Estate, Rentals, Services, Travel. Accepted advertisements will be inserted into the first available print issue, and posted on our website (www.ceramicsmonthly.org) for 30 days at no additional charge! See www.ceramicsmonthly.org/classifieds.asp for details. Albany Slip. It’s the real thing! The last load from the original mine. Make those great Albany slip glazes again, from cone 6 to 11. At cone buy/sell Judith Duff Workshop – October 4th and 5th. 10–11, it fires a deep glossy brown. For further Demonstration of thrown, altered and hand built information, contact the Great American Wheel The Nevica Project. A worldwide online art forms. Discussion of Shino glazes from her stud- Works, in New York, at (518) 756-2368; e-mail gallery and art consulting business. We are now ies in Japan and the U.S. She will discuss firing [email protected]. buying and selling highly collectable sculpture techniques and show slides of her work and a DVD of Japanese master potters. Participation is lim- and pottery. [email protected]; NEW! SlumpHump Molds. Check out our new ited. For information, e-mail [email protected]; www.theNEVICAproject.com. curved bottom shapes. The Oval is 4x10x18 and or call (434) 248-5074. the Ellipse is 4x7x18. Reversible plastic mold. Mitchfield clay for sale (also known as Auman $65 plus $10 shipping. Pure & Simple Pottery Tom Turner’s Pottery School. For details, see Pond) from historical Seagrove, North Carolina. Products; www.pspottery.com; (707) 459-1483. Shipping available to any area. Minimum 4-ton www.tomturnerporcelain.com; or call (828) 689-9430. load. Contact Arthur at Kim’s Pottery Clay; (336) publications/videos 873-7317; (336) 963-5143; (336) 963-5149. opportunities For Sale – Gas kiln, 1980s model, arch, approx. Brick By Brick – a DVD. Join the adventure of 18 cu. ft., needs burners, includes furniture. Pick- building a Bourry box train kiln. Instructions aren’t up only in Canada. $3000. Call (519) 293-3339; Space For Lease. Established retail/pottery included, but if we can build a kiln, so can you. or e-mail [email protected]. studio with close to 2000 sq. ft. for lease, in 7cedarspottery.com/dvd.html. whole or part, on the island of St. Thomas, US Diamond Pottery Grinder. 15 in. diamond flat eBooks at www.R2D2u.com. FREE downloads Virgin Islands. Equipped and furnished. (727) include Making Raku Tongs Cheap; Oil Burner grinding system that attaches to your potters 447-6359. wheel like a throwing bat. Effective and easy to Design for Kiln Firing. Other titles available as use. Contact [email protected]; or call PDF file downloads: Hand Made Tiles, Smokeless Juried Exhibition, “From the Ground Up XXIV”; Raku, Kiln Building and more. (559) 542-2203 for information. Las Cruces Museum of Art; eligibility Rocky Mountain Region; deadline: April 10, 2009; juror: PotteryVideos.com – DVD’s with Robin Hop- employment Blair Meerfield; cash and purchase awards; per, Gordon Hutchens and Graham Sheehan. prospectus: www.las-cruces.org/public-services/ Video Workshops for Potters at all levels of ex- The Art Center Highland Park, IL is seeking museums//mfa.shtm. (575) 541-2221. experienced ceramics teachers for adult/chil- perience. Choose from 21 titles. (800) 668-8040; [email protected]. dren’s pottery and wheel throwing classes for Residency Available – Large work areas; weekdays, evenings, weekends. Please e-mail wood, salt, electric and gas kilns. Cub Creek Tom Turner’s 2-day workshop, 4-disc DVD set. résumé to [email protected]. Foundation in beautiful rural Virginia. For more To order, see www.tomturnerporcelain.com; or Production Potter Wanted. Full-time year information, e-mail [email protected], or call call (828) 689-9430. round position. Will consider all levels of ex- (434) 248-5074. perience. Studio/Gallery located near PSU in real estate Central PA. Experience-based pay plus studio Pottery West in Las Vegas, NV Offers Pottery time and gallery space. Call (814) 883-5167; Classes, Workshops and Residencies. The 15 year established gallery and pottery or send résumé to Grandville Hollow Pottery, pottery studio is 3000 sq. ft. with 21 potters’ studio for sale in affluent North Carolina 1090 Railroad Ave., Julian, PA 16844, or e-mail wheels. Classes meet several times a week and community. Property beautifully situated in his- [email protected]. there is studio access 24 hrs. a day. The facility toric town. Please call (704) 575-7804; or e-mail includes a 27 cu. ft. Geil gas kiln, a 100 cu. ft. [email protected]. events wood-fire Train kiln, a 50 cu. ft. wood/soda kiln, Pottery for Sale, storefront 2-story frame bldg. and a 16 cu. ft. electric kiln. We also have a slab 7500 sq. ft., apt., studio, showroom, garage, kiln Ten Day Anagama Workshop with Joe roller, wall-mounted extruder, glaze chemical shed, car kiln, soda kiln, clay mixer, and more. Bruhin in Fox, Arkansas. Firing Date: October lab, spray booth, bench grinder and audio/video $130,000; (319) 848-4963; [email protected]. 6–15, number of participants is VERY lim- equipment. It’s a great place to take classes and ited. Call for details (870) 363-4264; or e-mail continue building your body of work. On-site 800 sq. ft. Kansas Studio for Sale. Big lot by [email protected]. housing is available with a full service gourmet park. Near clay supplier, highway. $29,500; with Throwing Large and Saggar Firing with Tom kitchen and an in-ground lap pool. Academic kiln $39,500. [email protected]; (785) Radca and Brenda McMahon. Port Washing- credit is optional through Alfred University. Visit 363-2630. ton, Ohio. October 25–26. Triple the amount of www.potterywest.com; or call Amy Kline at (702) clay you throw and learn to saggar fire. $275. 987-3023 for more information. Artisan Village, Montana. Gorgeous 3 bedroom, www.bluemoonclay.com; or (518) 692-7742; 3 bath log home with open floor plan on 19.95 http://mcmahon-radca.blogspot.com/. Mid-Coastal Maine Potter’s Retreat. Beauti- acres nestled against the Swan Mountains and ful ceramics studio/living space on 110 acres. includes a functioning pottery studio with electric 6th Annual It’s Only Clay Competition, Exhi- Woods trails, swimming pond, private lessons and gas kiln. Endless recreational opportuni- bition and Workshop. 2008 Juror Linda Chris- and critiques/group workshops. Nearby ocean ties. Private and only minutes to Bigfork. Priced tianson. Awards: $1600 plus purchase awards. and sailboat. www.starflowerfarmstudios.com; at $875,000. Contact Denise: (406) 249-1758; www.bcac.wordpress.com/calendar-2008/ioc-2008/. (207) 525-3593. [email protected].

Ceramics Monthly September 2008 86 Columbia, North Carolina. 2 story, 3000 sq. Master Kiln Builders. 26+ years experience travel ft. mixed use building in downtown historic designing and building beautiful, safe, custom district. Downstairs has storefront gallery space kilns for universities, colleges, high schools, Ghana: 3-week indigenous clay and cultural and studio space. Upstairs includes 2 bedroom, art centers and private clients. Soda/salt kilns, structured tour. Lodging and studio facilities 2 bath apartment with deck and view of Scup- wood kilns, raku kilns, stoneware kilns, sculpture offered. Independent project proposals wel- pernong River. Columbia is home to Pocosin Arts burnout kilns, car kilns and specialty electric come. www.studiomateceramics.com; e-mail and just 45 minutes from Outer Banks beaches. kilns. Competitive prices. Donovan. Phone/fax [email protected]. $185,000. Call Randy at (252) 394-5179; or e-mail (612) 250-6208. [email protected]. OVERSEAS CERAMIC WORKSHOPS & Molds custom made for potters, ceramics TOURS —TURKEY, Istanbul and Cappadocia: rentals manufacturing companies and hobby ceram- September 19–October 9, 2008 Workshops with ics. Contact Reach Molds, 20 Camp Rd. 41, Mehmet Kutlu and Erdogan Gulec. MOROCCO Ogdensburg, NY 13669; (315) 393-6065. Studio Space Available – Muddy’s Studio November 8–27, 2008 Berber traditional pottery, is a 5400 sq. ft. premier ceramic studio in adobe architecture, tile art in Southern Morocco. Accept credit cards in your ceramics retail/ BURMA, Myanmar: January/February 2009 Orange County, California. Monthly mem- wholesale/home-based/Internet and craft- berships available. Call (714) 641-4077; or Ancient potteries; Mandalay; Yangon; Inle Lake; show business. No application fee. No monthly Bagan temples. LAOS & ANGKOR WAT, February please e-mail us at [email protected]; minimum. No lease requirement. Retriever/First www.muddysstudio.com. 2009. OAXACA, MEXICO, November 2009. Small, of Omaha Merchant Processing. Please call culturally sensitive groups using local translators (888) 549-6424. services and experts. Discovery Art Travel, Denys James, Canada; (250) 537-4906; www.denysjames.com, Custom Mold Making—Increase your productivity [email protected]. Ceramics Consulting Services offers technical and profits with quality slip-casting molds of your information and practical advice on clay/glaze/ popular designs! Petro Mold Co. offers a complete There is always something new happening at kiln faults and corrections, slip casting, clay body/ range of mold-making services, including sculpt- www.ceramicartsdaily.org. Updated daily, our glaze formulas, salt glazing, product design. Call ing and 3-D models, master and case molds, and website includes tips and techniques for the studio, or write for details. Jeff Zamek, 6 Glendale Woods production mold manufacturing to thousands of artist profiles, archives of past content, as well as Dr., Southampton, MA 01073; (413) 527-7337; satisfied customers. Visit www.custommolds.net; resources for finding ceramic activities and op- e-mail [email protected]; or www.fixpots.com. or call (800) 404-5521 to get started. portunities near you.

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Ceramics Monthly September 2008 87 Comment kiln muse by John Millring Bauman Kilns? They’re just tools. Yeah, right. that charm in the flue of my kiln? Of course not. hairs bristle with each cold inhale. And spring- The potters I know seem to be divided into But why, y’know, tempt fate? time after springtime I burn off the stinky mouse two camps. There is the analytical type who The house I live in was masterfully built by nests that have accumulated as I spend a few views his/her kiln merely as a tool, and whose craftsmen of the nineteenth century. At some winter months at the wheel, dodging the worst firing approach reflects this concrete, rational, point in the middle of the twentieth century, of the natural gas prices by not firing until closer scientific approach. I have a friend like this, and the owners of the place finally had to repair the to the start of the show season. In the summers, he’s famously methodical in his approach to his cedar roof. When they did, they replaced it with the door to the kiln room remains open wide, a kiln and to firing it. He can fire to within less a metal roof. Again, craftsmen who could have fan hanging from the door frame, sending hot ex- than half a cone’s difference anywhere in the box. haust outward so the room is tolerable enough to Amazing. And, like the methodical craftsman walk into long enough to check the cones. Then that he is, the structure of his kiln could most comes the blessed cool of the autumn again. And likely be entered into a competition and be dis- I almost never start a firing in the fall without played as a work of ceramic art on its own merits. first burning a small pile of dry maple leaves that The guy must have killed at LEGOs as a kid. blow into the bottom of the kiln, just so I can These analytical guys chart every firing, log smell burning leaves—the aroma transporting the temperature, the atmosphere, where the pots me back to every past autumn of my life. are loaded, even the weather of the day. The last A potter lives with a kiln in a manner unlike thing they want is a surprise coming out of the any other tool I can think of. It can be such a kiln. They are applied science personified. constant thing to tend a kiln—every hour, or Not me. I fall into a distinctly “other” camp. even more often—looking in on it, adjusting, Oh, back in my school days I loved the sciences. judging whether it is done or not. But I think I loved them more like, for instance, And there’s the heart-pounding start that I love my wife. I love her differences from me. I occurs every day I’m not firing—but forget that like that she sorta turns left where I turn right. I’m not firing.OH MY GOD! I FORGOT THE I like that she’s blonde while I am black-haired. KI—oh yeah, I’m not firing today. Stop laughing. I used to be black-haired. And I think I come by my kiln fears honestly. if I ever understood her, our relationship would With my first kiln, I burned down my shop. The ridge cap from the author’s house now adorns probably wobble out of the already crazy orbit his kiln as a reminder, and celebration, In the middle of the night, the neighbors came that keeps it vital. of craftsmanship that goes beyond function. banging on my doors and windows shouting that I like where science meets story-telling. The my shop was ablaze. Nearly thirty years later and “you’re not going to believe this, but…” aspect been strictly functionally minded—who could I haven’t slept naked since. Trying to step into of scientific discovery. But ask me to work my have assumed the attitude that as long as the trousers in the dark while the shop is on fire way through a dry manual or page after page of roof worked, kept out the rain, that would be with a propane tank leaning against it will leave formulas and I’ll act like I didn’t hear you. enough—weren’t. When they capped the top an impression. My kiln is different. Oh, it’s part tool, no ridge, they did so with forty feet of ridge cap that The old kiln’s not looking so good these days. doubt about that. Realities of life don’t let me was double folded, scalloped and pierced through I’ve lost track of the number of firings we’ve done get too far from the fact that every dollar I make every six inches with star and clover charms. together. It’s a small kiln, so I’ve been known to in this life starts as a pot that goes through that When I found myself, sixty years later, hav- go through a busy stretch of season (like right kiln’s fires. But it’s also part magic, complete with ing to replace that metal roof, I knew that fate before Ann Arbor Art Fair), firing up to sixteen a whole system of rituals, and decorated with had made me steward to the continuum of the days in a row. I have figured out that I’ve fired talismans. I realized early on that I had stepped craftsman’s caring obsession. It was up to me to at least $1.5 million worth of pottery in that over that line from John-the-potter to Harry Pot- carry it on. So now a four foot section of that little kiln. It’s served me well and has been a ter when I noticed that I had gone from merely ridge cap sits atop my kiln. It’s part charm and good friend. closing the kiln door on a firing with my fingers part constant reminder that the happy man never I built a new kiln a few years back. The new crossed to, well, to this: stops at mere function. kiln is still just the bisque kiln. Still just a tool. One day, after a particularly good firing, I no- I also share life with my kiln in the same Some day the old one will fire its last load. Maybe ticed that a hand-rolled bead that my wife made manner that I might spend time with a friend. then I’ll start some rituals and find a charm or had rolled out of its firing container and come to We have our friendly rituals, the two of us. Some two for the new kiln. I think I’ll know what to rest directly in the middle of the kiln’s flue. I left good times, some tough times. The kiln and I do when that time comes ‘round. The new one it there. I left it there for at least ten years. Ten mark the seasonal changes in the same way, year will tell me just like the old one did. very productive years. With each good firing, I after year. It’s now been nearly twenty years with found myself less and less able to remove that this kiln. I’ve spent countless hours watching the the author John Bauman operates Bauman Stone- bead. Do I believe that the years’ worth of good stars and moon in the clear, cold winter sky—the ware in Warsaw, Indiana. To learn more and to see firings are directly connected to the presence of heat of the kiln warming my back while my nose his work, go to www.baumanstoneware.com.

Ceramics Monthly September 2008 88